^{page 149 note 1} See Harvey, John H., ‘Winchester College’, in Journal of the British Archaeological Association, 3rd Series, xxviii (1965), 107–28CrossRefGoogle Scholar, and authorities there quoted.

^{page 149 note 2} The iconographical scheme of the glass was described in full by J. D. Le Couteur in his book Ancient Glass in Winchester, published in 1920 (2nd edition with additional matter, 1928); that work also included extracts from the college records made by Herbert Chitty. For later stained glass at the college see also Chitty, Herbert and Harvey, J. H., ‘Thurbern's Chantry at Winchester College’, in Antiq. Journ. xlii (1962), 208–25CrossRefGoogle Scholar.

^{page 149 note 3} Woodforde, Christopher, The Stained Glass of New College, Oxford, 1951Google Scholar.

^{page 149 note 4} Ibid., 3–7.

^{page 149 note 5} Ibid., 4; H. Chitty, The Winchester Hall Book of 1406–7 (revised reprint from Notes and Queries, 11 S., xii, 293, 313), 8–9; and see p. 150, n. 4. That design was not necessarily left to the master glazier is shown in the contract of 1447 by which John Prudde the king's glazier undertook to make the painted windows for the Beau champ Chapel at Warwick according to ‘patterns in paper’ which were to be delivered to him and which he was then to cause to be traced on to the glass by another painter (Le Couteur, J. D., English Mediaeval Painted Glass, 1926, 19–20Google Scholar). As to the sketch designs (‘vidimus’) and cartoons for glass, see Harrison, Kenneth, The Windows of King's College Chapel, Cambridge, 1952, 60–70Google Scholar.

^{page 150 note 1} Harvey, J. H., Henry Yevele, 1944, 46–7Google Scholar, 69; pls. 42–5, 48; and English Mediaeval Architects, 1954, 129, 308–9.

^{page 150 note 2} Tristram, E. W., English Wall Painting of the Fourteenth Century, 1955Google Scholar; cf. Harvey, J. H., ‘some London Painters of the 14th and 15th Centuries’, in Burlington Magazine, no. 536, lxxxix (1947), 303–5Google Scholar; and ‘The Wilton Diptych—a Re-examination’, in Archaeologia, xcviii (1961), 1–28Google Scholar.

^{page 150 note 3} Winchester College Muniments, no. 1. Though a stray survival, the roll would seem to have reached the college at a very early date.

^{page 150 note 4} Ancient Glass in Winchester, 63, 117; cf. B. Rackham, Guide to the Collections of Stained. Glass, Victoria and Albert Museum, 1936, 50–1. Though Rackham's argument for the date of the side windows may be unsound (there is no evidence in the Betton and Evans copies that the letters W and H belonged to the original borders), it is not unlikely that work on the side windows of the chapel was still in progress in the autumn of 1406, when Thomas Glasier dined at the high table in College Hall, where two other glaziers were entertained for a week at the end of November, sometimes eating with the Fellows and sometimes at the servants’ table (Hall Book of 1406–7, see p. 149, n. 5), That more than two windows in the chapel had been glazed by 1396 is proved by an entry in the Bursars' account for 1396–7 (WCM 22080) for a payment of 6s. 8d. to a glazier for mending glass of divers windows in the chapel this year, damaged (Le Couteur, loc. cit.).

^{page 150 note 5} J. H. Harvey in The Month, December 1949, N.s., ii, no. 6, 434–5; cf. E. W. Tristram, ibid., N.S., ii, no. 1, 35; iii, no. 3, 235–6; also J. H. Harvey, ‘The Wilton Diptych …’, in Archaeologia, xcviii, 11 n. 1.1 owe thanks to the late Austin E. A. W. Smyth, then Deputy Keeper of the College Archives, for first pointing out to me this important entry, and to the late Herbert Chitty, who obtained permission for me to publish the extract in advance of the edition of Wykeham's Household Roll upon which he was then working.

^{page 151 note 1} Historical MSS. Commission, 9th Report, i, 30, nos. 7, 41. I have to thank Mr. Martin Davies, F.S.A., Director of the National Gallery, Dr. Gert von der Osten, and Dr. von den Brincken of Cologne, for help in the hitherto fruitless attempt to trace the origins of Master Herebright.

^{page 151 note 2} National Gallery, German School, no. 687. See Levey, M., National Gallery Catalogue: The German School, 1959, 95–6Google Scholar.

^{page 151 note 3} See pi. LXXXV b. There is also some likeness to the handling of the face of the great Westminster Abbey portrait of Richard II. For the possibility of North German connections in this portrait, see M. Rickert, Painting in Britain—the Middle Ages, 1954, 175–6. The possibility of North German connections with English glass-painting had been put forward by the late John A. Knowles (The York School of Glass-Painting, 1936, 124–36), but his thesis depended upon the early dating, c. 1380, of the west window at the Cistercian abbey of Altenberg, near Cologne; this may in fact be as late as 1408. Of much greater importance, however, is the glass painted by Master Hermann von Miinster for the west window of Metz cathedral, after c. 1384 but before his death in 1392. The two best preserved panels of this glass, removed from the window long ago, are now in the Musée Lorrain at Nancy, and provide close comparisons for details and treatment of the Winchester College windows (see Hauck, M., ‘Glasmal-ereien von Hermann von Münster im Musée Lorrain in Nancy’, in Raggi—Zeitschrift für Kunstgeschichte und Archäologie, viii no. 2 (Basel, 1968), 44–60Google Scholar).

^{page 151 note 4} James, M. R., ‘An English Medieval Sketch-Book, No. 1916 in the Pepysian Library, Magdalene College, Cambridge’, in The Walpole Society, xiii (1925), 1–17Google Scholar, with Collotype facsimile of the whole manuscript, pls. 1-xxiii. The sketch-book was made of sheets of parchment, some of which had previously served for architectural drawings; see Harvey, J., Henry Yevele, 1944, ixGoogle Scholar; Gothic England, 1947, 112. A close relationship of the sketch-book with a substantial building lodge is implied. The likeness between some of the figures of the sketch-book and those in Thomas of Oxford's glass has been noted by Scheller, R. W., A Survey of Medieval Model Books, Haarlem, 1963, 118Google Scholar; I am indebted to Professor Francis Wormald for this reference.

^{page 152 note 1} The closest resemblances between the Pepysian MS. and the Winchester glass are on f. 7b (Walpole Society, pl. vii) and f. 8a (pl. viii), where the jaunty figure on the right recalls the Winchester ‘Jeconias’ (pl. Lxxva), while onf. 23a(pl.xxiii)is the head of a king not unlike‘Josaphat’ (pl. LXXXIII). Among ‘Group 1 B’ there are several heads whose treatment comes close to that of figures at New College: compare f. 46 (pi. iv) and ff. 5a, 56 (pi. v) with ‘Adam’, ‘Judah’, and ‘Enoch’ (C. Woodforde, The Stained Glass of New College, Oxford, pls. i-iii, v), or f. 14a (pl. xiv, left-hand figure) with ‘Eve’ (Woodforde, op. cit., pi. iv).

^{page 152 note 2} The New College figure of the Virgin Mary in the south-east window of the Ante-Chapel (Woodforde, op. cit., frontispiece) comes close to that in the Crucifixion page of the Litlyngton Missal (illustrated in Rickert, M., Painting in Britain—the Middle Ages, 1954, pi. 154Google Scholar). I am indebted to Professor Wormald for pointing out the relevance of the Litlyngton Missal and for much other help. It is perhaps no mere coincidence that Thomas Litlyngton, Richard II's Court Painter from 1396, should bear the same surname as the art-loving abbot.

^{page 152 note 3} The Missal (B.M. Add. MS. 29704–5) belongs to the years preceding 1398. See M. Rdfickert, op. cit., 174–5, an The Reconstructed Carmelite Missal, 1952. For other foreign contacts of the English painters of the Court School see J. H. Harvey in Burlington Magazine, Ixxxix, 303; and Gothic England, 62 ff. Professor Wormald points out that the closest resemblance to the Winchester figures is to be found in the ‘English hand' of the Carmelite Missal, and that there are more general likenesses to figures in the Lapworth Missal (Oxford, Corpus Christi College MS. 394), actually dated to 1398; but this is more closely related to the Dutch than to the English element in the Carmelite Missal.

^{page 152 note 4} See, for instance, the remarkable letter from Richard II to Albert of Bavaria printed in J. Stevenson, Letters and Papers illustrative of the Wars of the English in France … (Rolls Series, 1861), vol. i, lxxv-lxxvi; and, with English translation, in Archaeologia, xcviii (1961), 27–8Google Scholar.

^{page 152 note 5} For Scheere see Kuhn, C. in Art Bulletin, xxii, 1940Google Scholar, and M. Rickert, Painting in England, 181–4. In Burlington Magazine, lxvi (1935), 40Google Scholar, Miss Rickert quoted two London wills of 1407 where ‘Herman lymnour’ was a witness; in both cases the wills were of Rhineland Germans resident in London, the first testator, one of his legatees, and his first witness all bearing the surname ‘de Colonia’.

^{page 153 note 1} H. Kenyon, The Glass Industry of the Weald, 1967. Actual imports of glass can be traced in the customs returns of English ports, e.g. ‘.x. centener vitri val..xxvj.s. viii.d.’ brought into Lynn between 12th February 1396 and 16th February 1397 (Gras, N. S. B., The Early English Customs System, 1918, 441Google Scholar).

^{page 153 note 2} See N. Heaton, ‘The Foundations of Stained Glass Work’, in Journal of the Royal Society of Arts, Iviii, 456. In this paper, read on 16th March 1910, Heaton remarks: ‘Let us by all means honour the medieval craftsmen and their work, but let us look facts in the face, and admit that their knowledge of glass-making from this point of view was very deficient, and it gradually got worse and worse, until their glass, as regards composition, became about as bad as it could be.' This is illustrated by a comparative analysis of glasses of three different periods; to this analysis reference is made in Part II, below, p. 174. See also N. Heaton, ‘The Process of Decay in Ancient Stained Glass’, in Journal of the R.I.B.A., 27th August 1920.

^{page 154 note 1} Robert Lowth, ‘The Union’, 1729; the poem was written in 1725 when its author was a boy of 15. Extracts from the poem are quoted by Le Couteur, Ancient Glass in Winchester, 68.

^{page 154 note 2} See pi. LXXI for a detail of the east window from this view. The water-colour, reproduced in Journal of the British Archaeological Association, 3rd Series, xxviii, pl. xxxvii, now hangs in the Warden's lodgings at Winchester College on the wall of the first-floor corridor opposite to the dining room.

^{page 154 note 3} J. Milner, History of Winchester, 2nd edn., 1809, quoted in Le Couteur, op. cit., 69.

^{page 154 note 4} In a letter to Warden Huntingford, who copied it into his manuscript ‘Wiccamical Annals’, WCM 23462.

^{page 154 note 5} H. Owen & J. C. Blakeway, History of Shrewsbury, 1825, i, 81 n. For a detailed account of the restoration see Le Couteur, Ancient Glass in Winchester, 1920, 69–71; and also in 2nd edn., 161–70; these accounts were based on the researches of Herbert Chitty.

^{page 155 note 1} See above, p. 153.

^{page 155 note 2} Owen and Blakeway, loc. cit.

^{page 155 note 3} Panels 7, 10, and 21; the numbers refer to fig. 2 on p. 162.

^{page 155 note 4} Panel 7. 5 Panel 1.

^{page 155 note 6} Literary Gazette, September 1826.1 owe this reference to the kindness of the late John A. Knowles, F.S.A.

^{page 155 note 7} Shirley, E. P., Lower Eatington: its Manor House and Church, 1869, 70Google Scholar; information from the Shirley family communicated to Herbert Chitty (files of correspondence on ‘College Glass’ in Winchester ‘College, Fellows’ Library).

^{page 156 note 1} Information from the Shirley family in 1913 (see p. 155, n. 7 above).

^{page 156 note 2} This impending move was brought to the notice of the college by Mr. Cecil E. R. Clarabut.

^{page 156 note 3} See John H. Harvey, ‘The Strange Story of William of Wykeham's Stained Glass’, in Illustrated London News, 1st April 1950, ccxvi, 491–3. New stained glass, by the late Evie Hone, was subsequently placed in the two windows of the chapel at Ettington.

^{page 156 note 4} The inspection was made on 18th February 1949 by Dr. Oakeshott, the Revd. James Mansel, then college chaplain, and John H. Harvey, consultant architect to the college.

^{page 157 note 1} See below, p. 158, and Part II by Mr. King, pp. 166–74.

^{page 157 note 2} Panels 43, 46, 54, 56, 68, 73.

^{page 157 note 3} Panel 56. See B. Rackham, op. cit., 50, (p. 150, n. 4) as to C. 595–1921, the figure of Joash as acquired by the Victoria and Albert Museum, 4 Information from the Warden and Fellows of Win-chester College. Warm thanks are here tendered to the present owner of the five figures now in America for his generous and friendly help in securing colour photographs, and for much valuable information.

^{page 157 note 5} Panel 47.

^{page 158 note 1} Panel 7.

^{page 158 note 2} Panel I.

^{page 158 note 3} It was originally hoped that Dr. Woodforde would read a paper on the recovered glass to this Society, but increasing pressure upon his time made it impossible for him to do so.

^{page 158 note 4} See above, p. 153, n. 2; and Part II below, pp. 166–74. Tribute is due to Professor Moore's senior analyst, Miss V. Dimbleby, whose painstaking work was carried out so ably in spite of ill health.

^{page 159 note 1} Regular cleaning at six-monthly intervals has been maintained since 1951.

^{page 159 note 2} See H. Chitty and J. H. Harvey in Antiq. Journ. xlii, 221–2.

^{page 159 note 3} Report to Winchester College on chapel glazing, March 1914. (College Papers, 1914.) The glass, a memorial to the famous mathematical master John Desborough Walford (1805–76), was placed in storage as a temporary measure; in 1966 it was given by Winchester College to St. Michael's church, Beer, Devon, for insertion in the west window of c. 1878. Much of the stone of which the college was built came from the well-known quarries at Beer. A memorial tablet, in substitution for the glass, was in 1964 made to the design of the late Frederick Burgess and placed in the college cloisters, west walk.

^{page 160 note 1} Panel 48.

^{page 160 note 2} Panel 64.

^{page 160 note 3} Panel 47.

^{page 160 note 4} Panel 85.

^{page 160 note 5} Panel 79.

^{page 160 note 6} In almost all cases these survivals had been rediscovered through the researches of Herbert Chitty, and were already known to the college by 1913 (see above, p. 155, n. 7, and p. 156).

^{page 160 note 7} Mention should here be made of the researches of Dr. Mostyn Lewis, who has for many years been engaged in the study of the output of Messrs. Betton and Evans, and of their methods of glazing. In some cases they mixed fragments of medieval and modern glass together to form a haphazard background to figure panels and heraldry. In one such case, namely the east window of Worthenbury church, Flintshire, Dr. Lewis has discovered a substantial number of small pieces of Winchester college glass. Many of these are bunches of grapes or parts of leaves from the Vine, but there are also fragmentary yet identifiable portions from Panels 39 (robe of Sedechias), 41 (nimbus of Christ), 69 (crown, robe, sword-hilt of Abia), 79 (canopy), and 81 (Jesse's pillow and plants). The total quantity of original glass is quite small. In the case of the great east window of Ludlow church, Shropshire, restored by Betton and Evans, Mr. Dennis King has shown that several panels are copies of Winchester college glass, based on David Evans's cartoons for the copy of 1822; no original Win Chester glass is at Ludlow. (E. W. Ganderton and J. Lafond, ‘Ludlow Stained and Painted Glass’, pp. 13, 21.)

^{page 161 note 1} See Harvey, A. and Crowther-Beynon, V. B., Leicestershire and Rutland (Little Guide), 1912, 75Google Scholar; cf. Greaves, M., Regency Patron—Sir George Beaumont, 1966Google Scholar.