¹ For a survey of the work of Dinninckhoff, Gyles and Peckitt see Brighton, J. T., ‘The Enamel Glass Painters of York 1585–1795’, unpublished D.Phil, thesis, 3 vols. University of York (1978).Google Scholar For Dinninckhoff see also Sprakes, B., ‘Baernard Dinninckhoff—armorial glass-painter extraordinary, part 1’, J. Brit. Soc. Master Glasspainters, 17.2 (1981–1982), 29–37Google Scholar and ‘Part 2’, 18.1 (1983–4),40–8. Idem ‘Armorial stained glass at Temple Newsam’, Leeds Arts Calendar 92 (1983), 13–22.Google Scholar

² Woodforde, C., The Stained Glass of New College, Oxford (Oxford, 1951), 16. The present writers would consider this statement an exaggeration, and believe that die windows would have. been in a rather patched and dilapidated state.Google Scholar

³ For biographical detail and a pedigree see J. T. Brighton, ‘William Peckitt, the greatest of the Georgian glasspainters’, York Georgian Society, Annual Report 1967–8, 14–24.

⁴ J., Hunter (ed.), Letters of Eminent Men Addressed to Ralph Thoresby, 2 vols. (London, 1832), 11, 206.Google Scholar

⁵ Knowles, J. A., ‘The Price Family of GlassPainters’, Antiq. J. 33 (1953), 190; Victoria County History, The City of York (1961), 247 stated that ‘Peckitt was probably a pupil of Gyles’; the former was born in 1731 and die latter died in 1709.CrossRefGoogle Scholar

⁶ Commission Book, York City Art Gallery, Transcribed and commented upon by J. T. Brighton, op. cit. (note 1).

⁷ York Courant, 14 July 1752.

⁸ See Commission Book, fols. 2 and 12^v. This gift soon decayed and Peckitt painted a new window for the Corporation in 1765 (now on view in York Art Gallery).

⁹ York Corporation Minutes, cited by Knowles, J.A. ‘William Peckitt, Glasspainter’, The Yorkshire Architectural and York Archaeological Society Annual Report and Summary of Proceedings, 1953–4 (1954), 99–114. See Brighton op. cit. (note 1), 11, 295–7, 399 and 593.Google Scholar

¹⁰ Toynbee, P. and Whibley, L. (eds.), The Correspondence of Thomas Gray, 3 vols. (Oxford, 1935), 11, 736.Google Scholar

¹¹ J William Peckitt to the Free Society of Artists, York, 4 February 1760. Library of the Royal Society of Arts.

¹² For Henry Gyles see Brighton, J. T., Henry Gyles, Virtuoso and Glass Painter of York, 1645–1709, York Historian 4 (1984).Google Scholar

¹³ York City Art Gallery. Mary Peckitt, William's wife, tried unsuccessfully to publish this treatise after her husband's death. See Newton, R.G., Brighton, J. T. and Taylor, J. R.‘An interpretation of Peckitt's eighteenth century Treatise on making glass and the stains for them’, Glass Technology 30, pt. 1 (1989), 33–8.Google Scholar

¹⁴ Dalloway, Revd. James, Observations on English Architecture, Military, Ecclesiastical and Civil (London, 1806), 282Google Scholar; The Gentleman's Magazine, 87, (May 1817), 392.Google Scholar

¹⁵ Once the east window of Oriel College Chapel, it was inserted in the south-west window of the chapel's gallery in 1951.

¹⁶ See Brighton, J. T. and Newton, R. G., ‘Peckitt's Red Glasses’, Stained Glass 81, no. 3 (1986), 214–20. See also J.T. Brighton, R.G. Newton, J.R. Taylor, op.cit. (note 13);Google ScholarNewton, R.G. and Taylor, J. R., ‘Peckitt's eighteenth century treatise: staining glass with red tones’, Glass Technology 31, pt. 2 (1990), 69–71.Google Scholar

¹⁷ Rackham, B., A Guide to the Collections of Stained Glass in the Victoria and Albert Museum (London, 1936), 122.Google Scholar

¹⁸ Peckitt executed work for New College in 1765, 1767, 1774 and 1779; for Lincoln College in 1766; for Oriel College in 1766 (twice) and 1793; and for Trinity College in 1766. At Cambridge he carried out commissions for Trinity College in 1775,1786 (three times) and 1787 and for St John's in 1788.

¹⁹ Commission Book, fols. 7^v and 18.

²⁰ See Dictionary of National Biography.

²¹ Commission Book, fol. 1^v.

²² See plan of York Minster (fig. 1). Brown, J. stated that ‘Peckitt, having attained by continued practice to greater excellence in his art, became dissatisfied with the representation of St Peter which he had executed for the cathedral fifteen years before and presented another far superior in design and workmanship and which now occupies the window in which the former had been placed’. The History of the Metropolitan Church of St Peter, York (London, 1847), 316–17.Google Scholar

²³ Commission Book, fol. 4^v. For a fully illustrated description of the ‘accounts for restoration and repair’ of the great west window, see French, T. and O'Connor, D., York Minster, A Catalogue of Medieval Stained Glass, fasc. I, The West Windows of the Nave, Corpus Vitrearum Medii Aevi [hereafter CVMA], Great Britain, III (Oxford, 1987), Appendix 3, 88–91. Since the publication of this work some of the medieval glass removed by Peckitt from the west windows has been identified in High Melton Church.Google Scholar

²⁴ York Minster Fabric Accounts, York Minster Library, Box E3 (1714–58).

²⁵ Commission Book, fol. 5.

²⁶ York Minster Fabric Accounts, op. cit. (note 24).

²⁷ Sections of these canopies were reused by Peckitt in High Melton church. Torre had seen defaced images of a man and a boy which O'Connor and Haselock suggested were ‘possibly remnants of donor figures of Archbishop Melton’. See O'Connor, D. E. and Haselock, J., ‘The Stained and Painted Glass’ in Aylmer, G. E. and Cant, R. (eds.), A History of York Minster (Oxford, 1977), 387.Google Scholar It was suggested by Milner-White, E. that the original donor in the south-west, or crucifixion window, was Thomas de Beneston, who gave the window in 1338, Index and Guide to the Ancient Windows of the Nave of York Minster (York, 1959), 5.Google Scholar

²⁸ Warrington, W., The History of Stained Glass from the Earliest Period of the Art to the Present Time (London, 1848), 68.Google Scholar

²⁹ Woodforde, op. cit. (note 2), 22.

³⁰ York Courant, 16 October and 13 November 1753.

³¹ Woodforde, op. cit. (note 2), 26.

³² Lewis, W. S. (ed.), Horace Walpole's Correspondence with Revd. William Mason, 2 vols. (London, 1955), 1, 213, 227 and 253.Google Scholar

³³ John Guillim, A Display of Heraldry (London, 1611). The copy of Guillim was given to Peckitt in part payment for heraldic work done in 1752 (Commission Book, fol. 1). The book with Peckitt's hand colouring and annotations is in York City Library (Y 927.48).

³⁴ Acc. 28/28. There is also a drawing by Peckitt of the crest of the Darcy family which he labels as his own.

³⁵ The Book of Engraved Ornaments (Peckitt's will is in the Borthwick Institute, York).

³⁶ Commission Book, fol. 6. Peckitt was not fully paid until 1763. York Minster Fabric Accounts Box E3 (1758–73). York Minster Library.

³⁷ J. Brown, op. cit. (note 22), 316.

³⁸ Commission Book, fol. 28^v.

³⁹ York Minster Fabric Accounts, Box E3 (1773–94). Presumably this glass helped to restore some of the damage done by the great storm of 29 October 1775.

⁴⁰ O'Connor and Haselock, op. cit. (note 27), 388.

⁴¹ See Britton, J., History of York Cathedral (London, 1819), pl.XXVII.Google Scholar

⁴² Commission Book, fol. 31.

⁴³ O'Connor and Haselock, op. cit. (note 27), 388.

⁴⁴ Ibid.The Friends of York Minster Friends' Annual Report (FAR) (1949), 31. Toy, J., A Guide and Index to the Windows of York Minster (York, 1985), 28.Google Scholar

⁴⁵ Commission Book, fol. 13^v. Two shields of Pope's arms (Per pale Or and Azure on a chevron between three griffins' heads erased 4 fleurs-de-lis all counter changed) are extant at Trinity College, one in an oriel window of the Hall and another kept in a drawer in the President's room. Both are nineteenth-century work. H. Murray F.S.A. has suggested that the shield now in York Minster was probably brought by Dean E. Milner-White.

⁴⁶ Commission Book, fols. 32^v and 36^v.

⁴⁷ Ibid., fol. 40^v.

⁴⁸ O'Connor and Haselock, op. cit. (note 27), pl. 97.

⁴⁹ Milner-White, E., An Index and Guide to the Windows of the Transepts and Choir. (Published by the Friends of York Minster 1967), 3.Google Scholar

⁵⁰ Some of the glass used to patch this window is probably from New College, Oxford (information communicated by P. Gibson, F.S.A. of the York Glaziers Trust).

⁵¹ Commission Book, fols. 44^v–45.

⁵² Ibid, fol. 45.

⁵³ York Minster Fabric Accounts Box E3 (1794–1807).

⁵⁴ Woodforde, op. cit. (note 2), 21.

⁵⁵ These and other works are listed in his Commission Book.

⁵⁶ Woodforde, op. cit. (note 2), 20.

⁵⁷ Commission Book, fol. 12^v.

⁵⁸ This may be deduced from the fact that John Eyre's arms and name are beneath the figure of the Virgin, indicating that she must have occupied the bottom centre light. Christ would have been placed above her as in a Jesse window.

⁵⁹ William Peckitt's last will, testament and declaration 1794. Borthwick Institute, York. See J. T. Brighton, op. cit. (note 1), 827.

⁶⁰ He painted Christ at least ten times and the Virgin at least three. The New College examples are the only known free-standing, full-length portrayals.

⁶¹ Peckitt painted six other versions of both St John and St Peter.

⁶² He painted one other figure of both St Thomas and St Matthew. The figures of St James the Less and St Simon are the only known examples by him.

⁶³ All these figures are unique in Peckitt's work except St Andrew, which he also painted for Exeter Cathedral's west window.

⁶⁴ Woodforde, op. cit. (note 2), 20, 37–8.

⁶⁵ Commission Book, fol. 12^v ‘A Small head to repair a Crucifix in their Chapel window’.

⁶⁶ Ibid., fol. 14^v. He also presented the Provost of Oriel College with a ‘small portrait of King Edward II and t he arms of Musgrave’.

⁶⁷ Ibid., fols. 15^v, 17^v and 24. The figures for St John's Church, now in St Ann's, Manchester, were taken from the same cartoons as those for the great west window in Exeter Cathedral.

⁶⁸ Ibid., fol. 13^v.

⁶⁹ Chapter Act Book 1763–1790 MS 3570 Exeter Cathedral Library.

⁷⁰ Dean and Chapter MS 4669/1–2 Exeter Cathedral Library.

⁷¹ British Library Add. MS 5825 fol. 100^v.

⁷² Commission Book fol. 16.

⁷³ Woodforde, op. cit. (note 2), 22–3.

⁷⁴ Ibid., 25. Presumably the Mr Ramsey is Allan Ramsay (1713–84) the Scottish portrait painter.

⁷⁵ Ibid., 26.

⁷⁶ Ibid., 26–7.

⁷⁷ Ibid., 26. York City Art Gallery R2801–2831. See Brighton, J. T., ‘Cartoons for York Glass—William Peckitt’ Preview 85, no. 22, York City Art Gallery. (Jan. 1969), 779–83.Google Scholar

⁷⁸ The artist was presumably John Blackburn who exhibited at the Royal Academy between 1722 and 1775.

⁷⁹ Samuel Wale was a founder member of the Royal Academy. He also painted landscapes for the Liverpool pottery painter, John Sadler, with whom Peckitt had links, see Price, E. S., John Sadler: A Liverpool Pottery Printer (West Kirby, 1949), 44–6, 83.Google Scholar

⁸⁰ Woodforde, op. cit. (note 2), 29.

⁸¹ Grinling, C. H., ‘Ancient Glass in Oxford’ Oxford Architect. Hist. Soc. Proc. & Excursions 29 (1883), 181.Google Scholar

⁸² Gold, S. M., John Rowell (Reading, 1965), 47–8.Google ScholarKnowles, J. A., ‘William Peckitt, Glass Painter’ Walpole Society Journal 17 (1929), 53 and Notes and Queries 12th ser., 9 ( 3 Dec. 1921), 442–4.Google Scholar

⁸³ Dictionary of National Biography, 1746. For Rebecca's work at Audley End see Williams, J. D.Audley End. The Restoration of 1762–1797 (Chelmsford, Essex Record Office, 1966). PI. V shows Peckitt's agreement with Sir John Griffin Griffin and pls. VIIIa and VIIb illustrate Rebecca's drawings for the Adoration of the Magi and an interior view of the chapel.Google Scholar

⁸⁴ Woodforde, op. cit. (note 2), 27.

⁸⁵ J. D. Williams, op. cit. (note 83), pl. v.

⁸⁶ Woodforde, op. cit. (note 2), 27.

⁸⁷ The sketch currently hangs in the Warden's Lodge. It was published as a black and white plate in J. A. Knowles, op. cit. (note 82), pl. XXX.

⁸⁸ Woodforde, op. cit. (note 2), 30.

⁸⁹ Ibid., 30.

⁹⁰ J. T. Brighton, op. cit. (note 77), 30–1.

⁹¹ Peckitt painted at least one other version of Eve for the lower half of her body, from hips to feet, appears as a patch in the tracery of a window in the south nave aisle of York Minster.

⁹² Woodforde, op. cit. (note 2), 62.

⁹³ Ibid., 27.

⁹⁴ Ibid., 27.

⁹⁵ Ibid., 23.

⁹⁶ Ibid., 32.

⁹⁷ Ibid., 33.

⁹⁸ Ibid., 34.

⁹⁹ Ibid., 37.

¹⁰⁰ Ibid., 20.

¹⁰¹ Gent, T., The Ancient and Modern History of the famous City of York (London, 1730), 156.Google Scholar

¹⁰² This, in turn, was based on borders in the windows of the Chapter House c. 1285. Both are illustrated in O'Connor and Haselock, op. cit. (note 26), pls. 97 and 98.

¹⁰³ J. Toy, op. cit. (note 44), 24.

¹⁰⁴ Woodforde, op. cit. (note 2), 102–5. He gives a detailed description of each figure in the Jesse window in York Minster together with its position in the Winchester copy.

¹⁰⁵ Hunter, J., South Yorkshire—The History and Topography of the Deanery of Doncaster, 2 vols. (London, 1828), 1, 369.Google Scholar

¹⁰⁶ This is well illustrated in the Winchester copies of the portraits of Thomas of Oxford, William Wynford and Hugh Herland. See Harvey, J. H. and King, D. G., ‘Winchester College Stained Glass’ Archaeologia 103 (1971), pl. LXVIIa, b, c.CrossRefGoogle Scholar

¹⁰⁷ Ibid., pl. LXXXIX. The same nimbus is worn by the Christ Child sitting on the shoulders of St Christopher in a window (II.a.2) in St Edward The Confessor's Chapel in Canterbury Cathedral. The present heads of St Christopher and the Christ Child are modern copies. The fragmentary originals are now in the collection of the Order of St Francis, Hook, Dorset. Both heads appear to be the work of Thomas of Oxford. See Caviness, M. H., The Windows of Christ Church Cathedral, Canterbury, CVMA, Great Britain 11 (London, 1981), 296, 316, pl. 221 (no. 596).Google Scholar

¹⁰⁸ Le Couteur, J. D., Ancient Glass in Winchester (Winchester, 1920), 138.Google Scholar

¹⁰⁹ Ibid., plan IV of the window, 73. See also Harvey and King, op. cit. (note 106), 162–6.

¹¹⁰ French, T. W., ‘Observations on some Medieval Glass in York Minster’. Antiq.J. 51 (1971), 88, pl. XIX.CrossRefGoogle Scholar

¹¹¹ J. Hunter, op. cit. (note 105), 377, Pedigree of Vincent of Barnborough Grange.

¹¹² J. T. Brighton, op. cit. (note 12), 54.

¹¹³ The Mowbray arms appear several times in the York Minster windows, most notably in nXXIII (the Heraldic window) where Sir John Mowbray in a heraldic surcoat appears in the border work (identified by Winston, C., Memoirs illustrative of the Art of Glasspainting (London, 1865), 264–5). Other shields of this early fourteenth-century date appear in nXXVI (borderwork) nXXI and nXXV. See J. Toy, op. cit. (note 44), 16,18, 34, 35.Google Scholar

¹¹⁴ Commission Book fol. 36^v. York Minster Fabric Accounts 1661–1827.

¹¹⁵ Ibid., fol. 23^v.

¹¹⁶ See J. T. Brighton, op. cit. (note 1), 473–4.

¹¹⁷ He used the same arms, painted by Peckitt, beneath the figure of St Peter in the south transept of York Minster (see p. 408). The correct blazon for the arms of the Deanery of York is Gules 2 keys in saltire Argent between in chief an imperial crown Or and in base and flanks 3 plates. These arms first appear in Owen, JohnBritannia Depicta or Ogilby Improved (London, 1720). The Deans themselves do not appear to have been aware of these arms until 1881 when they were placed on the tomb of Dean Augustus Duncombe at the suggestion of his successor Arthur Purey-Cust. (Information communicated by H. Murray, F.S.A.).Google Scholar

¹¹⁸ Commission Book fol. 2^v. Brighton, op. cit. (note 1), 301–4, 338–9.

¹¹⁹ Ibid., fol. 6.

¹²⁰ J. Hunter, op. cit. (note 105), 369. ‘The east window has eight shields of the alliances of Fountayne, viz. Harrington, Monckton, Chester, Carew, Carew, Bromley, Whichcote and Montague.’ The arms of Carew were painted twice—the second one is not recorded in the Commission Book.

¹²¹ This coat came from the Old Hall rebuilt by Dean Fountayne c. 1750. The arms which Dodsworth saw in 1620 had long since disappeared from the church.

¹²² See also French and O'Connor, op. cit. (note 24), 72, 79.

¹²³ Register of Archbishop William de Melton, fol. 87 published in John le Neve (compiled by Jones, B.) Fasti Ecclesiae Anglicanae 1300–1541: Northern Province (London, 1963), VI.Google Scholar

¹²⁴ Squirrels appear in the borders of several early fourteenth-century windows in Yorkshire. The following are examples: York Minster nXXV (O'Connor and Haselock, op. cit. (note 27), 357; Toy, op. cit. (note 44), 17). Selby Abbey panel from the original east window, now in the Ely Cathedral Stained Glass Museum. North transept window in Dewsbury church (see Chadwick, S.J., ‘The Old Painted Glass in Dewsbury Church’. Yorkshire Archaeol.J. 15 (1900), 211–23).Google Scholar

¹²⁵ It is common in many of the windows in the nave of York Minster and in the city churches at this date. See O'Connor and Haselock, op. cit. (note 27), pls. 107, 108.

¹²⁶ This is possibly part of a rejected floral garment by Peckitt for a New College figure.

¹²⁷ Brighton, J. T., ‘William Peckitt (1731–95) and portraiture on glass’. Preview 125 no. 34, York City Art Gallery (Jan. 1984), 1–11, pl. 2 (Peckitt's self portrait). See also Brighton, ‘William Peckitt, the greatest of the Georgian Glass Painters’ op. cit. (note 3) (framed picture of The Last Supper).Google Scholar

¹²⁸ Some of the mosaic and coats of arms from this window, including those in the see of Lincoln still survive ex situ in the cathedral. See Brighton, op. cit. (note 1), 359–61.

¹²⁹ Commission Book fol. 15^v.

¹³⁰ He had used figures on a pedestal and under canopies in the lights of Exeter's west window and placed armorials beneath them. It was a device to be adopted by James Pearson in glazing the upper lancets of Ely Cathedral's east end in the 1780s, see Baylis, , ‘“The most untractable of Saxon uncouthness”: Eighteenth-century painted glass in Ely Cathedral and the removal of the Choir’, Antiq.J. 68 (1988), 99–114.CrossRefGoogle Scholar

¹³¹ These were the arms painted for Fountayne at High Melton.

¹³² Commission Book fol. 30.

¹³³ Ibid., fol. 30.

¹³⁴ J. T. Brighton, ‘The Aaron Window by William Peckitt at Offley Church, Hertfordshire’. J. Brit. Soc. Master Glass Painters 18 no. 2 (1986–7), pl. 24.

¹³⁵ J. T. Brighton, op. cit. (note 1), 584–5.

¹³⁶ Benson, G., ‘The Ancient Painted Glass Windows in the Minster and Churches of the City of York’ Yorkshire Phil. Soc. Annu. Rep. for 1914 (1915), 118.Google Scholar

¹³⁷ See J. A. Knowles ‘Chronological List of English Glass Paintings’ J. Brit. Soc. Master Glass Painters, 6 no. 3 (1935), 170. O'Connor and Haselock, op. cit. (note 27), 389 say the three Old Testament figures were all painted in 1793 ‘once again to designs by Rebecca’ and that two of them replaced earlier figures by Peckitt.

¹³⁸ Peckitt's will loc. cit. (note 59).

¹³⁹ York City Art Gallery. Box D3.