THE METHODS AND MATERIALS OF THE HOUSE-PAINTERIN ENGLAND: 1660 - 1850

AN ANNOTATED BIBLIOGRAPHY

This work was submitted by Patrick Baty in partial fulfilment of a BA (Hons) by Independent Study in 1993 and reflected his knowledge at that time. Although no further works have since been added some useful notes can be found at the end.

PREFACE

This work is intended as an aid to reference and research for those concerned with one facet of design history, the paint and, more particularly, the paint colours in use for the decoration of houses in England1 between 1660 and 1850.

Increasingly, professionals involved in the restoration of historic buildings are realising that it is no longer either appropriate or desirable to treat the decoration of a house in their care as an afterthought. The last two decades have seen variations of the "Country House Look" imposed on interiors with little regard to the relevance of such twentieth century notions to historical practice. Fortunately, there is a growing awareness that the whims of fashionable interior decorators often have little basis in fact, and that the "Georgian period", for example, covered a century of varied styles and outlooks, and cannot be typified by just one approach.

The field of historic paint analysis is a very new one in this country, the first published articles appearing in the late 1970s. It is one that has been dominated by a single individual, Dr. Ian Bristow. His many works have slowly led to an awareness that there exist methods for the investigation of previous decorative schemes, long hidden by subsequent coats of paint. Moreover, he has extended this topic beyond the realm of the decorative arts into the domain of the architectural historian. The techniques developed and perfected by Dr. Bristow and a handful of other individuals, can now be used to assist the dating of both decorative and structural work in a way that has hitherto proved impossible. Indeed, using these methods, the compiler of this bibliography has recently been able to assist in proving that the largely undamaged scheme in the Saloon at Uppark, Sussex, dates from 1814 - a fact that has led to its conservation as one of the earliest untouched painted interiors in this country.

Until the late 1980s, with the exception of Dr. Bristow's articles, North American journals provided the main source of reference for this subject. Hence 51 out of 177 entries in this work fall into that category. Five more have foreign origins - from Australia, France, Germany, and Switzerland. The Swiss work (Tingry: 155) was thoroughly revised before it appeared in the third (English) edition reviewed here. One of the French works (Watin: 160) was very influential, though more on account of the technical information that it provided than for its description of painting practices, while the other (Cadet-de-Vaux: 045) was much quoted, though probably not followed very much. The Australian work (Gehrig: 073) was included for

1 The meaning of the word Britain is often implicit in the use of this word. See H.W. Fowler, A Dictionary of Modern English Usage, 2nd edn., rev. Ernest Gowers (Oxford: Oxford University Press, 1985), 156-57.

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its clarity and for its similarity to English practices. The German work (Goethe: 081) was perhaps the most influential and its effect on English attitudes is examined in another entry (Bristow: 036).

Very many of the North American articles are purely technical in nature, and deal with the analytical techniques of the investigation of early house-paints. Pigment characteristics are also covered, and house-painting practices, if clearly described, and if similar to English ones, are included. Whilst the various bibliographies published separately, or included in other works, have been of use, many deal with much later technology or aesthetics, and usually of purely native concern.

There have proved to be three main sources of information: the British Architectural Library at the Royal Institute of British Architects, the National Art Library at the Victoria and Albert Museum, and the British Library. This area of study is still too new to be adequately indexed, and much following up of the references cited in articles found has eventually produced a list of some 450 works that have provided relevant information.

The brief notes to the works reviewed are designed to assist students, researchers, restoration architects and paint analysts in identifying and using the sources available. It is by no means complete, indeed it has proved necessary and somewhat frustrating, to trim it to a length which, although appreciably beyond the requirements of a piece of coursework, is just over half of my original draft. As a result of such pruning this has become a highly subjective list. However, if use is made of the various bibliographies and the references given in many of the books and articles reviewed here, a more complete picture of the subject will be obtained.

It would be fair to say that a very clear idea of the field can be gained from the works of Dr. Bristow. The individual articles deal with most aspects, while the forthcoming book2 that is based on his thesis is unlikely to be bettered.

Acknowledgement, too, must be made here to the section of his thesis that deals with a review of the sources, it has proved invaluable in the compilation of this work, and several of his conclusions have been drawn on.

It may appear unlikely that a work which purports to be concerned with the eighteenth and early nineteenth centuries should include so many painters' manuals and handbooks of a much later period. However, works of a technical nature are rare before the end of the nineteenth century, when a spate of them appeared. With the exception of developments in the field of pigments there were very few changes in the methods and the materials of the house-painter between the late eighteenth and the early twentieth centuries. Indeed, apart from greater clarity and elaboration in the descriptions of processes and techniques, many pages of works from the 1920s might have been found in works published several generations before.

The bibliography has been arranged in alphabetical order in order to facilitate indexing. Many of the entries have also been cross-referenced in order to draw the reader's attention to other works dealing with a particular aspect of the subject. In addition, the entries have been labelled

2 Dr Bristow has since published two volumes that are of enormous use in the study of the subject.

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with a letter(s) that indicates their main emphasis; for example, someone wanting a quick overview of the subject as a whole might seek out the Key Works [A], whilst for a less technical account of the colours to be found in decoration during the period, one might look at the works labelled [F].

The length of the entries are very uneven, with a thousand page thesis getting only five lines, and an article in a journal more than three times that. The designation, however, of an under-reviewed work as a Key Work [A], or by including an adjective such as "interesting" or "useful" in its commentary should draw the reader's attention to its merits. Some blame for an undeserved short review can, perhaps, be laid with the compiler and his idiosyncratic approach to the subject.

The bibliographic details on each of the works make no pretence of being definitive. The information known about the various editions is recorded, the emphasis being on the actual edition consulted.

The style used in the setting out of the bibliographical details is that of the University of Chicago.3 There were examples that did not quite fit in with this; therefore an alternative style was devised. Nevertheless, it is hoped that once the approach that has been adopted is understood, this work proves both easy to handle and of use to the reader.

Patrick Baty

3 Kate L. Turabian, A Manual for Writers, 5th edn., rev. Bonnie Birtwistle Honigsblum (London: The University of Chicago Press, 1987).

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INTRODUCTION

Although alphabetically sorted, for easier manipulation of the information the entries have been given a letter to indicate the nature of the aspects dealt with:

CONCORDANCE

A) Key Works

B) Painting Manuals / Handbooks

C) Paint Technology

D) Pigments

E) Recipes and Painting Techniques

F) Aesthetics / Contemporary Fashions / Colours in Use

G) Reference Works / Encyclopaediae

H) Paint Analysis

I) Restoration; Practical

J) Restoration; Philosophy / Ethics

K) Colour and Colour Theory

L) Books with Named Colour Samples

M) Price Books / References to Prices

N) The House-Painter / Socio-Historical

O) Bibliographies / Further Sources

Not only is each entry labelled with the particular heading that most aptly describes it, but the entries have been further grouped in order to more quickly find works that interest the reader. Reference will also be found in many works to others that deal with the same topic. In this case, the name of the author and the number of the entry is given (e.g., Crease: 053).

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A) Key Works

029, 043, 047, 059, 084, 089, 090, 094, 105, 106, 119, 130, 131, 137, 144, 145, 146, 155, 158, 160, 174.

B) Painting Manuals / Handbooks

006, 043, 059, 062, 068, 069, 073, 085, 092, 106, 110, 115, 118, 144, 145, 146, 147, 155, 156, 157, 158, 160, 174.

C) Paint Technology

067, 076, 086, 090, 093, 094, 123, 124, 128, 152, 172, 173, 177.

D) Pigments

005, 012, 028, 029, 047, 050, 059, 065, 066, 067, 068, 069, 073, 075, 076, 077, 078, 079, 080, 084, 085, 086, 089, 090, 094, 095, 097, 103, 104, 105, 106, 119, 131, 133, 135, 136, 144, 145, 152, 153, 155, 157, 158, 160, 170, 172, 175, 177.

E) Recipes and Painting Techniques

002, 010, 012, 016, 019, 023, 025, 027, 028, 029, 043, 045, 047, 048, 050, 053, 054, 055, 059, 060, 062, 063, 068, 069, 071, 073, 085, 087, 089, 092, 095, 098, 103, 108, 109, 110, 111, 112, 114, 115, 116, 118, 122, 130, 132, 137, 144, 145, 146, 147, 148, 155, 156, 157, 158, 163, 167, 176.

F) Aesthetics / Contemporary Fashions / Colours in Use

003, 004, 008, 010, 012, 013, 014, 015, 018, 019, 020, 021, 022, 023, 025, 028, 030, 032, 033, 035, 036, 038, 039, 041, 042, 043, 051, 052, 053, 054, 055, 057, 060, 062, 070, 072, 074, 081, 082, 083, 087, 088, 089, 095, 101, 102, 109, 114, 115, 116, 117, 118, 132, 134, 135, 137, 138, 139, 141, 143, 146, 149, 154, 158, 164, 166, 167, 174, 176.

G) Reference Works / Encyclopaediae

004, 007, 029, 047, 050, 057, 059, 065, 073, 075, 076, 077, 078, 079, 080, 084, 086, 090, 093, 094, 095, 097, 101, 102, 105, 106, 118, 119, 142, 148, 152, 172, 175, 177.

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H) Paint Analysis

003, 009, 024, 030, 034, 044, 049, 061, 065, 066, 067, 075, 076, 077, 078, 079, 080, 091, 093, 097, 104, 105, 107, 121, 123, 124, 125, 126, 127, 129, 131, 133, 136, 141, 151, 161, 162, 165, 166, 167, 168, 169, 170, 171, 173.

I) Restoration; Practical

001, 010, 011, 013, 018, 021, 025, 026, 029, 030, 031, 032, 034, 035, 037, 039, 044, 049, 058, 061, 066, 072, 107, 123, 124, 126, 127, 128, 129, 141, 153, 161, 162, 163, 166, 170, 171.

J) Restoration; Philosophy / Ethics

024, 026, 031, 034, 039, 061, 072, 126, 127, 128, 129, 141, 161, 168.

K) Colour and Colour Theory

036, 068, 069, 081, 082, 089, 095.

L) Books with Named Colour Samples

051, 088, 095, 138.

M) Price Books / References to Prices

016, 017, 028, 029, 074, 083, 098, 099, 100, 108, 110, 113, 130, 134, 139, 140, 143, 150.

N) The House-Painter / Socio-Historical

046, 056, 064, 070, 096.

O) Bibliographies / Further Sources

004, 014, 029, 032, 038, 047, 049, 054, 067, 072, 073, 084, 093, 106, 117, 119, 120, 121, 126, 142, 159, 165.

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AN ANNOTATED BIBLIOGRAPHY

001 [I]Alderson, Caroline. "Recreating a Nineteenth Century Paint Palette." Bulletin of the Association for Preservation Technology (US), vol. xvi, no. 1 (1984): 47-56.

An article describing the recreation of a representative palette of 39 house painting colours popular between 1850 and 1924. Whilst later than the period of study, there was a continuity of colour use and formulation, many colours remaining in common use for over 200 years. The article very clearly summarises many of the practical considerations of paint mixing and is especially useful to anyone attempting to produce batches of near-traditional paint.

002 [E]Arrowsmith, H.W. & A.. The Paper Hangers and Upholsterers Guide. 1854: 47.

Interesting for its clear description of the making and application of distemper. There is a reference to the "recent" technique of stippling, and helpful guidelines for the decoration of rooms in a mansion.

003 [F,H]Ashurst, Nicola. "Conserving Corroded Ironwork." English Heritage Conservation Bulletin, No. 6 (Oct. 1988): 4-5.

An interesting article on the repair, analysis and conservation of a set of wrought iron railings dating from 1733. A total of 78 coats of paint were detected.i

004 [F,G,O]Baldwin, Helen. "Colour on Building, 1500-1800." BA diss., Oxford Polytechnic, 1980.

A very useful account of interior and exterior house-painting in England between 1500 and 1800.

005 [D]Bancroft, Edward. Experimental Researches Concerning the Philosophy of Permanent Colours. 1794. [Although labelled Vol. 1, only one vol. published, later editions had two.]

A very detailed work on dyeing and dyestuffs. Although it contains no information on paint, the methods for the preparation of many of the obsolete pigments used in distemper are invaluable for anyone attempting to mix early recipes.

006 [B]Barber, E.. Painter's, Grainer's, and Writer's Assistant. 1852.

A book with many recipes and directions for painting, the majority of which date from the previous century. Although whole sections have been copied piecemeal from earlier works (chief amongst them being Butcher: 043, Cadet-de-Vaux: 045, Mackenzie: 103, and Towers: 156.) there are several recipes or processes included which are rarely

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outlined in detail, in particular bronzing, flatting, and the imitation of Bath stone with an orange copperas wash.

007 [G]Barrow, John. Dictionarium Polygraphicum. vol. 1, 1735; vol. 2, 1758.

As with other dictionaries and encyclopaediae of the time, this assists with the interpretation of many of the early recipes, e.g. Aqua Regalis, Armoniack. The individual colour names are helpful, e.g. the entry "Blue" gives information on all the blues available with observations on certain of them. Several of the entries, notably. "Spanish Brown", "Dial - Sun Dials", and "Timber Work" have been copied from the early editions of Smith: 146. Likewise, the entry "...Of out-door painting in general" has been lifted direct from Neve: 108.

008 [F]Bartholomew, Alfred. Specifications for Practical Architecture. 2nd edn., 1846.

This work contains a large number of sample specifications for the building or alteration of a variety of different buildings. The details that relate to the plasterer and painter give a very good idea of the operating procedures of the time. [See also Donaldson: 057.].

009 [H]Batcheler, Penelope Hartshorne. "Paint Colour Research and Restoration." History News. Vol. 23, no. 10 (Oct. 1968). Reprinted as Technical Leaflet no. 15. American Association for State & Local History, n.d.

This is based on a paper given to a National Park Service conference in July 1962. This was one of the first occasions that the analysis of early paint using scientific procedures was discussed. The subjects mentioned are: the dating of paint layers; the methods of determining finish coats and mediums; the recognition of earlier paint removal and the means of confirming this; the matching of colours for restoration using the Munsell system; and a paint formula used in the repainting of the Independence Hall.

010 [E,F,I]Baty, Patrick. "Palette of Historic Paints." Country Life, 20 Feb. 1992: 56-57.

What are "Historic colours"? An account of early painting practices and the colours in common usage. The author suggests that it is time for the question of earlier paint colours to be discussed more widely, instead of relying on vague preconceptions and notions of good taste in the redecoration of historic interiors.

011 [I]________. "Comment." [On the new restrictions on the use of lead paint] Country Life, 30 Apr. 1992: 44.

An attempt to explain the recent legislation on the use of lead paint, and to discuss, briefly, the merits of this sort of paint.ii

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012 [D,E,F]________. "Palette of the Past." Country Life, 3 Sep. 1992: 44-47.

The colours used for the decoration of exteriors changed very little between the 18th

century and the 1950s. The article concentrates on those in use on town houses of that period. Special attention is given to the use of blue on ironwork, the widespread appearance of green, and the process known as "sanding". [See also Bessey: 018, Bristow: 023, Burton: 042, Louw: 102, Sickle: 142, Summerson: 149, Wyatt: 176.]

013 [I]________. "External Paintwork." The Building Conservation Directory 1993. Cathedral Communications, 1993: 89.

A discussion of some of the basics of paint selection, and colour choice, for the painting of external surfaces. Careful use of colour, albeit in a type of paint unknown to our forbears, is considered more important for the protection of historic fabric than the use of paint formulated in traditional manner.

014 [F,O]Beard, Geoffrey. Craftsmen & Interior Decoration in England, 1660-1820. John Bartholomew, 1981: 37, 58-61, 90-93.

This contains some useful quotes concerning the treatment of wainscot in the late 17th

century.

015 [F]________. The English House Interior. Viking-Penguin, 1990.

A certain amount of the information on paint and colour is drawn from the author's earlier works; however there are useful facts to be learned on the treatment of decorative plaster ceilings of the late 18th century.

016 [E,M]Bennett, John. The Artificer's Complete Lexicon. 1833.

Contains a very detailed list of prices, including many for ready mixed paint in a large number of colours. The recipe for cheap green paint has been taken from Mackenzie. [Mackenzie: 103.].

017 [M]________. Bennett's Labour Prices for Builders' Work. 1834.

This contains the prices for work only, and should be compared with the previous entry which also includes materials.

018 [F,I]Bessey, G.E.. "The Maintenance and Repair of Regency Painted Stucco Finishes." RIBA Journal, Feb. 1950, 143-45.

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An account of the different external stucco finishes in use during the early 19th century. The colouring and jointing in imitation of Bath stone is mentioned, as is the introduction of Portland cement. [See Summerson: 149, and Wyatt: 176.]

019 [E,F]Bock, Gordon. "Early Exterior Paints." Old House Journal (May-June 1988): 33-37.

An account of the pigments and medium used in the painting of exterior woodwork. The nature of the paints produced is explained, and suggestions are made for the simulation of these using modern ingredients. A short bibliography is given, together with a list of American suppliers.

020 [F]Bristow, Ian C.. "Cost Constraints on Historical Colour." The Architect (Mar. 1977): 40 & 55.

The notion that different paint colours might be charged at a different rate is totally foreign to us, however, in the eighteenth century cost was undoubtedly the major factor in determining the use of colour. This article examines the comparative prices of the various pigments used in house-painting, and explores the connection between cost and taste.

021 [F,I]

________. "Ready-Mixed Paint in the Eighteenth Century." Architectural Review 963 (Apr. 1977): 246-48.

The author examines the paint colours being produced by Alexander Emerton, a London colourman, in the 1730s, and listed in William Salmon's Palladio Londinensis. [Salmon: 139.] The slightly later "Directions for Painting" prepared by his brother, Joseph Emerton, are reproduced [Emerton: 063.] in facsimile. An attempt is made to reconstruct the meaning of each name in terms of colour, by comparison with other works of the period.

022 [F]________. "The Balcony Room at Dyrham." National Trust Studies.1980 (1979): 140-46.

An examination of the history of the paintwork of the Balcony Room at Dyrham Park. It had been suggested that this room still retained its original grained finish from 1694. However, the author shows how he could prove that this scheme dates from the 18th

century and that it was at first marbled and gilded. Reference is made to the writings of the French author A.C. d'Aviler. This article is particularly helpful for its comments on late 17th century concepts on colour and the way that marbling was employed.

023 [E,F]________. "Two Exterior Treatments used to Imitate Stone during the Eighteenth and early Nineteenth Centuries." ASCHB Transactions 1979. (Association for Studies in the Conservation of Historic Buildings, vol. 4, 1979): 3-6.

An examination of the treatment of exterior stucco in the eighteenth and early nineteenth 10

centuries. The two techniques investigated are: "sanding" and "frescoing". In the first, sand or powdered stone was cast onto a painted surface while it was still wet, thus giving it a durable stone-textured finish. He gives many references; e.g. Crease: 053, Emerton: 063, Neve: 108. [See also Wyatt: 176, for its inclusion in a painting specification of the 1860's, also Flaherty: 071, Peterson: 123, and Welsh: 166.] The other technique discussed, that of staining stucco walls with a ferruginous wash [See Barber: 006.] and of scoring lines into the surface to represent blocks of stone is examined, and reference is made to the aesthetic aims in connection with various philosophical works of the time. [See Baty: 012.].

024 [H,J]________. "Repainting Eighteenth Century Interiors." ASCHB Transactions 1981. (Association for Studies in the Conservation of Historic Buildings, vol. 6, 1981): 25-33.

Even where paintwork looks old, the chances are that it is not original. The author cites a number of houses where this is the case, and emphasizes caution when studying an interior with regard to its colour scheme. Insulated as we are by the taste of the 19th century from that of the 18th, Chambers's use of colour seems quite foreign to many. The work of John Fowler, for example, was a product of this century, and reflects our preconceptions of what an eighteenth century room should look like. Architectural drawings also require care in their interpretation. The making of "scrapes" is discredited, and the techniques used by Dr Bristow outlined, with examples given of their efficacy. The three approaches to the redecoration of an early interior are given as: scientifically accurate restoration, design in the historical idiom, and a "free" approach. These should be kept quite distinct from each other. [See also Eighteenth Century...: 061.]

025 [E,F,I]________. "The Redecoration of the Dulwich Picture Gallery." ASCHB Transactions 1981. (Association for Studies in the Conservation of Historic Buildings, vol. 6, 1981): 33-36.

The use of red as a traditional backdrop for paintings is discussed, and the formulation of the colour used in the redecoration of Dulwich Picture Gallery described. [See Bristow: 026.]

026 [I,J]________. "Mixing the Colours to Set Off Soane's Pictures at Dulwich." London Architect. (May 1981): 23.

It is only by a study of early painting materials and methods that a reasonably clear idea of 18th century taste in paint colour has been established. As a result, two things have become clear: firstly, a precise determination of the colour ranges historically available; and secondly, accurate restoration, using microscopic techniques, of colour schemes hidden by successive repaints. At Dulwich it was impossible to analyse the plaster, as none of the original had survived. Documentary evidence, however, combined with the knowledge gained by his study, led Dr Bristow to carry out a restoration of the original colour scheme. [See Bristow: 025.].

027 [E] 11

________. "Painting." In Handbook of Building Crafts in Conservation, ed. Jack Bowyer, ch. 9. Hutchinson 1981.

Contains a facsimile and a very detailed commentary on Peter Nicholson's The New Practical Builder and Workman's Companion of 1823. House painting practices of the time are summarised, and many references given. [See Nicholson: 110.]

028 [D,E,F]________. "The Architect's Handmaid." Exhibition Handlist. RIBA Heinz Gallery, 9 Nov. - 17 Dec. 1983.

The handlist of an exhibition dealing with paint colour in the eighteenth century interior. It contains a description of the displays, among which are: Paint technology in the eighteenth century, the application of colour in neoclassical interiors, microscopy and investigation, the changing use of paint colour, fabrics, wallpaper, gilding, and the role of restoration.

029 [A,D,E,G,I,O]________. "Interior House-Painting from the Restoration to the Regency." Ph.D. diss., University of York, 1983. 2 Vols.

This monumental work, it runs to two volumes and some 330,000 words, is the closest to being the definitive work on the subject. Much of the contents are likely to appear in a work currently being prepared by the author's publishers for publication.iii

030 [F,H,I]________. "[The Casino, Marino] An Account of the Technical Investigation of the Paintwork and Redecoration of the Interior." ASCHB Transactions 1984. (Association for Studies in the Conservation of Historic Buildings, vol. 9, 1984): 36-37, 40-44.

The original scheme for the decoration of the Saloon survives in the form of a letter from the original architect, William Chambers to his client, the Earl of Charlemont. In order to determine the exact disposition of colours, a series of nearly 100 paint samples was taken from the room and investigated. Similar work was done in the Vestibule, Zodiac Room, and other interiors. The decisions taken for the materials used in the redecoration are particularly interesting, with modern ingredients mixed with earlier ones in order to simulate the original effect.

031[I,J]

________. "The Great Drawing Room from Bowood." ASCHB Transactions 1985. (Association for Studies in the Conservation of Historic Buildings, vol. 10, 1985): 25-36.

The room's history is described briefly: it had been sold when the main house was demolished in 1956, and installed in a cut-down form in the old Lloyd's building. The author was appointed to rebuild the room in the new, Richard Rogers', building, and to repaint it. Early photographs were consulted, and using geometrical formulae, oblique angles were measured and corrected, and the original measurements ascertained.

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However, alterations were made in order for the room to function as the committee room of a modern organisation. The colours, too, were adjusted to fit in with 20th century taste, and the author describes these as being based on historic precedent.

032 [F,I,O]________. Redecorating Your Church. Church House Publishing, 1986.

The aim of this booklet is to offer guidelines on a number of practical considerations that have to be taken into account when redecorating a church. The nature of traditional construction is discussed in connection with the appropriate paint finishes, and an historical résumé is given of church decoration from the middle ages to the post-1918 era. The technical notes are especially useful, and relate to secular as well as religious buildings.

033 [F]________. "The Role of Taste." Traditional Interior Decoration. vol. i, no. 1 (Spring, 1986): 7, 76-85.

An explanation of the use of colour in mid 18th century interior decoration. It provides a very good overview of the subject. (Note publisher's errors listed on p. 7, col. 4 and many others, and also that the article deals with the reigns of George I and II, not George III.)

034 [H,I,J]________. "The [Lansdowne House Drawing] Room in the Context of Robert Adam's Work." Philadelphia Museum of Art Bulletin. vol. 82, nos. 351-52 (Summer 1986): 12-19.

The restoration of this room is a landmark in architectural-historical studies. The original scheme dates from the time when Robert Adam was moving away from his re-creation of the antique [Bristow: 041.] and beginning to adopt the fashionable style of colouring. N.B. the colour illustrations of the interior are distorted in hue and misleading.

035 [F,I]________. "The Restoration of Sir John Soane's Colour Scheme in the Breakfast Room at Pitzhanger Manor, Ealing." ASCHB Transactions 1986. (Association for Studies in the Conservation of Historic Buildings, vol. 11, 1986): 43-48.

The documentary evidence for the original decorative scheme is outlined. It contained inconsistencies, however, and it remained unclear as to what had been carried out. An earlier investigation by the author had revealed an elaborate scheme of marbling and graining. Small areas of the original paintwork were uncovered in order to permit accurate reproduction. The article ends with a summary of the redecoration in the other rooms in the house.

036 [F,K]________. "Prismatic Principles: 19th-Century Colour Theory." Country Life 9 Apr. 1987: 146-47.

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Goethe's theories on colour, as presented in his two books, Beitrage zur Optik, of 1791, and Zur Farbenlehre, of 1810, dominated 19th century ideas on the subject. As a result it is difficult to understand the use made of colour in interiors during the 18th and earlier centuries. The later works of Moses Harris, George Field, and D.R. Hay are discussed, with emphasis given to their writings on colour harmony and balance. The seemingly ad hoc way colours were combined in Robert Adam's and William Chambers's designs is a result of the concepts of the Sublime and the Beautiful as defined by Edmund Burke, in his Philosophical Enquiry. [See Goethe: 081.]

037 [I]________. "Colour Counsel: Authentic Paint for Historic Interiors." Historic House. (Autumn 1987): 20-21 & 23.

A short account of the author's work at the Casino, near Marino, Dublin; the Great Drawing Room from Bowood; and the Breakfast Room, Pitzhanger Manor. [See Bristow: 030, 031, 035.]

038 [F,O]________. "Historic Town-Houses: The Use of Paint and Colour." In The Saving of Spitalfields, ed, Mark Girouard, Ch. 4. The Spitalfields Historic Buildings Trust, 1989: 80-86.

A brief resumé of the use of paint and colour on both the exteriors, and interiors, of 18 th

century town houses. The references are particularly helpful. [See Baty: 012, 013.]

039[I,J]

________. "[The Queen's House, Greenwich] Research into and Reconstruction of the Historic Paint Colours." ASCHB Transactions 1989. (Association for Studies in the Conservation of Historic Buildings, vol. 14, 1989): 68-73.

Until this project, our knowledge of the use of colour in British interiors prior to the Civil War was limited. The author describes the results of his extensive sampling, and refers to previous restorations of the building. The problems of traditional painting materials are discussed, especially with regard to their toxic nature and their obsolescence.

040 [F]________. "'They Will Look Very Well' - Painted Floorcloths in the 18th Century." SPAB News. Society for the Protection of Ancient Buildings. vol. 11, no. 2 (1990): 11-13.

Prior to the introduction of linoleum in about 1860, floors were often covered in whole or part by painted or printed floorcloths. The author traces their history from their first mention in 1710 to their decline.

041 [F]________. "Passion for an Antique Style." Country Life. 16 Apr. 1992:100-101.

Robert Adam's painted schemes were in marked contrast to the prevailing taste of the 14

early 1760s, for instead of white ornament and pale tints, he preferred the richer colours of "the style of the Ancients". Eventually he came to conform to popular taste. [See Bristow: 034.]

042 [F]Burton, Neil. "Do Not Forget Purple-Brown." Country Life. 2 Nov. 1989: 198.

An account of the variety of colours that were found on exterior woodwork and ironwork during the last two centuries. [See also Baty: 012, Baty: 013, Louw: 102, Sickle: 142.].

043 [A,B,E,F]Butcher, William. Smith's Art of House Painting. 1821. 2nd ed. 1825.

Contains the "best and most approved rules for preparing, mixing, and working of oil-colours, oil-cloth varnish and colour, milk-paint etc...so as to enable any person to paint and grain, in oil-colours, all sorts of timber or iron-work, in houses and ships; as gates, doors, posts, pales, palisad(o)es, and every thing that requires paint, whether for beauty or for preservation from the influence of the weather." This booklet was based heavily on John Smith's Art of Painting in Oyl [Smith: 146.] which came out in many editions throughout the 18th century.

044 [H,I]Butler, Marigene. "The Restoration [of the Lansdowne House Drawing Room]." Philadelphia Museum of Art Bulletin. vol. 82, nos. 351-52 (Summer 1986): 31-45.

An account of the dismantling and re-installation of the Lansdowne House Drawing Room in the Philadelphia Museum of Art with details of the construction is given. A description of the methods used for the investigation of the original paint colours follows, with a list of pigments identified during this work. A number of photomicrographs of cross sections at 98x magnification show the original layers clearly. The methods used to replicate the original gilding are also given, and attention drawn to the fact that the early bole was red coloured. Dispersions from the original finish coats were analysed under the polarising microscope, and the constituents are given with their percentage content for each element of the room. The end-notes give detailed recipes for the four different cleaning mixtures used in the room. The brushes used, and the techniques adopted for the repainting are outlined. [See also Bristow: 034, and Phillips: 129.].

045 [E]Cadet-de-Vaux, Antoine Alexis. "Memoir on a Method of Painting with Milk." The Repertory of Arts & Manufactures vol. xv, 1801: 411-21.

Originally published during the French Revolution, when materials for painting were in short supply. Although often quoted, it has never been established how widespread the use of milk as an ingredient in paint was. [See also Candee: 048.].

046 [N]15

Campbell, Robert. The London Tradesman. 1747; reprint, Newton Abbott, Devon. David & Charles, 1969.

The house-painting trade was regarded by Campbell as being "at a very low ebb" on account of the widespread availability of ready-ground colour at the colourman. He felt that there was no longer a requirement for skill, as the fashion for graining and marbling had gone, and that houses were now "only daubed with dead Colours". The painters' work was seasonal and not well paid. The journeymen were described as being "the dirtiest, laziest, and most debauched set of fellows in and about London."

047 [A,D,E,G,O]Candee, Richard M.. "Materials Towards a History of Housepaints." M.A. diss., State University of New York, College at Oneonta, 1965.

The earlier of the two American theses dealing with the house-painting materials in use in eighteenth century America. As well as a comprehensive list of the pigments, driers, and oils, there are chapters dealing with the preparation and application of paints for interior and exterior usage. [See also Penn: 119.].

048 [E]________. "The Rediscovery of Milk-Based House Paints and the Myth of 'Brickdust and Buttermilk' Paints." Old Time New England. (Bulletin of the Society for the Preservation of New England Antiquities) vol. lviii, no.3 Winter (Jan.- Mar. 1968): 79-81.

An attempt to lay the myth of the widespread use of milk-based paints in colonial America. The author traces the source to the translation of Alexis Cadet-de-Vaux's Memoir on a Method of Painting in Milk [Cadet-de-Vaux: 045.].

049 [H,I,O]Cawley, Frederick D.. "Property Owner's Guide to Paint Restoration and Preservation." Technical Series Leaflet 1, 1979. New York, Preservation League of New York State.

A useful summary of the subject, with notes on the following: the types of historic paints and their use; special finishes; the technique of cratering; the preservation and maintenance of historic paints, and the selection of the right paint for an old building. It also contains a comprehensive bibliography.

050 [D,E,G]Church, A.H.. The Chemistry of Paints & Painting. 1890.

Although written as a technical guide for artists, the information on pigments and oils is extremely helpful for an understanding of the characteristics and limitations of a large number of house-painting materials.

051 [F,L]Clason, Andrew. Distemper Colour Samples, and Accompanying Letter to Robert Vans Agnew, Glasgow, 15 July 1807. Stenhouse Conservation Centre, Edinburgh.

This collection of 48 surviving colour samples, prepared by Andrew Clason, an 16

Edinburgh house-painter, for a client in 1807, are of enormous assistance in providing named samples of colours. The letter outlining his prices provides an indication of which rooms would have been painted in distemper, and which in oil. [See Ross: 138.].iv

052 [F]Clifton Taylor, Alec. The Pattern of English Building. New edn. Faber and Faber, 1972.

Gives a general account of the colours used on buildings. Most information is given on brick and stone colours; however, the chapter on Plaster also deals with stucco, whitewash and applied colour.

053 [E,F]Crease, James. Hints for the Preservation of Wood Work Exposed to the Weather. 1808.

A good account of the methods and colours used in the painting of exterior wood-work at the beginning of the 19th century. Contains the well known quote on Invisible Green.

054 [E,F,O]Cruickshank, Dan, and Neil Burton. Life in the Georgian City. Viking-Penguin, 1990.

A large section is devoted to the paints used on the interior and exterior of the eighteenth century town house. Many references are given.

055 [E,F]The Decorator's Assistant. 1847. 1847-1849.

Two volumes of a magazine that ran for two years. Amongst other things, there are interesting comments on D.R. Hay's theories and works; recipes for bronzing, and manufacturing varnishes; notes on linseed oil, white and black lead; and information on measuring painters' work.

056 [N]Dobson, C.R.. Masters and Journeymen - A Prehistory of Industrial Relations 1717-1800. Croom Helm, 1980.

Useful for its reference to the labour disputes involving the Painter-Stainers in the 18th

century. [See also Englefield: 064, and Kellett: 096.]

057 [F,G]Donaldson, Thomas Leverton. Handbook of Specifications. 2 vols. 1859.

Contains a number of specifications from a variety of different buildings, ranging from Barry's Houses of Parliament to the London and Westminster Bank in Bloomsbury. A very good means of establishing how various surfaces were painted. [See also Bartholomew: 008.]

058 [I]Doonan, Nancy L.. "Historic Exterior Paints." Bulletin of the Association for Preservation

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Technology (US), vol. xiv, no. 4 (1982):27-29.

An attempt to produce a system for predicting the average number of paint layers on an early building using mathematical formulae. This was dismissed as being unscientific by Frank Welsh [Welsh: 168.].v

059 [A,B,D,E,G]Dossie, Robert. The Handmaid to the Arts. 2 vols. Rev. edn. 1796.

Volume I is extremely useful for its lengthy account of the pigments and materials used in painting. In common with many other works, although this dealt primarily with artists' use, very many were equally applicable to the house-painting trade. The appendix in volume II is also interesting for its information on wallpapers, a transcript of Dr Woodward's account of the manufacture of Prussian blue, and for a description of Light Red which was omitted from volume I.

060 [E,F]Downing, Andrew Jackson. The Architecture of Country Houses. New York, 1850. Facsimile edn. New York, Dover Publications Inc., 1969.

Whilst, obviously, an American work it leans heavily on English precedent and aesthetics, with several quotes from Uvedale Price, William Wordsworth, William Chambers and David Ramsey Hay [Hay: 089.]. It should be followed with care, but is particularly useful for its many recipes, practical hints and discussion of matters of taste.

061 [H,I,J]"Eighteenth Century Colour Revealed." Architects Journal, vol. 173, no. 11 (18 Mar. 1981): 53.

A short account of a talk given by Dr Ian Bristow at the Institute of Archaeology. It briefly explains his technique of analysis, yet points out that scientifically accurate restoration is neither always possible nor desirable, often it is better to produce an "historically based pastiche, or even a "free" scheme. [See Bristow: 024.].vi

062 [B,E,F]Elliot, John. Practical House Painting, Decorating, Sign Writing, Gilding, &c. Glasgow: The Incorporated Institute of British Decorators, Scottish Branch, 1910.

One of a number of early twentieth century manuals that provide a lot of the sort of information missing in the earlier ones. The methods and materials changed very little until the 1930s and much can be learned of the characteristics and handling properties of eighteenth-century paints from works such as this. The chapter on the "Change of Method in Decoration" is particularly useful for its commentary on earlier procedures.

063 [E]Emerton, Joseph. Directions for Painting. c.1744. British Museum, Heal Collection. 89.53.

This is reproduced in facsimile in Dr Bristow's article on Ready-Mixed Paint in the 18

Eighteenth Century. [Bristow: 021.] The colours produced by Joseph Emerton's late brother, Alexander, are discussed in that article, and reference is made to their appearance in William Salmon's Palladio Londinensis [Salmon: 139.].

064 [N]Englefield, W.A.D.. The History of the Painter-Stainers Company. 3rd edn. Hazell, Watson & Viney, 1950.

The definitive history of the Painter-Stainers Company from the early days of the medieval gilds until the beginning of the twentieth century. The various disputes with the other trades and Livery Companies are charted, and the Acts of Parliament that affected the craft of painting are quoted. [See also Dobson: 056, and Kellett: 096.]vii

065 [D,G,H]Feller, Robert L.(ed.). Artists' Pigments. vol. 1. Cambridge, Cambridge University Press, 1986.

A series of monographs on ten pigments produced as a complement to the ones produced by Rutherford J. Gettens and published in Studies in Conservation between 1966 and 1974. The history and characteristics of the following pigments are dealt with: Indian Yellow, Cobalt Yellow, Barium Sulphate, Cadmium Yellows, Oranges and Reds, Red Lead and Minium, Green Earth, Zinc White, Chrome Yellow and other Chromate Pigments, Lead Antimonate Yellow and Carmine.

066 [D,H,I]________. "Analysis of Pigments" Winterthur Conference report 1971: American Painting to 1776: a Reappraisal. ed. Ian J.Quimby. Charlottesville: University of Virginia Press, 1971: 327-44.

Contains a list of pigments in use during the 18th century. This chapter also outlines the various methods of analysis: optical and polarized light microscopy, emission spectrographic analysis, x-ray fluorescence, x-ray diffraction and microchemical testing. It deals with the problems of the interpretation of analytical results, and emphasises the need to carry out one or two "confirmatory tests" before drawing any conclusions.

067 [C,D,H,O]________. "The Deterioration of Organic Substances and the Analysis of Paints and Varnishes." In Preservation & Conservation: Principles & Practices. Washington, The Preservation Press, 1976: 287-99.

The first half of this article deals with the general character of oxidative deterioration, the second with a brief look at three components of paint analysis: pigments, colour, and vehicles. The footnotes contain a useful bibliography.

068 [B,D,E,K]Field, George. Chromatography. 1841.

Much of the information contained in this work is to be found in his Rudiments of the Painters' Art... [Field: 069.] It is important, nonetheless, in that he deals with many of

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the recently discovered pigments.

069 [B,D,E,K]________. Rudiments of the Painters' Art, or a Grammar of Colouring. 1850.

A work designed for both artists and house-painters. Colour theory and harmony is dealt with in the early chapters, and the remainder concerns the pigments and materials in use. It was to form the basis of Ellis Davidson's revision, which appeared in many editions in the late 19th century, and was the larger part of the latter's House-Painting, Graining, Marbling, and Sign-Writing.

070 [F,N]Fiennes, Celia. The Illustrated Journeys of Celia Fiennes c.1682 - c.1712. ed. Christopher Morris. Exeter: Webb & Bower - Macdonald, 1982; reprint, Exeter: Webb & Bower - Michael Joseph, 1988.

A much quoted account of a series of journeys through England in the late 17th and early 18th centuries. There are many mentions of the decoration of houses; the colour of exterior details such as railings; and local industries such as woad growing, dyeing and the production of copperas.

071 [E]Flaherty, Carolyn. "Sand Paint." Old House Journal, vol. vii, no. 9 (Sept. 1979) 104-6.

A short history of the use of "sanding" in America, followed by instructions on the technique. [See also Baty: 012, Bristow: 023, Peterson: 123, Welsh: 166, and Wyatt: 176.].

072 [F,I,J,O]Fowler, John, and John Cornforth. English Decoration in the 18 th Century . 2nd edn., Barrie & Jenkins, 1986: 174-209.

This work contains a lengthy chapter on "Colour and the Painter's Craft" that provides a lot of useful references. Certain parts should be treated carefully, such as the belief that early 18th century panelling was picked out in different shades; that the Balcony Room at Dyrham contains original paintwork [See Bristow: 022.]; and that it would be rash to try and differentiate between the decoration of a Palladian and a neo-classical room [See Bristow: 033.].viii

073 [B,D,E,G,O]Gehrig, Keith, and Don Ellsmore (ed.). "A Guide to Traditional Painting Techniques." Research Study 9. Sydney, The Heritage Council of New South Wales, 1985.

A very good guide to 19th and early 20th century painting techniques. The author deals with the composition and preparation of paint, and looks at the pigments available at the time, before describing how it was applied, and what colours worked in combination. As well as containing many old formulae, one chapter is devoted to the modern finishes that can be substituted for earlier ones.

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074 [F,M]Gerbier, Balthazar. Counsel & Advise to all Builders. 1663.

Contains the earliest list of prices for performing various operations. Useful, too, for an indication of colours and techniques of the time.

075 [D,G,H]Gettens, Rutherford J., and E.W. Fitzhugh. "Azurite and Blue Verditer." Studies in Conservation, vol. xi, 1966: 54-61.

One of a number of papers devoted to the history and characteristics of pigments used by the artist and house-painter. This deals largely with the naturally occurring variety of this copper carbonate pigment, but describes in brief the physical appearance of the artificial version. Three microchemical tests are given, together with data on the characteristics displayed under the various methods of analysis. [See also Gettens: 079, and Mactaggart: 104.].

076 [C,D,G,H]________, and George Stout. Painting Materials, a Short Encyclopaedia. New York, Dover Publications Inc., 1966.

Whilst designed for the serious artist, this work provides a mass of useful information for the student of pigments. The references are especially helpful for even more detail.

077 [D,G,H]________, H. Kuhn, and W.T. Chase. "Lead White." Studies in Conservation, vol. xii, 1967: 125-39.

One of a number of papers devoted to the history and characteristics of pigments used by the artist and house-painter. This deals with the chief constituent of house-painting in great detail, and describes its history, preparation and physical characteristics. Two microchemical tests are given, together with data on the characteristics displayed under the various methods of analysis. [See also Holley: 093, and White Lead...: 172.].

078 [D,G,H]________, R.L. Feller, and W.T. Chase. "Vermilion and Cinnabar." Studies in Conservation, vol. xvii, no. 2 (May 1972): 45-69.

One of a number of papers devoted to the history and characteristics of pigments used by the artist and house-painter. Although too expensive to have been used a great deal, it was still important as a pigment. The native cinnabar, and its artificial varieties, produced using both the dry- and the wet-processes are discussed. The darkening of vermilion is investigated, and five microchemical tests are given, together with data on the characteristics displayed under the various methods of analysis.

079 [D,G,H]________, and E.W. Fitzhugh. "Malachite and Green Verditer." Studies in Conservation, vol. xix, no. 1 (Feb. 1974): 2-23.

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One of a number of papers devoted to the history and characteristics of pigments used by the artist and house-painter. This deals largely with the naturally occurring variety of this copper carbonate pigment, but describes in brief the physical appearance of the artificial version. The microchemical tests for copper given in the article on Azurite and Blue Verditer [Gettens: 075.] can be used. Data on the characteristics displayed under the various methods of analysis is given, and mention made of the related copper silicate chrysocolla. [See Mactaggart: 104.].

080 [D,G,H]________, and E.W. Fitzhugh, and R.L. Feller. "Calcium Carbonate Whites." Studies in Conservation, vol. xix, no. 3 (Aug.1974): 157-84.

One of a number of papers devoted to the history and characteristics of pigments used by the artist and house-painter. The article mentions the different varieties of calcium carbonate pigment such as whiting, chalk, lime white, and the Japanese shell white and coral. Many photomicrographs are illustrated, a microchemical test given, and data on the characteristics displayed under the various methods of analysis.

081 [F,K]Goethe, Johann Wolfgang von. Goethe's Theory of Colours. Trans. of Zur Farbenlehre by C.L. Eastlake. 1840.

19th century colour theory owed its origins to Goethe's Zur Farbenlehre (1810) and his earlier Beitrage zur Optik (1791). In part vi he explored the Sensual and Moral effects of colour; declaring yellow to be agreeable in rooms, and blue empty and cold. [See Bristow: 036, and Hay: 089.].

082 [F,K]Gow, Ian. "The First Intellectual Housepainter." Interiors (Sept. 1984): 17-22.

A rare account of the Scottish house-painter and colour theorist. Written by the authority on the subject. [See also Hay: 089.].

083 [F,M]Gunther, R.T.. The Architecture of Sir Roger Pratt. Oxford, 1928.

Contains a number of interesting references to late 17th century practices. There is mention of the treatment of ceilings, ironwork, and the practices of marbling and graining. The use of nut oil with white lead is referred to for the production of pale colours.

084 [A,D,G,O]Harley, R.D.. Artists' Pigments c.1600-1835. 2nd edn. Butterworths. 1982.

A key work in the library of the paint/pigment analyst/historian. Literary sources are examined in detail, and an extensive bibliography is given. Chapters are devoted to each family of pigments, with individual histories and methods of manufacture.

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085 [B,D,E]Hasluck, Paul Nooncree. House Decoration: Comprising Whitewashing, Paperhanging, Painting, etc. 1897.

This work, which appeared in several slightly different editions, meets its professed aim of being "a standard authority for the professional painter and decorator". Many of the techniques and materials mentioned would have been used in the 18th century.ix

086 [C,D,G]________. Painters' Oils, Colours and Varnishes. Cassell, 1905.

A more technical work than the one above. Although small, it is very informative, and gives many recipes for the production of pigments.

087 [E,F]Hawkes, Pamela W.. "Paints for Architectural Cast Iron." Bulletin of the Association for Preservation Technology (US), vol. xi, no. 1 (1979): 17-36.

An account of the paints used during the late 19th century to preserve and protect architectural cast iron. Whilst not immediately relevant to our period, many of the practices were derived from earlier works, such as Peter Nicholson's Practical Builder of 1848.

088 [F,L]Hay, D.[avid] R.[amsay]. A Nomenclature of Colours, Hues, Tints, and Shades Applicable to the Arts and Natural Sciences, to Manufactures, and other Purposes of General Utility. Edinburgh, 1845.

A book of colour samples, many of which are named. Therein lies its importance. Instead of relying on 20th century interpretations of colour names, one can see examples of what was felt to be "drab colour", "Sage green", "olive" etc.

089 [A,D,E,F,K]________. The Laws of Harmonious Colouring Adapted to Interior Decorations, with Observations on the Practice of House Painting. 6th edn. Edinburgh and London, 1847.

This edition contains a large section on house-painting, which is not dealt with in the earlier ones. It was sufficiently highly-regarded to be considered by Loudon as one of the three most important works on the subject. [See Gow: 082, Loudon: 101, and Selden: 141.].

090 [A,C,D,G]Heaton, Noel. Outlines of Paint Technology. Charles Griffin, 1928.

This work was originally intended to form the seventh edition of Hurst's Painters' Colours, Oils, and Varnishes [Hurst: 094.], but as it progressed it became clear that a

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major revision was necessary. The format is similar - it is divided into three parts, and contains very detailed information on pigments, their properties and preparation; oils, solvents and resins; and paints and varnishes. It is one of the few technical works that should form part of the analyst's library.

091 [H]Hey, Margaret. "The Analysis of Paint Media by Paper Chromatography." Studies in Conservation, vol. iii (1957-8): 183-93.

The analysis of paint media is more difficult than that of the pigments that they bind. The techniques outlined explain the methods of assessing the presence of proteins (egg and glue), oils, and resins. Several examples taken from various types of artefacts are given, including paint samples from the Pompeiian Library in Packington Hall.

092 [B,E]Higgins, W. Mullinger. The House Painter. 1841.

There are several sections of this work that are especially useful, in particular: the Description of the Brushes Employed, pp.144-8; the Preparation of Surfaces and Painting, pp.149-53; and Graining and Marbling, pp.154-74. The description of the process of "Flatting" is especially interesting.

093 [C,G,H,O]Holley, Clifford Dyer. The Lead and Zinc Pigments. Chapman & Hall Ltd., 1901.

A very detailed work containing everything that a paint analyst/researcher is likely to need on the major constituent of oil paint. [See also Gettens: 077, and White Lead...: 172.].

094 [A,C,D,G]Hurst, George H.. Painters' Colours, Oils and Varnishes. 1892.

As mentioned above [Heaton: 090.], there are great similarities between the two works. This appeared in six editions, the later ones revised by Noel Heaton. The chapters on individual pigments are very detailed, giving information on the chemistry, preparation and use of each. Analytical tests to determine the presence of individual pigments are outlined, together with tests for permanency or durability. Although dated, it is a very useful work for the specialist.

095 [D,E,F,G,K,L]Jennings, A[rthur] S[eymour]. Paint and Colour Mixing. Charles Griffin, 1906. 3rd edn. ca.1913.

The author wrote many works on the subject of paint and colour. He set out to professionalize the trade and to standardize colour names. Chapters are devoted to the composition of paint, and its manufacture; the nomenclature of colours [See also Hay: 088.]; the mixing of each family of colours; graining; paint recipes; and information on the testing of paints and pigments. The third edition is the most useful for the 14 pages

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of colour samples that it contains. Whilst most relevant to a study of late 19th century paint and colour, much is applicable to earlier paints.

096 [N]Kellett, J.R.. "The Breakdown of Gild and Corporation Control over the Handicraft and Retail Trade in London." Economic History Review, Second series, vol. x. (1957-58): 381-94.

The author cites the Great Fire as being significant in the decline of the control exercised by the trade guilds; however, it was not until 1856 that it was relinquished completely. [See also Dobson: 056, and Englefield: 064.].x

097 [D,G,H]Kuhn, Hermann. "Verdigris and Copper Resinate".Studies in Conservation. vol. 15, no. 1 (Feb. 1970): 12-36.

One of a number of papers devoted to the history and characteristics of pigments used by the artist and house-painter. Although not used by the latter as much as is commonly believed, especially after the discovery of the bright Emerald green in the early 19th

century, it can be found on painted furniture. This article deals with the basic verdigris formed by the action of acetic acid on copper, and the crystallized or distilled variety, which is made by dissolving this basic type in the same acid. Various tests are given for its identification, together with data on the characteristics displayed by the different varieties.

098 [E,M]Laxton, W.R. The Improved Builders' Price Book. 2nd edn. 1818.

Contains a number of interesting details, namely: a price for "fresco staining" Roman cement; for different coloured distempers; for flatting twice; and for graining and marbling in different styles. Comments are also made on the need to ventilate rooms that have been painted. This work appeared in many editions throughout the century.

099 [M]Leadbeater, J.. The Gentleman & Tradesman's Compleat Assistant. 3rd edn. 1770.

Chapter v., "Of Painters Work", contains instructions on measuring painters' work, and a comprehensive list of their prices. It is particularly important in its description of the semi-prepared primer and undercoat obtainable from colour-shops in London, together with their price and coverage. It also contains a list of semi-prepared colours, and their prices that appears to have originally come from Salmon: 139. [See also Bristow: 021.].

100 [M]Leybourn, William. A Platform for Purchasers, Guide for Builders, Mate for Measurers. 1668.

Contains an early list of painters' prices. It is interesting for explaining how painters measure their work..."they run a string over all where the brush goes". [See Neve: 108, for more on this.].

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101 [F,G]Loudon, J.C.. Encyclopaedia of Cottage, Farm and Villa. 1833. 1846 edn. pp.262-81 & 1014-18.

What information there is on painting largely concerns the treatment of cottages. There are a number of interesting hints to the decorative trends of the time. The author cites the following works as being the most helpful: The Laws of Harmonious Colouring [Hay: 089.], The Decorative Painters' and Glaziers' Guide [Whittock: 174.], and The Painter & Varnisher's Guide [Tingry: 155.].

102 [F,G]Louw, Hentie. "Colour Combinations." Architects' Journal. July 1990: 44-53.

A comprehensive account of the painting of exteriors between the late 16th and the early 19th centuries. [See also Baty: 012, Baty: 013, Burton: 042, Sickle: 142.].

103 [D,E]Mackenzie, Colin. Five Thousand Receipts in all the Useful and Domestic Arts. 5th edn. 1823.

A very detailed work providing recipes and techniques for a large number of tasks. Twenty five pages are devoted to the preparation of paint and colours for house-painting. He appears to have drawn heavily from French sources, notably Cadet-de-Vaux: 045, Watin: 160, and les Annales de Chimie.

104 [D,H]Mactaggart, Peter, and Ann Mactaggart. "Refiners' Verditers." Studies in Conservation 1980. (vol. xxv, 1980), pp.37-45.

The authors examine early accounts for the preparation of blue and green verditer, and describe some of their attempts to reproduce them. [See Gettens: 075, and 079.].

105 [A,D,G,H]________. A Pigment Microscopist's Notebook. 5th Revision. Mac & Me Ltd., Welwyn, Herts. 1990.

Possibly the most useful work for anyone attempting the microscopic identification of pigments. Only available to students attending the Polarising Microscope course.xi

106 [A,B,D,G,O]Mayer, Ralph. The Artists' Handbook of Materials and Techniques. 5th edn. rev. & exp., Faber and Faber, 1991.

An extremely useful work with much information on pigments and media. Although a modern work, it assists greatly with an understanding of the characteristics of many early materials.

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107 [H,I]Mosca, Matthew. "Historic Paint Research: Determining the Original Colors." Old House-Journal. (April 1981): 81-83.

The discoloration of oil-based paints is discussed, and the need to recognise and overcome this is emphasised. The process of paint analysis is outlined, including the technique of cratering. The discovery of stencilling and other forms of decorative painting can often be made by the examination of a surface under "raking light" with the aid of a torch.

108 [E,M]Neve, Richard. The City and Countrey Purchaser, and Builder's Dictionary. 2nd edn. 1726. Facsimile ed., Newton Abbott, Devon, David & Charles, 1969.

The following entries contain useful information on the art of painting: Iron, Lime, Marble-Colour, Painting, and Plastering. Some prices for painting are given, together with instructions for painting exterior woodwork, and for measuring work. The latter is taken from Leybourn: 100.

109 [E,F]Nicholson, Peter. "Painting." In vol. II of An Architectural Dictionary. 1819: 415-17.

A very clear, brief, account of the process of house-painting. Particularly interesting is the description of having to let new plaster dry out naturally over two to three years before applying oil paints. This fact is rarely mentioned in texts [See Loudon: 101.] and has implications for restoration work.

110 [B,E,M]________. The New Practical Builder. 1823. Appended is "The Practical Builder's Perpetual Price Book".

A facsimile of the first part is contained in Ian Bristow's chapter of Jack Bowyer's book [Bristow: 027.]. The Price Book contains a large number of detailed charges, and comparison with the prices for 1803 given in Englefield [Englefield: 064.], for 1813 [Taylor: 150.] and for 1833 [Bennett: 016.] show how little prices changed during this period.

111 [E]________. The Mechanic's Companion. Oxford, 1825.

Contains a clear, step by step, account of the process of house-painting.

112 [E]________. The Builder's & Workman's New Director. 1834. 1854 edn. 148-55.

This work is similar in content to the author's The New Practical Builder and 27

Workman's Companion of 1823. [See Bristow: 027.] House painting practices of the time are clearly and succinctly detailed.

113 [M]Pain, William, & James Pain. British Palladio. 1786: 14.

Contains a list of painters' prices. Interesting for reference to such processes as "flatting" and "sanding" [See Bristow: 023, and Towers: 156.].

114 [E,F]"Paint Color Research and House Painting Practices." Bulletin of the Association for Preservation Technology (US), vol. i, no. 2 (1969): 5-20. [No authors given.]

A large number of references from early American sources, with extracts from inventories, letters, advertisements, specifications and early do-it-yourself books.

115 [B,E,F]The Paper Hanger, Painter, Grainer and Decorator's Assistant. 2nd edn., 1879.

In common with several other titles that appeared at the end of that century, this work is particularly helpful for its detailed instructions on the making and application of distemper and oil paint, the mixing of colours, the imitation of wood and marble, varnishing and gilding. Whilst much attention is given to late Victorian decoration, it is nonetheless very relevant to the study of 18th century house-painting.

116 [E,F]Papworth, Wyatt. "An Attempt to Determine the Periods in England, when Fir, Deal & House Painting were First Introduced." Transactions of the RIBA. 1st series, vol. viii (1857-8): 1-13.

This paper starts with a short history on the practice of house-painting. He quotes from Leybourn [Leybourn: 100.] and Primatt [Primatt: 134.] for his early sources. The process of painting and preparation is described clearly, and mention made of zinc white as a non-toxic alternative to lead. Graining and marbling are traced back to the end of the 16th century.

117 [F,O]Parissien, Steven. Paint Colour. 2nd edn. (Rev. with Patrick Baty). The Georgian Group. 1991.

A pamphlet that gives a brief history of the use of paint colours during the 18 th century. Information is given on the restoration of internal and external paintwork, and a short bibliography is provided.

118 [B,E,F,G]Pearce, Walter J.. Painting and Decorating. 1898.

Whilst obviously a later work, this is one of the best for giving a feel for the materials in use by the 18th century house-painter. Everything from scaffolding poles to colour mixing is covered, and there are many illustrations.

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119 [A,D,G,O]Penn, Theodore Zuk. "Decorative & Protective Finishes 1750-1850: Materials, Process & Craft". M.A. diss., University of Delaware, 1966. (This was also the title of an article in APT Bulletin vol. xvi, no.1 (1984), 3-46.)

This work is very similar to an earlier thesis [Candee: 047.]. It consists of an encyclopaedia of finishing materials used by the painter and varnisher during the period. Each material is introduced to explain its properties and uses, and significant historical data is given about its manufacture. The second part explains how these materials were processed to form decorative and protective finishes. Although an American work, much of the information is relevant to English usage, and many of the references are also English.

120 [O]Perrault, Carole L.,(comp.) A Selected Bibliography on Architectural Painting for Historic Structures. U.S. Department of the Interior, Heritage Conservation and Recreation Service, 1976. [6 pp.].

A short bibliography designed to provide information on the kinds of resources available to those interested in the history of architectural painting practices; paint materials and technology; paint research and documentation; and paint preservation, repainting and maintenance.

121 [H,O]________. "Techniques Employed at the North Atlantic Historic Preservation Center for the Sampling and Analysis of Historic Architectural Paints and Finishes." Bulletin of the Association for Preservation Technology (US), vol. x, no. 2 (1978):6-46.

A lengthy account of the process for taking cross sections for analysis. The samples are mounted in white microcrystalline wax, instead of the resin used by most analysts today. With this exception the techniques described are very similar to those used now. The references given in the footnotes are particularly useful.

122 [E]Peterson, Charles E.. "Early Sanded Paint Finish". Journal of the Society of Architectural Historians, (American notes section) vol. ix, no. 3 (Oct. 1950) 23-24.

A short article on the process of "sanding" in order to imitate stone and increase the durability of a paint film. [See also Baty: 012, Bristow: 023, Flaherty: 071, Welsh: 166, and Wyatt: 176.].

123 [C,H,I]Phillips, Morgan W..xii "Discoloration of Old House Paints: Restoration of Paint Colors at the Harrison Gray Otis House, Boston." Bulletin of the Association for Preservation Technology (US), vol. iii, no. 4 (1971): 40-47.

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An account of the yellowing effect that oil has on paint films, especially those put in darkness by the application of later coats. This can be bleached out by exposure to daylight or UV light. The assumption that all old paints were muddy is incorrect; often colours were softened by the addition of lampblack for example. Likewise, although lead paint tends to retain brushmarks, one should not be too heavy-handed in restoration. Light enters the paint film and passes through all the layers. The use of chalk as an extender increases the translucency. In restoration the use of the same ingredients as the original, including pigments of the same particle size is essential. Colour matching with modern pigments will produce at best a muddy colour, and one that will fade in a different way to the original. At least, if one produces a slightly inaccurate match using original pigments, one will have produced a colour of the period. The use of protective glazes is also discussed, as is the fashion for flat finishes.

124 [C,H,I]________, and Christopher Whitney. "The Restoration of Original Paints at Otis House." Old-Time New England, (Summer, 1971): 25-28.

This contains almost word for word the text of the above article. [Phillips: 124.].

125 [H]________, and Norman Weiss. "Some Notes on Paint Research and Reproduction." Bulletin of the Association for Preservation Technology (US), vol. vii, no. 4 (1975): 14-16.

A short article explaining the process of "cratering" in order to count the number of paint layers.

126 [H,I,J,O]________. "Problems in the Restoration and Preservation of Old House Paints." In Preservation & Conservation: Principles & Practices. Washington, The Preservation Press, 1976: 273-85.

The traditional method of reproducing the colour of early house paints was to scrape clean a sample of the old paint and to match its colour. The author explains why this will lead to inaccuracies. He discusses the choice of pigments in paint restoration, the texture and optical characteristics of early finishes, and the problems in the preservation of surviving paint. The references given are particularly useful for further study of the practical problems encountered by conservators.xiii

127 [H,I,J]________. "Brief Notes on the Subjects of Analyzing Paints and Mortars and the Recording of Moulding Profiles." Bulletin of the Association for Preservation Technology (US), vol. x, no. 2 (1978): 77-90.

The brief section on paint analysis points out how it is not always possible to record accurately an old paint colour using the Munsell system. This type of inaccuracy, compounded with the painter's inaccuracy in matching the Munsell colour sample often results in a colour less related to any kind of historical reality than "an appropriate period colour". Indeed, considering the changes that buildings undergo, should early colours always be used?

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128 C,I,J]________. "Acrylic Paints for Restoration." Bulletin of the Association for Preservation Technology (US), vol. xv, no. 1 (1983): 3-11.

The problems of using traditionally formulated paints for the restoration of historic paintwork are discussed. It may be that a sound knowledge of the characteristics of a modern paint system, such as an acrylic emulsion, will enable the architectural conservator to produce tolerable facsimiles. Whilst he does not propose that high grade acrylics are necessarily superior to other paints for restoration, he reports on three instances where such paint displayed some admirable property of adhesion, weather resistance, or appearance. The characteristics of typical acrylic paints are outlined in detail, and attention drawn to their disadvantages.

129 [H,I,J]________. "The Repainting: [of the Lansdowne House Drawing Room] Materials and Colors. Philadelphia Museum of Art Bulletin. vol. 82, nos. 351-52 (Summer 1986): 47-51.

An explanation for the use of modern (acrylic and gouache) paints in the redecoration of the Adam room now installed in the Philadelphia Museum of Art. The main reasons given were: a) colour stability and the fact that the cost of repainting could only be borne by the museum once a century; b) the need for coatings to be reversible especially around the painted decorations by Zucchi; c) the covering power and handling characteristics of gouache. There is a detailed account of the elaborate formulation of the acrylic paints in order for them to resemble the original, both in medium and in pigmentation. Emphasis was placed on the "picking in" of the mouldings rather than the modern practice of "picking out". The author concludes that Adam's chromatic message is now conveyed to the viewer in the way that he had originally intended. [See Phillips: 128.].

130 [A,E,M]Pincot, John. Pincot's Treatise on the Practical Part of Coach & House Painting. ca.1811.

A rare surviving pamphlet designed to "explain the easiest and cheapest method of painting...by which gentlemen, builders and others may direct, and persons of moderate capacity may understand..." It is especially useful for its information on coach painting, but the paragraphs on house-painting are of interest. It also contains a number of prices.

131 [A,D,H]Plesters, Joyce. "Cross Sections and Chemical Analysis of Paint Samples." Studies in Conservation, vol. ii, (1956): 110-57.

One of the first published works on the subject, and still quoted. The tables of micro-chemical tests are enormously helpful to the paint analyst. [See also Hey: 089, and Whitehead: 173.].

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132 [E,F]The Plumber, Painter, and Glazier. Houlston and Wright,1865.

A very useful little work with 40 pages devoted to the methods and materials of the trade. The introduction is interesting for its comments on the recent appearance of large firms who were able to undertake the "entire repair and renovation of a house".

133 [D,H]Pocock, R.W.. Ochres, Umbers and Other Natural Earth Pigments of England and Wales. Wartime pamphlet no. 21. Department of Scientific and Industrial Research. Geological Survey of Great Britain. January 1942.

An account of the natural mineral pigments including such materials as ochres, umbers and siennas found in the United Kingdom. A detailed list of the quarries, mines and deposits containing these is given, together with a short history and an indication of the depth of the relevant strata.

134 [F,M]Primatt, Stephen. The City & Country Purchaser & Builder. 1667.

Contains a very early list of painters' charges. These are, unsurprisingly, very similar to those in Gerbier: 074. He makes reference to the use of an expensive blue colour in oil, this may be an indication of the use of smalt for metal work. [See Papworth: 116.].

135 [D,F]Prizeman, John. Your House, an Outside View. Quiller Press,1974.

The chapter on Colour history contains a number of interesting facts on exterior painting. The list of colours used must be treated with care however, as many were artists' pigments.

136 [D,H]Rees-Jones, Stephen G.. "Early Experiments in Pigment Analysis." Studies in Conservation, vol. 35, no. 2 (May 1990): 93-101.

At the beginning of the 19th century some of Europe's leading scientists became interested in the examination of artists' pigments. This article compares the work of John Haslam in 1800 with Sir Humphry Davy's in 1814.

137 [A,E,F]Reynolds, Hezekiah. Directions for House and Ship Painting. New Haven, Mass., 1812. Reprinted by the American Antiquarian Society, Worcester, Mass., 1978.

The earliest known American publication on house and ship painting compiled by a practising New England craftsman and not based upon English printed sources. It is particularly important for giving quantified recipes, instead of just saying "you may

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make the colour dark or light as you please." The methods described are probably the clearest description of 17th and early 18th century ones found. [Bristow: 029.].

138 [F,L]Ross, M.. Distemper Samples and Accompanying Letter to Robert Vans Agnew esq., Edinburgh, 21st April 1807. Stenhouse Conservation Centre, Edinburgh.

These form part of an important collection of hand-painted colour cards that survives from 1807. The letter that accompanied the cards explains that they are available with a gloss or without, and that the fashionable colours for plaster walls are the stone and greys. Various charges are outlined. [See also Clason: 051.].xiv

139 [F,M]Salmon, William. Palladio Londinensis: or, The London Art of Building. 1734.

The section on painting is especially interesting for its list of semi-prepared colours available from Alexander Emerton. [See also Bristow: 021, and Leadbeater: 099.].

14 [M]________. Vade Mecum: or, the Compleat and Universal Estimator. 4th edn. 1760: 47-48.

Contains a few prices for painting.

141 [F,H,I,J]Selden, Marjorie Ward. The Interior Paint of the Campbell-Whittlesey House, 1835-1836, with Reference to the Procedures of House Painting Prior to 1836. Edited by Helen C. Ellwanger. 1949. 2nd edn. Publication no 1. New York, The Society for the Preservation of Landmarks in Western New York. 1970.

An examination of the paint found on the walls of a house built in 1835-36. It was understood by those undertaking the restoration of the house that a knowledge of early house-painting practices was essential before work could proceed. The three standard books on the subject [See Loudon: 101.] are mentioned, and relevant passages quoted.

142 [G,O]Sickle, Harvey van. Regency Building Colours: a Review of Documentation. Unpublished report for Messrs. Carden & Godfrey, May 1986.

A very detailed study of the colours and finishes used on the exterior of London buildings during the Regency. [See also Baty: 012, Bessey: 018, Louw: 102, Summerson: 149, and Wyatt: 176.].

143 [F,M]Skyring, W.H.. Skyring's Builder's Prices. Various editions.

This was published many times throughout the century, and comparison of the various editions enables one to spot changes in fashion and the availability of new pigments. The three editions consulted were the 1819, 1831 and 1854 editions.

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144 [A,B,D,E][Smeaton, G.A.]. Painter's & Varnisher's Pocket Manual. Knight & Lacey,1825.

This was amongst the earliest of the nineteenth century house-painters' manuals that were not entirely derivative. The working practices and materials that were to remain largely unchanged for another hundred years are given in a very clear and straightforward manner. It contains numerous recipes, and tests for the detection of adulteration in oils and pigments. It also draws attention to the hazardous nature of several of the materials of the trade. Useful for its recipes for named colours. Contains a recipe for Milk paint that has been taken from Cadet de Vaux [Cadet: 045.].

145 [A,B,D,E]________. Painter's, Gilder's & Varnisher's Manual. M. Taylor, ca.1827.

This is a very similar work to the Painter's & Varnisher's Pocket Manual, and appears to be a development of it. It gives a clear idea of the working practices and materials of early nineteenth century house-painters, which, with few exceptions was largely unchanged from the previous century. This work appeared in several editions and forms during the 1820s and 1830s, and was reprinted over twenty five times in the United States, with many alterations.

146 [A,B,E,F]Smith, John. The Art of Painting. (The Art of Painting in Oyl.) 1676. 2nd edn. 1687. 3rd edn. 1701. 4th edn. 1705. 5th edn. 1723. 9th edn. 1788. (Rev. Butcher), 1821 & 1825.

A work that appeared in many editions, with very few changes, between 1676 and 1788. It was written "that all Persons may be able, by the Directions, to paint in Oil Colours, all Manner of Timber-Work; such as Posts, Pales, Palisadoes, Gates, Doors, or any Thing else that requires either Use, Beauty, or Preservation from the Violence or Injury of the Weather." Several of the chapters are written with the painting of sundials in mind, and it is not always clear when he is writing about the painting of these, or of exterior work generally. The later editions [Butcher: 043.] make little mention of developments in either materials or taste; for example, no mention is made of Prussian blue, nor of the taste for flat finishes. It reflects late 17th century painting practices. [See Bristow: 029.].

147 [B,E]Spon, Ernest. Workshop Receipts. 1873.

A very interesting relic of a much earlier period. Recipes have been taken from many sources, Cadet-de-Vaux [Cadet: 045.], and Vanherman [Vanherman: 158.] amongst others, both rather archaic by this date. The lists of pigments used by the house-painter and the colours that these could achieve are largely those of the previous century. The detailed instructions for the painting of plaster give one a clear account of a complicated procedure that survived into the 1920s.

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148 [E,G]Stuart, Robert. [Robert Meikleham] A Dictionary of Architecture. ca.1835.

Under "Painting" there is a short account of the use of distemper or "water colour". Contains a recipe for potato-based paint.

149 [F]Summerson, John. John Nash. 2nd edn., G. Allen & Unwin, 1949.

Chapter xi contains an extract from an original lease that explains Nash's intention for the treatment of the Regent's Park facades. Unsurprisingly it is very similar to the painting specification for the Athenaeum. [See Sickle: 142, and Wyatt: 176.].

150 [M]Taylor, I.. Builder's Price Book. 1813 edn. corrected by J.Taylor.

Contains a very comprehensive list of prices relating to painting. Distemper prices are given under the section dealing with Plasterers', while under Painters', there are prices for such things as the graining of hand rails, the "sanding" of stucco, and flatting in various colours.

151 [H]Taylor, Thomas E., Jr., and Frank S. Welsh. "Paint Investigation - Three Methods." Association for Preservation Technology (US), Technical Note 10, Communique, vol. xv, no. 6 (1986): 21-22.

A brief note on the various techniques used for the investigation of paints and finishes. Three different methods are outlined: a) The Research Survey Method, b) The Microscopical Study Method, and c) The Microchemical Analysis Method. It is stressed that the most difficult part of the paint analysis is the accurate determination of the sequence of paint layers, i.e. which is the priming coat, the various undercoats and the finish coat. This has been adapted from a presentation by Frank Welsh to the Washington Chapter APT annual seminar "American Architectural Paints and Finishes," Washington D.C., Oct. 25, 1986.

152 [C,D,G]Terry, George. Pigments, Paint and Painting. Spon, 1893.

A very detailed work that gives recipes for the preparation of a considerable number of pigments for the use of both artists and house-painters on an industrial scale. Vehicles and dryers are also examined, and there is a chapter on the application of paint. Of most use to anyone wanting to make batches of obsolete pigments for testing purposes.

153 [D,I]Thomas, Anne Wall. Colours from the Earth, the Artist's Guide to Collecting, Preparing, and Using Them. New York. Van Nostrand Rheinhold Company, 1980.

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A very interesting work designed for anyone wanting to prepare their own earth colours. The results achieved would, presumably, be closer to the early pigments than the modern "micronised" ones.

154 [F]Thornton, Peter. Authentic Decor: The Domestic Interior 1620-1920. Weidenfeld and Nicolson, 1984.

Interesting for the large number of reproductions of views of interiors, although many are European rather than English.

155 [A,B,D,E]Tingry, P.F.. Painter's and Colourman's Complete Guide. 1830.

This was the 3rd and revised edition of The Painter's and Varnisher's Guide, which, in turn, was the English translation, of 1804, of Traité théoretique et pratique sur l'art de faire et d'appliquer les vernis. Geneva, 1803. It was one of the three works regarded by Loudon as being the most useful [Loudon: 101.]. The earlier editions are more Continental in their outlook, but the 3rd was "corrected and improved by a practical chemist" and features many of the new pigments of the 19th century. [Bristow: 029.].

156 [B,E]Towers, W. and J.T. Towers. Painting and Graining. 1830.

Contains a very clear account of the process of flatting.

157 [B,D,E]Valuable Secrets Concerning Arts and Trades. 1780.

Contains a large number of recipes and directions for applying the results. Instructions are given for, amongst other things; the imitation of porphyry and serpentine marble; the process of making a large number of pigments, such as indigo, verdigris, and brown pink.

158 [A,B,D,E,F]Vanherman, T.H.. The Painter's Cabinet, and Colourman's Repository. 1828. (Renamed: Every Man his Own House-Painter and Colourman. 1829).

Often quoted. Very thorough work dealing with all aspects of house-painting. There are chapters on: the manufacture and tinting of "anti-corrosive" and "aromatic" paints; zinc - the non-toxic alternative to lead paint; the imitation of wood and marbles; oils; varnishes and house paints. There is also an early mention of barytes as an extender in paints. A very scarce work.

159 [O]Volz, John. "Paint Bibliography." Newsletter of the Association for Preservation Technology (US), supplement, vol. iv, no. 1 (February 1975). 25pp.

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Bibliography of 457 works primarily from material in Avery Library and New York Public Library. Many of the works included are English.

160 [A,B,D]Watin, Jean Felix. L'Art du peintre, doreur et vernisseur. [The Art of the Painter, Gilder and Varnisher]. Paris, 1772.

New editions in French up to 1823. A highly influential work, which although containing many examples of Continental practices, describes colour mixtures that reflected clearly those employed by Adam and his contemporaries. [Bristow: 029.] Several of the elaborate varnishing methods can be discounted as being uniquely French, as can the description of multi-coated distemper systems.

161 [H,I,J]Welsh, Frank S[agendorph]. "Paint and Color Restoration." The Old-House Journal, vol. 3, no. 8 (Aug. 1975): 1, 8-11.

A brief outline of the sorts of paints used in the past and their chief constituents. The equipment required for an analysis of the original colours, and the information looked for in order to distinguish the various layers. The Munsell system of colour notation is referred to as a means of recording the colours found. Do-it-yourself analysis is mentioned, with an indication of what is required if samples are to be sent to an analyst for investigation. A case history, that of the Marshalton Inn, a building of ca.1825, is given as an example of the results that can be achieved.

162 [H,I]________. "A Methodology for Exposing and Preserving Architectural Graining." Bulletin of the Association for Preservation Technology (US), vol. viii, no. 2 (1976): 71-75.

The author explains that to remove upper paint layers, one of three processes can be used: manual; chemical; or a combination of the two. He describes the solvents used to assist with the technique.

163 [E,I]_________. "The Art of Painted Graining." Historic Preservation. National Trust for Historic Preservation, vol. 29, no. 3 (1977): 32-37.

A brief account of the materials used in the imitation of wood using paint. Several examples of American houses where graining was carried out between 1760 and 1860 are listed. The article finishes with an account of the restoration of the original graining at Thomas Jefferson's house, Monticello, and mentions the process of in-painting, where the original graining was missing. [See also Welsh: 171.].

164 [F]________. "18th Century Black Window Glazing." Bulletin of the Association for Preservation Technology (US), vol. xii, no. 2 (1980): 122-23.

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A short article on the use of black putty for glazing, the aim of which was to make fat mullions look thinner and windows larger.

165 [H,O]________. "Paint Analysis." Bulletin of the Association for Preservation Technology (US), vol. xiv, no. 4 (1982): 29-30.

A short explanation of the analysis of early paint layers, and what it attempts to determine, i.e. a) the number of layers of coatings (including prime and finish coats); b) the original colours; c) the distribution of colours and coatings; d) evidence of decorative painting (i.e. graining, marbling, stencilling etc.); e) types of coatings (i.e. oil or water based paints, stains, glazes, varnishes or wallpapers); f) physical characteristics (i.e. gloss and texture); g) approximate date or period of each layer. A bibliography of works published in earlier APT bulletins is given at the end of the article.

166 [F,H,I]________, and Charles L. Granquist. "Restoration of the Exterior Sanded Paint at Monticello." Bulletin of the Association for Preservation Technology (US), vol. xv, no. 2 (1983): 3-10.

A detailed account of the techniques adopted for the removal of the paint from the exterior of Thomas Jefferson's house at Monticello. Many of the early layers were "sanded", i.e. dry river sand had been thrown onto a surface of wet oil paint in order to give both the appearance of stone, and to provide a durable finish. Experiments to reproduce this are discussed, and the final procedure outlined. The footnotes contain the text of a note by George Washington, dated 1796, on the process of sanding. [See also Baty: 012, Bristow: 023, Flaherty: 071, Peterson: 122, and Wyatt: 176.].

167 [E,F,H]________. "Authentic Paint Colors for Historic Buildings." Newsletter of the Pennsylvania Trust for Historic Preservation, vol. 1, no. 4 (1984).

A brief explanation of the origins of paint, original paint colours and the purpose of paint analysis.

168 [H,J]________. "Who is an Historic Paint Analyst? A Call for Standards." Bulletin of the Association for Preservation Technology (US), vol. xviii, no. 4 (1986): 4-5.

Is he/she an architectural historian, a chemist, a painter, a preservationist, an architect, a conservator or a microscopist ? Today an historic paint analyst can be all or none of the above. It is only by discussing what should be expected of the paint analyst that ambiguities can be avoided. The lack of scientific validity in the article by Nancy L. Doonan [Doonan: 058.] is commented on, and Caroline Alderson's paper [Alderson: 001.] is cited as being a good indication of how preservation students are being guided in their approach to studying architectural finishes.xv

169 [H]________. Paintpamphlet. A Guide for Sampling Old & Modern Paints & Papers for Laboratory Analysis. 1987.

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A booklet designed for potential clients of Mr Welsh. It explains very clearly the procedure of taking paint samples in order to have them analysed.

170 [D,H,I]________. "Particle Characteristics of Prussian Blue in an Historical Oil Paint." Journal of the American Institute for Conservation 27, no. 2, (Fall 1988): 55-63.

Care must be taken in identifying blue pigments in early paint films. The author describes how early Prussian blue was made in a very different way to the modern variety, and therefore its appearance under the microscope is not always as expected. The analysis of the early paint in the Long Gallery at Independence Hall in Philadelphia is described.

171 [H,I]________. "Microchemical Analysis of Old Housepaints with a Case Study of Monticello." The Microscope, vol. 38 (1990): 247- 57.A description of the analysis of the early paints in Thomas Jefferson's house, Monticello. Useful for showing what microchemical analysis can do. [See also Welsh: 163.].

172 [C,D,G]White Lead Publicity Bureau. White Lead Paints. 1934.

A very detailed work on the main constituent of traditional oil paint. In spite of being written as a piece of propaganda, it is important for showing the characteristics and limitations of the pigment. [See also Gettens: 077, and Holley: 093.].

173 [C,H]Whitehead, A.D.. "The Micrography of Paint Films." Journal of the Oil & Colour Chemists' Association, vol. xxii (1939): 139-48.

One of the earliest accounts of the investigation of paint cross sections, and their testing with chemicals to confirm the presence of particular pigments.

174 [A,B,F]Whittock, Nathaniel. The Decorative Painters', and Glaziers' Guide. 1827.

One of the three works mentioned by Loudon as being important for the information it gives on house-painting. After a brief account of the pigments used, the author describes and illustrates many examples of graining and marbling. The chapters on interior and architectural decoration are very revealing for their views on contemporary practice and prejudice.

175 [D,G]Willich, Anthony Florian Madinger. The Domestic Encyclopaedia: or a dictionary of facts and useful knowledge chiefly applicable to rural and domestic economy... 4 vols. 1802 edn.

Early encyclopaediae are a very useful source of information on painting materials. The 39

four volumes of this work are especially helpful.

176 [E,F]Wyatt, Thomas Henry. Specification of External Repairs, Painting, &c., to be done at the Athenaeum Club. ca.1860.

Particularly interesting, because not only does it contain the painting schedule from the 1830 lease, with the directions that the exterior stucco be coloured and jointed in imitation of Bath stone, it also indicates that this approach was to be repeated thirty years later. The window sashes and frames were to be grained in imitation of mahogany and twice varnished. Certain, unspecified areas were to be "sanded" to give the appearance of stone. [See Baty: 012, Baty: 013, Bristow: 023, Louw: 102, and Sickle: 142.].

177 [C,D,G]Zerr, George, and R. Rubencamp. A Treatise on Colour Manufacture. Charles Griffin and Company, 1908.

An immensely detailed work, similar to several others of the time, [Heaton: 090, Hurst: 094, and Terry: 152.] which describes the manufacture of an enormous number of pigments. Essential for the analyst who will require a knowledge of the chemistry of the pigments being investigated, and to the person making up batches of early pigment for comparative purposes.

NOTES

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i This figure seems unlikely to reflect the number of decorative schemes, more likely the number of coats of paint.

ii The last paragraph is particularly relevant today.

iii Dr Bristow published two very important volumes in 1996:a)Interior House-Painting Colours and Technology 1615-1840. Yale University Press.b)Architectural Colour in British Interiors 1615-1840. Yale University Press.

iv Some of these colours have been reproduced by the author’s firm Papers and Paints Ltd, in London, and can be seen in one of their paint ranges. http://www.papers-paints.co.uk/colour_traditional_colours.asp

v Unscientific it might be, but experience has shown that external surfaces were often painted at regular intervals and consideration should always be given to the age of the surface and the number of schemes found (see Note i above).

vi All too often the practitioners of paint analysis are regarded as being “blinkered” in their outlook. This surely gives lie to such an accusation.

vii A brief history of the house-painting trade in London was written by Patrick Baty and can be found here: http://www.scribd.com/full/11355977?access_key=key-fhflk5ae06lja335x3

viii A more complete critique of the chapter on paint can be found here: http://www.scribd.com/full/11350451?access_key=key-1ewmqzoew1sr9c6wws7t

ix Patrick Baty wrote the introduction to the recent reprint of this work. It was published by Donhead Publishing, Dorset in 2001.

x See the link to the above short history of the house-painting trade in London.

xi Later editions have been produced.

xii This author was very touched to have been left Morgan Phillips’ collection of paint colour cards after his untimely death.

xiii See the following link for more on the problems of scraping: http://www.scribd.com/full/11359296?access_key=key-w4bsrciuytqmqflzrst

xiv See Note iv above.

xv A conference was held on 28th April 2000 in London to discuss standards. This resulted in the publication of Layers of Understanding: Setting Standards for Architectural Paint Research. The proceedings were published by Donhead Publishing, Dorset, in 2002.