^{page 282 note 1} Hist. of the Worshipful Company of Glaziers, otherwise the Company of Glaziers and Painters of Glass, n. d., privately printed.

^{page 282 note 2} Vide Westlake, History of Design in Painted Glass, vol. iv, p. 30 note.

^{page 282 note 3} Barnard Flower, King's Glasier, by Herbert Chitty: Notes & Queries, 12 S. iii, 437, Oct. 1917.

^{page 283 note 1} Willis and Clark, Architect. Hist. of Univ. of Cambridge, vol. iii.

^{page 283 note 2} Ibid., vol. i, 198.

^{page 283 note 3} Montaigne, Travels, ii, 49 and iii, 51; Burton, Anat. of Melan, ii, 76; Ed. Browne, Letter, Sir Thomas Browne's Works, 1835, i, 101.

^{page 283 note 4} Since the above was written Mr. Herbert Read has recorded the names and many interesting facts connected with King's Glaziers in his sumptuous volume English Stained Glass, recently published.

^{page 283 note 5} Wallace Dunlop, Glass in the Old World, p. 172.

^{page 284 note 1} E. T. Bradley, Annals of Westminster, p. 63, and Archaeologia, vol. xxix.

^{page 284 note 2} Privy Seal, 19 Henry VI.

^{page 284 note 3} Cal. of Patent Rolls, 1461–7, p. 273.

^{page 284 note 4} Notes & Queries, 12 S. iii, 419, Sept. 1917.

^{page 284 note 5} Rotuli Parliamentorum, 1765, v, p. 196 b.

^{page 284 note 6} Cal. of Patent Rolls.

^{page 285 note 1} Contract for the windows of King's Coll., Cambridge, printed in Walpole, Anecdotes of Painting, Appen., and Winston, Hints on Glass-painting, Appen. B.

^{page 285 note 2} Accounts of work executed at Hampton Court preserved in the Public Record Office. Printed in Handbook to Hampton Court, by Felix Summerly (Sir Henry Cole), pp. 120–1, no. 67.

^{page 285 note 3} Letters and Papers, Henry VIII, vol. 162, folio 131.

^{page 286 note 1} Ashdown, Hist. Worship. Company of Glaziers, p. 57.

^{page 286 note 2} Windsor Castle, 1913.

^{page 286 note 3} Excheq. K.R. Accts. 471, no. 6.

^{page 286 note 4} For a more complete account see ‘The Periodic Plagues of the second half of the fourteenth century and their effects on the art of glass-painting’, by Knowles, J. A., in Archaeological Journal, vol. lxxix (1922), pp. 343–52.CrossRefGoogle Scholar

^{page 287 note 1} Brayley and Britton, Hist. of Palace of Westminster, p. 193.

^{page 287 note 2} St. John Hope, Windsor Castle, vol. i, p. 188.

^{page 287 note 3} Willis and Clark, Architect. Hist. of Univ. Cambridge, vol. i, p. 388.

^{page 287 note 4} Vide, ‘Disputes between English and Foreign Glass-Painters in the Sixteenth Century’, by Knowles, J. A., Antiquaries Journ., vol. v, April 1925.Google Scholar

^{page 288 note 1} A similar reference to sheep and the wool trade is given by Thoroton, who, speaking of Holm near Newark, the seat of Sir Thomas Barton, says, ‘Holme did belong to Sir Thomas Barton, a man of great possession in Lancashire, whose ancestor, a merchant of the Staple, built a fair stone house, and a fair chapel, like a parish church at this place. In the windows of his house was this posie:

^{page 289 note 1} Willis and Clark, Architect. Hist. of Univ. of Cambridge, vol. i, pp. 41–2.

^{page 289 note 2} Hist. Worship. Company of Glaziers, p. 46.

^{page 289 note 3} Hake, Henry M., ‘Francis Place, Engraver and Draughtsman’, Walpole Soc., vol. x (1922), p. 65.Google Scholar

^{page 289 note 4} Household Book of Lord William Howard (Surtees Soc.), p. 222.

^{page 289 note 5} Hist. Worship. Company of Glaziers, p. 24.

^{page 290 note 1} Ashdown, op. cit., p. 33.

^{page 290 note 2} Prynne, p. 462.

^{page 290 note 3} Henry M. Hake, op. cit., Walpole Soc., vol. x, p. 65.

^{page 290 note 4} For the names of the various contractors for the glazing of the City churches see ‘Building Accounts of City Churches designed by Sir Christopher Wren’, by Sir Lawrence Weaver, Archaeologia, vol. lxvi, p. 33.

^{page 291 note 1} Vide ‘The Transition from the Mosaic to the Enamel System of Painting on Glass’, J. A. Knowles, Antiquaries Journ., vol. vi, pp. 26–35.

^{page 291 note 2} Sir Lawrence Weaver, op. cit.

^{page 291 note 3} Ibid.

^{page 291 note 4} Henry M. Hake, op. cit., Walpole Soc., vol. x, p. 62.

^{page 291 note 5} Another Master whose name does not appear in the list was Thomas Kerbisher, who filled the office in 1638. The fact that the names of these Masters appear in the charters of 1638 and 1685 respectively but do not appear in the body of the work, and also the statement on p. 52 that ‘the earliest entry of John Oliver's name is to be found in 1698’, shows that the information to be derived from the charters was not available at the time the work was written.

^{page 292 note 1} Sir Lawrence Weaver, op. cit., p. 33.

^{page 292 note 2} Ibid.

^{page 292 note 3} Arms Painter and Writer on Genealogy, 1620–93: Dict. Nat. Biog.

^{page 292 note 4} Henry M. Hake, op. cit., Walpole Soc., vol. x, p. 60.

^{page 292 note 5} Le Vieil in his Art de la Peinture sur Verre, 1774, p. 141, describes how he rid himself of the unwelcome attentions of a too fussy churchwarden by the same trick of painting a fly on one of the windows of the church of Saint Étienne du Mont, when he was putting them back after cleaning. There is a fly painted on a vacant piece of glass in the portrait of Sir William Skipwith at Honington Hall, which is very likely also Oliver's work. Mr. F. Sydney Eden, whose knowledge of the glass in the halls of the various London City Companies is unique, tells me there are several examples of flies and spiders and their webs to be seen in the windows of these edifices.

^{page 292 note 6} In the seventeenth century, says Meiklejohn (Hist. of England, p. 499), ‘the prisons were hells upon earth’. Women were flogged in them, and men who called themselves gentlemen made up parties of pleasure—‘parties of gentlemen and ladies’—to go and gloat over the sickening sight.

^{page 293 note 1} An Account of the Public Charities of England and Wales, 1828.

^{page 293 note 2} Price's house in Great Kirby Street could also, no doubt, be identified.