Conservation Guidelines Interior Decoration & Finishes

Forew ord Summary of Conservation This series of booklets has been produced by Principles the Department of the Environment to • Research prior to planning work increase awareness of the value of our • Minimum intervention - repair rather architectural heritage and to provide than replace information on the basic principles and • Respect the setting. methods of conservation and restoration. The titles in the series are listed on the back Summary of Conservation of each booklet. Procedur e • Research and analyse history of building These texts are not intended to be • Survey building and identify original comprehensive technical or legal guides. The material main aim is to assist architects, builders, • Plan work according to conservation owners and others,in understanding the principles guiding principles of conservation and • Use experts where necessary restoration. They will facilitate the • Record all work identification of the most common problems • Install maintenance procedures. encountered in heritage buildings,and indicate the best solutions. It should be appreciated that specialised aspects of conservation and restoration will require professional expertise and more detailed information.

The Department acknowledges,with appreciation,the efforts of the authors of the individual booklets,the Irish Georgian Society who coordinated their production,the Conservation Advisory Panel established under the Operational Programme for Local Urban and Rural Development and all others involved.

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Introduction subservient to the overall scheme and This booklet deals with the interior complemented the architecture of the room. decoration,normally found in rooms from 1700 - 1900,both in public and domestic Whereas relatively few rooms from this er a buildings,in Ireland. have survived intact,particularly good examples are the House of Lords in the Old At its simplest,interior decoration consists of Parliament Building,College Green, Dublin, painting. However, in most instances the and the entrance hall in the King House, following have to be considered and Boyle, Co. Roscommon and also Bellamont specified,approximately in the following Forest,Co. Cavan, and,on a smaller scale, the order: Still Room,,Co. • floor finishes and floor coverings Roscommon. • light fittings • wall coverings,in particular wallpapers Three paintings which illustrate rooms of this • window curtains and bed hangings period are, 'The State Ball at ', • items of furniture including mirrors and 1731,attributed to William Van Der Hagen, paintings. and the more intimate domestic interior, 'Conversation Piece',circa 1750,possibly Brief Histor y showing the members of the Corbally family In order to comprehend why rooms were and attributed to Philip Hussey, in the decorated and fitted out,in a specific manner, National Gallery of Ireland,or the equally it is important to understand how they were instructive painting of 'The Bateson Family', originally intended to be used.Mark Girouard circa 1740,again attributed to Philip Hussey, in his Life in the English Country House, and in the Museum. Peter Thornton in Authentic Decor, are among the contemporary historians who have studied the evolution and decoration of historic rooms.

The interior from 1700 to 1740 In the early 18th centur y, public and domestic rooms of consequence were used in a formal and rigid manner. This was reflected in their decoration where the architectural embellishments formed the most prominent element of the room,and a limited amount of furniture and fittings was formally arranged Attributed to Philip Hussey ‘Conversation Piece’,possibly around the room. All of these items were members of the Corbally family.

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The interior from 1740 to 1760 The neo-classical interior from By the middle of the 18th century, the rigid 1760 to 1800 formality of domestic rooms was gradually With the completion of Charlemont House declining,and this is partly reflected in a and the Casino at Marino circa 1760,the lighter form of architectural treatment. neo-classical form of decoration, was introduced to Ireland, by Sir William Again,it is also reflected in the manner Chambers, for his patron Lord Charlemont. in which the rooms’architectural embellishments become less imposing and The main characteristic of these rooms is the more enriched. Thus,in place of timber use of a shallower form of ornament, panelling from floor to ceiling,wainscotting is together with the introduction of carefully used on the lower walls,in order to permit designed furniture, such as pier tables and the upper part to be painted,or hung with mirrors,together with suites of chair hand blocked wallpaper and,in very imposing furniture. rooms,with a silk damask. Among the surviving examples from this era The greater use of textiles, both for carp e t s are the Green and Red Drawing Rooms,at and curt a i n s ,c o n t ri buted to an added sense , together with the work of comfo rt . In addition, m a ny more pieces of Robert Adam at , Co. of furniture were introduced which we r e Meath. In the case of Headfort House, both less imposing and genera l ly more the rooms and the original architect's c o m fo rt a bl e. drawings survive, the latter in the Mellon Collection at Yale University. In public buildings and in the grander Somewhat later, is the work of James Wyatt domestic interiors,the more formal approach and his circle, and the most complete was still retained. Nonetheless,it is from this surviving example of this era is the interior of era that the fine cut glass chandeliers,gilt Castlecoole, Enniskillen,Co. Fermanagh. For tables and mirrors originate. the most part,however, the furniture and fittings at Castlecoole are from the first Good examples from this era are to be quarter of the 19th century. found in the rooms in No 85 St.Stephen’s Green,and the Provost’s House,Trinity From this era too, the fine interio r s of the then College, Dublin. For rooms of a somewhat newly built terraced houses have survived in smaller scale, Newbridge House, Co. Dublin, Dublin,Cork and Limerick,usually with well together with the nearby , or executed plaster work by such practitioners Belvedere House, Co.Westmeath,contain as Michael Stapleton,in a style greatly important and intact interiors. influenced by the work of Robert Adam.

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A painting (shown on the cover of this Bellevue, Co.Wicklow and Marlay Grange, booklet) that captures the very essence of Co. Dublin. They capture the interiors of a this age is ‘Mrs.Congreve and her daughters ‘, gentry household,at the moment when mass by Phillip Reinagle, circa 1780 (National production had ensured that many varieties Gallery of Ireland). of fabrics and items of furniture were available to give a greater sense of comfort. The late neo-classical or romantic There are many good examples of surviving interior from 1800 to 1830 intact interiors,from the late 18th century By 1800,the fitting out and decoration of rooms both at public and domestic scale were becoming heavier, and this was greatly influenced by the mass production of items such as plaster decoration and the manufacture of many more varieties of fabrics,and trimmings. There was also a much wider selection of items such as wallpapers,mirrors,furniture and musical instruments.

The two main architectural practitioners Drawing room of Marlay Grange by Maria La Touche during this era were Francis Johnston and Sir Richard Morrison. Both architects practised terraced houses to be found in Dublin,Cork, in a number of styles,creating interiors of the Limerick and Waterford,in particular the highest quality. ,Co. Louth,is the somewhat heavier detailing to the joiner y masterpiece of Francis Johnston in the and plaster work. classical style, while , , Co. Offaly, is his masterpiece in the The Victorian interior from gothic style. circa 1830 to 1900 By this date the industrial revolution ensured Likewise Sir Richard Morrisson, assisted by his that mass production could supply a large son William Vitruvius,was responsible for variety of paints and paint finishes,together highly elaborate interiors for the most part in with fabrics and furniture. the classical style, in such houses as Fota, Co. Cork, ,Co.Tyrone and Comfort and the irregular arrangement of Ballyfin,Co. Laois. furniture within the rooms are the hallmarks of this era,together with more sombre Of particular interest are the drawings by colour schemes and the over use of Maria La Touche, recording the interiors of trimmings to curtains and upholstery.

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Whereas there are many examples of public rare instances, walls were hung with a fabric, and private buildings from this era,and in such as silk damask. many instances there are documents,such as architects’drawings,inventories and There was a greater use of wallpapers by the photographs,the rigid discipline and overall late 18th century, together with a more control of design had disappeared,except in restrained use of pattern. In the most the case of the larger residence or public imposing rooms, specific colour schemes buildings. were created by architects,such as Robert Adam, for Headfort House, Kells,Co. Meath. By the late 19th centur y, well established decorating firms,such as Sibthorpe’s,of By 1800, a larger variety of paints and paint Molesworth Street Dublin,had emerged and finishes,was available together with a more opulent style of decoration was wallpapers and matching borders. In introduced,using stencil work,with a more addition,colour schemes became more controlled approach to the design. complicated,and there was a greater use of gilding to architectural enrichments. Some of these interiors have been recorded by early photography. From 1830 to 1850,colour schemes become gradually more sombre, and in addition,there Typical Elements is greater use of decorative finishes in the The main elements of interior decoration are form of graining and stencil work. By 1890, as follows: firms such as Sibthorpe’s,used a lighter (a) Painting and decoration,including palette of colour, in particular when executing wallpapers French revival style rooms. Among the best (b) Floor finishes and floor coverings examples are the Ante Room and Drawing (c) Light fittings Room at Fota,Co. Cork,where elaborate (d) Fabrics and curtains stencil work and gilding were also employed. (e) Items of furniture With the assistance of modern technology it (a) Painting and decoration,including is now possible to analyse paint and the wallpapers various layers that have been applied. There In early 18th century interiors,the ceilings are now a number of firms that manufacture and walls were generally painted with historic colours in a variety of paints. distemper, and the joinery work stained or painted with an oil paint. (b) Floor Finishes and Floor Coverings In the early 18th century interiors, By the mid 18th centur y, hand blocked floorboards were normally dry scrubbed wallpapers had been introduced and,in very floors,both in public and private rooms.

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Carpets when used, were sometimes By the late 18th centur y, further refinements displayed on a table. had taken place in particular in the use of oil burning lamps. This continued through the By the mid 18th centur y, carpet squares were 19th century, in particular with the introduced,laid on the floor in only the most introduction of gas and,later still,with the imposing rooms. introduction of electricity, circa 1900.

There was more use of carpets and other There are now a number of firms that make floor coverings during the late 18th century good quality reproductions of historic light and by 1800,one finds a greater use of fittings in cut glass,timber or brass. carpets,both hand made and machined, together with other forms of floor covering. (d) Fabrics and Curtains In addition,the use of wax polish and varnish, In early 18th century interiors,there were together with the introduction of parquet relatively few fabrics and curtains used and floorings became more prevalent. then only in the most formal rooms. By the mid 18th centur y, many more types of From 1830 onwards,an even larger variety of fabric were available, the more formal floor finishes were employed. damasks being used in public buildings and in the larger domestic interiors. Other forms of A most informative study has been carried fabric, such as printed calico, became out on historic floor coverings by Anthony available, and these were used in less Wells-Cole of Temple Newsam House, Leeds. important rooms,in particular in bedrooms. In addition there are still a number of firms, primarily in England,who produce machined The late 18th century saw the use of a more carpets in an authentic 19th century restrained design,normally in the form of tradition. stripes,both for imposing and modest interiors. The variety of fabrics greatly (c) Light Fittings increased,as did the variety and form of Among the most important items in an trimmings. historic room are the light fittings. The surviving examples from the early 18th The early 19th century saw the introduction century are in carved or gilded timber, brass, of further varieties of fabrics, in particular or cut glass. printed cottons or chintz,and with the commencement of the industrial revolution, By the mid 18th centur y, the glass chandelier many of these fabrics became available to a had been considerably refined,and a number wider public. From 1830 onwards,the of fine quality examples have survived. variety and quantity of fabrics available greatly

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increased and more sombre colours were reproductions are readily available. employed. 4. Insufficient appreciation of the In the last twenty years, much effort has been importance of original decorative schemes, expended in creating a variety of fabrics including the contents of historic houses suitable for historic interiors. and buildings.

(e) Items of Furniture Procedur e Knowledge of the history of furniture, Prior to the re-decoration of an historic paintings and mirrors has greatly increased in interior it is important to ensure that the the last twenty years,and,in addition, following investigations are carried out. worthwhile reproduction furniture is now readily available. (i) Structure A full evaluation of the structure should be Common Problems and carried out,to ensure that the building is Solutions both sound,and is secure from the ingress of The major problems encountered with all water and dampness. regard to the restoration and refurbishment of historic interiors are as follows: (ii) Architectural survey A measured drawing of the room should be 1. The decay of the building fabric executed together with a photographic The building should be made structurally survey. This should record all the sound prior to the commencement of work architectural elements and finishes together on the interior. with any original furniture and fittings.

2. The destruction of paintwork and,in (iii) Archival research particular, textiles and floor coverings,due The history of the building should be to over exposure to natural light,and recorded,with the aid of all surviving records, increased visitor numbers. such as original architectural drawings, Textiles and floor coverings will need the inventories,or historical photographs. This services of experts in those fields. Paintwork should include all information concerning is covered in detail in the latter part of this items of furniture and furnishings remaining booklet. or formerly housed in the room.

3.The dispersal of furniture and fittings. Only when this thorough investigation has Furniture and fittings,dating from the correct been carried out can a detailed proposal be era can still be purchased,or good prepared and executed to include the

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following schedules and specifications: re-decoration; 1. Schedule and specification of repairs to d. sufficient protection for all items,in all surfaces,including ceilings,walls, floors particular textiles and the control of and joinery work. natural light. 2. Schedule and specification for the cleaning,repairing and renewing of all Among the most informative publications on finishes to ceilings,walls,floors and this topic is The National Trust Manual of joinery work. Housekeeping (London 1984). 3. Schedule and specification for all furnishings to include: Dos and Don’ts • light fittings Do • check listing of room under local • floor finishes and floor coverings development plan. • wallpapers and wall hangings • check or have checked roof space • curtains and soft furnishings and roof coverings. • mirrors and paintings • open up and ventilate room. • tables,chairs and furniture together with • protect all fittings and features while objects,such as clocks and ornaments. work is in progress. • record the room prior to work by While work is in progress,all fittings, features means of drawings and photographs. and furnishings should be protected. The • explain schedule of works to ceiling may require temporary supports. The contractor and define the plant and fireplace should be encased and loose sheets equipment that can be used on site. placed over the floor area. Doors and • visit and inspect works,recording windows must be protected as necessar y. where necessary. The work in progress,as well as the finished • record completed project with project,should be recorded. photographs and ‘as built’drawings.

Maintenance Don’t • seal room as natural ventilation is In order to ensure the preservation of an always required. historical interior, it is important to ensure • remove items from room except that a basic maintenance programme is when absolutely necessary. adopted,and this should include the following • endeavour to record room after provisions: work has commenced. a. adequate ventilation of all rooms; • permit any work to commence until b. adequate heating of all rooms,including contractor has been clear ly the control and recording of the instructed concerning the temperature and relatively humidity; programme of work,and what plant c. adequate cleaning and,where required, and equipment can be used.

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• carry out any operation that cannot Select Bibliograph y be reversed,as further information Bence-Jones, Mark. A Guide to Irish Countr y may come to light at a future date. Houses. London,1988. • remove original elements to a room: endeavour to retain as much as Conforth,John and Fowler, John. possible. This applies equally to all English Decoration in the 18th Century. finishes such as paint and wallpaper. London,1978. If a finish is to be changed, a representative example of the Crookshank, Anne and the Knight of Glin existing room should be left if Watercolours of Ireland c.1600-1920. possible, so that future practitioner s London.1994 may have the opportunity to study the evolution of a room. Girouard,Mark. Life in the English Countr y House. New Haven and London,1978. Sources of Information The sources of information on historic Guinness,Desmond and O’Brien,Jacqueline. interiors can be divided into the following Great Irish Houses and Castles. London,1992. categories: a. Public and private buildings open to the Plowden,Anna and Halahan,Frances. public, and this to include collections of Looking After Antiques. London,1987. paintings,drawings and decorative objects. Sandwith,Hermione and Stainton,Sheila. b. Public archives of architectural drawings, The National Trust Manual of Housekeeping photographs and other records,and,in (The National Trust). London,1984. addition,private archives generally attached to historic buildings. Thornton, Peter. Authentic Decor, The c. Publications on historic buildings and Domestic Interior 1620-1920. London,1984. interiors including books, periodicals and guidebooks. d. Archives attached to established manufacturers of items of furniture and furnishings,in particular • wallpapers • fabrics and trimmings • carpets • light fittings.

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PAINT AND WALLPAPER be revealed by examining chips of paint under Brief Histor y high magnification,and, by identifying the It is natural for us to decorate our living pigments,these colours can even be dated. environment. In caves 10,000 years ago coloured clays and soot were used to create Types of Paint wall paintings of hunting scenes and familiar Limewash animals. Masonry walls were plastered and A solution of lime (calcium oxide) in water is painted with limewash or real fresco.Wall stirred up and brushed onto the wall. As it paintings became more sophisticated in dries,it crystallises as insoluble calcium Egyptian and Roman civilisations,culminating carbonate. This is the cheapest of paints and in the rich decorations excavated in Pompeii was used for humble buildings,in servants' and Herculaneum. quarters,on exterior walls etc. Limewashes were usually white, but sandy colours were By medieval times decoration was all popular for exterior walls in the 18th and pervasive and remnants of this decoration 19th centuries. survive in some churches and secular buildings in Ireland. In the 18th and 19th Soft distemper centuries paint was used to achieve subtle This is a mix of chalk,water and animal glue. effects. Plasterwork was painted to imitate It produces a matte, powdery finish,that is stone columns. North facing rooms were marked very easily and has to be frequently painted warm colours and south facing replaced. It can be tinted, but because of the rooms cool colours to compensate for the chalk content,the colours are always pale effect of sunlight. Colour on walls came to though they can be very bright. For three be taken for granted and continues so up to centuries it was the standard house paint and the present day. was used right up the 1950s and 60s as a cheap alternative to oil. Today, it can only be The habit of repainting every ten years is a obtained from suppliers specialising in historic recent phenomenon - thanks to cheap and paints. easy to apply materials. But in the past the decoration of a room might be left for as Oil paint long as 20 or 30 years. Repainting often Since the end of the 17th century this has marked a wedding,a new tenant,alterations invariably been used for painting softwood to a room,sudden prosperity, etc.,so the panelling. When full panelling gave way in the paint history also tells us about the fortunes 18th century to the fashion for cladding just of the house. the lower part of the wall,the upper part was usually covered with wallpaper or fabric , Covered by modern emulsion,pre 20th but towards the end of the century oil paint century paint layers are rarely visible today, was applied directly to the wall plaster above but the whole colour history of a room can the dado rail.

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Cornices and plain ceilings,on the other areas and very poor dwellings would be hand, were not painted in oil until the end of limewashed. the 19th/ beginning of the 20th century. If The invention of Prussian blue in 1704, a the ceiling was an ornate one it might have pigment which was not only cheap, but had a been painted in oil as early as the 18th high tinting strength, worked well in oil and century, but cornices would almost always be did not fade, meant that, by the mid 18th painted in distemper. century, plaster walls were frequently pale blue or pale green (made by mixing blue with Emulsion paints yellow),though the half panelling continued Oil paint is still sold today but,since the to be painted in neutral tones. The beds of 1960s,wall paint is usually bought in the form 18th century ornate ceilings were of an emulsion - a suspension of acrylic in an occasionally painted in pale colours, but were aqueous medium. As the water evaporates more commonly white. after brushing,the acrylic particles lock together to create a strong and flexible paint The invention of a wide range of strong, film. bright pigments in the 19th century meant that decoration could become more Historic Colours adventurous and painters used strong colour Seventeenth century oak panelling was schemes,including deep reds and greens. unpainted but,if it was soft wood,it was Elaborate marbling was popular in hallways sometimes marbled,or grained to imitate oak and dining rooms,and graining which had or walnut. Examples of 17th century graining virtually disappeared as a technique in the are very rare . Where it has survived it is 18th century, had a huge revival which lasted seen to be highly stylised,unlike the right through into the Edwardian era. naturalistic effects sought by 19th centur y Nineteenth century graining was very craftsmen. Ceilings and cornices were naturalistic and was completed with a thick decorated with pure white distemper. glaze to give it a high gloss.

In the late 17th century and right through Ironwork the 18th century, softwood panelling was In the early 18th century ironwork tended to invariably painted. The commonest colours be painted white or stone colour to match were stone colour, cream or pale grey. It was the colour of the house , or shades of pale only in very grand establishments that bright grey. Deep blue, based on the pigment smalt, colours and gilding were occasionally used. was occasionally used for very grand gates The same neutral tint would generally be and railings. Towards the end of the century, used for all features,including the skirtings, dark grey and dark blue became more the windows and the doors. In unpanelled common choices. Black painted railings date rooms,the walls would be painted with soft from the Victorian period. distemper, also in neutral tints,and service

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Typical Elements Each painted surface comprises three parts. • Support Paint sample graining • Pigment from wall • Medium prussian blue graining Support The support is the surface to which the paint is applied;it can be anything from a cave wall or plastered masonr y, to a partition wall warm grey or MDF. Paint sample top coat from joinery pr i m e r / u n d e rc o a t Pigment The pigment is the colouring matter used. wood The first pigments were coloured clays found locally. In time, pigments were traded and manufactured artificially. As certain colours were manufactured at different dates it is stone colour sometimes possible to give an “earliest possible”date by analysing the pigments used bright yellow colour in a paint layer. Dining room early verditer distemper 18th probably late Medium century 18th century The medium is what binds the pigment to paint the support. This can be lime plaster, red and black distemper, oil,acrylic etc.We define what scheme from the type of paint it is by the medium used, e.g. oil 19th century paint. It is possible to analyse the medium used by taking a small sample of the original. yellow ochre on leadwhite primer Wall Paintings Hall early followed by streaky 18th century pattern put on in A decorative scheme executed on a wall in graining thin layers of iron oxides reds and fresco or oil paint may require conservation. browns A specialist wall painting conservator should be consulted. Flaking paint may sometimes Paint analysis of Ledwithstown House, an early 18th be consolidated using a tacking iron,an century house appropriate adhesive and silicon release A selection of the colours used over the years is shown above. However, they should be viewed as paper. This procedure should be carried out approximations, owing to changes in colour which occur in by a conservator. the reproducing process.

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Common Problems and bound),oilbased paints and acrylic paints. Solutions This is very important as some media are 1. Failure of the support,structural or affected by moisture. Inspect the surface otherwise carefully to make sure that the paint layer is Check that the wall is in good condition and sound. that the plaster is not loose. Settlement cracks and those caused by vibration,can Soft distemper loosen plaster. If the wall sounds hollow This is glue bound and is generally found on when gently tapped the plaster is vulnerable ceilings. It wipes off very easily. The only safe and must be consolidated before any other way to clean it is to dust lightly with a soft treatment is carried out. This involves brush. Never use water. injecting an appropriate adhesive between the plaster and the wall and is a procedure Casein bound distemper best carried out by a specialist. This should be dusted as above. If the paint layer is secure it can be wiped with a damp, 2. Problems resulting from dampness not wet,cloth. Do not wash the surface. and/or attempts to dry out a building quickly Oil bound distemper Excessive moisture brings its own problems. Oil bound distemper such as Walpamur is The first step is to find the cause of generally harder wearing. Dust first with a dampness - a leaking roof,no damp proof soft brush. Fresh bread pressed into lumps course, a bridged damp proof course or and rolled over the dry surface will remove a poor guttering. The source of moisture considerable amount of surface grime. If should be eliminated and the wall allowed to necessary, wash gently with warm water to dry out naturally. Most walls are naturally which a few drops of Synperonic N has been damp but this will not necessarily harm the added.Rinse off and dry. Use three cloths surface painting so long as the amount of and two buckets. moisture in the wall remains constant. Fluctuating climate and rapid drying brings Oil based paints soluble salts to the surface. These crystals These can be treated in the same way as oil frequently force the paint off the surface bound distemper. Local grease stains on causing flaking. woodwork can be cleaned using a mixture of 300 mls white spirits,300 mls water to which 3. Soiled paintwork a teaspoon of mild detergent has been Before attempting to clean any paintwork, added. A few drops of ammonia in water make sure that you know the type of paint will also remove grease stains. Care must be used. The most usual types are limewash, taken,however ,as all of these mixtures will distemper (glue bound,casein bound or oil eventually soften the oil paint and you may

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find you are left with a very clean area which together by overlapping the edges. Often stands out too clearly from the surrounding the hand-made sheet will show a distinctive paint. This will also happen if you use 'aid' pattern of fine horizontal lines when commercial detergents and abrasive held up to the light,and is characteristically powders. Where an area of paintwork is strong due to the quality of the rag pulp. prone to gather grease stains,(door panels, Wallpaper made in this way will show light switches etc.), it is a good idea to put a horizontal seams at intervals of about protective sheet of perspex in position to eighteen inches,although these are not prevent further wear. always obvious beneath the thick ground colour which was applied before printing. Acrylic paints These can be cleaned in the same way as oil based paints.

Prior to carrying out extensive cleaning it would be prudent to determine where most of the dust is coming from and to eliminate the sources as far as possible .Washing should be necessary only once in every five years - or in ideal circumstances only once every 10 years. Sketch detail from 18th Century wallpaper

Wallpapers It is well worth devoting even a small amount The paper used from the 1830s onwards is of time to a wallpaper search before much thinner and weaker. Hand blocked undertaking any alterations or redecorating - paper was printed with thick,distemper paint small scraps of wallpaper are sometimes which tends to flake distinctively, unlike the discovered during renovation of old buildings, thinner inks used on machine printed papers, behind panelling,pelmets,light switches, fitted which tend to become absorbed into the bookcases or inside cupboards. 'Sandwiches' surface of the paper. The damp conditions formed of many layers of wallpaper generally which pertain in so many Irish houses favour have an unappealing outer surface but may the removal of wallpaper, and it may be contain many hidden treasures. Until the late possible to ease the paper gently from the 1830's wallpaper was printed on lengths wall using a flexible, flat tool such as a spatula formed from individual sheets of hand made, or plastic ruler. If the paper is well bonded rag pulp paper measuring approximately to the wall,it maybe enough simply to twenty-one inches by eighteen,glued photograph it, rather than risk damage by

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attempting to remove it. Otherwise, the Dos and Don’ts paper will have to be well soaked,either with Do • protect and maintain painted water or else with a fifty-fifty mixture of surfaces in an historic building. alcohol and water for as long as possible. • identify type of paint before cleaning. The application of steam from a wallpaper • do be careful removing or cleaning steamer will help loosen stubborn paste, but old lead-based paint. may also entail the risk of damaging loose or • remember it is possible to discover fugitive pigment;if in doubt,test a small area previous colour schemes by using be f ore attempting to remove the best sample, paint analysis. or else seek help from a paper conservator. • keep any scrap, however small,of antique wallpaper. Once the paper has been removed,the back may be examined for traces of duty marks, Don’t • try to clean wall paintings;always call which were generally stamped using black, or in an expert. sometimes red,ink. • clean paint with water unless you are sure of the paint type .

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Sources of Information David Skinner and Sons Dulux Paints Ireland Ltd. Wallpaper Makers,The Mill,Celbridge, 17,Sth.Frederick St. Dublin 2 01 679 5890 Co. Kildare 01 627 2913

Farrow and Ball Tina Sitwell Historic Paint Manufacturers Specialist in Interior and Decorative Finishes Uddens Trading Company The National Trust Wimborne, Dorset BH21 7NL Queen Anne’s Gate England London Tel.0171 2229251

Catherine Hassall, Select Bibliograph y UCL Paint Analysis, Bristow, Ian. Architectural Colours in British History of Art Department, Interiors 1650 - 1840. Yale, 1996. University of London, 43 Gordon Square, London WC1 H0PD Bristow, Ian. Interior House Painting Colours Tel.0171 636 8000 and Technology 1650 - 1840. Yale, 1996.

Keim Mineral Paints Ltd. Oman,Charles C. and Hamilton,J., c/o Renofors Wallpapers, Sotherby Publications Coach Lodge Rathgar Ave. Plowden,Anna and Halahan,Frances. Dublin 6 Tel./Fax.01 492 0292 Looking After Antiques. London,1987.

Mr. Christoff Oldenberg Sandwith,Hermione and Stainton,Sheila. 55 Weyland Road The National Trust Manual of Housekeeping Headington (The National Trust). London,1984. Oxford Oxfordshire 38PD England

Mary McGrath FIIC Conservator Rosetown Lodge Newbridge Co, Kildare Tel. 045 432007

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