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Photos: Kenneth Hamilton "Sermon on the Mount" window, 1936-37, by D. Dearie after Burne-Jones. St. Andrew's Wesley United Church, Vancouver. window by the Dearies in Vancouver is one by Henry Dearie, formerly in the Vancouver Art Gallery, and now in the West Vancouver Memorial Library. It is a rendering in glass of Frank Dicksee's 1877 painting Harmony, the original of which is in the Tate Gallery. It is a charming and very competent reproduction of the original work, and is illustrative of a practice highly popular both in the 19th century and early years of the 20th, namely the use of certain well-known oil paintings as subjects for duplication in stained glass. Modern purists may raise critical eyebrows at the practice, but in fact it was utterly characteristic of the period, and technically such work was often of the very highest quality. This is indeed the case with Dearie's version of the Dicksee painting. In a sense the glass version triumphs over the original in one particular detailâ€"the window which is shown in the background. In the glass version, reality and illusion are blended, and within a painted, il-lusionistic interior there appears what is in effect a real window, a defined area through which streams real light. Dearie's version of Dicksee's Harmony is in fact an illuminating reversal of an attitude from which the art of stained glass had suffered much in the past. The decline of stained glass in the 17th and 18th centuries had come about in part because of a tendency to treat glass as if it were merely a substitute for the painter's canvas. Even the 19th century did not fully escape this attitude. Dearie's Harmony, in spite of its derivation from a well-known painting, emphasizes the fact of the windowâ€"what is created is in a sense a window in a window, or at least a window in a painting. It is possible to construe the Dearie Harmony as an elaborate visual joke, or as a philosophical statement. It is certainly amenable to such interpretations, and these are perhaps more enjoyable than the speculation that the Harmony window is merely another random example of glass conceived in imitation of painting. The work of Duncan Dearie is represented in Vancouver by the glass of St. Andrew's-Wesley United Church and Ryerson United Church. St. Andrew's-Wesley United Church was built at Burrard and Nelson Streets in Vancouver between 1931-33, and correspondence has survived there that makes it possible to discover how Duncan Dearie was carrying on the work of Morris & Company immediately after his father's death. Both the congregation and the architect of the church were interested in filling the building with stained glass. Early ill 1932 Dearie was sent a plan of the church with a request to supply a "fresh" list of suggestions for glass. The list still exists, though Dearie's copy perished in the Blitz in London in World War II. Twenty-four windows were named, to be designed by Dearie: a Nativity for the west window; a Te Deum for the east; scenes of the Adoration, Presentation in the Temple, Christ in the Carpenter's Shop, and Christ among the Doctors for the north aisle; the Baptism of Christ, Sermon on the Mount, Raising of Lazarus, and Last Supper for the south aisle; three subjects for the north transept to be chosen from a Crucifixion, Calling of Peter, Road to Emmaus, Visitation, Annunciation, and The Evangelists; and for the south transept three subjects to be chosen from a list of Christ Blessing the Children, Christ in the House of Martha, The Beautiful Gate of the Temple, St. Paul at Athens, and The Fathers of the Church. In addition to these major windows there were to be eight large clerestory windows to include depictions of the Twelve Apostles on the south side of the church, and twelve Old Testament figures on the north. While the subjects were of long standing in Christian art, they were typical of normal themes for church glass as it evolved through the 19th into the 20th century. Of this rather extensive list of subjects, seventeen were treated by Duncan Dearie in the years between 1936 and 1951. Albert Charles Sewter in his important book, The Stained Glass of William Morris and His Circle,1 lists only three of the St. Andrews's-Wesley windows as the work of Duncan Dearie; indeed Sewter had concluded in his work on the Morris circle that as "no list of his productions exists for the period 1940-46...he probably made very few windows in those years." The windows in St. Andrew's-Wesley, however, suggest that Duncan Dearie was active as a designer at an earlier date than Sewter had assumed, and that he was far more productive. Duncan Dearie must have been an accomplished designer prior to 1932, since by February of that year he was 47 May/June 1979