The Traditional Paint Forum

At the inaugural international meeting
of the Traditional Paint Forum on 2nd December 1994,
it was agreed by the first members that members should contribute to, and receive, an annual journal, Traditional Paint News, and this is now on target for issue to members at the end of October 1995.
In addition, the Forum's committee has agreed that there should be this regular newsletter produced by individual members in turn. See footnote on verso.

THE TRADITIONAL PAINT FORUM
If you are interested in learning more about the Traditional Paint Forum you should write to the Hon.Secretary, Una Richards, c/o Simpson & Brown, 179 Canongate, Edinburgh EH8 8BN.
Membership is open to all and it is international.

TRADITIONAL PAINT FORUM'S 1995 WORKSHOP
The first Annual Meeting and Workshop of the Traditional Paint Forum will take pla ce at Chatham Historic Dockyard on 27th and 28th October 1995. Speakers have been invited from several countries and it is expected to be a lively and informative event. Trade members will be demonstrating traditional skills in djfferent media which may highlight aspects of the debate. The event is open to all. Contact Una Richards, the Honorary Secretary, clo Simpson & Brown, 179Canongate, Edinburgh EH8 8BN.

THE FORTH BRIDGE
The conservation of the historic painted mildsteel structure of one of the world's most famous railway bridges, the Forth Bridge, known to railwaymen the world-over as The Bridge, has become a matter for concern in Scotland, where it is listed as a historic structure of outstanding national historical importance.
The red-oxidepainted, mile-long by 450 feet high structure, which was completed in 1890, costs about £600,000 a year to maintain and presents difficult safety problems for the future. When first constructed, the mild-steel was originally dipped twice in whale oil (it is thought) and then primed twice with Red Lead ground in linseed oil, before coating three times in Red Oxide pigmented linseed oil paint.
The latter paint was continuously applied as maintenance until 1972. Under a new system, the existing paint is blasted away and three coats of iron-oxide alkyd resin paint is applied largely by spray.
In early 1993 it was reported that the repainting was interrupted because of financial cutbacks. The work has recommenced, but the revisions of health and safety standards are raising concerns about long-term feasibility of realistic maintenance painting for the owners, Railtrack PLC, and concerns for the conservation lobby about the protection of the building's historical integrity, in the loss of the original paint, which has proved to be very protective.
There is an argument for returning to the original design specification so that the integrity can be returned and so that that coating can be compared with more modern replacements.

LEAD PAINT
We were told that the Department of Environment for England & Wales may have lobbied the European Commissioners for more comprehensive legislation on lead compounds in paint, and that a consequent Directive may be coming before the European Parliament this autumn, which would ban all lead paint, lead compound pigments and lead in paint, without any derogation for outstanding historic buildings, where such materials are not only inseparable from their historic character and integrity, but also have been shown to be outstanding agents of protection.
The present situation is that, by the previous Directive of February 1992, the manufacture and use of all paints whose base or pigment is Lead Carbonate (white lead) or Lead Sulphate (grey lead) are now banned in the UK, except for use on Grade I or Grade 11* (Scotland Category A) Listed Buildings, Scheduled Ancient Monuments or works of art, but only to maintain or restore historic textures and finishes.
The manufacture and use is nationaly insignificant but important. This move would make this use impossible. Those concerned may be relieved to learn that this idea may have been suppressed. One reads often that lead paint is dangerous. This is quite misleading, perhaps deliberately.
To children, certainly, it may be harmful, but we have removed that risk. There really should be freedom for small manufacturers to responsibly make any historic product so that the historical integrity and character may be maintained or restored.
The very few remaining makers of genuine lead paints will be put out of business if this block directive is agreed, which will cause the total, and irretrievable loss of generations of knowledge, experience and skill in manufacture and application.
Of course there are many excellent historical, traditional paints that can be lead-free, but surely we must ensure that we specify genuine historical material in the repair and maintenance of historic textures and finishes as part of the continued historical integrity of our historic buildings.

SHAKESPEARE'S LIME WASH BRUSH
The Shakespeare Birthplace Trust would like to know what Lime Wash brushes were like in Shakespeare's time. Somewhere there may lurk behind the panelling a 16th century paint brush; if readers think they may have come across such a thing, please let the Forum know. It is likely to be a knot of bristle wrapped around a stick, bound with thread, gut or leather, rather like a model for a besom. A well-known engraving by Hogarth shows William Kent wielding a large brush and splashing the famous passers-by with whitening. Are there earlier illustrations?

HISTORIC PAINT SCHEMES
Modern synthetic emulsion paints pretending to imitate historic colours have been reported seen in historic houses and castles and offered as authentic 'restoration'. This sad state of affairs endorses the need for better understanding and knowledge. It seems a pity that the big manufacturers cannot produce colours and materials for our time and avoid these attempts at matching which are banal and confuse the issue. The old paints are only imitatable by the same often coarse ingredients. On the other hand, perhaps they make it easier to appreciate the real thing when one sees it.
Thirty years ago there was quite a lot of eighteenth century paint to see in old houses. As it wasn't appreciated it was painted out with modern paints in preferred 'Georgian colours'. Once lost, of course, it is hard, if not impossible, to go back.

LEAVE-IT-ALONE
Founded a few years ago now, the memb ers of the 'Leave-lt-Alone Society', advocates of appreciation of surviving historical interiors, in particular, a philosophy reminiscent of that of the founders of the Anti-Scrape lobby of the Society for the Protection of Ancient Buildings (SPAB) more than a hundred years ago, are well represented by Forum member Ian Gow, who is lobbying hard to prevent important surviving paint schemes of the late-nineteenth century, being over-painted. The whole subject of painting conservation is probably just as close to the heart of many members of the Traditional Paint Forum as the paint itself.
-P.M.H.

THE TRADITIONAL PAINT FORUM
Hon. Secretary: Una Richards, c/o Simpson & Brown, 179 Canongate. Edinburgh EH8 8BN
Journal Editor: Patrick B;lty. Papers and Paints. 4 Park Walk, Chelsea. London SWIO OAD

Please Note: SMUDGE is a regular news and information supplement to the annual journal
TRADITONAL PAINT NEWS. Each issue of Smudge is written, in turn, by a member of The Traditional Paint Forum, subject to the control of the Committee. The information is provided in good faith. It is not necessarily the view of other members of the Forum; it is offered only as a contribution to the ongoing debate.