5.1.7 Paint Analysis to Black Border Two Samples, I and 3, Were Taken from the Lower Left and Right-Hand Side of the Black Border to Sir Richard Newman

Sally Strachey Historic Conservation 5.1.7 Paint Analysis to Black Border Two Samples, I and 3, were taken from the lower left and right-hand side of the black border to Sir Richard Newman. Examination The fragments were examined under low magnification and then the best pieces were mounted as cross- sections in cold-setting polyester resin. The sections were examined under high magnification and the layers compared. Material from the coloured layers was dispersed on glass slides, and the pigments were identified using a polarising light microscope. Results Samples 1 and 3 These were taken from plaster next to the eighteenth-century Robert Newman monument, and they showed three sets of paint layers. In Sample 1 there were some fragments which showed pure carbon black over a thin coat of limewash or plaster skim. Other fragments showed pure vermilion over white limewash. On the underside of the red fragment was a line of black particles, so there may have been black under the red. Both the red and the black must have been from some decorative border, as they are not house paints. In Sample 3, the fragments showed two or three layers of white limewash with a very thin coat of yellow ochre on the surface. On top of the yellow is a veil of black particles that could be dirt. SAMPLE 1 Richard Newman monument – plaster border, lower right Fragment (i) Showing carbon black over a white limewash ground 59 Sally Strachey Historic Conservation Fragment (ii) Pure vermilion over a white limewash ground particles of carbon black layer of yellow SAMPLE 3 dirt? ochre particles Richard Monument Plaster next to the monument – lower left. two or three layers of limewash 60 Sally Strachey Historic Conservation 5.1.8 Site Drawings Figure 126: Elements that remained in situ during the dismantle and rebuild 61 Sally Strachey Historic Conservation Figure 127: Areas of 5mm veneer historically glued to the backing stone with shellac 62 Sally Strachey Historic Conservation Figure 128: The areas of veneer reset with plaster of Paris 63 Sally Strachey Historic Conservation Figure 129: I The black border was revived with a black gouache II Crack repairs with plaster of Paris toned in with acrylic paints 64 Sally Strachey Historic Conservation Figure 130: VII. The underside of the eye lid had black paint applied. VIII. On the back of all three busts remains the original dirt build up. As this dirt does not appear on any other surface this suggests that this monument was cleaned at some point. A possible works program applied went the church was reordered at the turn of the century. Some of the pins on the marble segments which have been stuck on also contain copper pins. The original pins/cramps are all iron, again copper was not used when this monument was constructed. IX. Black paint was found on the underside of the shelf. Possible black lines were applied. X. Red paint found. XI. The inscription was originally carved with the dates of the daughters’ deaths empty. These were then carved in as each one passed away. In total there are four letter cutters hands at work here. With the letter cutting being light, the monument was in place when this was done. XII. Pink/white Limewash and black paint spats were found on the upper surface of the shelf, careless decorators of the chapel. 65 Sally Strachey Historic Conservation 5.2 Thomas and Richard Newman Monument Location The east wall of the Newman Chapel Date Thomas Newman 1649 Richard Newman 1664 Dimensions Height 1355mm x width 600mm Cartouche 66pprox.. 600mm Materials Marble Limestone Grey stone Polychrome on cartouches Paint in lettering Painted black surround Description Marble inscription panel with painted lettering. Limestone surround surmounted by three cartouches of arms to the Newman family Grey stone bottom section with missing attribute Painted black surround Sculptor Not Known Figure 131: Monument to Thomas and Richard Newton before conservation 66 Sally Strachey Historic Conservation 5.2.1: Condition and Recommendations in 2016 Report Condition Losses ~ No losses were noted. However white marble element applied to base had detached. Ferrous fixings ~ Corroded fixing on detached element. Stability ~ Relatively stable. Corrosion of the fixings will be on going, however their condition does not warrant dismantling at this stage. Soiling ~ all areas are soiled. Polychromy ~ Inscription generally legible. Some friable polychromy to cartouches. A painted black border frames the monument on the plastered wall. Although this has been repainted it is likely to be over an original similar border. It would be interesting to establish if this exists and the extent of the border • Recommendations • Re-fix detached element using Stainless steel 316 or carbon fibre dowel. • Clean all elements (methods to be based on results of trials) • Consolidate friable polychromy and applied decoration • Repoint open jjoints • Inpaint losses to black surround 5.2.2 Conservation Programme The cleaning processes applied to this monument were as follows: • The inscription panel, the polished limestone plinth and marble inscription panel were cleaned with: 50% Distilled water 50% White spirit 02% Non-ionic detergent. The mobilised soiling was lifted immediately off the surface with cotton wool swabs. The two outer shields had paint on their surfaces and where carved from a pale grey/cream limestone. • The Bath stone surround was cleaned with the Derota steam cleaner. • The painted black border and two outer cartouches has surface dust and debris removed with soft brushes. • The middle cartouche which is alabaster was cleaned with: 50% Acetone 50% White spirit 02% Non-ionic detergent. This was only used on those areas retaining polychrome. Th alabaster was cleaned with soft brushes. Where the marble element had detached due to a corroded fixing the substrate was cleaned to remove all traces of iron and previous fixing materials. It was reattached with a stainless steel fixing set in plaster of Paris. After cleaning the marble elements and polished grey limestone were given a protective coat of microcrystalline wax. It is interesting to note that when waxing the polished grey limestone ghost lettering was revealed in Latin. 67 Sally Strachey Historic Conservation No wax was applied to the cartouches where polychrome is present. The polychrome was well attached to the substrate and did not need consolidation. The only retouching carried out was to add definition to the black border with black gouache. Figure 132: The central alabaster cartouche of arms before Figure 134: Central coat of arms after cleaning cleaning Figure 135: Dexter cartouche of arms before cleaning Figure 136: Dexter cartouche of arms after cleaning 68 Sally Strachey Historic Conservation Figure 137: Sinister cartouche of arms before cleaning Figure 138: sinister cartouche of arms after cleaning Figure 139: Substrate to detached marble plaque showing evidence of corroded fixings 69 Sally Strachey Historic Conservation Figure 140: The lower section of the monument with the marble plaque reinstated and the surfaces cleaned. Microcrystalline wax has been applied to the marble and grey limestone. The black border has been retouched to add definition Figure 141: The Richard and Thomas Newman monument after completion n the setting of the Newman chapel 70 Sally Strachey Historic Conservation Figure 142: The Richard and Thomas Newman monument after conservation 71 Sally Strachey Historic Conservation 5.2.3 Paint Analysis A paint sample was taken from the area of red polychrome on the central coat of arms, (Sample 2). The fragments all showed a layer of pure vermilion over a white undercoat based on lead white. Both the vermilion and the lead white appear to be in excellent condition and it seems unlikely that they are from the seventeenth-century decoration, and it may be that they are from a later re-paint. The quality of the vermilion including the particle size looks very similar to that of the red found on the plaster in Sample 1. SAMPLE 2 Thomas Newman Monument Red on blue on coat of arms vermilion lead white Prussian blue + lead white 72 Sally Strachey Historic Conservation 5.3 Richard Newman Monument Location The west wall of the Newman Chapel Date 1693 recording transfer of coffin Dimensions Materials Stone Description Simple stone inscription panel with black frame Located below disused water tank with redundant surface mounted piping running down the sinister side. Sculptor Not Known 5.3.1: Condition and Recommendations in 2016 Report Condition General ~ Heavily soiled with surface loss and structural cracking to the south. Water pipe runs down the north side. Losses ~ Surface loss in areas and adjacent to cracks on frame. Ferrous fixings ~ unknown. Stability ~ secure, however the crack requires attention and monitoring Soiling ~ all areas are soiled. Inscription unclear Surface friable particularly to upper areas Conservation Recommendation • Record all • Assess for ferrous fixings • Fill open joints and monitor for future movement • Clean all and record. Assess requirement to consolidate friable areas. • Consider legibility of inscription. If evidence of original paint, consider repainting 5.3.2 Conservation Programme The Richard Newman monument was cleaned after trails with the Derota steamer system. The black border was cleaned with soft brushes as the black paint was mobile. Following cleaning historic black paint fragments were found in the deeper scribed letters of the inscription. With this precedent, this enabled the reinstatement of the painted letters to proceed. All the scribed letters were legible for re-painting, apart from what was scribed after the word Somerset. This was carried out with a Mars Black acrylic paint. The markings which remain on the tablet do not fit with shire as in Somersetshire or Died to fit with the rest of the text. The marks go above and below the set text height, so it was either a very embellished word, an abbreviated word, or two words crammed above one another.

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