THE Perry◆Lithgow PARTNERSHIP Conservators of Wall Paintings & Polychrome Decoration

Revised Tender Document

Church of St James the Great Stoke Orchard, Gloucestershire

Conservation of the Nave Wall Paintings

Mark Perry 27th January 2020

1 Langston Lane Station Road Kingham Oxon OX7 6UW T 01608 658067 E [email protected] www.perry-lithgow.co.uk Directors: RP Lithgow ACR FIIC (Mobile: 07768065686) MA Perry ACR (Mobile: (07860877404) Accredited Members of Icon (Institute of Conservation). The Perry Lithgow Partnership Ltd Registered in No. 4761077 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

Contents

1. Introduction ...... 3

2. The Perry Lithgow Partnership Ltd ...... 3

3. Pre-Contract Work ...... 4

4. Main Project ...... 4

5. Wall Painting Conservation Treatment ...... 5

6. Treatment Documentation ...... 7

7. Interpretation & Public Engagement ...... 7

8. Priced Schedule of Works ...... 9

9. Tender Options for Additional Works ...... 9

Appendices

Appendix 1 List of conservation projects on wall paintings, panel paintings and paintings on canvas and stone completed by the partnership since 1983

The Perry Lithgow Partnership 2 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

1. INTRODUCTION

This tender is informed by the following documents:

• Invitation to Tender document, Adam Klups and Stoke Orchard PCC • The Perry Lithgow Partnership, ‘Stoke Orchard Church, Glos –Wall painting condition survey’ (Nov 2019) • Tobit Curteis Associates LLP, ‘St James the Great Church, Stoke Orchard – Condition review of the wall paintings & assessment of the environmental conditions’. (Aug 2019) • David Arnold, Arnold Bartosch Ltd. ‘St James the Great Church, Stoke Orchard – QIR’ (24th May 2017)

The Partners are very pleased to tender for this significant and nationally important conservation project. We have the necessary qualifications, skills, experience and capacity to complete the works to a high standard and to schedule, and we have considerable experience of using the specified treatment processes on numerous similar medieval wall paintings. Mark Perry is particularly familiar with this church, having carried out detailed condition surveys in 1994 and 2019, the latter of which forms the basis of the treatment specification. We believe this makes us ideally suited to carry out the conservation works. A list of all conservation projects completed by the partnership since 1983 is included as Appendix 1.

2 THE PERRY LITHGOW PARTNERSHIP LTD

Directors: Richard Lithgow FIIC, ACR; Mark Perry ACR

Established in 1983 the Perry Lithgow Partnership Ltd operates throughout the UK and Ireland specialising in wall paintings, panel paintings and paintings on canvas and stone. Clients include: Historic England, the National Trust, the Office of Public Works (Ireland), the Church Buildings Council, the Churches Conservation Trust, Friends of Friendless Churches, parish churches, leading conservation architects, cathedrals, local government bodies and private individuals. The partnership acts as Wall Painting Conservation Advisers to the National Trust. We provide a full range of conservation services including, project consultancy, condition surveys, monitoring and technical analysis, photographic and digitised graphic recording.

We have extensive experience on painted schemes dating from the C12th to the C20th. Major projects include: the C19th Stranger’s Gallery wall paintings, House of Lord’s Chamber, and Maclise frescoes in the Royal Gallery, Palace of Westminster; the C16th High Great Chamber Frieze at Hardwick Hall (NT), the C13th Nave and Transept Ceilings and C15th Presbytery and Apse ceilings at Peterborough Cathedral; extensive C13th to C17th wall paintings at St Alban's Cathedral; and the C12th fresco cycle in Cormac’s Chapel, Cashel, Ireland.

We have worked on numerous medieval wall paintings in parish churches throughout England and Wales, many of which have multiple schemes of various different periods, such as are found at St James’ Church. Examples of similar projects include: St. John's Church, Duxford, Cambs; St. Martin's Church, Wareham, Dorset; St. Gregory's Church, Norwich; St Mary the Virgin, West Walton, Norfolk; All Saints Church, Shorthampton, Oxon; Church of St Peter ad Vincula, South Newington, Oxon; St Mary’s Church, Lakenheath, Suffolk and All Saints Church, Burton Dassett, Warwicks. A complete list of all conservation projects can be found in Appendix 1.

The Perry Lithgow Partnership won the 2010 Pilgrim Trust Award for Conservation for our 10 year conservation project on the c.1710 Staircase scheme of wall paintings at Hanbury Hall (NT) by Sir James Thornhill. The Guild Chapel, Stratford-upon-Avon was awarded the 2018 SPAB (Society for the Protection of Ancient Buildings) John Betjeman Award following our conservation of the C15th ‘Doom’ and ‘Erthe upon Erthe’ wall paintings.

The directors make a point of attending as many conferences, site-visits and case-study days as possible in order to expand our knowledge and keep up to date with new materials and treatment processes. We place great emphasis on raising the standards of documentation and have worked in close contact with the National Trust, leading conservation architects, Historic England and the Church Buildings Council in designing formats for condition surveys and conservation records, especially with regard to digitising information, graphic and photographic recording. Mark Perry is an assessor for the Institute of Conservation (Icon) PACR accreditation process. Richard Lithgow is a Fellow of the International Institute for Conservation and a reader for the Icon’s PACR accreditation process. He is also a former co-chair of Icon’s Stone & Wall Paintings Committee.

The Perry Lithgow Partnership 3 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

The Partnership has good long-term working relationships with a number of experienced wall painting conservators whom we employ regularly. Four of our regular assistants are accredited members of Icon in their own right and all the others are properly trained. In addition, we pride ourselves on always having at least one partner on-site throughout a project. If our tender bid is successful, we will provide CVs of the assistant conservators who will be involved in this project.

A list of conservation projects on wall paintings, panel paintings and paintings on canvas and stone completed by the partnership since 1983 are included as Appendix 1.

3 PRE-CONTRACT WORK

3.1 Pre-Contract Meetings Although this is not specified, this tender allows for attendance of 2 No. pre-contract site meetings with the client/Project Team, Church Architect, scaffolders and statutory and funding bodies. From past experience of similar detailed projects, for example at Stratford upon Avon Guild Chapel, we find such meetings to be essential for the smooth-running of a project and have therefore included the cost in our tender.

3.2 Pre-Contract Administration For the preparation of our Health and Safety documentation (see Item 4.3 below); general project co- ordination and graphics and photographic material for detailed recording of condition and treatment during the conservation works. This work is not specified in the invitation to tender document but, as we consider this to be an essential part of all projects, we have included the cost in our tender.

4 MAIN PROJECT

4.1 Programme of Works We understand the wall painting conservation project is scheduled to take place in the second part of 2020. We have both the availability and capacity to carry out the proposed works during this period. However, for obvious reasons, it would be preferable to complete the on-site works before the cold weather in late Autumn/early winter.

We anticipate the remedial treatment works will be completed in 10 weeks by a team of 3 conservators (1 principal, 2 assistants). If necessary, this could be reduced by c.2 weeks by using an additional conservator. At least one of the Directors - Richard Lithgow/Mark Perry - will be on site throughout. The CVs of all assistant conservators involved in the project will be provided on request.

In addition, there would be the input of the student internship or ‘emerging conservator’ (tbc), as proposed in the Invitation to Tender. This is discussed further in Item 4.5 below.

4.2 Site Matters We understand that the PCC will provide any scaffolding required and toilet and welfare facilities, and that electricity will be provided by the Employer free of charge. We are to provide all electrical cables, lighting and other conservation equipment and materials for use during the work. All electrical equipment shall be PAT tested before being brought to the site. We assume that parking will be available for our team in the car park to the south of the church.

4.3 Health and Safety We shall abide by all safety and security measures instituted by the PCC. Prior to work commencing we shall draw up a detailed Health and Safety Plan for the works to the nave wall paintings. The Plan will include the Partnership Health and Safety Method Statement, project risk assessments, Partnership COSHH assessments/site method statements and manufacturer's Health and Safety information for all hazardous materials to be used on the project. Toxic solvents may be used during the removal/reduction of the wax drips on the window sills. To guard against the risk of fumes building up to dangerous levels we will provide adequate fume extraction in the form of extractor fans and flexible duct.

The Perry Lithgow Partnership 4 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

4.4 Insurance The Perry Lithgow Partnership current insurance cover is as follows):

AJ Gallagher (UK) Limited - Art Restorers and/or Conservators Scheme • Employer's Liability £ 10,000,000 • Public Liability/Property Damage £ 5,000,000 • Products Liability £ 5,000,000 • Professional Indemnity £ 1,000,000 • Renewal date 16 March 2020

Also see certificate sent as email attachment.

4.5 Additional Personnel As specified The Perry Lithgow Partnership will commit to providing either: 1. An internship for a student/students of a recognised conservation course, for a period of at least two weeks, and/or 2. Employment on a contract basis to a graduate of a recognised conservation course (an ‘emerging conservator’) for the duration of the project; who finished their studies less than two years prior to the project’s start date.

There are only a few universities that offer appropriate conservation courses, and opportunities for internships may therefore be limited. This is further compromised by the fact that the most highly-regarded of these – the MA in wall painting conservation at the Courtauld Institute of Art (CIA) – has had no students in the 2019-20 academic year. The new intake will not start until October 2020, which will be incompatible with the proposed programme of works at Stoke Orchard. Course administrators at City & Guilds, and the universities at Cardiff, Durham and Lincoln will be approached.

As a long-standing wall paintings conservation company we receive numerous requests from experienced conservators and students both in this country and throughout Europe seeking employment/experience and as a result have a list of possible candidates. We have had, and continue to receive, enquiries from recently- graduated CIA students and have also recently provided work experience/employment to a recent MA Graduate of Cologne Institute of Conservation on a high-profile project on the Maclise frescoes of Waterloo and Trafalgar in the Royal Gallery in the Palace of Westminster. We are therefore confident that, working with the Project Team, we will be able to attract suitable candidates to assist at Stoke Orchard.

Our tender allows for 1 recent graduate/emerging conservator throughout the works. The involvement of a conservation student for 2 weeks (min) is included under Item 8.1 ‘Additional Costs’.

5 WALL PAINTING CONSERVATION TREATMENT

Having only recently carried out the detailed condition survey on which the treatment specifications are based, we did not consider a further visit necessary at this stage, as the condition is unlikely to have altered.

The principal aim of the proposed remedial treatment is to stabilise the paintings in order to prevent further loss and to carry out removal of surface dirt and other accretions, in order to increase the visibility of the paintings. All the various areas and periods of wall painting within the nave will be treated. Unlike in the past, however, there will be no removal of later painted schemes in order to expose earlier decorative layers and each scheme will be treated on its own merits.

As an initial stage of the work, the condition of all areas of painting will be confirmed and the various specified techniques thoroughly tested, before application across a wider area.

The Perry Lithgow Partnership 5 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

5.1 Treatment Method Statement

All as specified:

Light surface clean – Dry methods to remove loose dirt and debris. These will include Wishab™ sponges and a variety of brushes and scalpels. Some wet cleaning may be possible on the plain limewash backgrounds and in areas where the paint layer is stable. Solutions of a mild detergent such as Synperonic A71 may be suitable for treating the more ingrained areas of dirt, e.g. within the window sills.

Wax removal - Trials to remove or reduce the waxy drips from candle wax to be carried out. A mixture of xylene/acetone/propanol in the ratio 5/2/1 has proved a very effective wax removal method in many other cases.

Consolidation of the paint layer – very weak solutions of the acrylic resin Paraloid B722 in acetone have proved an effective method of consolidating powdering pigment.

Reattachment of paint and ground – An acrylic-based consolidant such as Primal B60A3 (e.g. 10%in de-ionised water) is likely to be appropriate for treating the detachments of the later texts because the upper layer paintings are oil-based. Excess consolidant to be removed from the surface to avoid discolouration/shine. Delamination of lime-based layers to be reattached using thin slurries of lime putty after pre-wetting with a solution of denatured alcohol. The treated areas to be then pressed into position and the excess grout cleaned from the surface. Lime slurry is an excellent material for re-attaching large flakes and delaminating lime ground. It is compatible with the original material, it does not impede porosity, also its bulk cushions and supports the ground layer as it is pressed back. Support using Japanese tissue facings may be required during these processes.

Plaster stabilisation –Unstable areas of support plaster will be secured by injecting a grout into the voids between plaster and the supporting substrate. Where necessary a facing of Japanese tissue paper adhered with Tylose MH300 (60ml to 1L water) will be applied to the loose plaster surface. After pre-wetting with an IMS and water solution a lime putty/trass grout to be injected into voids. Trass is a reactive natural pozzolanic additive. The mix and consistency of the grout will vary according to the depth of void and the distance it has to travel while being injected under pressure. Wherever possible the grout will be introduced through existing holes or edges of loss. In some instances, presses may need to be applied either before grouting (to counteract the pressure of the injection process) or immediately after to ensure good adhesion and to minimise the effects of shrinkage.

Removal of residual covering layers - Loosely adhered covering limewash or white overpaint fragments (where appropriate) to be removed mechanically under magnification. Where this is not possible or desirable, a reversible option would be to tone down the most distracting overpaint, using water-based pigments, to reduce the visual impact.

Inappropriate repairs – previous repairs that are failing, crudely applied, texturally- unsympathetic and/or of an inappropriate material to be removed manually and replaced. In some instances it may be possible or preferable to retain the repair and adjust the surface appearance by skimming with lime mortar or applying a suitably-toned limewash.

Plaster repairs - All plaster losses and open cracks to be filled with clean sharp sand/lime putty mortar (c.3:1 mix). The aggregate size will vary depending on the area to be filled. Deep fills to be built up in layers to avoid shrinkage. Suitably coloured limewash grounds to be applied to all new and retained repair plaster.

Reintegration works - Distracting white lacunae within historic painted detail will be toned-down using water- bound mineral pigments in a technique obvious on close inspection. This process enhances the clarity of the scheme without compromising its originality. Also it serves as a visual guide for monitoring future losses. There will be no reconstruction of missing detail. Areas of damaged limewash ground within the St James

1 Synperonic A7 is a product of Croda Lubricants 2 Paraloid B72 is a product of Röhm and Haas 3 Primal B60A is a product of Röhm and Haas

The Perry Lithgow Partnership 6 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

scheme will be reinstated with a new, suitably-toned limewash. Where these occur within painted details, the limewash will be toned down using water-bound mineral pigments, as before. Discoloured previous limewash will be adjusted using new limewashes and watercolour washes.

5.2 Additional Works

From the invitation to tender: • As part of the scheme, which is currently being planned, the west end of the church will be remodelled and the sagging south block of pews will be rebuilt. Conservation practices wishing to tender should bear in mind that this may necessitate their involvement beyond the scope of the recommendations of the attached condition survey, as removal of fixed furniture and dado rails may expose areas of plaster in need of recording and consolidation. Relevant tender should take this into consideration as extra time and cost, which should be separate to the general contingency sum.

Without knowing the extent of these works it is difficult to assess the amount of remedial works required at this stage. We would therefore operate on an average team day rate for this work. It is envisaged that an additional 5 conservator days would be sufficient to cover this aspect. The costs are provided in the Tender Options for Additional Works section of this document (Item 9).

6 TREATMENT DOCUMENTATION

All as specified:

• At the beginning of the project, comprehensive digital elevations of the walls will be prepared for the recording of all aspects of the condition of the paintings before conservation and the nature and extent of the conservation treatment. Condition documentation will be undertaken using an industry standard vector graphic programme such as Adobe Illustrator or CorelDraw. Graphics should be presented in native format and SVG. • A detailed photographic record of the painted decoration before, during and after treatment will be prepared. Images will be stored at high resolution in a standard format (jpeg, bmp, tif etc). • A detailed written record of the work will be undertaken. This will conform to the guidelines in the English Heritage PIL I ‘The Production of Wall Paintings Conservation Documentation’. • As discussed with a member of the Project Team, two hard copies of the final report will be provided for the PCC for distribution. • In addition to hard copies, the full illustrated reports and graphics will also be supplied in PDF.

7 INTERPRETATION AND PUBLIC ENGAGEMENT

7.1 Interpretation • It is hoped that modern technology, such as 3D modelling could be used to help to better understand the paintings and help monitor their conditions. It is anticipated that technology will enable to virtually separate the overlapping layers of paint film and use thus produced material in future interpretation. This may involve light projections or a virtual tour enabling the viewer to fill in the lacunae with reconstructed content. Whilst proposals for the above are not a requirement, suggestions are welcome and should be quoted separately.

We have considerable experience of involvement in image projections and virtual tours at NLHF projects at St Church, Little Missenden, Bucks and the Guildhall at King Edward’s School, Stratford upon Avon, and also the recently installed projections on the nave piers at St Albans Abbey & Cathedral. These can be effective in enabling a better understanding and appreciation of the original wall paintings and are becoming a popular way of interpreting otherwise difficult to explain schemes. The projected reconstruction of the painted decoration within the portals of Amiens Cathedral is a particularly effective and dramatic example (https://en.wikipedia.org/wiki/File:Amiens_iluminacion_fachada_catedral.JPG). However, it should be borne in mind that there is a significant commitment required on behalf of the client. As well as the expense involved, both in the production of suitable images (e.g. art historical research; specialist art work) and the technical production (e.g. specialist lighting designers; technical equipment and expertise)

The Perry Lithgow Partnership 7 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

there is an inevitable on-going maintenance responsibility. An outline of the costs of our involvement at Little Missenden is provided as an example in the Tender Options for Additional Works section of this document.

Nevertheless, lighting projections and /or virtual tours would undoubtedly enhance the visitor experience at St James’ Church, and we would be delighted to be involved in the development process. We would be happy to put the Project Team in contact with the various people and firms involved in producing the interpretation at the sites mentioned previously.

7.2 Lectures and talks As specified, our tender includes an allowance for five one hour long educational site talks. It is understood that these will be ‘informal’ in nature and take place during the working day. The cost for a ‘formal’ post-treatment PowerPoint style presentation is provided in the Tender Options for Additional Works section of this document, which also includes an hourly rate for any additional ‘informal’ talks that may be required during the project, subject to demand.

7.3 Media coverage This item is not specifically included in the invitation to tender document. However, it is clear that such a high- profile project will attract significant publicity and I understand this be both encouraged and welcomed by the Project Team. Our past experience of working with all strands of the media, on projects such as Stratford upon Avon Guild Chapel; St John the Baptist Church, Little Missenden, Bucks and Hanbury Hall (NT) indicate that there is a considerable amount of disruption to the working day. On the advice of the Project Team, a small fee to cover this is therefore included in the Tender Options for Additional Works section of this document.

The Perry Lithgow Partnership 8 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

8 PRICED SCHEDULE OF WORKS

Access scaffolding is not included in the costs and is to be contracted by the client. VAT will be added at the applicable rate.

Conservator Cost Item Totals (Ex Item Church of St James the Great, Stoke Orchard Days (£) VAT) (£) Single Phase Costs 3 Pre-contract work: Site meetings x 2 half days 1 507.00 Pre-contract admin 2 900.00 Total Meetings 3 1,407.00 1,407.00 5.1 Treatment Programme: ▪ East wall 44 15,853.64 ▪ South wall 56 20,177.36 ▪ North wall 49 17,655.19 ▪ West wall 12 4,323.72 Conservation materials 350.00 Sub-total treatment programme 161 58,359.91 58,359.91 6 Documentation (photographic, graphic, written, electronic): On-site 2 957.00 Off-site 5 2,250.00 Materials 150.00 Total Documentation 7 3,357.00 3,357.00 7.2 Public engagement 5 x 1 hour long informal talks incl. initial preparation 1 478.50 478.50 8 TOTAL ALL WORKS (at 2020 rates) (EX VAT) 63,602.41

8.1 Additional Costs It is proposed that a conservation student joins the team for a minimum of 2 weeks. Because of the need for supervision, teaching etc, our feeling is that the student involvement would not reduce the overall treatment time on site. Consequently, we have included the student expense under Additional Costs rather than in the Priced Schedule of Works

The student daily rate that includes a stipend of £30/day, plus all travel and other expenses and PLP overheads, would be £142.08. If the student were to be on site for the 2 weeks indicated, the cost would be an additional £1,420.80.

9 TENDER OPTIONS FOR ADDITIONAL WORKS

The following section covers the items discussed in the main tender document that are, on the advice of the Project Team, to be considered as options.

9.1 Additional Works (re Item 5.2) From the invitation to tender: • As part of the scheme, which is currently being planned, the west end of the church will be remodelled and the sagging south block of pews will be rebuilt. Conservation practices wishing to tender should bear in mind that this may necessitate their involvement beyond the scope of the recommendations of the attached condition survey, as removal of fixed furniture and dado rails may expose areas of plaster in need of recording and consolidation. Relevant tender should take this into consideration as extra time and cost, which should be separate to the general contingency sum.

Without knowing the extent of these works it is difficult to assess the amount of remedial works required at this stage. We would therefore operate on an average team day rate for this work. It is envisaged that an additional 5 days would be sufficient to cover this aspect. Budget cost: 5 conservator days @ £385.10 per day = £1,925.50 + £50 materials = £1,975.50 + VAT.

The Perry Lithgow Partnership 9 St James the Great, Stoke Orchard Wall Painting Conservation Treatment PLP Revised Tender (2020)

9.2 Interpretation (re Item 7.1) Our work at Little Missenden consisted of recreating 6 scenes from the 14th century wall paintings depicting the Life of St Catherine for projection on to the often fragmentary original decoration. An outline of the costs of our involvement in that project is provided simply as an example for guidance for the Stoke Orchard PCC. The cost of research to provide sufficient information to prepare the images to be used as the basis for the projections; production of the artwork and collaboration with the lighting designers and the PCC was £7,000.00 + VAT in 2017.

9.3 Lectures and talks (re Item 7.2) As specified, our tender includes an allowance for five one hour long educational site talks. It is understood that these will be ‘informal’ in nature and take place during the working day. Any additional ‘informal’ talks that may be required during the project, (subject to demand), will be charged at a daily rate of £478.50 + VAT.

A more ‘formal’ PowerPoint style presentation is likely to form part of the post-treatment public engagement process. This would involve a considerable amount of additional preparation work and also the on-site attendance for the presentation itself. We would therefore suggest a fee of £1,623.50 + VAT, to include the off-site preparation, on-site attendance, and all associated expenses.

9.4 Media coverage (re Item 7.3) This item is not specifically included in the invitation to tender document. However, it is clear that such a high- profile project will attract significant publicity and I understand this will be both encouraged and welcomed by the Project Team.

Our past experience of working with all strands of the media, on projects such as the schemes in both the Guild Chapel and Guildhall, Stratford upon Avon; St John the Baptist Church, Little Missenden, Bucks and Hanbury Hall (NT) indicate that there is a considerable amount of disruption to the working day. On the advice of the Project Team, a small fee to cover this is therefore included, as follows:

Work associated with media coverage: 1 day at principal conservator’s on-site rate of £478.50 + VAT

Mark Perry January 2020

The Perry Lithgow Partnership 10 St James the Great, Stoke Orchard Wall Painting Conservation Treatment Appendix 1

ENGLAND & WALES BEDFORDSHIRE Bedford, St. Mary's Church, Bedfordshire County Council. C14/15th wall painting on plaster, architectural scene within a niche in the east wall of south transept. Charlgrave, All Saint's Church, Bedfordshire County Council. Extensive scheme of C14th wall paintings on plaster, depicting saints and apostles, in the south aisle and west wall of north aisle. Dunstable, 20 High Street, Bedfordshire County Council. Early C17th wall paintings on plaster of hunting scenes, transferred onto artificial support; further small panels on display in the public library. BERKSHIRE Ashampstead, St Clement's Church.C13th wall paintings on plaster, depicting the Holy Infancy on the north wall of the nave and the Last Judgement on the chancel arch wall. Basildon Park, National Trust. 1999 acrylic wall painting of Angkor Wat in the tearoom. Brinkworth, St Michael & All Angels Church. C15th north aisle wall paintings. Lime painting on plaster. Compton Beauchamp, St Swithun's Church. ca 1900 decorative wall painting on plaster in the chancel, painted by Lydia Lawrence. Littlecote House Hotel, C18th oil paint on the plaster ceiling of the Dutch Parlour. Ruscombe, St. James Church. C16th painted plaster tympanum, texts and Royal Arms. Early C20th oil painting on plaster depicting angels in a window splay. Wokingham, St Crispin’s School. Uncovering of the Summer and Autumn murals by Fred Millet 1953. Two of a series of three paintings of the seasons on the school walls, commissioned as part of the original school design. Acrylic paint on plaster. BIRMINGHAM Birmingham, St. Philip's Cathedral. C18th painted wooden panel commemorating Sir Robert Walpole. Bournville School. C20th series of twelve frescoes in the assembly hall, painted in 1914 by Mary Sargant Florence and Mary Creighton MacDowall, depicting scenes from the New Testament. BUCKINGHAMSHIRE Amersham, Elmodesham Hall. C18th Staircase ceiling, oil paint on plaster, and painted panelling, oil on wood, depicting classical myths. All considered to be by Sir James Thornhill. Boveney, St Mary Magdalene Church. C14th wall painting of St Christopher. Broughton, St. Lawrence's Church, Churches Conservation Trust. Extensive scheme of C14th, C15th, C16th & C17th wall paintings on plaster throughout the nave: Warning to Blasphemers, St. George, St Dunstan, dado pattern, Royal badges and texts. Chalfont St Giles, St Giles’ Church. C14th wall paintings on s wall of s aisle. Cliveden House, National Trust. C18th oil on canvas panel forming ceiling of garden pergola. Little Missenden, Church of St John the Baptist. Extensive scheme of late C12th-late C17th wall paintings throughout the building, including the Doom, St Christopher, 7 Deadly Sins, Annunciation to the Shepherds and numerous post Reformation cartouches. Stowe Landscape Gardens (NT) The Chinese House. Mid C18th timber framed pavilion designed by William Kent & painted by Francesco Sleter. Chinoiserie scheme (oil on gesso ground on timber). Thornton, St. Michael's Church, Churches Conservation Trust. C18th Royal Arms painting on plaster, in the roof space on the chancel arch wall. Tyringham, St Peter’s Church. Extensive scheme of C19th wall and ceiling paintings in the chancel. Oil paint on plaster and stone. West Wycombe, West Wycombe Hall, National Trust. Conservation of the C18th painted ceilings in the Study, Red Drawing Room and Dining Room; conservation of C18th painted wall decoration in the Entrance Hall; conservation of the C18th South Colonnade west wall painting; conservation of the C18th East Portico ceiling and wall paintings; Emergency remedial treatment of the C18th Staircase ceiling painting. West Wycombe Village, The High Street (NT). Fictive brickwork on the façade of No 21. CARMARTHENSHIRE Llanelli, Llanelly House. Mid-C18th figurative and floral motif paintings on panelling in the Best Room Closet. Oil paint on wood. CAMBRIDGESHIRE Barton, St Peter's Church. C13th scheme of wall paintings in the nave including, scenes from the life of Christ, the Weighing of Souls, St Martin, St Francis, St George. C17th texts with cartouche borders. Burwell, St Mary the Virgin Church. C15th St Christopher wall painting on plaster in the north aisle. Duxford, St. John's Church. Churches Conservation Trust. C12th wall painting on plaster of Agnus Dei and saints on soffit of the east crossing arch and a latticework pattern on the west crossing arch. C13th & C14th wall painting on plaster in the chancel depicting scenes from the Birth of Christ and the Passion; also fictive curtaining. C15th wall paintings on plaster in the north aisle: St Leonard, St Ersamus, an unidentified figure and a Warning to Sabbath Breakers. Ickleton, St Mary's Church. C12th wall painting on plaster, scenes from the Passion on the nave arcade wall and soffits. Kingston, St Andrew & All Saints Church. C14th wall paintings on plaster: Seven Corporal Acts of Mercy and the Seven Deadly Sins on the west wall of the north aisle; unidentified saint, St George and St Christopher on the north wall of the north aisle. C15th Doom painting on the chancel arch wall extending onto the nave arcade walls. Peterborough Cathedral. C13th Nave ceiling, oil paint on wood. 6 year phased programme of recording and treatment works to the timber structure and painted decoration. Extensive recording and treatment works to the C13th North and South Transept ceilings; the C14th Apse Ceiling (overpainted in C19th); the late C15th/early C16th Presbytery Ceiling (overpainted in C19th). All ceilings being oil paint on wood; Apse ceiling includes marouflage canvas. Extensive recording and treatment works to the C13th and C14th wall paintings throughout the building. CHESHIRE Little Moreton Hall, The National Trust. C16th low relief painted plaster overmantel in the Withdrawing Room: Elizabeth I Royal Arms. A series of painted texts on the walls in the chapel. Crewe, Crewe Hall. C19th wall paintings within the Chapel. Oil paint on plaster. CUMBRIA Corby Castle, Great Corby. (Private ownership) C17th wall paintings in the Tempietto. Fictive niches with classical figures.

DERBYSHIRE Calke Abbey, NationalTrust. C17th painted wood overmantel of family arms, Dining Room, Donor's flat.

The Perry Lithgow Partnership 1 St James the Great, Stoke Orchard Wall Painting Conservation Treatment Appendix 1

Hardwick Hall, National Trust. Extensive C17th low relief painted plaster frieze around the walls of the High Great Chamber depicting the court of the Goddess Diana, hunting scenes, Venus and Ceres. C17th painted low relief overmantles in the Drawing Room and Dining Room. Taddington, St Michael’s Church. C18th wall painting on plaster: unidentified figure on the west wall. DEVON Greenway House, National Trust. Mid-C20th painted frieze in the library. Poster paint on plaster. DORSET Kingston Lacy (NT) Spanish Room. Re-used C17th Italian painted ceiling panels, inserted into the Spanish Room ceiling in mid C19th by Bankes. Conservation of 4 ceiling panels (oil & gilding on gesso). Wareham, St. Martin's Church. Extensive scheme of wall paintings on plaster from C12th, C13th & C14th on the chancel arch and north arcade; C16th, C17th & C18th texts and memorial tablet. EAST MIDLANDS West Bromwich, Oak House, Metropolitan Borough of Sandwell. C16th decorative painted plaster panel, transferred onto artificial support. ESSEX Barking, Eastbury House, National Trust. C18th wall paintings on plaster: scenes of ships & landscapes. Mundon on the Hill, St Mary’s Church, Friends of Friendless Churches. C18th wall paintings in the chancel. Oil paint on plaster. Fragmentary wall paintings of various dates on the nave, north and south walls. Wickham Bishops, St Peter’s Church, Friends of Friendless Churches. C13th-C14th wall paintings throughout the chancel. Lime painting on plaster. GLOUCESTERSHIRE Cheltenham, St Gregory’s Church. C19th. Wall painting & associated painted decoration on the sanctuary arch. Oil paint on plaster and stone. Ebrington, St Eadburgha’s Church. C17th. Wall painting cartouches on the nave west wall. Lime painting on plaster. Great Rissington Manor. Early C17th. Wall painting on plaster depicting fictive panelling. Hidcote Manor (NT), C20th painted decoration in the North and South Pavilions. Distemper, oil and alkyd paints on plaster. Oddington, St Nicholas’ Church. C14th Wall paintings of the Doom, Acts of Mercy & 7 Deadly Sins in the nave and Life of the Virgin in the south chapel. Oddington, Holy Ascension Church. C19th painted decoration on chancel arch wall & nave, n arcade wall. Oil paint on plaster. Oxenton, St. John the Baptist Church. C14th-17th superimposed fragments of wall paintings on plaster, including seraphim on wheels and Elizabethan Royal Arms . Snowshill Manor, National Trust. Early C20th wall paintings on plaster of Time Scales Tewkesbury Abbey. Muniments room: C14th wall painting on plaster, double line masonry pattern. Upper Apse, North Transept: C13th wall painting on plaster, decorative roundel with floral motif. Tewkesbury, 100 Church St. (The Hat Shop). C16th painted decoration on ceiling joists and wall paintings (dated c 1700) in the Marbled Room. Oil paint on wood; tempera paint on plaster. Tewkesbury, Glos, Royal Hop Pole Hotel. C16th and C17th painted decoration in the Banqueting Hall and Rooms 107 & 108. Tempera paint on wood and plaster. Alton, St Lawrence Church. C15th oil painting on stone on the north arcade pier, depicting St Cornelius, a king (Henry VI) and an unidentifed bishop. Headley, Suter's Cottage, Hampshire County Council. Two C17th wall paintings on plaster of text and decorative motifs; transferred onto artificial supports. Abbey (NT), Hampshire. The Long Gallery fictive marbling scheme (c. 1900) on the walls and cornice. Oil paint on plaster. Pittleworth Manor. C16th wall paintings on plaster and wood depicting Dives & Lazarus. Ringwood, St. Peter & St. Paul Church. C19th oil on stone and plaster, wall paintings of the Evangelists on the east wall of the chancel. , King John’s House. C14th masonry pattern and incised graffiti in the Upper Hall. , Tudor House Museum. Early-C17th plaster panel with incised drawing of a carrack: transferred onto an artificial support. Early-C17th incised scheme of warships, figures in Tudor dress and inscriptions on plaster and stud wall. Woodgreen, Woodgreen Village Hall. 1930’s mural scheme by R Baker & E Payne. Scenes of rural village life. Oil paint on plaster and canvas. HEREFORDSHIRE Clodock, St Clodock’s Church, C14th wall painting on plaster of female saint in the window embrasure of the south wall, nave. Cwmmau Farmhouse (NT). Mid C20th wall painting in The Hall – 2 panels of floral motifs; & Porch Room – scenes from the story of Adam & Eve (wax crayon & pencil on plaster & timber). Ledbury, Town Council Offices, Ledbury Town Council. C16th wall paintings on plaster and wood, extensive scheme of decorative painting with moralistic inscriptions. Madley, St Mary's Church, C14th wall paintings on plaster, scenes from the Passion on chancel arch wall. Michaelchurch, St Michael the Archangel. Churches Conservation Trust. C13th wall paintings on plaster, extensive scheme of decorative motifs and masonry pattern in chancel. (This work is on-going). Ullingswick, St Luke's Church. C16th oil painting on stone, painted memorial to the Hill family on the north wall of the nave. Wigmore, Chapel Farm. c.a. 1600 wall paintings on plaster and wood, extensive scheme of decoration. HERTFORDSHIRE Berkhampstead, Ashridge Management College. C20th Dora Carrington murals, tempera on plaster. Chorleywood, Appletree Farmhouse. C.1600 painted decoration on timber and lime plaster Harpenden, St George’s School. St George’s Chapel east wall painting. C20th oil paint on canvas (marouflage). Hoddesdon, The Star Inn. Six mid to late-C16th portrait panels. Wall paintings on lime plaster over wattle and daub. C16th painting on re-used timber joists. Knebworth House. C16th wall painting on plaster, arabesque decoration in Hampden Room. St. Albans Abbey & Cathedral. C12th North and South Ambulatory, painted plaster vault decoration; Choir arcade decoration on arch soffits and voussoir; Nave, north arcade, decoration on arch soffits and voussoir. C13th Nave, series of wall paintings: Crucifixions and scenes from the Life of the Virgin. C14th Feretory, oil painting on stone: St. William of York and an unidentified archbishop; North Ambulatory: painted plaster and stone vault decoration; Choir clerestory, four apostle figures. C15th painted plaster: North Transept, Doubting Thomas; North Ambulatory, King Offa. C17th North

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Ambulatory, Royal Arms, oil on wood. Also various marble, alabaster and stone memorial tablets. C17th Ramryge Chantry, oil paint on stone: heraldic decoration. North Transept east and north window arch decoration. C12th (restored C19th) wall painting on plaster: chevron pattern framed by architectural motifs. Entrance arch sofiits to north and south Choir ambulatory: wall paintings on plaster, painted architectural motifs. C17th Maynard Monument: wall painting on plaster and stone. C14th Lady Chapel, wall painting on limewash on stone and plaster, south window embrasure: background to carved female saints, painted with lettered scrolls and floral motifs. C12th decorative scheme on Organ Loft arcade soffits. KENT Rainham Hall, National Trust. Extensive remedial works to the C18th staircase wall painting. Oil paint on plaster. Rochester Cathedral. C13th Wheel of Fortune, wall painting on stone in the Choir; extensive painted plaster vault decoration in the Crypt including the life of St Theophilus. C16th wall painting on stone, background to the tomb of William of Perth. Painted decoration on the Choir screen and two (detached) framed boards, with remains of C13th (glue size on gesso) and C14th (oil directly over earlier scheme) decoration. The boards were reframed and reglazed. LEICESTERSHIRE Lubenham, All Saint's Church. C14th/C17th decorative paintings on plaster, the chancel arch wall. Seagrave, All Saints Church. C14th St Christopher wall painting. Conservation of visible fragments.

LINCOLNSHIRE Grantham, The King's School. C16th wall painting on plaster and wood depicting architectural and animal motifs. Pinchbeck, St Mary’s Church. Cleaning and remedial treatment to extensive painted decoration on the C15th chancel and north chapel ceilings, C19th chancel and tower ceilings, C19th organ pipes and north aisle screen, the C17th Lambert- Carr Memorial, fragments of wall painting on the north walls of the north aisle and chapel. Various paints on wood, metal and plaster. Spalding, St Mary & St Nicolas’ Church. Cleaning and remedial treatment to the extensive C19th painted decoration on the chancel ceiling, rood cross and screen, chapel reredos and nave chandeliers. Oil paint on wood and metal. Stamford Museum, Lincolnshire County Council. C17th painted plaster and wood, half timbered wall moved from Lincoln and re-erected in the musuem. LONDON Blewcoat School, National Trust. C18th painted figure on the exterior east wall. Oil paint on plaster. Dulwich, St Stephen’s Church. C19th fresco painting by Sir Edwin Poynter depicting the Vision of St Stephen and the Martyrdom of St Stephen. Ealing, St Peter’s Church – Early C20th marouflage painting depicting the ‘Annunciation to the Virgin Mary’, with attendant angels. Oil on canvas on plaster. Greenwich, St. Alfege's Church. C19th wall paintings on plaster and wood in the apse. Victorian restoration of a decorative scheme by Sir James Thornhill. Hammersmith, London Greenside School. C20th wall painting by Gordon Cullen (1951). Oil paint on plaster. Hampton Court Palace, Fountain Court. Late-C17th roundels high on the exterior, north-facing wall depicting the 12 labours of Hercules. Oil paint on plaster. Chapel Royal. Early C18th royal heraldry wall painting on the north wall by Highmore Kensington Palace. C18th schemes in the King’s State Apartments by William Kent. Painted door (King’s Staircase); painted ceiling coving (King’s Presence Chamber); Mars and Minerva ceiling canvas (King’s Privy Chamber). oil paint on wood, plaster and canvas. Lambeth, 575 Wandsworth Rd. National Trust. Remedial conservation treatments carried out to the various wall paintings in the Bathroom; Half Landing; Back Bedroom; Main Bedroom and Top Landing. Mixed paint media on gypsum based plaster. Palace of Westminster, London. Mid-C19th frescos by Maclise and Horsey above the Stranger’s Gallery, House of Lords Chamber. Surface cleaning of the 8 mid-C19th Building of Britain wall paintings in St Stephen’s Hall (oil paint on canvas). Remedial conservation work to the C19th wall paintings in the Chapel of St Mary Undercroft Crypt Baptistry. Oil on plaster. C19th Vibration monitoring & conservation of the frescoes by Maclise of Trafalgar and Waterloo in the Royal Gallery (waterglass). Sutton House, National Trust. C20th ‘Squatter Art’ wall painting. Acrylic paint on paper. MIDDLESEX Hayes, Church of St Mary the Virgin. Late C15th. Wall painting on north wall of north aisle of St Christopher. Remedial treatment of flaking paint & salts damaged plaster. Whitchurch, St. Lawrence Church. Churches Conservation Trust. C18th, painted panels on the north wall, remedial treatment. NORFOLK Barton Bendish, St. Mary's Church, Churches Conservation Trust. C14th wall painting on plaster depicting the Martyrdom of St. Catherine(?) on the south wall of the nave. Burnham Overy, St. Clement's Church. C15th wall painting on plaster of St. Christopher. Edingthorpe, All Saint’s Church. C14th wall paintings on plaster: St Christopher and the Corporal Works of Mercy. Gisleham, Holy Trinity Church. C15th wall paintings on plaster, saints in window splays of north wall. Hilgay, All Saint’s Church. C18th Manby Hatchment: oil on canvas and wood. Two Peal Boards, C19th & C20th, oil on wood. Little Witchingham, St. Faith's Church, Churches Conservation Trust. C14th extensive scheme of wall paintings on plaster: Evangelist symbols; Morality Tales; Passion cycle; St. George. C17th texts. Moulton, St. Mary's Church, Churches Conservation Trust. C14th wall paintings on plaster, St. Christopher on the north wall and the Corporal Works of Mercy on the south wall. C18th painted wooden Decalogue board with inset canvas panels painted in oil. Norfolk Museum of Rural Life, County Council. Two C17th painted plaster panels transferred onto artificial supports from houses in North and South Burlingham. Norwich, St. Gregory's Church, Norwich Historic Churches Trust. C15th wall painting on plaster depicting St. George and the Dragon on the west wall of the north aisle and the Annunciation and Four Doctors of the Church in the south alsle. C15th oil painting on wood, bosses and corbels in the south aisle. C17th Royal Arms panel, oil paint on wood. Norwich, St. Martin's at Palace Plain, Norwich Historic Churches Trust. C16th wall painting on plaster over east window; C19th painted plaster liturgical text, over south door. Oxborough, St John's Church. C14th painted stone sedilia decoration. South Burlingham, Old Hall C17th wall paintings on plaster in the Long Gallery, depicting various hunting scenes. Decorative scheme in adjoining Painted Chamber (Work on-going).

The Perry Lithgow Partnership 3 St James the Great, Stoke Orchard Wall Painting Conservation Treatment Appendix 1

Stow Bardolph Church. C18th 3 armorial hatchments in the Hare Chapel and 1 on the south wall: oil on canvas and wood. Thurgarton, All Saints Church, Churches Conservation Trust. C17th oil on canvas, Decalogue. Walsoken, All Saint's Church. C16th wall painting on plaster, two C18th oil paintings on wood, two C19th oil paintings on canvas: the subject of each painting is the 'Judgement of Solomon'. C15th & C17th ceiling ornament; oil paint on wood and lead: extensive series of large and smaller figures including Solomon, David and numerous angels. West Bilney, St. Cecilia's Church, Norfolk Churches Trust. Three C19th oil paintings on wood: a Royal Arms, the Ten Commandments, the Lord's Prayer and Creed. West Walton, St Mary the Virgin. C13th wall paintings on plaster, depicting fictive tapestries & masonry pattern in the clerestorey & series of roundels in nave spandrels. The latter are overpainted with C17th & C18th schemes of the Tribes of Israel, using oil paint. NORTHAMPTONSHIRE Astrop House,. Water-damaged C18th ceiling paintings in the Drawing Room and Study. Oil paint on plaster. Boughton House. Late C17th. First State Room ceiling ‘Venus Interceding for Aeneas’ and cornice decoration, Fourth State Room ceiling ‘Jupiter restraining Areas from shooting at the bear Callisto’, all painted by Louis Cheron c.1695. Oil on plaster Canons Ashby Church, National Trust. C18th oil painting on plaster around the east window. Canons Ashby House. National Trust. C16th/C17th Winter Parlour, oil on wood panelled room decorated with heraldic devices; Drawing Room chimneypiece and overmantel, oil on wood, plaster and stone; Donor's Flat, painted plaster ceiling and wall paintings of heraldry and domestic scenes; Tapestry Room, painted stone mullions; C18th oil on wood heraldic panels and dummy board. Croughton, All Saints Church. C14th scenes from the Passion, wall painting on plaster, the north aisle. Holcot, St Mary and All Saints' Church. C14th wall paintings on plaster, west end of south aisle: Pentecost, St Michael weighing Souls, the Incredulity of St Thomas. Holdenby, All Saints Church, Churches Conservation Trust. C16th wall paintings on plaster, a large series of texts with ornamental borders throughout the church. Kettering, St Peter and St Paul's Church. C13th wallpaintings on plaster in the nave: Censing Angels. Slapton, St Botolph's Church. C14th & C15th wall paintings on plaster in the south aisle and soffits of arcade: Annunciation, Hanged Man, Three Living & Three Dead, Gossiping Women, Resurrection. NOTTINGHAMSHIRE Southwell, The Workhouse. National Trust. C19th wall painting on plaster in the Committee Room, fictive wood panelling with foliate frieze. C19th wall painting on plaster, fireplace surround in Master’s Bedroom. NORTHUMBERLAND Wallington Hall National Trust. Extensive scheme of C19th oil painting on canvas, plaster and stone throughout the Central Hall. OXFORDSHIRE Abingdon, Long Alley Almshouses. A scheme of early C17th external wall paintings on plaster. Abingdon, County Hall Museum. Late C17th Painted doors in the attic rooms. Oil paint on wood. Beckley,St Mary's Church. C17th Wall paintings on plaster including Prince of Wales Feathers, portcullis, scrolls and texts on the west wall of the nave. Black Bourton, St Mary's Church. C13th wall paintings on plaster on the north wall of the nave: St Peter and St Paul, Baptism of Christ and the Stoning of St Stephen. Bledington, St Leonard's Church. C13th painting on plaster on the chancel arch wall: the Virgin. C14th masonry pattern in the chancel. Cassington, St Peter’s Church. C13-16th wall paintings throughout the building. Chastleton House, National Trust. C17th painted plaster fireplaces and overmantles in the Sheldon Room, Great Chamber and Middle Chamber; low relief plaster masks in the Long Gallery; wall paintng on plaster of a stag in the Great Hall. Churchill, Oxon, All Saints Church. C19th reredos. Oil paint on stone and plaster. Oil paint on plaster. Clifton Hampden Church. C15th? South aisle, painted text over arch. C18th Chancel, Decalogue panels: oil on zinc; nave, painted texts: oil on zinc. C19th Chancel, wall plate decoration: oil on wood. Combe, St Lawrence's Church. Extensive scheme of C15th wall paintings on plaster: Last Judgement, Crucifixion, Annunciation, and St Christopher. C17th series of texts throughout the nave. Easington, St Peter's Church. C16th wall painting on plaster, decoration based on a pineapple motif on the east wall of the chancel. Great Tew, St Michael & All Angels Church. ca1300 scenes from the Passion in the north aisle. Kingston Lisle, St John the Baptist church. C14th wall paintings, chancel east wall. C17th Lord’s Prayer painted text, nave north wall. Old Marston, St Nicholas' Church. C18th wall painting on plaster on the chancel arch wall, a Royal Arms, Winner of an Oxford Preservation Trust Award 1989. Oxford, Balliol College MCR. 1930s scheme of wall paintings by Gilbert Spencer depicting the Foundation Legend of Balliol College. Oxford, Brasenose College. The Stocker Room. C17th overmantle wall painting. Oxford, Campion Hall, Lady Chapel. . Mid C20th murals by Charles Mahoney. Oil on plaster. On-going. Oxford, Lincoln College. C17th wall paintings in 3 room in the college and C17th painted panelling in No. 118 High Street. Oil and tempera paint on plaster; oil paint on timber. Oxford, St Anthony's College Chapel/Library. Late C19th & C20th wall paintings on plaster by C.E. Buckeridge and Ethel King Martin: fifteen scenes from the Life of the Virgin and Life of Christ. Shorthampton, All Saints Church. Extensive scheme of C13 to C18th wall paintings on plaster throughout the nave. South Newington, Church of St Peter ad Vincula . Remedial treatment to C14th & C15th wall paintings on plaster in the north aisle and nave. Late-C15th Last Judgement painting on the chancel arch wall. Oil paint on plaster. Swyncombe, St Botolph's Church. C19th decorative wall paintings on plaster throughout the apse. Woodeaton, Holy Rood Church, C14th decorative crucifixion painting and extensive masonry pattern on the chancel arch wall; post-Reformation text in the South Porch. PEMBROKESHIRE Llandeloy, St Eloi’s Church. The Coates Carter Reredos (late-1920’s). Oil paint on gesso over a timber support. POWYS Patricio, Merthyr Issui church. C17th paintings on plaster on the north wall: Royal Arms and texts. SHROPSHIRE

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Attingham, National Trust. C18th painted decoration in the Boudoir. Oil on plaster and canvas. Richard's Castle, St Bartholomew's Church, Churches Conservation Trust. C17th wall paintings on plaster in the south aisle, texts and cartouche borders. Worthen, All Saint’s Church. C17th and C18th wall paintings on plaster. Fragmentary texts and figurative paintings throughout the nave. Wroxeter, St Andrew's Church. Churches Conservation Trust. C14th wall painting on plaster within the Easter Sepulchre. Shrewsbury, St Mary’s Church, Churches Conservation Trust. Chancel: C19th Painted stone sedilia. C18th George II Royal Arms on the west wall, gold leaf on gesso on wood. SOMERSET Tyntesfield, National Trust. C19th stencil pattern decoration on the walls of the Stair Hall, Oak Room Lobby, Turret Room Corridor and Clyste Room Lobby.

STAFFORDSHIRE Alrewas, All Saints Church. C14th wall painting on plaster, depicting unknown bishop(?) blessing a kneeling figure, with attendant herald. Shugborough Hall, National Trust. C18th oil painting on plaster, the Boudoir ceiling and cornice. SUFFOLK Cotton, St Andrew’s Church. C14th. Painted stone doorway in South Porch. Lime & oil paint on stone. Lakenheath, St Mary’s Church. Extensive scheme of C13th – C17th paintings in the nave. Mainly lime painting on plaster. Thornham Parva, St Mary's Church. C14th wall paintings on plaster: Life of St Edmund on the north wall, scenes from the Infancy of Christ on the south wall, vine scroll pattern on the west wall. Ham House, National Trust. North front colonnade, east and west portico C18th wall paintings. Oil paint on plaster. , St Peter's Church. Extensive scheme of C19th decoration throughout the church, painting on plaster, stone, wood and metal. Winner of a 1992 Cookson Award for Conservation. , All Saints Church. Extensive scheme of C12th wall paintings on plaster on the south and west walls. Chichester Cathedral. Extensive C15th and C16th painted decoration on the vaults and walls of the Lady Chapel. Oil and tempera paint on plaster and stone. Clayton, St John the Baptist's Church. Extensive scheme of C12th wall paintings on plaster throughout nave. Lewes Museum, Sussex Archaeological Society. C18th oil on plaster panel: the Rudwick Bellringers Trotton, St George's Church. Extensive series of C14th & C15th wall paintings on plaster: north wall, memorial to the Camoys family; south wall, St Christopher, Camoys donor figures and heraldry. WARWICKSHIRE Baddesley Clinton (NT). Late C16th wall painting on the Upper Landing Gallery. Burton Dassett, All Saints Church. C14th–C18th, wall paintings on plaster figurative and decorative schemes throughout the nave, north and south transepts and south aisle. Coventry, The Old Cathedral, The Phoenix Initiative. C14th painted fragment of stone from the Chapter House, showing a scene from the Apocalypse. The stone was retrieved during an archaeological dig. Dunchurch, Bilton Grange School. C19th oil paint on wood and plaster: painted overmantles and cornices in the Drawing Room/Library designed by A.W.N. Pugin. Commended in The Craftsmanship in Building Conservation Category – 1997 R.I.C.S. Awards. Haseley, St Mary's Church. C17th wall paintings on plaster texts and cartouche border in the nave. Idlicote, St James' Church. C17th wall painting on plaster, decalogue and cartouche border on south wall. Kenilworth Castle. C20th wall painting by Roy Coombs on a partition wall in the ground floor of the Gatehouse. Oil paint on plaster Rowington, All Saints Church. C19th painted decoration on the North Aisle ceiling and the ceiling and tie-beam over the entrance to the north aisle. Oil paint on timber and plaster. Stratford-upon-Avon, The Guildhall. C15th Crucifixion painting & other painted decoration on the south & east walls. Oil on wood & plaster. C16th wall painting in the Council Chamber. Stratford-upon-Avon, The Guild Chapel. Late-C15th Last Judgement painting on the nave, east wall; late-C15th Allegory on Morality painting on the nave, west wall; late-C15th sections of the Dance of Death and Life of Adam wall paintings on the nave, north and south walls. Oil paint on dressed stone and plaster. Winner of the 2018 SPAB Betjeman Award for Conservation Weston-on-Avon, Church of All Saints. Remedial conservation to the C15th wall paintings on the nave north wall and late C17th? cartouche wall painting on the nave upper south wall. Lime painting on plaster. Wolston, St Margaret’s Church. C19th chancel ceiling painted decoration. Oil paint on paper, canvas and wood. WEST MIDLANDS Baginton, St John the Baptist's Church. C14th wall painting on plaster, chancel arch wall: St Peter. Belbroughton, Holy Trinity Church. C14th unidentified figure, wall painting on plaster, south aisle; C18th George III Royal Arms, oil on panel, and Noel family hatchment, oil on panel. Birmingham, St Chad’s Cathedral, C19th oil paint on plaster. Extensive Pugin decorative schemes in the Hardman and St Peter Chapels. Dudley, Town Hall. C20th wall painting on plaster by Hans Feibusch. Knowle, Parish Church. C20th painted decoration throughout the Soldier’s Chapel. Oil paint on plaster and wood. Middleton, Church of St John the Baptist. C14th north aisle: wall paintings on plaster on the east, west and south walls, depicting respectively Christ in Majesty; Last Judgement and vine scroll pattern. (Work on-going). C15th? Chancel arch, nave: wall painting on plaster: Doom? Moseley Old Hall, The National Trust. C16th decorative wall painting on plaster in the Chapel. Walsall, Church of St Mary’s the Mount. C19th 4 oil on canvas paintings of evangelists; east wall: oil on plaster relief depicting the Trinity, Crucifixion and evangelist symbols; gallery frontage: oil on canvas and leatherette, depicting angels holding churches and the Virgin. Wyken, St Mary Magdalen's Church. C15th tempera painting on plaster, north wall: St Christopher. WILTSHIRE Inglesham, Wiltshire, St John the Baptist. C14th- C18th north aisle, south aisle and porch wall paintings. Lacock Abbey, National Trust. C15th St Augustine painting in the North Cloister. Oil paint on plaster.

The Perry Lithgow Partnership 5 St James the Great, Stoke Orchard Wall Painting Conservation Treatment Appendix 1

Lacock, St Cyriac’s Church. Extensive painted decoration on the C15th Lady Chapel vaulting and the C16th Sherrington tomb. Oil paint on stone. Oaksey, All Saints Church. Extensive wall paintings on plaster throughout: C13th masonry pattern; C14th St Christopher; C15th Christ of the Trades; C17th text over west door and texts in nave. WORCESTERSHIRE , St John the Baptist. C18th oil on canvas, Decalogue. Hanbury Hall, National Trust. C18th oil on plaster. Remedial treatment to extensive Staircase, Entrance Hall and Dining Room schemes by Sir James Thornhill. Winner of the 2010 Pilgrim Trust Award for Conservation. Harvington Hall. Extensive series of C16th wall paintings on plaster and wood throughout the building: the Nine Worthies Passage, the Great Staircase, the Spiral Staircase, the Mermaid Passage, the Chapel; the Upper Chapel and remedial treatment to other painted schemes. Heightington, St Giles’ Church. Early C13th wall paintings in nave & chancel. Himbleton, St Mary Magdalene Church. C16th wall painting on plaster: Elizabeth I Royal Arms on the east wall of the chancel Kyre, St Mary's Church. C14th wall painting on plaster, female saint on window splay in side chapel. Little Malvern, St Wulstan’s Church. Late C19th wall paintings on plaster in the Baptistry. Decorative scheme incl. a Baptism of Christ Lower Sapey, St Bartholomew's Church, Churches Conservation Trust. Fragmentary traces of C12th, C13th, C14th &C17th wall paintings on plaster including: masonry pattern, Royal Arms and texts. Ludlow, 53 Broad St. C16th/17th painting on plaster: Royal Arms, transferred to an artificial support. Madresfield Court, Chapel. C19th oil on plaster: a series of figurative scenes. Martley, St Peter’s Church. C14th. Nave, north wall: wall painting on plaster depicting possible scenes from life of Christ. Pendock, Old Church. Churches Conservation Trust. C14th? wall paintings on plaster, unidnetified scheme. Emergency consolidation and survey of decoration surviving beneath covering limewash. Pershore, St Andrew’s Parish Centre. Late C14/early C15th decorative wall paintings in the chancel. Pinvin, St Nicholas' Church. C14th wall painting on plaster, south wall of the nave: Life of Christ. Worcester, The Commandery. Extensive scheme of wall paintings on plaster, dated ca. 1500, in the Dying Room. The paintings depict martyrdom scenes, saints and the Trinity. Worcester, 32 Friar Street. C16th ceiling painting on plaster Worcester, 14 Friar Street. C17th floral scrollwork wall painting on plaster YORKSHIRE Easby, St Agatha's Church. C13th extensive scheme of wall paintings on plaster in the Chancel. C18th west wall of south aisle: wall painting on plaster – cartouche. Coxwold, Shandy Hall. C16th wall paintings on plaster and wood in the Parlour and Bedroom. Langstrothdale, Cowside Farm, Landmark Trust. C17th wall paintings on plaster: inscriptions and cartouche borders in the Parlour. South Cowton, St Mary’s Church. Churches Conservation Trust. C15th? Series of 10 consecration crosses throughout the nave & Chancel, wall paintings on plaster, heavily restored in the mid C20th.

CHANNEL ISLANDS, GUERNSEY St Apolline's Chapel. C13th wall paintings on plaster, north wall: Last Supper, Betrayal, floral motif. Ste Marie du Castel. C13th wall paintings on plaster: Three Living and Three Dead, an unidentified Martyr and the Last Supper.

IRELAND CO GALWAY Abbeyknockmoy (The Office of Public Works) C15th wall painting of the Three Living and Three Dead; Martyrdom of St Sebastian on the chancel, north wall. CO KILKENNY Jerpoint Abbey, (The Office of Public Works). Late C15/Early C16th? Heraldic wall paintings in the chancel. Kells Priory, The Office of Public Works. C13th Masonry pattern wall painting in the window reveals, chancel, n wall. CO. TIPPERARY Cashel, Cormac's Chapel, (The Office of Public Works). C12th scheme of wall paintings on plaster and painted stone in the chancel and on the chancel arch: decorative and figurative scenes. C15th scheme of wall paintings in the South Transept of the Cathedral. Clonmel, The Main Guard, (The Office of Public Works). Fragments of painted plaster decoration dating from C17th onwards, including heraldic scheme on the south wall.

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