GENUINELY
TRADITIONAL
For many the conservation and restoration
of an architectural scheme is considered satisfactory as long
as the specification includes the use of materials that could
in some way be regarded as 'traditional'.
This
situation leads to a variety of related difficulties. Firstly
the question is what is traditional? Those attending our conferences
will have discovered that there is no definitive answer to such
a question. Traditional evokes dreamy thoughts of a bygone age
where the materials and craftsmen were better, now long lost,
steamrollered aside by the weight of the modern manufacturing
industry.
Whilst
progress has led to the obsolescence of many skills and materials,
it is foolish to imagine that all that is modern is tainted
unwholesomly by commerce. Some of the materials of the past
have been exceedingly dangerous and difficult to use. The fact
is that the manufacturer today is as much driven by the need
for sales as the manufacturer of the past. Today speed of
global
communications coupled with PR machines bombard us with information
we would often like to believe.
On
external fabric, particularly joinery, the protection of the
substrate is the prime purpose of the application of coatings.
Their pigmentation provides a decorative effect, but this alone
is not the raison d'etre. The conservator must balance an approach
that disturbs the visual attributes as little as possible whilst
providing or maintaining protection of the substrate to arrest
decay. Without a substrate the decoration has little chance
of survival.
Modern
coatings are not able to match the inimitable aesthetic characteristics
of the use of a high lead contents paint. However, the technological
advances made by the industry have provided advanced coatings
of lower maintenance and easier application and though visually
differ from earlier treatments, may be far more applicable to
lesser buildings. On the diminishing stock of rare vernacular
through to palatial buildings the difficulties facing the conservator
in attempting to retain character, whilst preserving fabric
exacerbates the selection and use of old and newer technologies.
Today
there are few manufacturers who have not dipped a finger in
to the smudge pot of 'traditional' paint. The enthusiastic 'Traditionalist'
is easily ensnared by attempts to do the right thing as they
cast around for dependable support. At this juncture the sway
of the marketing machine can mislead with the prospect of traditional
materials by definition being better.
At
the outset it is vital to determine one's purpose. The evocation
of an authentic scheme will be heavily influenced by our twentieth
century notions of what constitutes appropriate historic treatment.
Thus, for many, Georgian equates with muted pastel shades. Much
fine scholarly work continues to redefine the appearance of
such interiors, yet the perpetuation of a pot of 'old' conferri
ng instant authenticity undermines much of what has been discovered
to date.
Few
things regarding paint can stir up a subjective storm quite
as effectively as colour. What is of paramount importance is
the manner in which a scheme is compiled. Copying any scheme
found in an historic house may seem to be sensible use of research
already undertaken. However, without a full account and justification
of unimpeachable evidence, such decoration is at best an evocation
of a scheme 'inspired' at worst a selection of scraps pieced
together to convince the uninformed of its authenticity.
Texture
and colour, aesthetic characteristics of a coating, are notreadily
assimilated to exactly match the aged coatings of say 200 years
ago. The most diligent combination of art historical and scientific
research can only effect a close resemblance. More often, the
very presence of the word traditional in specification or on
pot of paint, implies and thus misleads the unwary in to the
belief that such a scheme is an authentic recreation of what
had previously existed.
Guard
against perpetuating the myths that manufacturers are so readily
able to sell their materials on. Enjoy evocations of restored
buildings for being just that whatever the material used and
the money spent unless the full evidence is available to support
the treatment.
RICHARD IRELAND - July 1997
THE
TRADITIONAL PAINT FORUM
Third Annual Conference
The Traditional Paint Forum is Collaborating with the Georgian
Group to hold this years conference at Syon House in Middlesex
on Friday and Saturday 7th and 8th November 1997. The theme
for this year's conference is 'The Redecoration of Adam Interiors'.
The first day will focus on the methods and materials of the
late eighteenth century house painter and the second day will
look into the latest research into Adam interiors, and a number
of different approaches that have been taken in their redecoration.
Places for the conference are limited and booking forms are
obtainable from theHonorary Secretary.
THE
TRADITIONAL PAINT FORUM
Hon. Secretary: Una Richards, Simpson & Brown, 179 Canongate,
Edinburgh EH8 8BN
Journal Editor: Patrick Baty, Papers & Paints, 4 Park Walk,
Chelsea, London SWIG OAD
Please
Note: SMUDGE is a regular news and information supplement to
the annual journal TRADITIONAL 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 ~ot necessarily the view of other
members of the Forum; it is offered only as a contribution to
the ongoing debate.
