Issue link: http://www.e-digitaleditions.com/i/56382
N O T E S 1. For the building of the Capitol Extension, seeWilliamC. Allen, History of the United States Capitol (Washington D.C.: U.S. Government Printing Office, 2001); for the stained-glass revival, see JeanM. Farnsworth, "An Introduction to the Nineteenth- Century Revival of Stained Glass," in Farnsworth et al, Stained Glass in Catholic Philadelphia (Philadelphia: St. Joseph's University Press, 2003), pp. 1-7. 2. J.&G. H. Gibson toM.C.Meigs, 6 Aug.1859, Architect of the Capitol/Capitol Extension Records/Records Group 43/Box 6/Glass Skylights, RectangularWindows (hereafter AOC/EXT/RG). 3. J.&G. H. Gibson, "Specifications of Ornamental Stained Glass required for Extension of Capitol," Sept. 3, 1859;Meigs to WilliamR. Drinkard, Sept. 14, 1859; Invoice, Nov. 26, 1860, AOC/EXT/RG 43/Box 6/Glass Ornamental Ceilings; "Ninth Annual Report U.S. Capitol Extension," Oct. 27, 1859, p.191, Thomas U.Walter Collection, The Athenaeumof Philadelphia/M- 158: Public Docs. (hereafter TUW). 4. The Gibsons produced hundreds of door lights for the Capitol extension; unfortunately only four remain. Those extant lights, in a transparent composition of roses, rose buds, several unidentified flowers, and sprigs of leaves with berries against a frosted glass ground, are in rooms S-316 and S-325. I thank WilliamC. Allen, former architectural historian, AOC, for directingme to their location; and Ann Kenny,museumcurator, AOC, for reviewing and augmentingmy description, e-mail, 6/11/09. 5. I ammost grateful to Rosemary Davis Abbott for a copy of Gibson's indenture papers. 6. D. R. Hay, The Laws of Harmonious Colouring Adapted to House Painting (Edinburgh: D. Lizars; G. B.Whittacker;&W. Curry, Jun.&Co. Dublin, 1828), p. 67, copy in The Athenaeum of Philadelphia. 7. ForWilliam, see JeanM. Farnsworth, "Stained-Glass Windows at Lyndhurst," October 2007, prepared for the National Trust for Historic Preservation, pp. 14-18 and appendix, pp. 2-12 (hereafter "Lyndhurst"). In April 1858, R. G. Dun&Co., America's first commercial credit reporting agency, described John's reputation, PA, Vol. 136, p. 357, R. G. Dun&Co. Collec- tion, Baker Library Historical Collections, Harvard Business School (hereafter RGD). 8. Report of the Nineteenth Exhibition of DomesticManufactures, Held in the City of Philadelphia, by the Franklin Institute of the State of Pennsylvania, for the Promotion of theMechanical Arts (Philadel- phia, 1849), no. 915; also see handwritten report, file 15, box 1849, Franklin Institute. 9. I thank Teresa Norton for a copy of the State and National Register Application, All Saints' Episcopal, BriarcliffManor, prepared by David C. Overholt, 5/3/01; and Gwen Feher for showingme the window. 10. George Gibson, Declaration of Intention to be Natural- ized, Oct. 27, 1864, District Court of the City and County of Philadelphia; An Historical Catalogue of The St. Andrew's Society of Philadelphia with Biographical Sketches of DeceasedMembers, 1749- 1907, Philadelphia, 1907, pp. 172-3; for the Trustees' Academy, see Sally Rush, "'John Knox would have kicked this out of the window': Edinburgh and the early stained glass revival," The Journal of Stained Glass, Scotland Issue, 30 (British Society of Master Glass Painters: 2006): 80-100, 82-85; A Brief Description of Phil-ellena, The Country Seat of GeorgeW. Carpenter, At German- town, Philadelphia County, Penn (Philadelphia, 1844), p. 33. 11. For the British Census report, I thank Tony Benyon, glass painter and historian, e-mail, 1/15/09. I thank NeilMoat, Ph.D. candidate (Newcastle glass-painters), formuch ofmy information onWailes, including a search of Newcastle's Branch Government Schools of Design, e-mails 1/22/09, 11/9/09, 11/26/09; also see Martin Harrison, Victorian Stained Glass (London: Barrie& Jenkins, 1990), pp. 10, 35, 83. 12. Enamel-painted stained glass, however, was still being shown at the 1851 Crystal Palace exhibit, London. In the U.S., popularity of enameled stained glass was also waning, neverthe- less it continued as a popularmediuminto the early 1870s, see "Lyndhurst", pp.3-11, 26-30. 13. I thank Stephen Clare, director, HolyWell Glass, e-mail, 10/2/09, for the following confirmation: "I have now forwarded the images [U.S. Capitol, enamel-painted roundels] toMichael Archer (retired curator glass&ceramics V&A).Michael agrees that the floral panels are a cross-over with ceramics and notes that this certainly happened with porcelain painters associated with theWorcester factory painting glass. However he has no knowl- edge of such things happening around Newcastle." For George's possible exposure to former Derby porcelain painters in Newcastle, I thank Tony Benyon, e-mail, 1/15/09.William Cooper, Crown Glass Cutter and Glazier'sManual, 1835, Oliver& Boyd, 1835 (Edinburgh: A. Shortrede), p. 103. 14. PA, Vol. 136, p. 357, RGD. 15. For loss of America's early stained glass, see "Lyndhurst," pp. 26, 90 n. lxxv. 16. PA, Vol.144 (reel), p. 83, RGD; TUW/Box 28-# 122-M- 507-Dairies 1/1/1861-12/ 28/1861, 4 Sept 1861. 18 THE CAPITOL DOME WINTER 2012