FORTRESS OF LOUISBOURG
HISTORICAL TECHNICAL NOTES SERIES
DOCUMENTARY EVIDENCE
EXTERIOR HOUSE‑PAINT
(NARRATIVE)
By
Eric Krause
A Work in
Progress (1977 ‑ present)
(Krause House
Info Research Solutions)
Index:
(I)
Narrative
(A) General
(B) Oil‑Based
(C) Bound
Water‑Based
(D) Lime‑Based
(White-Wash or Lime-Wash)
(E) Reason
To Paint
(F) Colour
Brightness and Texture
(G) Pigments
(H) Formulas
(not fine-art or decorative paint formulas)
(I) Louisbourg:
Paint Sources
(J) Louisbourg:
Paint Types
(K) Louisbourg:
Reconstruction Paints
(L) Appendices:
Appendix One: Krause,
Eric, The Built History of Port Toulouse, Isle Royale, Actual and Proposed,
1713-1755, Volume Four, Glossary of Isle Royale Building and Fortification
Terminology and Techniques, Unpublished Report 9816 (Krause House Info-Research
Solutions for the Fortress of Louisbourg, February 28, 1998)
Appendix Two: Krause,
Eric, Domestic Building Construction at the Fortress of Louisbourg, 1713-1758,
Unpublished Report H G 10 (Fortress of Louisbourg, 1996 Draft Report)
Appendix Three: Select Bibliography of Louisbourg Paint
Reports Available on http://fortress.uccb.ns.ca
(A)
GENERAL
EUROPE
ENGLAND
1697
On one of
her tours of England in 1697, Celia Fiennes commented upon the brick and
quoined house of Sir Edward Blacket house, Newby Hall, Yorks, West Riding.
According to her, she entered one of the gardens through a large iron bar‑gate
painted green with gold tops. As well, she noted that the front entrance to the
house consisted of 3 gates whose iron bars and spikes were painted blue with
gold tops.
On one of
her tours of England in 1697, Celia Fiennes commented upon the brick and
quoined house of Sir Edward Blacket house, Newby Hall, Yorks, West Riding.
According to her, she entered one of the gardens through a large iron bar‑gate
painted green with gold tops. As well, she noted that the front entrance to the
house consisted of 3 gates whose iron bars and spikes were painted blue with
gold tops.
1698
In 1698,
Celia Fiennes was in Norwitch. Noting that the buildings in the town were of an
"old form [i.e. timber], mostly in deep poynts and much tileing, and their
building timber and they playster on laths which they strike out into squares
like broad free stone on the outside, which makes their fronts look pretty well
.... they new washe and plaister their houses within and without which they
strike out in squares like free stone."
1756
According
to Ware: [More Details to Add]
1757
According
to Postlethwayt, writing in 1757, English [and possibly French] painters
painted doors and window shutters on both sides, as well as on the edges. They
also painted sash‑frames, sash‑lights, window‑lights,
casements, modillions, and cornices.
1783
According
to a Builder's price book, tradesmen were allowed to charge for:
BRICKLAYERS
WORK ... PLAIN‑TILING ... N.B. If the ridge tiles are fastened with
painted T nails, add one shilling per square ...
(B)
OIL‑BASED
PAINTS
EUROPE
FRANCE
General
According
to one 18th Century source, French painters chose oil‑based paints for
both inside and outside work, on wood and on iron.
For inside
work, another writer suggested that to paint wood, one ought to waterproof it
first with glue, then apply one coat of white distemper with a glue sizing,
and, only then, apply the oil paint. According to the same author, painting
plaster walls with oil was also appropriate, as was, according to another
author, the oil painting of windows, doors, and wainscoting.
In oil
painting, particular for outside work, the French painter very often compounded
his colours; That is, to a base pigment, usually white lead ground in oil, he
would have added another ground‑in‑oil pigment, and by mixing them
together, have achieved the desired tint.
In some few
case, wood shingled roofs received a coating of oil paint. However, wood
shingled roofs in France were a rarity. However, some secondary structures had
them, as did some buildings in the Alps ‑ one of France's few remaining
wooden regions ‑ as did some others where tile and slate were not
available. In these instances, owners might have oil painted some of them,
possibly in red or black (or blue‑black). Preferably, they would have
done so every 2 years, to preserve them from heat and rain, according to some
contemporary 18th sources.
1729
According
to Belidor:
La peinture d'impression à l'huile pour les portes d'entrées, celle des
écuries, les croisées en dehors, la panne de brisis, les lucarnes de bois,
& le reste, sera mise en couleur de bois, imprimée de deux couches
composées de blanc de sereuse, mêlée d'ocre jaune, ou de telle autre couleur
que l'on jugera convenir, de la meilleure, & broyée avec de l'huile de lin,
dont la seconde couche ne se mettra que lorsque la premiere sera bien séche.
L'on se sert ordinairement de thuile, pour faire les égoûts des
couvertures d'ardoise, & afin de les rendre de la même couleur, on les
peint à l'huile.
1730
According
to Daviler:
TRAVÉE D'IMPRESSION; c'est la quantité de 216 pieds, ou six toises
superficielles d'impression de couleur à huile ou à détrempe, à laquelle on
reduit les Planchers plafonnez, les Lambris, les Placards, & autres
ouvrages de differentes grandeurs imprimez dans les Bâtimens pour en faire le
toisé. Les Travées des Planchers à bois apparent, se comptent doubles, à cause
des enfonçures de leurs Entrevoux.
1770
According
to Le Virloys:
Impression ... Est aussi le nom qu'on donne à cette sorte de peinture
d'une seule couleur, qu'on applique sur les murs ou sur les lambris des
appartemens, pour les décorer; sur les bois de charpente & de menuiserie,
pour les préserver de L'humidité; sur les ouvrages de serrurerie, pour les
défendre de la rouille. On dit peinture d'impression.
Imprimer ... Enduire d'une ou de plusieurs couches de couleurs en
détrempe ou à l'huile, les ouvrages de charpente, menuiserie, serrurerie soit
pour les décorer, soit pour les conserver; ...
Huile ... ... Il y en a par conséquent de différentes sortes, dont on
fait usage dans la Peinture & pour l'imprimerie: telles que celles de lin,
de noix, d'aspic, de pavot blanc ou d'oliette, de thérébentine ....
Huile de lin ... est celle qu'on tire de la graine de lin; elle est plus
jaune & plus grasse que les autres sortes d'huiles: il ne doit l'employer
que dans les impressions ...
Huile d'Imprimeur; est de l'huile de noix pure, brûlée jusqu'à ce
qu'elle ait acquis une certaine consistance.
Blanc de plomb ... Préparation de la rouille du plomb, qu'on nommé ainsi
à cause de sa blancheur ... C'est le plus beau blanc: on le nomme aussi Céruse.
1941
La peinture classique (ou traditionnelle) des pans de bois la plus belle
aussi ‑ se fait au véritable sang de boeuf, elle n'est toutefois, pour
des raisons techniques, à recommander que pour des surfaces saines et propres
qui n'ont jamais reçu de peinture à l'huile de lin. Dans ce cas,
malheureusement rare, il faut se servir de sang tout frais encore chaud, auquel
il faut mélanger, en remuant constament, un peu de vernis d'huile de lin.
ENGLAND
General
In the 18th
century, in England, a house painter worked both within and without a house.
According to one English writer, house painting was once a skilled craft,
requiring a knowledge of grinding, mixing, and compounding of colours. However,
by mid‑century, the skill had deteriorated significantly. Colour shops,
some of which used horse‑mills, were now grinding the paint themselves at
such a low price as to reduce the cost of oil painting to one third the
previous expense.
According
to Muller in 1755, indiscussing "House‑Painting":
As the various colours for priming and painting, are now‑a‑days
made up ready for use, and sold in shops, I shall say nothing about them; but
only observe that all painting in and about the house should be well primed,
and passed over twice with the same colour the rooms are to be of, and great
care must be taken to see that the colour is laid full, even, and smooth,
according to the grain of the wood; for when the brush is drawn cross the grain
it never looks well; this is to be understood to be done from the beginning to
the entire finishing of it; or else it will be to no purpose.
In all out‑door painting, the colours should be mixed up with
linseed oil, Spanish white, Spanish brown, and red lead in the priming, and
finished with white lead; this done, it will resist the weather, and last a
great while.
Painting is measured by the square yard, in the same manner as
wainscoting, that is, all the mouldings are measured with a thread; the sashes
of windows are paid by the piece; if the doors and their frames are painted in
mahogony colour, the price is somewhat more than that of common painting; this
some workmen perform so well, as to appear at a distance as well as that wood
itself. When chimnies are lined with Portland stone, they are often painted
like marble, and when it is well done, look very neat for three or four years.
As well,
tastes in painting had also changed. Landscape figures and imitation stones and
variegated woods were no longer in vogue. Now, in order to practice his trade,
a painter need no longer serve as an apprentice learning his trade, but only
required an even hand and an ability to brush on the the paint according to the
grain of the wood. Indeed, so many trades were now painting and daubing (a
plasterers term) with dead colours that even plasterers and white‑washers
had begun to call themselves house‑painters.
In London
at this time, painters' wages were low, and the strong smell of the paint and
the fumes from the white‑lead ill‑affected their health greatly.
Belittling them, writers of the period regarded painters as dirty, lazy and
debauched fellows. Not in need of any particular level of intelligence,
according to these observers, painters required only a steady brain, for standing
upon the eaves of houses, or upon tottering scaffolding at windows.
The use of
pigments ground in oil for interior use grew in popularity during the 18th
century. The formulas were many, resulting in assorted combinations of
pigments, fluids, and additives that helped in the drying process. However,
white lead ground in oil probably formed the basis of the majority of house
paints.
In 18th
century England, few would have painted the exposed, exterior oak members of
their half‑timber homes . It was the considered opinion of many that
bitumen or paint would have sealed the wood and prevented it from breathing.
Accordingly, if they had done so, capillary action would have set in, to draw
water into the joints, producing the inevitable rot.
1783
According
to a Builder's price book, tradesmen were allowed to charge for: [More Details
to Add]
PAINTERS PRICES ... PAINTERS work is measured wherever the brush goes
...
1823
According
to Nicholson: [More Details to Add]
House‑Painting
(1) Oil Paint
White Lead
Litharge
Linseed Oil
Drying Oils
Oil of Turpentine, or Turps
(2) Colours
NORTH
AMERICA - ENGLISH
1833
According
to Gallier:
(1) Oil Paint
White Lead
White lead is the principal ingredient used to give body to colours for
house painting, and that kind which is most esteemed for what is called
flatting or dead white, is imported from England. This article is so frequently
adulterated with common whiting, that it cannot be too carefully examined
before it is used. Perhaps the superiority of the English lead is chiefly
attributable to its being longer kept, as there is no doubt but the American
lead, if kept for two or three years, would be found to answer every purpose.
Litharge (oxide of lead) and Sugar of Lead
Litharge, or oxide of lead, is used as a dryer; but for delicate
colours, or fine whites, sugar of lead answers the purpose much better.
Linseed Oil
Linseed oil should also be kept for two or three years, that it may
precipitate its colouring particles, as the more transparent it is, the better
will be the paint of which it forms a component part...
In Holland, linseed oil is clarified by the following process, which
gives it the same effect as that acquired by age. They put any quantity of oil
into a well glazed pot or other vessel, and to it add fine sand and water; of
each, an equal quantity as of the oil; and having covered the vessel with
glass, expose it to the sun, and stir it every day. This process soon renders
it very white, and when sufficiently bleached, is allowed to settle for two
days, and poured off for use.
MATERIALS USED IN PAINTING ... Linseed oil ... per gallon ... 1 [dollar]
... Boiled ditto ... ditto ... 1 [dollar] 12 [cents] ...
Drying or Boiled Oil
Drying oil, or boiled oil, is usually prepared in the following manner: ‑
For every gallon of [linseed] oil, take litharge, white lead, plaster of paris,
and umber, of each 4 ounces; mix them together and boil over a slow fire,
taking off the scum as it rises, when the scum assumes a reddish colour,
whithdraw the fire and leave the oil to cool and settle; by which it becomes
fir for use.
Turpentine
Oil of turpentine, or turps, as it is called, improves also very much of
age, as the older it is, the longer will the work performed with it retain its
colour. It is much used in flatting, for which purpose it should be of the best
quality.
Colours
A better taste ... is beginning to prevail; the harsh and glaring
contrasts of red and while, so prevalent in the front of our streets, as well
as the equally tasteless daubings in some of our interior decorations, are
giving way to a more chastened style in the application of colours; but much
yet remains to be done in the manner of execution. In most cases, two coats of
paint are considered quite sufficient for every purpose, when even these are
perhaps composed of boiled oil, new lead, and other colours laid on without any
body upon the work: this produces a gloss for a short time; but as the oil soon
becomes absorbed by the wood, or plaster, or evaporated by the action of the
atmosphere, the surface of the wood is left bare, and every imperfection of the
joiners' or plasterers' work exhibited to the eye; rendering it necessary to
paint the house every year, or second at farthest, to keep it in any thing like
respectable condition. Whereas if, when a new house has stood a year or two, to
give time for the walls to become dry, and the joiners' work, floors, and
partitions to have shrunk, and become properly settled, one good painting, with
four coats of body colour, composed of the best materials, and properly
executed, will last for several years by occasionally cleaning the surface of
the paint, and will always look incomparably better than when done in the
former manner, even with painting every year.
COLOURS GROUND, AND READY TO MIX ...per lb. ... White lead .. 16 [cents]
... Lead coulour ... 16 [cents] ... Straw colour, mixed with chrome ... 25
[cents] ... Green, good ... 50 [cents] ... Yellow, common ... 12 [cents] ...
Black colour ... 25 [cents] ... Stone colour ... 16 [cents] ... Red lead ... 16
[cents] ... Chocolate colour ... 18 [cents] ... Venetian red ... 14 [cents] ...
PRICES OF PAINTING COMMON COULOURS: AS LEAD, STONE, CHOCOLATE, OR WHITE
... One coat in oil, including knotting and stopping ... 2 coats ... 3 coats
... 4 coats ... Flatting dead colours, once ... Ditto, twice ... For French
greys, fawns ... olive greens ... Warm tints, lilacs, light greens, peach
colours ... French green, deep green, yellow, blue verditer, scarlet ... lake
colours ... add to the above prices ... Sanding .... If any of the above be
done in party colours [i.e. door or shutter frames, etc. a different colour
than the panels], add extra ... SKIRTINGS AND CORNICES .... plinths, not
exceeding 9 inches girt ... ENRICHED CORNICES, Base or Impost Mouldings,
Chimney Caps, Carved Work, or other Enrichments ... REVEILS TO DOORS AND
WINDOWS ... if 8 inches, add 1/3 ... WATER PIPES ... If finished green, add ...
WINDOW SILLS, Stringings, Edges of Coping, etc. .... HAND RAILS, Newels, Base
Mouldings, etc. ... If hand rails grained add ... If varnished ... add ...
Mouldings, or edges cut in, add .... SASH FRAMES ... inside or outside ... Sash
squares ... IMITATIONS, Marbling, etc. ... Wainscot ... oak ... Magogany ... Coromandel,
or rose wood ... Hair, or satin wood ... Mouldings or edges cut in of the same
wood ... Cross banding ... Light shadowed, or broad ebony lines, to form panels
... Athenian scroll and lotus corners ... Marbling, on dead white ground ...
Dove, or burdilla do. ... Antico, oriental, or verd antique ... If fluted in
columns, add ... Varnished once with best copal ... twice ... three times ...
If polished, add .. Spirit varnish ... MOULDINGS CUT IN ... Metal bronze, not
exceeding 2 in. girt ... Oil gold, 1/2 inch girt ... Ditto, 3/4 ... For every
1/4 inch, add ...
(2) Distemper and Distemper/Oil Paint
Combinations
PAINTING IN DISTEMPER, OR WATER COLOURS MIXED WITH SIZE.
When stucco or plaster, which is intended to be painted in oil when
finished, is not sufficiently dry to receive the oil colour, but requires
colouring to give it a more finished appearance, it may have one or two coats
in water colours of any desired tint. It will require two coats to cover the
plaster, and bear out a uniform appearance. It must be remembered, that when
the stucco is sufficiently dry, and it is desired to have it painted in oil,
the whole of the watercolour should be washed off, which is easily done with
hot water; and when quite dry, the oil can be laid on. When ceilings and
cornices are much ornamented, the best way is to give them two coats of oil
colour, and afterward paint them in water colours. The advantages of this
method are, that, if the mouldings or enrichments become clogged up with
colour, it can be all washed off to the oil, at any time, and coloured afresh,
without injury to the enrichments.
When old plaster has become discoloured by stains, and it be desired to
have it painted in distemper, it is then advisable to give the old plaster,
when properly cleaned off and prepared, one coat, at least, of white lead and
oil, with spirits of turpentine, which will generally fix all old stains; and
when quite dry, will take the water colours very kindly.
COLOURING IN DISTEMPER ... Whiting, in distemper, once ... twice, clear
coaled, and white ... plain cornices ... to enriched do., each enrichment ... 2
coats, fawn, French gray, lilac, etc., ... blue, green, or other expensive
colours ...
(C)
BOUND WATER‑BASED PAINTS
(DISTEMPER, WHITING, OR CALCIMINE)
EUROPE
FRANCE
General
While some
French 17th and 18th century writers regarded distemper as an excellent
undercoat for the painting wood in oil, they, as well as others, also felt that
it served as a replacement for oil when painting windows, doors, wainscoting,
or walls.
Naturally, they were speaking of inside work only, on [plaster] and on wood. In
fact, as one writer would maintain:
The most beautiful of the paints and that which is glossiest is the
distemper, known as chipolin.
According
to one 20th century contemporary writer, relying mostly on English sources:
By and large, distemper was much more important during the nineteenth
century than during the eighteenth. Its use during the eighteenth century was
confined, for the most part, to substituting for oil base priming. Distemper
priming, although an inexpensive shortcut, was generally viewed as
objectionable because it was not very durable.
In
contrast, according to another 20th century writer, his conclusions also based
on English sources, the use of a:
size‑bound distemper ... [was a] technique widely employed in
interiors, and indeed, essential to the achievement of a number of bright
colours which had been fashionable during the second half of the eighteenth
century.
According
to Postlethwayt, writing in 1757, in plaster work, "whiting and
colouring" was being applied between quartering, and on the returns of the
quartering.
1697
According
to Felibien:
CHAUX FUSÉE, c'est‑à‑dire détrempée; fuser la Chaux, c'est
la détremper. Ce terme n'est pas usité à Paris. Phil de Lorme conseille de
faire la Chaux des mesmes pierres dont le bâtiment est construit. Il faut voir
les raisons de cela dans les Notes de M. Per. sur le 5.c du 2. l de Vitr.
FUSÉE. Il y a des lieux où l'on dit la chaux fusee, pour dire, de la
chaux qu'on détrempée, ou qui s'est détrempée d'elle‑mesme à l'air, sans
y mettre de l'eau.
1730
According
to Daviler:
BLANCHIR; c'est en Maçonnerie faire une ou plusieurs impressions de
blanc à cole sur un Mur sale, après y avoir passé un lait de chaux, pour rendre
quelque lieu plus clair & plus propre. On blanchit tous les ans dans les
Villes des Pais‑Bas, les façades des Maisons pour les embellir; &
dans les Pais chauds, on blanchit les dedans pour conserver les Tapisseries
& rendre les lieux plus frais.
IMPRIMER; c'est dans l'Art de bâtir, peindre d'une ou de plusieurs
couches d'une même couleur à huile ou à détrempe, les ouvrages de Charpenterie,
de Menuiserie, de Serrurerie, etc. qui sont au dedans ou dehors des Bâtimens,
autant pour les conserver que pour les décorer.
DÉTREMPE. Couleur employée à l'eau & à la cole, dont on imprime,
& peint dans les Bâtimens.
MUR BLANCHI ... ou qui estant de maçomnnerie, est imprimé d'un lait de
chaux, & d'une ou plusieurs couches de blanc.
1770
According
to Le Virloys:
Imprimer ... Enduire d'une ou de plusieurs couches de couleurs en
détrempe ou à l'huile, les ouvrages de charpente, menuiserie, serrurerie soit
pour les décorer, soit pour les conserver; ...
Détrempe ... Couleurs broyées à l'eau & à la colle, qu'on emploie
sur le plâtre, le bois ... où il n'y ait ni graisse, ni chaux ... Détremper ...
Délayer la chaux avec de l'eau, dans un bassin, avec le rabot.
Blanchi ... Qu.on a enduit de blanc ...
Blanchement ... L'action de blanchir, de faire une impression de blanc,
sur des murs, des plafonds, etc
Blanchir ... Imprimer les murs, les plafonds, en blanc de détrempe.
Blanc d'Espagne ... ainsi nommé, à cause qu'il vient de ce pays, est le
gros blanc dont on se sert en détrempe pour blanchir les plafonds, les murs,
etc. & pour nétoyer les métaux.
Writing in
1780, a French author clearly confirms this fashion trend:
Jamais la Peinture d'impression n'a été aussi en vogue [inside] qu'elle
l'est aujourd'hui.
However,
like most trends, its roots were earlier. For instance, in 1743, a French
writer indicated that painters in the country, as well as in the villages, knew
only of common painting (of which the writer did not describe), but nothing
about the [decorative] distemper painting of fine woodwork (i.e. new wood, or
old, dirty, wood which has been prepared by whitewashing) such as wainscoting;
or its varnishing (which served to protect these fine works). Consequently,
this author proceeded to discuss the proper composition of this [decorative]
distemper (it must have a superior glue that would not deaden colour pigments);
the variety of special, brilliant colour pigments (compounded whiting, pale
yellow, straw, blue, green, lilac) that distemper painting allowed; their
application (using very fine brushes); as well as varnishings, to give a lustre
to the colours, to maintain their intensity, and to protect them from the
elements.
Common
distemper consisted of water, a size (animal glue or parchment melted in hot
water) as a binder, and a colouring agent.
Likewise, whiting (invariably referred to by French writers as the base for its
country's distempers), or calcimine (kalsomine), was also a distemper,
consisting, in this case, of a white or tinted (to pearl grey for example, for
the finish coat) mixture of whiting (chalk), glue size, and water.
In other
words, it is "the Working up of colours with something else besides bare
Water or Oil; as if the Colours are mixed with Size, Whites of Eggs, or any
such proper glutinous or unctuous Substance, and not with Oil, then the
Painting is said to be done in Distemper, ... Water Colours [in Painting] are
such Colours as are only diluted and mix'd up with Gum Water, in
Contradistinction to Oil Colours. Water Colours are us'd in what we call
Limming; as Oil Colours are in Painting, properly so call'd."
During the
18th century, the "whiting" of interior walls was quite common. This
type of distemper paint consisted of Spanish white broken into warm water to
which was added a strong size. Upon cooling, it appeared as a thin jelly, which
the painter could then brush onto the walls. He would have applied at least two
coats.
ENGLAND
1823
According
to Nicholson: [More Details to Add]
Distemper Paint
Colours
NORTH
AMERICA - ENGLISH
1833
New York
According
to Gallier:
Distemper and Distemper/Oil Paint Combinations
PAINTING IN DISTEMPER, OR WATER COLOURS MIXED WITH SIZE.
When stucco or plaster, which is intended to be painted in oil when
finished, is not sufficiently dry to receive the oil colour, but requires
colouring to give it a more finished appearance, it may have one or two coats
in water colours of any desired tint. It will require two coats to cover the
plaster, and bear out a uniform appearance. It must be remembered, that when
the stucco is sufficiently dry, and it is desired to have it painted in oil,
the whole of the watercolour should be washed off, which is easily done with
hot water; and when quite dry, the oil can be laid on. When ceilings and cornices
are much ornamented, the best way is to give them two coats of oil colour, and
afterward paint them in water colours. The advantages of this method are, that,
if the mouldings or enrichments become clogged up with colour, it can be all
washed off to the oil, at any time, and coloured afresh, without injury to the
enrichments.
When old plaster has become discoloured by stains, and it be desired to
have it painted in distemper, it is then advisable to give the old plaster,
when properly cleaned off and prepared, one coat, at least, of white lead and
oil, with spirits of turpentine, which will generally fix all old stains; and
when quite dry, will take the water colours very kindly.
COLOURING IN DISTEMPER ... Whiting, in distemper, once ... twice, clear
coaled, and white ... plain cornices ... to enriched do., each enrichment ... 2
coats, fawn, French gray, lilac, etc., ... blue, green, or other expensive
colours ...
(D)
LIME‑BASED
PAINTS
(WHITEWASH
OR LIME‑WASH)
General
Whitewash,
a liquid rendering made of slaked lime and water, was commonly available during
the 18th century.
EUROPE
FRANCE
1697
According
to Felibien:
LAITANCE, c'est de la chaux, qui estant détrempée fort clairement,
ressemble à du lait. On en blanchit des murailles, des Plafonds & d'autres
choses, principalement dans les lieux il n'y a pas de plastre.
1730
According
to Daviler:
DÉTREMPER LA CHAUX; c'est la délayer avec de l'eau, & le rabot dans
un petit Bassin, d'où elle coule ensuite dans une fosse en terre, pour y être
conservée avec du sable par ‑dessus.
LAIT DE CHAUX; c'est de la Chaux delayée avec de l'eau, dont on se sert
pour blanchit les murs, & qu'on appelle aussi Laitance.
1730's
In Paris,
in the 1730's for example, whitewashed buildings {more likely this was with
distemper rather than with a whitewash ‑ see distmper section) were
relatively common. Indeed, in 1733 or 1734, one interested Parisian even
suggested making the practice periodically mandatory, in order to brighten up
the city's face.
1755
According
to Liger, torchis was applied to framed and other small buildings, and could be
white‑washed:
La Bauge n'est autre chose que de la terre franche mêlée avec de la
paille ou du foin haché, bien paîtrie & bien corroyée: on s'en sert beaucoup
dans les pays où la pierre & le plaître sont rares ... Quand la bauge
s'applique sur de la charpente, comme pour granges, étables, & autres menus
bâtimens, ils appellent cet ouvrage du Torchis, parce que le pan de bois ou
charpente, qui n'est ordinairement qu'un assemblage de quelques mauvais petits
poteaux lattés, étant dressé, on prend de la bauge, on la tortille autour de
certains bâtons en forme de torchis, d'où vient le nom de Torchis: on appelle
ces bâtons des palissons ou palots, & on les met avec force dans les
entailles entre les bois de la charpente, à quatre ou cinq pouces l'un de
l'autre. Quand tout le mur est ainsi chargé, on en crépit la surface avec de la
même bauge bien corroyée, on l'unit avec la truelle, & si l'on veut on la blanchit
avec du lait de chaux. On garnit aussi des planchers à la campagne de cette
même matiere.
Liger also
discussed the construction of large kennel buildings as follows:
Dans un coin du chenil il faut un petit bâtiment de deux chambres basses
pour les chiens, & deux autres chambres au‑dessus pour le valet de
chiens. Dans chaque chambrée de chiens il y aura une cheminée pour faire grand
feu quand il en sera besoin ... Les murs du dedans du chenil doivent être bien
blanchis, les fenêtres bien fermées de vitres, pour que les mouches n'y entrent
point .
Liger also discussed the construction of pigeon houses as follows:
On doit enduire le colombier de bon mortier, & le blanchir dedans
& dehors; car cette couleur plaît fort aux pigeons, & même les y attire.
Liger also
described the construction of hen houses as follows:
Il faut que le poulaillier soit de bonnes murailles, bien maçonnées
& blanchies dehors & dedans.
1770
According
to Le Virloys:
Lait de chaux, ou Laittance ... Est de la chaux détrempée avec de l'eau,
dont on se sert pour blanchir les murailles, plafonds, etc. principalement dans
les endroits où il n'a point de plâtre.
ENGLAND
1755
According
to Muller:
The mortar made for ceilings is different from that we have been
speaking of; it is made of ox or cows hair well mixt and tempered with lime and
water, without any sand: the common method of making this mortar is, one bushel
of hair to six bushels of lime; the hairs serve to keep the lime or mortar from
cracking, and to bind and hold it fast together.
In buildings of no great consequence, the laths are nailed on the
joists, so as a part of the girder appears below the ceiling; this is done in
view to get 5 o5 6 inches in the height of the room; and the part of the
girders that appear are covered with deal boards, and with a little cornice
round it, and painted with the same colour as the wainscot. The plaster for
ceiling is made of lime and hair, to make it stick the better, and on very
smooth; when it is dry and has any cracks in it, as commonly happens, it is
passed over with a trowel dipt in thin plaster, this is continued till it is
quite smooth, and without any cracks; after this it is white‑washed two
or three times over, with lime‑water and size, till it appears of a fine
white.
1783
According
to a Builder's price book, tradesmen were allowed to charge for:
PLAISTERERS PRICES ... LIME‑WHITEING ... Wash, stop, clear‑coal
and white ... Circular, ditto ... White only to new work ... Wash, stop and
white, to ornament ceilings ... Ditto, ornaments only ... Ditto and straw‑colour,
picked in to grounds ... Plain colouring ... Orange colouring on stucco ...
Plain moulding, cleaned, repaired and whitened ...
RENDERING ... Chimneys rendered and blacked ... Rendering, trowled and blacked
...
LATH AND PLASTER ... Ditto [Floated lath and plaister] set, and white
...Ditto [Floated lath and plaister] with strong fir laths and 4d. nails, and
washed and stopped for painters ...
PLAISTER CORNICES ... Plain cove cornice and whited ... Ditto with an
eye dentel and whited ...
BORDERS ... Oval border, enriched 0‑gee, guilochi and flower,
ribband and flower, and whited ...
DAY WORK ... Whiting, per dozen ...
PAINTING ON ORNAMENTAL STUCCO, AS CEILINGS, ETC. ... Distemper on stucco
with enriched mouldings, grounds, straw, lemon or pink colours, etc., and the
moulding white ... .
ORNAMENTAL FIGURE PAINTING IN DISTEMPER ... [More Details to Add] .
(E)
REASON
TO PAINT
EUROPE
FRANCE
General
The two
reasons were: Decoration and/or preservation.
In France
of the 18th century, experts began to ask whether an exterior covering in oil
paint, tar, or pitch was really superior, or whether, indeed , there existed a
better substitute impenetrable to water. Two observable facts provoked this
question: While these particular coverings prevented water from penetrating,
equally they kept water from escaping.
In land‑bound
France, it was customary to paint 3 times in oil (the second coat to contain
fine sand, it was recommended) any wood exposed to air (as opposed to wood
submerged in water for example). The common colours were red and yellow ochre,
or white lead.
1697
According
to Felibien:
On appelle aussi OCHRE rouge la terre rouge, qui souvent est une mesme
matiere que l'Ochre jaune. La rouge est ordinairement plus proche de la surface
de la terre, & semble avoir pris cette couleur plus forte de la chaleur du
Soleil qu'elle reçoit plus aisément que l'autre qui est dessous. Aussi en
calcinant l'Ochre jaune on luy donne une couleur jaune, & une espece de
limon qui se trouvoit dans les mines d'argent
In the
ports, i.e. harbours, however, tar, pitch, melted resins in oil, and other
substances such as sulfur and oil mixtures were more common. Here, in these
places, the experts deemed the damaging effects of rain upon wood to be
greater, requiring differing protective measures.
Notwithstanding
this argument over superior paint types, the experts also factored in the use
of dry versus wet wood, as well as the quality of wood. Firstly, they concluded
that it was useless to try to protect either green or wet wood exposed to sun
and rain since such coverings only accelerated rot; Secondly, that protected
outlasted unprotected dry wood; And thirdly, that protected wood submerged wood
in water seemingly lasted forever.
ENGLAND
General
In 18th
Century England, one writer considered house painting as a part of a building
just as important any other part, both for "Use and Ornament." In
other words, exterior woodwork [i.e. the most expensive woodwork of a building,
as well as its most aesthetic], like window sashes, doors, dormant frames and
casings, shutters, and ironwork, if not painted, "in a very few Years, are
so much decayed ... that were those Buildings to be made tenantable, most of
the outside Timber‑Work must be renewed ... As to the [interior]
ornamentle Part, there is no Gentleman but must allow that there is a great
difference between a clean painted Room, and one that hath not been painted, or
where the Painting is foul."
According
to Charles James, writing in 1816, while referring to Bettesworth's 1734
"The Builder's Dictionary," noted:
the manner of colouring all sorts of timber‑work, particularly of
gun‑carriages, wagons, etc. ... which require either beauty or preservation
from the violence of rain, or injury of seasons, is so well known, that we
shall not enter into any particulars ...
Even in the
19th century, "inside painting ... was employed as a vehicle of ornament
as much as for the preservation of wood [, and] its restoration, or renewal, is
more subject to the rules of taste than any absolute requirement of utility
...".
Period paints, while initially bright, owing to their formulation with hand‑ground
pigments, not only create a ropiness when applied, but yellowed severely
(according to critics of the period) owing, as we now know it, to their
unstable vehicle (such as linseed‑oil) and resin compositions.
Painters
applied more than one coat of paint for several reasons. One was a desire to
achieve a certain degree of durability, but the other, was an attempt to
achieve an even colour from the technology of suspending a pigment in oil.
Why to
paint wood might be best answered by why builders used wood. If wainscoting,
for example, the wood was "usually cut to show the attractive radiating
medullary rays of the tree, so displaying the largest amount of grain."
But if the wainscot were of a wood of an inferior species, or if it had faded
or turned from its natural colour, then it might have been painted.
(F)
COLOUR
BRIGHTNESS AND TEXTURE
COLOUR
DEFINITION
General
A colour
pigment is an:
insoluble substance that is mixed with a vehicle to make a paint.
Besides lending color to a finish film, pigments serve three major purposes:
they thicken the fluid film so that it can be applied in heavier layers; they
help make the dried vehicle less porous; and they lend hardness to the paint.
Pigments were derived from both organic and inorganic sources, or in other
words, they were procured from the animal, vegetable, and mineral kingdoms. ...
Many of the mineral pigments, such as the ochres, were mined directly
from the ground and required very little processing before being incorporated
into paints. In other instances, pigments had to be synthesized from available
reagents.
COLOUR
LIFE
General
Considered
contemporary opinion maintains that original 18th century colours were
"much brighter, less yellow and glossier" than the "so‑called
Williamsburg colors," but that paint colours were short lived because of
the following reasons:
paint vehicles and resins used in earlier times often yellowed severely;
another [reason] is the rapid degradation of unstable pigments used in the past
are not used in modern architectural paints because their rather rapid
reactions to light, oxygen and other substances make them undesirable for use
today. Such reactions, of course, lead to changes in color, glossiness and
texture, and they can even cause loss of adhesion. ...Residents probably lived
with the fading color for several years before repainting or otherwise covering
the old paint. Therefore, the paint may have retained its original brightness
for only a short time.
EUROPE
- FRANCE - PRACTICE
General
In 18th
century France, the practice was to whitewash blackened stable and kitchen
ceilings and walls. In the case of fine woodwork, dirtied or greasy, or covered
by an old oil or water‑based paint requiring its removal, owners would
have washed down the walls with repeated applications of lye (a potash/pearl‑ash
mixture: 1 "demi‑septier" of lye to 1 pint of water), followed
by a splashing of clean water, and, if painted, by a scrapping (of moldings,
for example, where paint might still remain). The exercise was to return the
wood to a state similar to having never been painted (the question of what was
to be done next was not broached).
EUROPE
- ENGLAND - PRACTICE
General
In the 18th
century, English painters reduced all paint colours to two classes: dark or
obscure and earthy like black or umber; and light, like white and those which
come closest to it.
In 18th
century England as well, for outside work, it may not have been uncommon for
owners to have re‑painted in the same colour every 4 or 5 years, or less,
depending on the severity of the weather upon the lustre of the paint. For
inside work (decorated or not), soiled and tarnished by dust, smoke, fly
excrement, etc., workers, using strong bristle brushes, may have, from time to
time, been made busy gently scouring the work with a mixture of well‑sifted
wood ash and water, followed by a cleansing water rinse.
TEXTURE
General
Contemporary
20th century writers contribute the general ropiness of 18th century paints to
the use of laboriously, hand‑ground pigments.
Yet, several period accounts clearly suggest otherwise, that grinding
difficulties were but one of several possible reasons for this ropiness, and
that ropiness need not be always the case.
Indeed, the
grinding process itself was not sacrosanct. For example, some 18th century
painters instead repeatedly washed down the pigments of a "coarse and
sandy nature" until the reserve included only those "of an uniform
fineness."
In particular, red lead, ochres, and chalk were suitable to this process.
Consequently,
technique, perhaps as much as technical limitations, were the cause for this
ropy appearance. For example, one period writer urged that the grinding of a
pigment must (and, hence, could) continue until as fine as butter, and that,
some pigments actually required little or no grinding at all (lamp‑black),
while others a painter might grind fine with ease (Spanish brown), or, as fine
as the oil itself, given the necessary expenditure of time and pain (white
lead, ochres, and, indeed, perhaps most other pigments as well). In contrast,
hand labour alone would have found the grinding of red lead to a fine texture,
difficult if not impossible.
As an
aside, according to one 19th century account, to hand‑grind 1 kilogram of
red ochre into the necessary 0.5 kilograms of linseed oil required 8.5 hours as
opposed to 6.5 hours for yellow ochre. The same account, however, seems to
contract 18th century accounts that lamp‑black required little or no
grinding, in that it stated that to grind 1 kilo of lamp‑black in 0.8
kilos of oil required 8.5 hours.
Obviously, this was not the "soot raised from the Rosiny and fat Parts of
Fir Trees ... [of] Sweden and Norway ...more generally used in Painting [in
England] than any other ... without grinding."
At any
rate, French writers, from time to time, instructed painters to purposely apply
thick (gros) coats of paint. For instance, they were to use "une couleur
grossiére"; were to paint "en grosse couleur a l'huile, en rouge ou
noir" or "du gros blanc écrasé pour faire le blanc"; or were to
apply "deux ou trois couches de grosse couleur a l'huile" to the
backing of wood set against a wall, to keep the wood.
On the
other hand, one period English writer clearly stated that, by 1747, some colour
shops (which carried both compounded and non‑compounded colours), were
not only employing labourers, but had set up horse mills as well, for the
grinding of "ready‑prepared" colours. In particular, certain
companies had turned to engines (i.e. mechanical devices), horses, as well as
labourers, for the dangerous (because of mercurial fumes) production of red and
white lead.
Further,
the aforementioned colour shops that were producing "ready‑mixed"
colours were doing so at a price which the writer regarded as uncommonly low.
While most
"ready‑prepared" colours were likely still hand ground, no
doubt some most certainly were machine ground. Whether machine ground pigments
were finer than hand‑ground pigments remains unknown. And, besides
compounding pigments, British colour shops also provided ready‑made
paint, i.e. "colours ground in oyl, fit for painting" which, were, at
least as early as 1724, available in Boston, just arrived from London.
Presumably then, some of these as well included mechanically ground pigments.
Finally,
evidence suggests that the 18th century painter, in oil at least, saw a degree
of ropiness as a good thing. Indeed, it was his experience that well‑ground
colours layed down "stiff" (i.e. thick, substantial, and well‑bodied)
lasted best. Indeed, 19th century writers continued to refer to the need to lay
down a "paint quite stiff", at least in the case of a second exterior
coat.
18th
century writers recognized that a linseed oil‑based paint mixed with
"fat drying" linseed oil, to hasten its drying, displayed two
disquieting qualities: one, if the "fat drying" oil were produced
through boiling, the oil tended to take on a deep reddish hue which in turn
altered the inherent colour of some added pigments; and two, that if this were
white paint, for indoor use, a lack of air and sun exposure would eventually
turn the paint yellow (in other words, linseed oil, exposed to air and light,
becomes drying and loses its colour).
Indeed,
throughout the 18th, 19th and 20th centuries, the use of filtered raw linseed
oil [produced by means of either cold or hot pressing] or boiled linseed oil
[i.e. raw oil and certain driers heated together to a high temperature] has
remained a moot point, as painters seem to have chosen one or the other, as per
personal preference, whether for exterior use (often raw) or interior use
(often boiled), and/or whether used as a priming or subsequent coat.
Accordingly, while one 20th century writer regarded linseed oil that was yellow
and transparent the best for house paints, he did not believe that it need not
be drawn cold (i.e. extracted without the use of a heated press) nor bleached
clear (a process known in the 18th century, but unlikely practiced widely until
the 19th, to remove the natural brown colour of raw linseed oil, which reddened
when boiled with the addition of some driers, that severely limited its use as
a binder for lighter coloured pigments):
since there is not any known process for preventing the discolouring
after its drying ... [and that while] linseed oil is sometimes boiled with
litharge to make it dry quickly, ... when it is thus treated it is unfit for
best work [presumably, though much used by painters as a drying oil, its darker
colour caused tinting problems].
According
to the French writer Le Virloys:
LITHARGE ... Est du plomb empreint des impuretés de quelqu'autre métal,
& reduit en scories, ou en espèce d'écume métallique, par la calcination;
il y n a, par conséquent, de différentes sortes, la litharge d'or & celle
d'argent sont celles que les Peintres employent pour dégraisser les huiles,
& les rendre siccatives.
One 18th
century French writer, who spoke about the beauty and glossiness of period oil‑based
paints, when recommending, as almost an afterthought, the use of turpentine oil
(huile) or spirits (essence), together with a drying agent (so that the paint
would dry faster and not yellow), seemingly ignored the additional effect of
his recommendation.
In the 19th and early 20th century, when painting techniques similar to the
18th still remained much in vogue, it was widely understood that:
The smaller the proportion of oil employed for the purpose, the less
will be the gloss and the greater the ultimate hardness of the coating. For
flatted white, etc., the colour being ground in oil, requires scarcely any
further addition but turpentine, the object being to keep it flat or dull.
An 18th
century English writer, who also recommended oil of turpentine (note: not
turpentine was not an 18th century invention) for its known drying qualities,
particularly when slow drying lampblack pigments were involved, suggested that
painters mix varnish (created by dissolving some "good clear
turpentine" ‑ i.e. common turpentine ‑ in "oil of
turpentine" with any colour, in order to:
Make those colours shine much when dry, and preserve their Beauty beyond
most other Things, drying with an extreme Glossy Surface, more smooth than Oil
alone, and will also better resist the Injuries of the Air and Weather,
provided too much of it be not put in.
He might
have also added, as did another English writer of the period, that such a
procedure would have allowed the painter the luxury of not varnishing
afterwards.
For inside
work, one French writer also recommended varnishing over the final coat,
whether it be oil‑based or bound water‑based did not matter. In the
mid 18th century, varnishing served two purposes: to impart a gloss and lustre
(i.e. surface shining) while protecting the paint from weather and dust. At the
same time, varnish would have transmitted the tone of any transparent undercoat
(i.e. any colour pigment, not mixed with white or other opaque pigment, which
becomes transparent when wetted with oil), to give a depth, softness, and
brilliance which flat, opaque paints lack.
Significantly,
one 18th century French writer, who noted that, respectively, white lead and
whiting were the base pigments for common oil and water‑bound painting,
described the tints resulting from mixing other pigments with these base
colours as "couleurs a plat."
In other words, he seems to have regarded French painting as flat and opaque,
and covering rather than transparent.
(G)
PAINT
PIGMENTS
General
The
important pigments in house painting which would have presented the fewest
supply or technical problems in their use were:
PIGMENT COLOUR
(1) White lead White
(2) Whiting White
(3) Ochres (Umbers) Red, Brown, Yellow
(4) Carbons Black
[More
Details to Add - What about Green Types - See Jombert]
On the
other hand, some writers, particular the English ones, listed numerous ground‑in‑oil
"colours used in House‑Painting" and their relative costs.
Unfortunately, listed costs varied considerably, from writer to writer, and the
table below should be considered more illustrative than accurate:
(A)
General Comments: Painter's Charge
Outside painting, 3 times in oil: 6 d. to 8 d. per yard
(if well‑done)
Inside painting, common colours, new
work: 6 d. per yard
Inside painting, common colours, old
work: 4 d. per yard
(B)
Specific Comments
PIGMENT COLOUR
White Lead White
Pigment Cost: 4 d. per pound, in 2 d. of oil [Note: linseed
oil costs 10 d. per quart, drying oil costs 12 d. per quart, and turpentine
costs 12 d. per quart] Pound will Cover 8 square yards (i.e., the cost is 3/4
d. per yard)
Painter's Charge: 4 d. per yard (i.e., 3/4 d. per yard
for the pigment in oil, plus 3 3/4 d. for the labour)
(France: 2 coats,
in oil): 40 & 42 sols la toise
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Pearl
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Lead
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Cream
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Stone
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Wainscot or Oak
Pigment Cost: 4 d. & 5 d. per pound
Pound Will Cover: 8 square yards
Painter's Charge 4 d. per yard
(France: Wood
Colour, in oil): 35 & 38 sols la toise
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Chocolate
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Mahogany
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Cedar
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Walnut Tree
Pigment Cost: 6 d. per pound, in oil
Pound Will Cover: 10 square yards
Painter's Charge 4 d. per yard, or more
(France:
Wood
Colour, in oil): 35 & 38 sols la toise
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Gold
Pigment Cost: 8 d. per pound, in oil
Pound Will Cover: 8 square yards
Painter's
Charge: 10 or 12 d. per yard, or
more
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Olive (an extraordinary colour)
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Pea
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Fine Sky Blue mixed with (the extraordinary colour of) Prussian Blue
Pigment Cost: 8 d.. to 12 d. per pound, in oil
Pound
Will Cover: 8 square yards
Painter's Charge: 10 or 12 d. per yard, or more
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Orange
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Lemon
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Straw
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Pink
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Blossom
Pigment Cost: 12 d. per pound, in oil
Pound Will Cover: 8 square yards
Painter's Charge: 10 or 12 d. per yard, or more
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Fine Deep Green (an extraordinary colour)
Pigment Cost: 30 d. per pound, in oil
Pound Will Cover: 20 square yards
Painter's Charge: 12 d. per yard
Painter's Charge
(France): 55 sols & 60 sols la toise
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
First Primer
Pigment Cost: 4 d. per pound, in oil
Pound Will Cover: 20 square yards
Painter's Charge: Charge not given
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Second Primer
Pigment Cost:4 d. per pound, in oil
Pound Will Cover: 12 square yards
Painter's Charge: Charge not given
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Black, in oil
Painter's Charge
(France): 30 & 35 sols la toise
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
In
contrast, in France, other painting costs included:
Whiting White
Painter's Cost
(new ceilings,
2 coats): 5 and 6 sols la toise
Painter's Cost
(old ceilings, 1 coat): 3 & 4 sols la toise
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
Whitewash White
Painter's Cost
(several coats): 7 & 8 sols la toise
‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑‑
(H)
PAINT
FORMULAS
(not
fine‑art and decorative paint formulas)
(1)
OIL-BASED PAINT
Circa
1730's
(1) New Wooden Work
(a) Brush new wooden work clean;
(b) Stop holes with putty and paint over with paint you have chosen;
(c) Cover knots with size and red lead, before painting;
(d) Stir in 6 pounds of paint to every one quart of oil, to an even
thickness;
(e) Paint with the grain;
(f) Prime the new wood twice;
(g) Apply a weak hot size, and let it dry over night;
(h) Paint with the desired colour;
(i) Paint in not too cold or damp weather, but if warm, open windows and
doors and give the paint a thorough airing, for the sooner it dries, the better
it will look;
(2) Old wooden Work
(a) First brush over with melted size and let dry;
(b) Paint as for new wooden work;
(3) Plaster Walls
(a) Twice brush the walls with a strong size and let dry;
(b) Paint once or twice with the desired oil colour
4) Exterior Weather‑boarding
(a) Paint twice, or better yet, three times;
(b) Sift dry sea sand upon the last coat while still wet;
(c) When dry, sweep off loose sand;
(d) Paint again, and sift more sea sand upon it;
(e) When dry, sweep off loose sand;
(f) Paint well with lead based oil‑paint;
1734
(1) When painting wood (inside or out), stop (i.e. fill in) and smooth
off all cracks using a putty consisting of a well‑beaten mixture of
whiting and linseed oil [probably raw oil, of a natural brown colour];
(2) The use of "fat drying" oils encourages the fast drying of
oil‑based paints and produce finishes of added beauty and lustre (i.e. as
if glazed over with a varnish);
(3) How to make a "fat drying" [today called boiled] oil
(because it will be of a deep reddish colour it will, to a degree, alter the
inherent colour of a pigment):
(a) Add 2 ounces of finely powdered litharge of lead to one quart of
("plain,")[ i.e. raw] linseed oil;
(b) Boil for one hour until the oil becomes "fat";
(c) Set on fire, stir for a minute or two, then extinguish, and let
cool;
(d) Pour off the clear oil, leaving behind the litharge which has
settled to the bottom;
(4) [Bleaching:] An alternate method for making a "fat drying"
oil (of a clear white colour which will not alter the colour of a pigment):
(a) Add 2 ounces of litharge to a quart of linseed oil;
(b) Let the mixture sit in a glass in the hot sun for a month as the sun
will remove [bleach] the colour from either linseed or walnut oil;
(c) Well stir the mixture twice a week;
(d) When the oil is white, clear, fat, and thick, it is ready;
(5) Oil‑based paint formula:
(a) Produce a batch of [prepared] "fat drying" oil by
mixing 3 parts "plain" [raw] linseed oil with one part of a "fat
drying" [boiled] oil (although some colour pigments like red lead, or
umbers, being already fast drying, do not require the inclusion of a "fat
drying" oil, its presence will increase a paint's beauty and lustre;
(b) Or, instead of using a
"fat drying" oil to hasten colour drying use, [prepare] an oil batch
with:
(i) The powder of burned copperas
(ii) Or, a [drying] oil of turpentine, in which [not too much] good
clear turpentine has been dissolved, before mixed with the oil and colours, to
make:
(a) The colours shine when dry;
(b) To preserve the beauty of the colour;
(c) To cause the paint to dry with an extreme glossy surface, more
smooth than if the oil had been used alone;
(d) And to produce a better resistance against the injuries of air and
water;
(c) Take a house paint colour (i.e. produced from the repeated process
of grinding two spoonfuls of a pigment into a small batch of [prepared]
"fat drying" linseed oil until it becomes the consistency of butter -
or buy the colour, already ready ground, from a colour shop), and add more [prepared]
"fat drying" linseed oil in sufficient quantity to produce:
(i) An [absorbing] priming colour (usually the pigment is Spanish Brown,
because of its cheapness, abundance, and ease of grinding) which is very thin,
so as to penetrate [saturate completely] into the wood, and act as a
preservative (repeat the process two days later, when mostly dry, if you are
particular);
(ii) A first, second, and even third layer of paint colour (each applied
when the previous coat is thoroughly dry) which is as stiff as it ought to be
(i.e. not so thin as to be transparent, but thick enough that it be greater
than twice as thin);
(d) However, if the colour is produced from a white lead pigment (of
which there are two types: Ceruse, the most pure, and the other, simply called
white lead), then:
(i) For outside work, grind it into [prepared] "fat
drying" linseed oil, to preserve timber or stonework from the weather, for
it will bind extremely hard, if applied stiff;
(ii) For inside work, grind it in [prepared] "fat
drying" nut oil, because a [prepared] "fat drying"
linseed oil (when not exposed to the open air) will eventually turn from white
to yellow.
(6) "Rub" on the paint colour as "stiff" as
necessary, using a large bristle brush.However, not too stiff, particularly in
the case of white paint exposed to the sun, since the paint will dry only on
the outside, leaving the inside moist. If this happens, like pitch, the paint
will crack and shrink.
1770
(1) Apply oil‑based paints cold;
(2) Use a drying oil like linseed, nut, or poppy oil;
(3) Brush on, cold, 1 coat, or more, of this nearly clear drying oil,
and let it soak into the wood (However, for a plastered wall, 1 or 2 coats of
boiling linseed oil is often applied);
(4) Then brush on 1 coat of white lead pigment ground into a mixture of
3/4 of drying oil and 1/4 of essence;
(5) Essence: To hasten the drying process, add 1/8th of an ounce of
vitriol or copperas, or better yet, some litharge, or, best yet, some essence
of turpentine, to the drying oil;
(6) Letting the paint dry between coats, brush on 2 following coats of a
desired colour pigment ground in a drying oil:
(a) For inside work ‑ add a pure essence to the paint;
(b) For outside work ‑ add
some oil to the paint.
1788
(1) Ration the white lead to the oil at 5 pounds per gallon (700 pounds
to 140 gallons).
1798
(A) Equipment
(1) Never paint but in dry weather
(2) Brushes, a pot to boil the oil, and ladders
(B) Roofs: Fish Oil Paint Formula
(1) Paint with Fish‑oil mixed with Paint: Spanish brown, mixed
with Tar & fish oil
(C) Indoor/Outdoor Linseed Oil Paint Formula
(1) Every part to be painted is to have two good Coats well laid on
(2) 240 pounds of best white Lead;
(3) 1/2 an hundred weight of Spanish brown;
(4) Like quantity of yellow Ochre;
(5) All ground in oil; about 16 gallons of boiled linseed oil;
(6) The oil to be well boiled Linseed but if it should not be
sufficiently boiled, it is to be boiled to a proper Consistency
(D) Secondary Paint Formula
(1) Red lead or other proper paint can be added to Spanish Brown in
order to enliven it, if necessary
(E) Turpentine
(1) Eleven bottles of Spirits of Turpentine
1799
(1) Add 2 barrels of fish oil to 65 gallons of linseed oil;
(2) Ration the lead to oil as 500 1/2 pounds to approximately 100
gallons.
1808
(1) Add 32 gallons of fish oil to 29 1/2 gallons of linseed oil.
1812
(1) Allow oil, in brass or copper kettles, to simmer or boil very gently
over a slow fire until clarified;
(2) Purchase white lead in a dry state, finely grind it, and mix it with
a colour before combining it with boiled linseed oil;
(3) Ensure that the mixture was not so thick as to clog the brush, or so
thin as to run upon the board.
(2)
WHITEWASH
1743,
1770, 1826
(1) Dissolve 1 pound of quicklime in 1 pint of clear water;
(2) Bring to a boil;
(3) Add sufficient water, stirring continually, to produce the
consistency of milk;
(4) For darkened walls and ceilings, apply several coats (usually 3 or
4), so when dry, the un‑desired dark or russet colour is completely
covered;
(5) A superior whitewash is less apt to peel than those made from
whitening and size;
(6) It is better to apply two thin coats coats rather than one thick
one.
(3)
BOUND WATER-BASED PAINT ‑
COMMON
WHITING
1755,
1770, 1836
(a) Make up a paste by soaking pounded whiting [any white material made
from a clay or chalk base] in a bucket half filled with clear water, for about
2 hours;
(b) Make up a black liquid by adding lamp black to some water;
(c) To the whiting paste, add a small amount of the liquid lamp black
(to give it a more less dark tint and to keep the white paint from later
turning reddish, (and turpentine to hasten its drying time);
(d) Heat up this mixture, together with a quantity of weakened, animal
glue (jelled glue heated up together with a small quantity of water), just
enough of which to prevent the paint from rubbing off onto clothing, but not so
much glue as to encourage paint peeling;
(e) Strain the mixture;
(f) Always apply each coat of paint warm (but never having boiled ‑[so
that the sizing will flow freely]), but only after each coat has dried (to
prevent scaling): 2 whiting coats if the final coat is white; prime with 1 or 2
whiting coats if the final coat is not white;
(g) Use a boar's hair brush;
(h) When the paint is dry, polish the surface either
(i) by wetting it down with a brush, and rubbing it with a cloth on the
end of a stick;
(ii) or by rubbing it with horsetail before it dries;
(i) If the final coats are to be in colour, wet the chosen pigment in
water, grind it, mix it with some water, add the colour liquid to the whiting
paste (minus the liquid black), and heat with the glue as above;
(j) Paint the polished whiting surface.
(I)
LOUISBOURG:
PAINT SOURCES
General
Paint, as a
component of building construction, suffered the same chequered history in its
use at Louisbourg for many of the same reasons as did other building
components. For example, a fortification contractor, wanting to exploit local
resources as much as possible, often encountered supply problems caused by
island and imported shortfalls. In turn, this affected his work on his public
construction commitments at Louisbourg.
Public construction included all King's buildings as well as all fortification
works, in addition to features such as town streets and harbour works.
The private
sector encountered the same problems too, and while they perhaps less
articulated them, their impact upon construction was equally strong. For
example, while the authorities might recommend slate roofs to private builders,
the high initial cost of slate, combined with their resulting shortage, ensured
the widespread use of wooden shingles on private structures.
France,
Quebec, the French West Indies, Acadia, New England, and local island concerns
were Louisbourg's main commodity suppliers for the materials of both public and
private constructions.
Unfortunately, several factors doom to failure any attempt to accurately quantify
Louisbourg's import/export trade balance, let alone to isolate building
materials in such an equation. Even in the best of recorded years, like 1742
and 1743 when few ships were missed, other mitigating reasons rule against such
an attempt.
For one
reason, the extant records of the offices of the Commissaire‑Ordonnateur
and Admiralty, which, in different ways, recorded shipping activity, are
disappointingly incomplete for most years, either because the records are lost,
or because the recording techniques were poor. Notwithstanding, even if the
records were complete, private cargoes ‑ in the case of France, perhaps
as much as 1/3 of all imports from that place ‑ came designated as beyond
Louisbourg official purview.
Into this
unrecorded category too fell the building materials which fortification
contractors (both general and special) privately procured in France (and
partially or completely sent freight free to Louisbourg) to meet their tender
obligations. While the Crown, out of its fortification account, paid the
contractor for construction expenses, and the Engineer drew up the detailed
construction plans and specifications, generally it was the contractor's
responsibility to procure, store, and stockpile the construction materials that
he would need for actual construction.
Besides in
France, fortification contractors purchased buildings materials either (or
both) locally or from other outside sources. When his purchases, for example,
were of a New England origin, they too went largely unrecorded..
Significantly, New England was a supplier of enormous amounts of construction
materials, not only to the fortification regime, but to the private sector as
well.
On the
other hand, sufficient records do exist to particularize and suggest the
range of commodities that any Louisbourg builder had available to him.
For example, like the fore‑mentioned shipping records, the yearly
inventories of the King's Magasin also details individual materials (under
assorted headings, including merchandises), whether on‑hand, where
procured (by ship from France or Canada, or locally), and how much consumed or
sold.
In addition the yearly financial statements (Bordereaux)
of receipts and expenses incurred by the Government and the Military itemized a
variety of locally and outside procured building materials which would have
been available to any builder. When combined with the various public and
private tendering and construction contracts (but not with the so‑far‑
undiscovered account books of the many fortification and private contractors of
Louisbourg), with the substantial number of estate inventories, and with the
general construction comments of the various engineers, they form a vast
comment on the types of building materials in use at Louisbourg.
(J)
LOUISBOURG:
PAINT TYPES
General
According
to Yvon LeBlanc, former Restoration Architect to the Louisbourg project, the
common colours for private wooden buildings in Louisbourg, based on his
experience and available evidence, might have been 40% red, 30% yellow, 20%
white, and 10% grey. For masonry constructions, however, white, grey or stone
coloured ochres may have been more common.
During the
19th Century, Louisbourg was one of the areas of Nova Scotia which supplied
ochres, umbers, or wad.
(1)
OIL‑BASED PAINTS
General
There are
no mention of painters as an occupation, at Louisbourg, although other trades
did practice the art. For example, ..... Le Vasseur, Admiralty, employed
Charles‑Yves‑Duval, a joiner, whose inventory of 1733 included
paints.
To date,
the Louisbourg archaeological collection has identified three pieces of wooden
items: Fragments from 2 shingles and of a wooden panel tapered to fit into a
frame. Shingle fragment 1L.33D22.3 a,b had traces of blue paint, shingle
fragment 51L.12D2.1 had red paint, and fragment 1L.33EE3.4 (1740 ‑ 1745)
was painted oil based red one side, and either black, but more more likely,
lead white pigment [oil based] the other.
(2) BOUND WATER‑BASED PAINTS
(DISTEMPER, WHITING, OR CALCIMINE)
General
Those
several inventories for the Magasin General, which included whiting (blanc
d'Espagne) and glue (colle), strongly suggest the mixing and use in Louisbourg
of a type of distemper paint known today as calcimine.
(3) LIME‑BASED PAINTS
(WHITEWASH OR LIMEWASH)
General
Louisbourg
military and civil contracts and specifications were clear: whitewashing (blanchisage
d'un lait de chaux) was the common method of painting. According to a 1753
specification, the whitewashing of roughcast walls required 2 coats of
limewash, made from quicklime preferably slaked the same day, or at the worst,
the preceding day. The second coat, to which glue had been added as a sizing,
so that it would not rub rub off, was to be applied only after the first had
dried.
Other than
the use of glue in the second coat, the Fortification Contractor no doubt used
the same limewash formula throughout the period from 1727 ‑ 1753, when
the last contract was raised. His charge back varied only slightly: 15 sols per
square toise, 1727 ‑ 1737, 12 sols 1737 ‑ 1742 ‑ [1745?]; 15
sols 1749 -
At
Louisbourg, archaeological evidence has confirmed the documentary references to
whitewashes. For example, the brick vaulted ceiling of the extension to the
Commissaire‑Ordonnateur's residence was whitewashed.
In
addition, archaeology has found several whitewashed (with little or no sizing)
lime‑based plaster [crépi or enduit] artefacts.
Interestingly, the preliminary colour findings of archaeology (using a hand‑held
lens) differ somewhat from those of the lab (which used a microscope), even
though both referred to a Munsell Colour chart as a common reference point. As
well, according to the lab report, the limewash (which consisted of calcium
carbonate (with a small clay content) and was similar in composition to the
plaster fragments themselves, less, of course, its (Si02) sand content)
contained no pigments, and while its grey and black layers were due to the
probable presence of charcoal [lamp black?], its brown layer was due to a high
(si) sand content. Also, according to the lab report, brush‑strokes were
evident on most layers, suggesting a rather thick application, but decorative
over‑painting was not apparent.
(1) Plaster fragment 2L10C2.1;
(a) Preliminary: 3 white base coats, one warm to neutral grey, then 2
coats of white ‑ decorative over‑painting;
(b) Lab: Cream, white, beige, cream, cream, grey, beige, white;
(2) Plaster fragment 2L10C2.2;
(a) Preliminary: Same as 2L10C2.1;
(b) Lab: Yellow, cream, white, cream, white, grey, black, grey, cream,
white;
(3) Lath plaster fragment 17L22E3.1;
(a) Preliminary: white base coat, warm or neutral grey finish coat;
(b) Lab: Grey, grey;
(4) Lath plaster fragment 17L22E3.2;
(a) Preliminary: white base coat, cool grey with extremely dark grey
band decorative motif;
(b) Lab: Black, grey, brown.
(K)
LOUISBOURG:
RECONSTRUCTION PAINTS
1989,
December 18 (after)
BARRACKS
AND GOVERNOR'S WING:
THE
EXTERIOR PAINT COLOUR FOR WINDOWS
(Revision
to Memo of December 18, 1989)
By
Eric Krause
NOTE:
This
memo addresses the window question
only,
and should not be used out of context should the colour of
other
features, such as doors for example, be called into question
SUMMARY FOR THE BARRACKS AND GOVERNOR'S WING
(1) Window exteriors ‑ red
(2) Window interiors ‑ red or
white as indicated
(a) Soldiers's quarters ‑ red
(b) Officers's Kitchen ‑ red
(c) Governor's Kitchen ‑ red
d) Governor's Wing ‑ white
(e) Officers' Quarters ‑ white
(f) Chapel ‑ white
NOTE: See the memo of June 5 below for specific instructions on
location: Sash, frame, lintel, and sill
THE EVIDENCE
The [Structural Design] Committee Minutes of April 20 and 21, 1967 were
quite clear: "Sash and frames to be painted both sides using red ochre
mixed as per specifications received from France. Hinges will be the same
colour as sash."
Yet, on May 26, 1969, we learn from a memo of Superintendent John Lunn to the
Construction Manager that:
in discussion with M. Palardy who was, as you know, charged with the
basic responsibility for the interior décor in the furnished rooms, it became
very clear that he was quite insistent upon the necessity for painting the
interior windows in white. This applies to the upper lintel and the window and
window frame, but not the lower sill [to which Lunn gave his authorization to
proceed: i.e. the painting in white of the interior window frames and upper
lintels of all rooms [hence including the Chapel south of the central passage].
Lunn's memo had been in response to R.G. Harmer's (Construction
Manager's) objection to the use of white paint. Harmer's recollection was that
there had been a definite decision to use red paint. Consequently, he now
wanted direct authorization reversing that long‑drawn out decision.
On June 5, 1969, we read the major attempt to clarify the barracks and
Governor's wing paint controversy:
... It was decided to paint all exposed wood, except on roofs and
rafters, with the red‑ochre presently in use .... Doors or windows that
open outward will be painted on both sides, but painting will otherwise be
restricted as nearly as possible to exterior surfaces, leaving the interior
unpainted .... In the case of the Governor's Wing, officer's quarters, and
Chapel, the interior of the windows will be painted white. This will include
the lintel and frame of each window, but not the sill. Windows and shutters in
the officers' and Governor's kitchen and throughout the soldiers' wing are to
remain red .... The red‑ochre paint will be applied generally over
hardware as well as wood ..... The fixed hardware on the windows of the Chateau
will be painted over in white ....
Notwithstanding, according to the historian, Blaine Adams:
The Barracks of the King's Bastion .... 1. Windows should not be painted
red or white ....
And so ended all discussion!
2001,
February 2
STRUCTURAL
DESIGN TEAM MINUTES
EXTERIOR
HOUSE‑PAINT
(1713-1758)
By
Eric Krause
2001
B
212 180 (b) - 180 (q)
[January
24, 1966]
ITEM (03)
[Barracks]
The historical researchers, on the other hand, based their findings on a
large number of plans collected in various parts of the world and from
"toisés" or work specifications and other documents. Some of the
points which we were able to ascertain through this process include: ...
(j) specifications for paint (dark red - exterior woodwork)
B 212 219 - 221
May 25, 1966
[May 27, 1966: Dated]
ITEM (07)
[Barracks]
(F) In the event of the doors being painted (the exterior of the doors
were so treated by the French) that chemical wood preserver be used
B 213 15 - 16
April 20, 1967
April 21, 1967
(April 25, 1967: Dated)
ITEM (01
... Glazing was approved as per sample installed in
Governor's Wing. Mr. Way thought that it could be "a more professional
looking job". Mr. Calvert had previously said he thought it should be
somewhat less finished. It was the general opinion that the glazing, as being
done by our carpenter crew, was suffificently authentic. Sash and frames are to
be painted both sides using red ochre mixed as per specifications received from
France. Hinges will be painted the same colour as sash
B 213 22 - 25
May 25, 1967
(May 31, 1967: Dated)
(Q) Painting: All exterior woodwork shall be allowed to
weather before pentoxing and painting. The following scheme shall be followed
(a) exterior shutters of office and room above the office
shall be pentoxed and painted both sides
(b)remaining exterior shutters and exterior doors shall be
pentoxed both sides and painted outside
(c) interior woodwork shall receive no pentox or paint, but
it shall be band sawn or jack planed as shown in drawings
B 213 47
November 15, 1967
(November 16, 1967: Dated)
ITEM (03)
The historical documents indicated that painting of the
King's Bastion was done at a much later date, well after the installation of the
shutters. Mr. Calvert mentioned that during his visit to France to study the
fortifications, he noticed that very little paint was used on the shutters and
that most of the hardware was not painted at all and was kept in a natural
rustic way. Mr. Lunn suggested that we paint the hinges and pintles in a
different colour, say black, rather than the reddish colour which is being used
for shutters. Mr. Harmer pointed out that several tests had been made in regard
to what colour scheme should be followed for painting the shutters and the
results of these tests suggested present painting methods. The Committee
suggested that painting of the hardware be held up so that further studies
could be made as to what colours would be most suitable for the hinges and pintles
on the Chateau St. Louis. The following recommendations were made by the
Committee:
RECOMMENDATIONS:
(A) That all hardware in question should be given a coat of
metal primer paint
B 214 97 - 98
June 3, 1969
(June 5, 1969: Dated)
ITEM (01)
PAINT: RECOMMENDATIONS:
(A) Following a review of Mr. Adams' memorandum on paint
dated May 30, 1969, it was decided to paint all exposed wood, except on roofs
and rafters, with the red ochre presently in use. Work will begin with the
Chateau and King's Bastion, moving out to include all of the King's buildings
in the restored area. Doors or windows that open outward will be painted on
both sides, but painting will otherwise be restricted as nearly as possible to
exterior surfaces, leaving the interior unpainted. Exterior postern doors will
be painted grey or off-white as camouflage to blend with the appearance of the
walls themselves, but interior postern doors will be painted red ochre.
(B) In the case of the Governor's Wing, officers' quarters,
and Chapel, the interior of the windows will be painted white. This will
include the lintel and frame of each window, but not the sill. Windows and
shutters in the officers' and Governor's kitchen and throughout the soldiers'
wing are to remain red. Interior white paint
will match the paint applied to the panelling of the Cabinet: Pittsburgh Paint
Co. No. 37 P 23.
(C) The red ochre paint will be applied generally over
hardware as well as wood, as recommended in Mr. Adams' memorandum. The fixed
hardware on the windows of the Chateau will be painted over in white, and
window pulls are to be installed on all windows before painting, if possible.
(D) Free-standing ironwork, such as that in the Chateau
tower and the Governor's balcony, will be painted black. An experiment will be
conducted, mixing lamp black with nut oil as well as linseed oil to test
effect. Curtain fixtures made of iron in the Chateau will also be painted
black. The hardware on interior doors will remain unpainted for the present.
(E) Wooden stair treads in the Chateau will be treated with
a clear scalant to retard wear. The Construction Manager and Conservator will
direct a letter to the Research Council inquiring further about this matter.
[J. Fortier, Head of Research].
B 217 246 - 249
December 8, 1970
Dauphin Demi-Bastion Phase F: Main Gateway Double Doors and
Roadway Finished Grades
RECOMMENDATIONS
The Design Team agreed to Mr. Harmer's suggestion, viz,
(i) If the door is painted, then it could be constructed of
spruce or pine
B 218 127 - 134
May 14, 1971
June 11, 1971
ITEM (03)
GENERAL CONSTRUCTION: SUB-ITEM
(a): EXTERIOR WALL FINISH: RECOMMENDATIONS: Crepi-thin
pointed. [BASIS: Plan 1753-1].SUB-ITEM
(b): INTERIOR FINISH (DISPLAY AREA ONLY): RECOMMENDATIONS:
(A) Wall ( exterior) smoothed with colored plaster as per
fortress sample (greyish?) then white washed. [BASIS: Document "D"
replacing clay for plaster].
(B) Partitions - pine planks 2 pouces thick planed both
sides - tongue and groove joints, baseboards. [BASIS: Document "D"].
(C) Floors (ground floor) surface to be planks planed one
side - tongue and groove joints, two nails per floor joists - random widths and
lengths. [BASIS: Document "D" and team recommendation].
(D) Ceiling - exposed hewn joists with quarter round mouldings
- underneath of first floor planking to be exposed - planed - tongue and groove
joists. [BASIS: Document "A"].
(E) Fireplace to be surfaced with plaster and white washed.
[BASIS: Document "A"]
B 219 195 - 197
September 10, 1971
ITEM (08)
FINISH SCHEDULE:
RECOMMENDATIONS
Acceptable with one exception - Note - "pertaining to
the painting of exterior woodwork", to be revised to exclude the fascia
board.
B 220 134 - 141
August 17, 1972
Benoist House
ITEM (04)
WALLS: SUB-ITEM
(a): EXTERIOR: RECOMMENDATIONS
(A) Supporting walls - picquet
(B) Exterior surface finish - plastered (lime/sand)
(C) Interior surface finish - plastered (lime/sand). The use
of whitewash for both (A) and (C) is possible
[BASIS: 1733 inventory. Some "as found" evidence,
further excavations required. B.Dunn's report on Block 2, Page 90. See
Historical Data report, Item Numbers 7c and 9d which was given a credibility of
"C" from the 1733 inventory. Further research is required for this
item.
B
223 11 - 14
January
17, 1975
ITEM (01)
DISCUSSION
It was made clear that this is a
first exploratory meeting to examine Louisbourg information available to date
(in order to invite comments) and indicate some guidelines for a preliminary
proposal. Note: This is a first step towards a study of general street scape of
Louisbourg restoration. A survey of Louisbourg sources indicates that houses
were, at the most, very seldom painted. It is more likely that whitewashing was
more often used [BASIS: Pouyez's report on paints]. The known importation of
paints cannot be conclusive since some of it could have been re-exported. Even
in military buildings, painting is more often mentioned with relation to
windows, doors, trim, etc. as well as gun carriages and other equipment. However,
Design Team agrees that painting or whitewashing are not excluded completely
since so little is known about most houses, and that any exterior finish to be
used should reflect the fact that paint was not abundant and relatively costly.
It is not impossible that material meant for the military might have found its
way to the private sector on occasions. There is nothing to indicate that
shingled roofs were painted although there is evidence in secondary sources of
tile and slate- colored paint used for shingles.
ITEM (02)
Tentative recommendations for the
houses built to date:
RECOMMENDATIONS:
(A) Grandchamp House and Inn:
Possibly whitewash with some flaking to show age and not too good condition of
building. Windows, doors, shutters, etc. probably not painted, or maybe traces
of old paint [BASIS: Early buildings].
(B) Lartigue I (Block 46): Painted
charpente (possibly "wood color") and contrasting windows, doors and
trim. Exposed stone with full joints [BASIS: Mentioned as a better class house].
(C) Lartigue II (Block 2): Exposed
tone. Unpainted windows, doors, trim, etc. [BASIS: 1753 document (1753-1). New
building used as an inn 62, Vol. 187, f. 183 November 13, 1743].
(D) LaRiviere Inn (Block 2): Better
maintained whitewash for protection of piquet fill. Windows, doors, trim
probably painted, contrasting color [BASIS: Owner -Innkeeper].
(E) Benoist House (Block 2): Exposed
lime and sand mortar on piquet - No whitewash (?). Painted windows, doors,
trim, etc. [BASIS: Inventory mentions coating but not whitewash].
(F) Carrerot I (Block 2): Unpainted
charpente with whitewashed lime mortar coating on piquet. Painted windows,
doors, trim, etc.
(G) Rodrigue House (Block 17):
Whitewash south gable and stone fill. Exposed wood charpente. Painted windows,
doors, trim, etc. Piquet Magasin: No finish.
(H) LaPerelle House (Block 17):
Revetment exposed. Painted doors, windows, trim, etc. Magasin: No finish.
(I) DuHaget House (Block 17):
Revetment painted; possibly yellow ochre with red ochre doors, windows and trim
[BASIS: 1753 agreement could mean previous painting. 20 Juillet 1753; 63,
Carton 2041 s, pièce 41]
(J) DeGannes House (Block 17):
Whitewashed revetment with contrasting doors, windows and trim
(K) Bigot House (Block 2) and
Engineer's House: Red ochre exposed woodwork [BASIS: Government buildings].
ITEM (03)
COLORS: RECOMMENDATIONS:
(A) After short discussion, it was recommended
not to decide too definitely on color schemes except that we could use fairly
strong ones and; of course, stick to colors mentioned in documents and propose
mixing our own, to ensure variety in shades. Notes: After comments have been
received, a proposal for colored street elevations will be made as a basis for
further discussion. There is sufficient information available for various
secondary sources concerning ingredients and mixing
B
224 92 - 94
May
7, 1976
NARRATIVE:
Painting of exterior woodwork - the
Chairman suggested we should start with the King's Buildings which were still
to be painted and that the committee would only be concerned with the exterior
at this time. The Committee reviewed and discussed all available historical
data on paint to date and based on the 18th century store inventories, the
following paint schedule was developed [BASIS: See attached historical data and
inventories, B. Adams memorandum, May 30, 1969].
ITEM (01)
KING'S BASTION AREA:
SUB-ITEM (a): KING'S BASTION
GUARDHOUSE (PLACE OF ARMS): RECOMMENDATIONS:
(A) All exterior woodwork
undercoated with white paint [BASIS: (Simulated white lead)].
(B) All exterior woodwork painted
with a finish coat, red ochre: Porch frame, rafter ends including underside of
roof boards up to shingles, exterior doors, shutters, window sash
(C) Porch floor, door sills, window
sills: boiled linseed oil.
SUB-ITEM (b): ALL SORTIE GATES:
RECOMMENDATIONS:
(A)
Undercoated with white paint; finish coat red ochre.
SUB-ITEM (c) KING'S BASTION
DRAWBRIDGE: RECOMMENDATIONS:
(A) Decking: fixed bridge and
bascule oiled with linseed
(B) Railing: undercoated with white
paint; finish coat red ochre.
SUB-ITEM (d): KING'S BASTION
BARBETTE: RECOMMENDATIONS:
(A) Oiled with linseed.
SUB-ITEM (e): BLOCK 1 AREA:
RECOMMENDATIONS:
(A) Bakery Building, Artillerie
(H.D.1), Magasin General, Ancien Magasin, Engineer's House: All exterior
woodwork undercoated with white paint
(B) Finish coat: Red ochre for
rafter ends including underside of roof boards up to shingles or slates,
exterior doors, shutters, window sash. Note: sash in Engineer's House painted
white for (finish coat). All window and door sills treated with linseed oil
when made out of hardwood. All softwood to be painted: Dormant frame to be
painted as well as sash.
SUB-ITEM (f): YARD GATES:
RECOMMENDATIONS:
(A) Engineer's main gate, Bakery gate,
Artillerie yard gate and small gate at Magasin General: undercoated with white
paint; finish coat red ochre. Note: Artillerie yard post unpainted.
SUB-ITEM (g): ICE HOUSE:
RECOMMENDATIONS:
(A) Exterior door painted only;
undercoated with white paint. Finish coat red ochre.
SUB-ITEM (h): POSTERN TUNNELS (ALL
AREAS):
All doors undercoated with white.
All doors located at the exterior side (moat side) finish coat gray. Doors
located on interior side of Bastion red ochre finish.
SUB-ITEM (i): DAUPHIN AREA:
RECOMMENDATIONS:
(A) Dauphin barracks, Powder
magasin, Soldiers' guardhouse, Officers' guardhouse - all exterior woodwork
undercoated with white paint (normal white); finish coat red ochre, all rafter
ends including underside of roof board up to shingle or slate; exterior doors,
shutters, window sash, porch, including latrine door, all window and door sills
oiled with linseed, when made out of hardwood. All softwood to be painted,
interior shutters over loopholes are not to be painted.
SUB-ITEM (j): GUN PLATFORMS:
RECOMMENDATIONS:
(A) All platforms are to be oiled
with linseed.
SUB-ITEM (k): GUERITE (DAUPHIN):
RECOMMENDATIONS:
(A) All exposed exterior wood
painted, one coat normal white (undercoat), finish coat red ochre.
SUB-ITEM (l): QUAY GUERITES:
RECOMMENDATIONS:
(A) All exposed exterior wood
painted one coat normal white (undercoat); finish coat red ochre.
SUB-ITEM (m): BIGOT HOUSE:
RECOMMENDATIONS:
(A) All exterior woodwork
undercoated with white paint (normal white); finish coat red ochre. Rafter ends
including underside of roof boards up to slates or shingles, exterior doors,
shutters. Note: Window sash not to be painted at this time.
SUB-ITEM (n): NOTE ON HARDWARE:
RECOMMENDATIONS:
(A) all hardware painted black
before installing and later on painted over with red ochre on most of the
King's buildings [BASIS: (Shopcoat)].
B
224 98 - 101
[1976]
ITEM (02)
The following domestic houses and
outbuildings were discussed regarding their exterior finishes and the Full
Committee agreed to the following:
(A) Lartigue I: Framework walnut
stain; windows white paint (sashes and frames); doors linseed oil; shutters
linseed oil.
(B) Lartigue II: Framework linseed
oil; windows linseed oil; doors linseed oil; shutters linseed oil.
(C) LaRiviere Inn: Framework walnut
stain; windows white paint (sashes and frames); doors walnut stain; shutters
walnut stain.
(D) DeGannes House: Revetment
linseed oil; windows white paint (sash and frame); door walnut stain; shutters walnut
stain.
(E) Benoist: Exterior finish enduit
finish only, not to be whitewashed; doors yellow ochre; windows white paint;
shutters yellow ochre.
(F) Carrerot I: Windows white(?);
shutters red ochre; framing walnut stain; door red ochre; fill (piquet)
whitewashed.
(G) Carrerot Magasin: Doors linseed
oil; shutters linseed oil.
(H) General Notes:
(i) Use of red ochre - The Full
Committee decided that the red ochre coloring should be mixed on the site in
order to give a variance in the shades
(ii) Use of walnut stain - The Full
Committee decided that various brands of walnut stain should be sampled in
order to give a variance in tones.
ITEM (03)
The meeting ended at 4:30 p.m. and
Mr. Fortier set Thursday, 2:00 p.m., May 20, 1976 for the next meeting. Mr.
Fortier also requested for review by Full Committee an elevation of the
buildings above Rue Toulouse - East side - colored as close as possible to the
recommendations before finalization is given to the schemes outlined above. To
be submitted at next meeting. Note: Since these meetings, I have obtained
samples of stains to be presented at next meeting. Have also tried a mixture of
red ochre in linseed oil; it is practically indistinguishable from the sample
of Olympic "Navaho" [Y. LeBlanc].
B
224 209 - 212
October
21, 1976
NARRATIVE:
M. MacPhie made a brief statement.
It was getting late in the season to do much, if any, exterior painting and
there is no money available or allotted in this year's estimates. However, he
would do all he could in the Dauphin Area, weather permitting. Undercoating
(white lead) : The Committee discussed the use of a primer coat of white lead,
but no satisfactory solution could be reached because of insufficient evidence
or historical data [BASIS: See attached painting with oil, secondary sources.
B. Adams' Report, May 30, 1969]. However, experiments can be carried out to
find out the effects of weathering, such as discolourations on various painting
techniques. These experiments would be carried out in the Dauphin Bastion Area
(See Item 02).
ITEM (01)
AREAS TO BE PAINTED:
RECOMMENDATIONS:
(A) Dauphin Drawbridge Lift Arm and
Fixed Bridge Railing: Undercoated with boiled linseed oil (2 coats, if
required) [BASIS: "Red Ochre" paint inventory, volume 24 for 1742-1743;
B. Adams' report, May 30, 1969]. Finish coat "Red Ochre" paint
composition. "Red Ochre" and boiled linseed oil adding more or less
of the colour according to the shade desired (with some turpentine as a
drier?). Footnote by Writer: Final colours should be checked on site for colour
intensity before undertaking any painting over large areas.
(B) Drawbridge: All areas
undercoated with boiled linseed oil (2 coats, if required). The latter would be
studied for additional finish paint coat (colour) [BASIS: Linseed oil inventory
(See above); the committee's main concern was preservation of exposed
woodwork].
(C) Fixed Bridge and Sub-Structure:
Same as above.
ITEM (02):
The Committee recommends that the
minutes Item No. 9 (May 7, 1976) "Dauphin Area" should be revised and
undercoating with white lead should be done in a few selected areas only, e.g.
RECOMMENDATIONS:
(A) Paint Experimental Area No. 1:
Officers' Guardhouse window facing Eperon. Rough window frame and sash painted
with white undercoat (white lead and boiled linseed oil). Two coats, if
required, with finish coat of "Red Ochre" (See Paint Composition
"Red Ochre", Item No. 1), whereas shutter is to be painted "Red
Ochre" only (undercoated as well as finish coat). The undercoat would
require more linseed oil [BASIS: To see if undercoat has any effect on colour
or weathering quality].
(B) Paint Experimental Area No. 2:
Dauphin Barracks: One window frame, sash, and shutter - undercoated with
linseed oil. One window frame, sash, and shutter to be undercoated with
"pentox" wood preservative [BASIS: To test effectiveness of pentox as
against linseed oil]. Both windows are to be finished off with finish coat
"Red Ochre". Footnote by Writer: Why not move Experiment No. 1 to the
third window in Dauphin Barracks so that we could really compare the different
weathering effects and paint the door with a 20th century paint sample, e.g.,
Olympic "Navaho".
ITEM (03)
RECOMMENDATIONS:
(A) All other exterior painting for
King's Buildings are pending experiments. Note: Minutes May 7, 1976 to be
reviewed in spring of 1977.
ITEM (04)
EXTERIOR PAINTING OF DOMESTIC PERIOD
BUILDINGS: RECOMMENDATIONS:
(A) The colour schemes for Rue
Toulouse, reflecting as closely as possible to recommendations made on May 14,
1976 minutes, were presented and brought out many comments revealing the
several grey areas we have to contend with
(i) how much paint there would have
been available in the French Colony for domestic use
(ii) how little information there is
in primary documents on paints for domestic usage
(iii) how much paint did the French
use in the 18th century and to what extent was this reflected in Louisbourg
(iv) how much exterior painting was
there done in Quebec in the period
(B) After much discussion about
exterior painting habits, trends, the Committee decided to study the painting
problem further, e.g., write to J. Richardson about painting in Quebec. Study
documents, picture files, secondary sources, etc.
(C) Recorder's Note: These minutes
include memoranda from individual committee members. Summaries will contain
reactions, objections, and further recommendations, hopefully in that order.
B
225 72 - 74
July
7, 1977
ITEM (01)
PERIOD PAINTING TECHNIQUES AND
COLOURS (DAUPHIN DEMI-BASTION):
A visual study was carried out by
Design Committee on experiments of exterior painting technique at the Dauphin
Bastion. The five different techniques were carefully studied, and the
following comparisons were made [BASIS: Attached memorandum, March 25, 1977].
RECOMMENDATIONS:
(A) Red Ochre over white lead causes
a light spotty shine to the red ochre finish coat [BASIS: This is probably due
to the white lead undercoat acting as a sealer].
(B) Red Ochre over boiled linseed
produced similar effects as above with a little less shine [BASIS: Same reason
as above, although here the hardwood at "Emboiture" seems to be an
additional cause of sheen].
(C) Red Ochre, pentox and Red Ochre, Olympic
"Navaho" produced a matte finish with some color difference between
the red ochre and olympic "Navaho" stain [BASIS: Color difference is
minimal and might be caused by more or less exposure to sun].
(D)
The Team reviewed color slides made from original documents to study period
colors. The documents, however, did not reveal any more evidence toward
exterior painting. The following recommendation was made: Areas designated for
painting in the Dauphin Complex to be treated with clear pentox and a finish
coat of Red Ochre (Red Ochre and linseed oil) paint could be bought pre-mixed
by local paint suppliers, or mixed on site, and each batch could have a little
color difference [BASIS: Pentox as a wood preservator. "Red Ochre"
paint inventory, Volume 24 (B. Adams report, May 30, 1969). The same thing
would have occurred in the 18th century]. The Team was in favor of a little
more towards the orange color Red Ochre rather than the present dominant dark
Red Ochre. This could be corrected in the next paint order [BASIS: Based on
office experiment using red ochre powder with linseed oil].
(E) Note by Writer: Why pentox over boiled
linseed oil - see previous recommendations.
B
225 125 - 129
March
9, 1978
NARRATIVE
DISCUSSION:
A continuing dialogue, and sporadic
inquiries and recourse to incomplete evidence for Louisbourg, having thus far
decided nothing in regard to painting of private buildings, a small team met to
draft generalizations and guidelines for painting.
ITEM (01)
Do we have evidence for the absence
of painting?
DISCUSSION: In detailed discussions
of roof and board revetments, there is never any mention of painting. The
Duhaget House may or may not have been painted all over; the trim alone may
have been painted. We are resolved not to copy New England practice, where
painting of houses became common by the 19th century, although perhaps not
before. When the New Englanders arrived in Louisbourg, they remarked that it
was a drab town. There is no mention of a painter as an occupation in
Louisbourg, although this may mean that painting was done by other trades; for
example, Charles-Yves Duval, a joiner, whose inventory in 1733 includes various
references to paint. Duval, however, worked mainly inside buildings,
specifically the LeVasseur House which was one of the wealthiest in town. In
support of painting, we have the obvious need to preserve wood elements and
amounts of paint pigments in inventories, both government and private, adequate
for a fairly extensive application as trim. We do not assume that
"trim" was an aesthetic concept as much as the most expensive part of
many buildings - windows, doors, shutters, etc. - and therefore had priority in
getting paint. We do not know the extent to which trim was painted as
decoration, as part of a conscious colour scheme. We assume it is more likely
that "trim" was not often a contrasting colour, or a highlight
colour, merely for aesthetic reasons, although we should allow for this
somewhere in the overall impression given by the buildings in town. With regard
to common practice throughout Europe and England, we assume that wood members,
particularly of charpente buildings, were stained in various brown colours. In
such cases the trim should follow unless a reason can be found to the contrary.
We also know that in at least one case wood was preserved by linseed oil. We do
not know whether paint was applied over it.
ITEM (02)
Do we have a basis for the relative
frequency of colours? Stains?:
DISCUSSION: On private buildings
that were painted, we assume that the ratio would be, very roughly, more red
than yellow ochre, more yellow ochre than white or grey - approximately 40%,
30%, 20% and 10% other colours, mainly green and blue. These ratios are based
first on amounts reflected in Louisbourg inventories, second on the general
appearance of European buildings in the 18th century as well as now. But we
realize this is an arbitrary approach which may not reflect the situation in
the less wealthy part of Louisbourg that is not being reconstructed. One
exception to this ratio might be masonry buildings where white or grey, or a
stone coloured ochre may be more common. We make this exception partly because
of tradition, partly in order to avoid emphasizing "trim" as
contrasting colour. In private buildings that had wood members stained, we will
aim at roughly half having trim stained also, and half having the trim painted.
We will assume that the majority of charpente buildings were stained in brown
"brun de noix". At this point, we will assume that in Louisbourg
whitewash was applied only to masonry and plaster (mostly inside buildings) and
that its use does not affect the ratio of colours outlined above. We assume
that a primer, if it was used, was more frequent on government buildings. The
most common primer is Spanish white or white lead.
ITEM (03)
Are any buildings so old, or so
modest, or are there any other reasons to suggest a building had no paint?
DISCUSSION: While there may be some,
such as the Cassagnolles-Detcheverry House in Block 4, or the small building in
the woodyard, none can be ruled out definitely.
ITEM (04)
Are there any attributes or
characteristics to help assign colours or the use of colours to the buildings
of specific people?:
DISCUSSION: This is a highly
speculative exercise which can only begin after the preceding principles have
been established. In theory, in at least some cases, we should be able to make
informed guesses about owners, occupants or builders. If variety and randomness
are to be seen in the overall effect, this is the only alternative to following
our own whims. It may be less definite than we like, but at least it provides
for the evidence to be followed in some fashion. The buildings for which we
feel this is possible should be substantiated to the Committee. The person who
does the research and writes the substantiation should recommend colours and
their use according to his own interpretation. The meeting concluded with two
immediate choices, to allow work to go ahead.
RECOMMENDATIONS:
(A) DuHaget House shutters - red, a
"safe choice" under the circumstances.
(B) Engineer's House, shutters and
dormers a beige grey. The Superintendent offered as substantiation his
interpretation of the engineer as a person of taste and aesthetic sensitivity,
a moderate in his use of design elements and one who obviously wished to set
himself apart from what was available in ordinary military housing. Assuming he
would avoid the red common in government buildings, and bright colours as a
matter of preference, a beige grey with white sashes would be a reasonable
choice and a moderate statement about Verrier himself. In both cases, the paint
used should be pigment mixed in linseed oil. The Engineer's House, at least,
should be applied over a white primer. [J. Fortier].
B
225 140 - 143
April
7, 1978
ITEM (06)
PAINTING OF SHINGLES: RECOMMENDATIONS:
(A) This question was raised by
Restoration Architect since it is mentioned in several secondary sources, that
shingle roofs were painted. This should not be eliminated as a possibility for
occasional occurrence at Louisbourg, within local limitations. No decision
taken [BASIS: See L. Hoad report on shingles; also L. Hanson Archaeological
Report No. 56].
B
225 155 - 156
July
16, 1978
ITEM (01)
PAINTING
It has been decided to proceed
according to recommendations by M. LeBlanc:
RECOMMENDATIONS:
(A) Fauxbourg House: Walls:
Whitewashed, 12" - 18" tar base; shutters and doors: Green (Mountain
Green); window sashes and frames: White lead.
(B) Lartigue I: Charpente: Walnut
stain (Olympic Oxford Brown); shutters and doors: Yellow ochre; window sashes
and frames: White lead.
(C) Grandchamp Inn: Walls:
Whitewashed with tar base (providing Archaeology has no evidence against).
(D) Grandchamp House: Walls: Boards
linseed oiled.
(E) Both Buildings: Shutters and
doors: Red ochre; window sashes and frames: White lead.
(F) Seigneur House: Walls:
Whitewashed; shutters and doors: Red ochre; window sashes and frames: White
lead; Charpente: Walnut stain.
(G) Benoist House: Walls: Enduit
only; shutters and doors: Red ochre; window sashes and frames: Linseed oil.
(H) Carrerot House: Walls between
Charpente: Whitewashed; shutters and doors: Green; window sashes and frames:
White lead; charpente: Walnut stain.
(I) Rodrigue House: Walls between
Charpente: Whitewashed; Charpente: Linseed oiled; doors, window sashes and
frames: Red Ochre.
(J) Rodrigue Magasin: Walls, window
frames and doors: Linseed oiled.
(K) DeGannes House: Walls: Oiled;
window sashes and frames: Yellow Ochre; doors and shutters: White lead.
(L) DuHaget House: Doors and
shutters: Red ochre; window sashes and frames: White lead.
(M) Colours:
(i) yellow ochre to approximate
Olympic Stain No. 720, and/or Jack Speelman's samples No. 14 and No. 6
(ii) white lead was used routinely
as a primer, but we will use an oil base paint where it will be covered
(iii) white lead paint will be used
on window sashes, etc. where it will not be covered
(iv) yellow and red ochre will be
acquired as soon as possible. Meanwhile we will continue using the Olympic
stain for the red
(v) green to be a darkish colour
(Mountain Green), made from yellow ochre and blue
(vi) when wood parts are oiled, it
will usually be with boiled linseed oil
(vii) walnut stain will approximate
Olympic Oxford Brown
(viii) all paint finishes should aim
at a range between flat and glossy
(ix) window sashes will be treated
the same inside as outside. Doors to be painted on the outside only for the
time being. [John Fortier].
B
226 49 - 51
July
18, 1980
NARRATIVE:
On short notice, the Design Team members
were assembled for the selection of paint colors for the remaining period
buildings. The recommended color selections are as follows:
ITEM (01)
RODRIGUE HOUSE: RECOMMENDATIONS:
(A) Walls - whitewashed.
ITEM (02)
DE LA PERELLE HOUSE AND MAGASIN:
RECOMMENDATIONS:
(A) Walls or revetment - linseed or
fish oil; window sashes and frames - white lead; doors and shutters - yellow
ochre.
ITEM (03)
DUHAGET HOUSE: RECOMMENDATIONS:
(A) Revetment - linseed oil.
ITEM (04)
BIGOT STABLES: RECOMMENDATIONS:
(A) Window sashes and frames -
linseed oil; Charpente frame and piquet fill - whitewash; doors and shutters -
linseed oil.
ITEM (05)
DUGAS HOUSE: RECOMMENDATIONS:
(A)
Window sashes and frames - white lead; doors and shutters - linseed oil;
Charpente frame - linseed oil; piquet fill - whitewash.
ITEM (06)
ICE HOUSE: RECOMMENDATIONS:
(A) Door - red ochre; eaves and
rafter tails - red ochre [BASIS: Military building].
ITEM (07)
KING'S BASTION GUARDHOUSE:
RECOMMENDATIONS:
(A) Window sashes and frames -
linseed oil; doors and shutters - red ochre [BASIS: Military building].
ITEM (08)
TRANSFORMER BUILDING:
RECOMMENDATIONS:
(A) As is.
ITEM (09)
LARTIGUE II: RECOMMENDATIONS:
(A) Window sashes and frames -
linseed oil; doors and shutters - linseed oil.
ITEM (10)
FREDERIC GATE: RECOMMENDATIONS:
(A) The color of cream color stone -
something like the walls of my office [BASIS: To represent typical stone facade
(color); very common in France: period and present].
ITEM (11)
DE LA PLAGNE HOUSE: EXTERIOR
WOODWORK: RECOMMENDATIONS:
(A) Yellow ochre.
ITEM (12)
DE LA VALLIERE HOUSE AND MAGASIN:
RECOMMENDATIONS:
(A)
Shutters and doors - walnut stain; revetment - linseed oil; window sashes and
frames - white lead; principal frame and trim - walnut stain.
ITEM (13)
ENGINEER'S HOUSE: RECOMMENDATIONS:
(A) Window and dormer sashes - white
ochre; window frames - yellow ochre; doors - yellow ochre. Note: Due to new
"as found" evidence by Archaeology, these color selections are pending,
additional research and investigation required. See comments by A. Crépeau and
E. Krause. Note: Majority of basis are strictly Design Team recommendations and
conjectures.
ITEM (14)
The question of roofs was also
discussed briefly:
There are period references to red
and black being used on shingles [BASIS: See previous minutes].
B
226 114 - 118
January
27, 1983
PAINTING OF ROOFS
RECOMMENDATIONS:
(A) Restoration Architect brought up
this matter again, since there is some, although limited, evidence for it
happening occasionally, even in Louisbourg sources [BASIS: Artifacts:
1L33D22.3a, b (Traces of blue) and S1L.1202.1 (red)].
(B) Shingles were not in common use
in France, except on secondary buildings and in wooded regions (Alps, etc.), but
seemed to be sometimes protected by paint: red or black and every two years are
mentioned [BASIS: Liger: Nouvelle Maison Rustique, Volume 1, Page 38:
Oil Paint; Bullet: Architecture Pratique (1780 ed.) red or black every
two years; Viollet-Le-Duc: Dict. Volume II, Page 117: Sometimes painted
red or blue-black Monroe (1780), Page 164 ... Paint every 2 years].
B 227 09 - 11
July 12, 1984
ITEM (02)
BARRACKS CHIMNEYS: RECOMMENDATIONS:
(A) Due to continuous problem of
water leakage around the majority of chimneys on the Barracks building, the
Design Team puts forward a recommendation to spray a water repellen (K-154) on
the existing brick chimneys and then whitewash them. This is a tentative
recommendation, pending further research by the Archivist into the historical
documentation of repairs to the Barracks building [BASIS: Design Team
recommendation].
B
227 30 - 37
March
28, 1985
ITEM (13)
BIGOT PERIOD STORM WINDOWS - PAINT
COLOR SELECTION:
RECOMMENDATIONS:
(A) The Design Team recommends that storm
windows be painted white, interior and exterior faces (see revised paint
schedule dated January 26, 1981 and Design Team minutes of October 21, 1980
attached). During this discussion, it was noted that a discrepancy exists on
site as to the colors selected for the interior face of the window sashes. Some
sashes have been painted the same color as the walls and this must have
occurred in the field, probably a verbal decision made by either the
Restoration Architect or the Head of Exhibits. These decisions were never
logged in minute form. E. Krause to check with Head of Exhibits for basis and
rationale [BASIS: Design Team Approval Request No. 12-85, 15/03/85; Full
Committee decision].
B
227 121 - 125
January
22, 1987
ITEM (06)
PAINT - RAFTER TAILS/EAVES - KING'S
BASTION BARRACKS:
DISCUSSION:
Approval requested to proceed with
painting of rafter tails and eaves.
RECOMMENDATIONS:
(A) Approval given to proceed with
painting same in red ochre but also recommended that further investigation of
the availability of 18th century period paint be carried out.
B
227 132 - 138
March
26, 1987
SUB-ITEM (f)
PAINT - RAFTER TAILS/EAVES - KING'S
BASTION BARRACKS:
RECOMMENDATIONS:
(A) Although approval was given by
the Design Team Committee to proceed with painting on the King's Bastion
Barracks, further ongoing investigation of period paints and methods has been
recommended once again by Historical Resources personnel.
B
227 153 - 156
September
2, 1987
REVIEW OF REPAIRS (RECAP) TO
LARTIGUE I AND DES ROCHES HOUSE: SUB-ITEM (a): DES ROCHES HOUSE:
DISCUSSION:
Engineering and Works request
approval to complete repairs on all structural members and sills either below
grade or just at grade level using pressure treated wood with incisor marks. On
all exposed piquet, it was recommended by L. Wadden that we proceed with
fully-treated green wood. On an experimental basis, it was found that whitewash
will not adhere to the green color (i.e., washes off in rain). Therefore, a
suggestion was made to have the green wood treated with a product called Kilz
which will adhere to the green color and enable whitewashing to be carried out
effectively thereafter. There is also a problem in finding a supplier. Marwood
in Brookfield can supply the materials at a cost of approximately $20/piece
treated. They can supply us with machine peeled piquet (not treated) for
approximately $6.50/piece.
RECOMMENDATIONS:
(A) It was recommended that the
samples of machine peeled piquet being forwarded to Louisbourg along with
another shipment of materials for the De La Plagne be reviewed by Design Team
members to ascertain if it will meet our requirements.
B
228 16 - 20
September
14, 1988
NOTE:
... Rain Water Gutter Brackets
Request Approval requested to paint the gutter brackets in red ochre to match
rafter tails. Design Team Recommendation Approval given by Design Team to
proceed with painting of gutter brackets in red ochre.
B
228 157 - 163
February
25, 1991
(i) Whitewash Composition/Sizing
H. Antle and S. Myers to take a look
at some of the whitewash areas on site to see where the whitewash is failing.
H. Antle's investigation to date has only turned up a synthetic type sizing. S.
Myers has some information that is available but she would like to see some areas
on site first before she can provide information on a suitable product. S.
Myers was informed about the water- proofing application (K-154) presently in
use and has requested a data product sheet on same. (Basis: Restoration
Architect's Recommendation) ...
(iii) [Block 1] Magasin General -
Painting
H. Antle indicated to the
Restoration Architect, S. Myers, that the areas he has covered on site with
linseed oil have not turned black; his procedure involves a boiled linseed oil
with turps (no pigments), which just penetrates the wood and "silvers
down" in a natural way. But, some areas on site are turning quite black,
even those not exposed to sunlight and, subsequently, more research is
required. Will be further looked into by S. Myers and H. Antle. (Basis: D.T.
Recommendation)
B
228 187 - 195
April
18, 1991
(a) Whitewash
Composition and Sizing In review of
published material and following discussions with E. Krause and H. Antle, S.
Myers advised that, although isinglass is referred to in the Louisbourg
Painter's Manual as being one of the most popular glues used in the 18th
century, it was a high quality fish glue, valued because it was clear and
colours could be mixed with it. It would never have been used in whitewash. H.
Antle has obtained hide glue, suitable for use in whitewash. It the observation
of S. Myers at the [Block 2] Bigot House [Commissaire-Ordonnateur's Residence -
Demesy Residence] that where the whitewash is not standing up well, there is a
moisture problem. She suggested that rather than doing a complete
across-the-site change in whitewash, one particular area be selected and a
small amount of hide glue used in whitewash on an experimental basis with
results to be evaluated over the next year. It was suggested that the area just
inside the main door of the Bigot House to the right (up to the first
partition) be used as this would be a good area to see the comparison. The
[Block 2] Destouches House was suggested as a second test area. E. Krause to
provide more historical information on whitewash by next Design Team Meeting.
Following discussion on concerns about paint use at Louisbourg today, a special
Design Team meeting on the subject of Paints and Finishes was scheduled for
Wednesday, May 29th, at 9:30 A.M. in the Training Room. The main objectives of
this meeting will be to discuss the extent of use, types of paints and
finishes, whether they provide a protective function, and colours. This meeting
is to give us a start to discussion and a context for future meetings/decisions
...
(i) Flat White Exterior Paint
The painters, manual and Design Team
Minutes were reviewed by S. Myers; previous minutes following paint discussions
(1978) indicated that "all paint finishes should aim at a range between
flat and glossy". All indications are that the 18th- century oil-based
paint would have gone on glossy and flattened out over a period of several
years. H. Antle has received some information from Old Village Paints in
Peterborough; an exterior "soft sheen" is available from this company
and a local distributor can be contacted in the Sydney area. At a cost of
$50/$53 a gallon (which would cover approximately 600 - 700 sq. ft.), there
would be no cost increase over what we are now using (which covers only
approximately 400 sq. ft.). It is a non-chalking paint and samples could be
provided upon request. This item will be raised at the special paint meeting to
be held on May 29th. Samples will be obtained and tested. However, at this
time, we will discontinue our search for a flat exterior oil-base paint.
B
228 223 - 233
June
12, 1991
Paint PURPOSE:
1. Special Paint Meeting
The main objectives of this special
paint meeting are to discuss:
- the extent of use of paints and
other finishes,
- types of paints and finishes,
- whether they provide a protective
function, and
- colours.
This meeting was intended to give us
a start to discussion and a context for future meetings/decisions. This
introductory meeting should give us a sense as to what material and information
we need to gather to provide a basis for future decisions.
To begin discussion of the extent of
use, E. Krause elaborated on his report on paints, whitewashes and other
finishes; report still in the "Draft" stage. This report has been
compiled over the past three years and includes a great deal of information
which was not available when decisions were made in circa 1978 re painting of
reconstructed buildings at Louisbourg. Eric began by stating that, as we are
illustrating the 1744-1745 period on site, we are showing a period when a
supply problem appears to have existed for paint/paint materials at Louisbourg.
Also, just as the reconstructed buildings began to be painted only in the late
1970's when construction was nearing completion, so the original military buildings
at Louisbourg appear to have been painted only when construction was
well-advanced; there are no mentions of paint in engineering specifications til
the later years. Exterior painting was used in England and France at the time
as an attempt at preserving wood, but the only documentary evidence of painting
on a private building exterior at Louisbourg is for the [Block 17] Duhaget
House in the 1750's, when a lease stipulated that one coat of paint was to be
applied by the owner and one the following year by its tenant.
W. O'Shea noted that it was outside
the Design Committee's province to make interpretive changes or decisions, e.g.
changing from the point-in-time approach. The Committee can make
recommendations, but not decisions.
E. Krause extracted records from his
report, showing quantities of linseed oil, white lead, yellow and red ochre,
whiting, etc. which are listed in the inventory lists for the military stores.
Quantities listed were quite small (see report). These lists provide accurate information
for the King's Stores, but do not record materials brought in and out of
Louisbourg by private merchants. They also do not indicate how the supplies
were used - e.g. whether Admiralty supplies for painting ships would be
included in the quantities shown, how much was used for maintenance of
munitions, etc. One record shows whiting listed for artillery use and wet
cooperage. Another document records a stipulation to oil all hardware, from
1736 on.
There is an official statement from
the 1740's about the lack of paint at Louisbourg, by the Governor and
Commissaire-Ordonnateur. However, it could refer to the final mixed product
only. The officials were talking about wanting to paint "exposed
wood" - i.e. exterior wood such as doors, windows, gun carriages, etc. -
hence the painting of rafter tails on reconstructed buildings in the past 10 -
15 years.
Other records are also useful - e.g.
records of a carpenter's (Duval's) estate show the quantities of paint and
paint supplies he had on hand at the time of his death, when building an
important [Block 23 LeVasseur] stone house for an Admiral in Louisbourg.
Concerning cost of paint, E. Krause has some information on costs at various
periods (see his report) but it needs to be correlated to information K.
Donovan has assembled on the relative costs of common goods and materials.
S. Myers read short extracts from a
thesis by T.Z. Penn to clarify meanings of terms (e.g. litharge) and the
apparent availability of linseed oil at an early date on the Eastern Seaboard,
due to flax's being grown for use in producing cloth. (Basis: "Decorative
and Protective Finishes, 1750 - 1850; Materials, Process and Craft". APT
Vol XVI No. 1 1984, Decorative Finishes)
E. Krause confirmed that documents/
records do not show the use which may have been made of common materials such
as cod liver oil, softwood resins or tallow. Concerning whitewash, records show
that it was in general use on stone interiors in the King's buildings, e.g. the
King's Bastion Barracks and the [Block 13] hospital. There are no references to
its use in contracts for construction of fortifications until 1727, but the
fortifications were still being built. From 1727 onwards there are continuing
references to interior whitewashing; the first recipe showing use of glue in
the whitewash (second coat) is from 1753. A 1733 document re Ile Royale shows
that the cost of whitewashing was included in the cost of interior roughcasting
for a particular building. Therefore, whitewashing might occur without specific
mention. Also, the cost of whitewashing was very low (see E. Krause's report).
B
228 254 - 259
July
18, 1991
PURPOSE: [Block 4] Delort
1 Storehouse.
Discussion
The purpose of this meeting is to
take a broad look at the exterior treatment, particularly on the North
Storehouse ... S. Myers suggested that, since there is good evidence that by
1731 the North Storehouse was revetted with roughcast, an exposed charpente
frame would appear to be the least historically accurate option. Discussion
followed on the four options which had been identified in the Design Team
Meeting of June 27, for the North Storehouse and link:
- exposed charpente frame in durable
wood species (possibly white oak) unpainted;
- exposed charpente frame in
pressure-treated wood, painted;
- wood revetment over charpente
frame and piquet infill;
- roughcast revetment over charpente
frame and attachment system ...
2. Recommendation
After considerable discussion, it
was recommended by the Design Team (Basis: Historical View 1731-3b D.T.
Recommendation) that an exposed charpente-frame of durable wood species with
piquet infill be used for the present on the North Storehouse, and that
experiments be conducted to achieve a durable roughcast for future (5-year or
so) installation, with minor modifications in the framing details, etc. to
improve durability
B
244 17 - 25
January
23, 1992
(c) Painting of Windows - [Block 4]
Delort I Storehouse
The paint schedule indicates a paint
(Basis: D.T. Recommendation) finish for interior windows and frames; however,
in the event this building could revert back to a period environment, it was
recommended by the Design Team Committee that the interior of the sashes be
left natural (treated with linseed oil and turps), while exterior of the sashes
will be painted as in past
B
244 143 - 159
July
23, 1992
(ii) [Isle Du Quay] Chevalier
Residence
b. Walls:
- replace framing to top plate level
and piquet infill at rear walls, with changes to increase durability:
- replace existing spruce framing
with pressure-treated framing, and continue to paint frame; ...
B
244 247 - 253
December
17, 1992
(b) Review of Recap Drawings - [Isle
Du Quay] Chevalier Residence
Recap drawings were tabled by S.
Myers and reviewed by Committee members. Drawings reflect Design Team decisions
made earlier this year:
- replacement of all framing below
top plate on South and rear-yard elevations, replacement of sill plate on West
elevation;
- wood species for charpente frame
to be pressure-treated hemlock (painted);
B
245 167 - 173
September
23, 1993
(e) PRELIMINARY DESIGN - WOODLOT
BUILDING (BLOCK 17) [TRANSFORMER BUILDING]
... For the daub itself, S. Myers
recommends a lime-based mortar daub because this building receives a low level
of maintenance and also to ensure that we are concealing the modern transformer
vault from visitors. Some discussion on the use of white-wash as an additional
preventative against water penetration. Strong supportive evidence for
whitewash on earth-based mortars. ...
B
246 62 - 74
May
05, 1994
(c) RECAP OF BEAUSEJOUR RESIDENCE
(BLOCK 3) - PRELIMINARY DISCUSSION re Timber Order
Early decisions required on some
paints, to allow timbers to be ordered soon ...
B
246 75 - 83
May
19, 1994
(a) BENOIST HOUSE (BLOCK 2) - RECAP
Some minor shrinkage cracks on west
wall, may have occurred from base coat being too thick; should be filled when
whitewash applied. L. Wadden advised whitewashing to be carried out tomorrow;
whitewash to be period whitewash formula used on site:
(i) 25 kg. bag hydrated lime;
(ii) approx. 13 - 15 gal. sea water.
Mix usually fairly heavy, but can be diluted with tap water to proper
consistency when ready for use
B
246 84 - 95
June
02, 1994
(a) BENOIST HOUSE (BLOCK 2) - RECAP
S. Myers advised the whitewash has
done a good job of filling the minor shrinkage cracks.
B
246 145 - 153
August
18, 1994
(f) RECAP OF BEAUSEJOUR RESIDENCE
(BLOCK 3)
... S. Myers and L. Wadden to
discuss timber orders as soon as possible. It was agreed to use pressure-treated
exterior timber framing throughout, as the Quay wing would have interior
finishes and the Etang wing would have at least a whitewash finish on interior.
Timber frame to continue to be painted/stained on exterior.
B
246 154 - 165
September
01, 1994
(h) RECAP OF BARON MAGAZIN (ILE DU
QUAY)
... Design Team Committee
recommended the following (re interior):
(i) pressure-treated framing members
to be painted on exterior / whitewashed on interior;
(ii) piquet fill to be whitewashed
(exterior and interior);
B
246 204 - 210
November
24, 1994
(f) RAMP AT BARON MAGAZIN (ISLE DU
QUAY)
During the dismantling of timber
framing, considerable rot discovered in East wall top plate/end joist. In order
to salvage existing gable wall framing c/w tenons into top plate, filler pieces
proposed at top of corner posts for re-assembly. Design Team Committee agreed
to interpret replacement as repair; filler pieces therefore acceptable, also
plate could be in 2 sections (half-lapped) if required. Also agreed to using
pressure-treated Western Hemlock, hewn on exposed faces, painted on exterior
and white-washed on interior (revised details to follow) ...
B
313 63 - 70
April
4, 1995
(a) BENOIST HOUSE (BLOCK 2) - PERIOD
CAULKING
Appropriate door and window
locations on Benoist House for testing Mix #1 and Mix #2 selected by H. Antle
and S. Myers; see attached. L. Wadden to identify other possible locations on
site, both painted and unpainted. E. Krause noted that the principle should be
filling of cracks and checks for preservative reasons, as the French would have
done, not cosmetic. Once filling cracks, however, the French may well have
added colourants for aesthetic reasons.
B
313 192 - 1
August
30, 1995
(a) RECAP OF BEAUSÉJOUR RESIDENCE
(BLOCK 3)
(i) Exterior Stair
Agreed long ties to be pressure-
treated western hemlock;
- stair to be completely painted
except for treads, as per existing;
B
317 44 - 52
April
04, 1996
(a) RECAP OF DELORT III, ÎLE DU QUAI
(LOT "B")
L. Wadden advised work is almost
complete
- siding needs linseed oil treatment
...
B
317 60 - 64
May
10, 1996
(03) Recap of Delort III, Ile du
Quai (Lot "B")
L. Wadden suggested treads and upper
landing of new exterior steps to Delort III be oiled, rather than painted (with
red ochre) as per paint schedule, since paint will wear off. All other elements
of step to receive red ochre treatment. Design Team agreed; L. Burchell to
revise paint schedule indicating change to treads and upper landing, while all
other elements to remain the same.
B
317 65 - 73
June
12, 1996
(02) RECAP OF DELORT III , ILE DU
QUAI (LOT "B")
It was noted by L. Burchell that
reference to "red ochre" in minutes of May 10 is indicated in Paint
Manual as "wood colour".
B
317 94 - 99
August
16, 1996
ITEM (11)
Recap of baron house, île du qua ...
Board and Batten Shutters: Replacing
one pair only. Remainder show fine cracks at end grain, top and bottom; agreed
to flood cracks with linseed oil before painting
B
318 02 06 1977 CI
February
6, 1997
ITEM (01)
Recap of Carrerot residence (Lot d,
Block 2)
S. Myers presented preliminary
options for exterior render:
Option #1: Render on lathwork
between posts ....
joint
between render and framing would require careful detailing. Could provide
concealed gasket behind render, and seal as well as possible at face by
applying whitewash regularly over render and framing, but would still be a
vulnerable area. Need for concealed modern gaskets points out unsuitability of
this detail for this climate, and suggests that it is not the correct period
detail.
B 380 02 10 2001 CI
January 10, 2001
ITEM (02)
RECAP OF CARREROT HOUSE/MAGASIN (LOT
"D", BLOCK 2)
Carrerot
Magasin: L. Wadden advised framing materials not available in pine in time for
construction, which must begin soon.
Even substitute materials such as pressure-treated hemlock not available
for minimum of 10 - 12 weeks. Proposed
use of stockpiled pressure-treated material; these are 9" x 9"
pressure-treated western hemlock, not incised.
We have only six timbers of 16-foot length, however; remainder are
12-foot or shorter. Their use would
require introduction of additional joints in visible exterior top and sill
plates; plate timbers this short are not historically accurate. Option of using longest timbers for visible
plates and building up roof truss members from 2" material was
preferred. L. Wadden to continue
attempts to locate enough material in suitable lengths for visible exterior framing. Framing to be treated with primer and whitewashed
to conceal pressure-treatment.
(II)
APPENDIX
ONE
To: Eric
Krause/Est-East/PCH/CA@PCH
cc: Susann
Myers/Est-East/PCH/CA@PCH
Subject: Paint Colours, Exterior of Carrerot House and Magasin
ERIC. What do you think?
Specifically what do we know about stain or was this another compromise il y a
des annees.
---------------- Forwarded by Bill
O'Shea/Est-East/PCH/CA on 02/02/2001 10:14 PM
02/02/2001
To:bruce.fry@ns.sympatico.ca, Tom
Meagher/Est-East/PCH/CA@PCH, Bill O'Shea/Est-East/PCH/CA@PCH, Lionel
Wadden/Est-East/PCH/CA@PCH
cc:Wendy Bryan/Est-East/PCH/CA@PCH
Subject: Paint Colours, Exterior of
Carrerot House and Magasin
Paint colour selection is needed for
the Carrerot property, to suit the new design of the building.
The colours approved by Structural
Design Committee for the Carrerot House exterior in 1978 were:
- rendered areas: whitewash;
- shutters and doors: green (to be a
darkish colour made from yellow ochre and blue);
- window sashes and frames: white
lead;
- charpente frame: walnut stain.
(The eaves and the window frames set in masonry have also been painted with the
walnut stain, as has the charpente frame of the Magasin.)
With the charpente frame of the
house now concealed by render, a new balance of colours is needed. I do not
like the look of the present green on the Carrerot doors and shutters - it
seems too bright to me for a period green, and would stand out even more
strongly than at present on the new rendered walls. Having looked at the colour
schemes on buildings on site in general, and the streetscape around the
Carrerot property in particular, I would recommend the following for the
Carrerot House and Magasin:
- rendered areas: whitewash;
- magasin: piquet fill and charpente
frame: whitewash;
- shutters and doors: walnut stain
(medium brown);
- eaves of the House and window
frames set in masonry: walnut stain;
- window and door trim and frames:
dull yellow ochre (shown as Gov. St. 504-306 on Harold's colour samples);
- window sash: white.
Painting is to begin immediately on
the House. Please let me know by Monday, February 5th, if you have any
objection to these colours. I have one of Harold's boards of sample colours in
my office, if you would like to see them.
Regards,
Susann
(II1)
APPENDIX
TWO
Paints
by
Christian Pouyez,
In
Historians,
Preliminary
Architectural Studies,
Volume
03,
Unpublished
Report HG 02
(Fortress of Louisbourg, 1972,
Report
Number HG 02 03 02 E)
This preliminary report will study,
as far as the present state of documentation will permit, three problems
concerning painting: the frequency with which paint was used, both indoors and
out, on public and private buildings; the types of paints used; and finally,
the range of
colours used at Louisbourg.
(1) FREQUENCY OF USE OF PAINT
What information we have suggests
that the interiors of buildings as well as the exteriors were painted. On the
outside, wood which was exposed to the weather was painted. Hence when the
Duhaget house was rented to Daniel Augier, the parties agreed
that they will paint the said house
at common expense. That is, the said Sieur Duhaget will give the first coat
this year on the outside of the house and the said Sieur Augier, the second
coat next year [NOTE 1].
In 1739 Sabatier, the commis des
fortifications, recommended painting all the exposed wood on the king's
properties, including "doors, shutters, gates, guardhouses, sentry‑boxes"
and even, the cannon themselves, to prevent rust [NOTE 2]. In 1740 Bourville
and Bigot recommended that the Louisbourg batteries be painted "rough
red" rather than tarred,
since experience has shown that wood
lasts better when painted than when tarred, for the tar falls off in flakes
[NOTE 3].
These various recommendations were
followed, if we may judge by the many references to linseed oil, nut oil and
colours in the inventories of the victuals storehouse [NOTE 4]. In fact it
seems that after 1740 paint was used regularly as a covering for exposed wood.
That is what is suggested by a letter Bigot sent to Maurepas, from which the
following extract is taken:
the oil which I ordered for painting
the gun‑ carriages on the batteries has almost entirely run out. It is
annoying that they do not take precautions at Rochefort to avoid these
accidents. The only way to preserve wood exposed to the air in this country is
to give it regularly every year a coat of paint. Next year we will not be able
to do so [NOTE 5].
Indoor paints, on the other hand,
were more commonly used for decoration than for protection. In the only two
cases we know, the paint, which was actually whitewash, was applied on a layer
of mortar. For example, the second floor of the house of Sieur Pierre Aurieu,
tavern‑keeper, was,
"bien listellé [Translatorts
note: it is difficult to discover the precise meaning of "listellé",
even in French. It evidently refers to some aspect of the finishing] and rough‑cast
with lime and clayey earth. Whitewashed" [NOTE 6].
Similarly, for the house built by
Dubenca for M. Beaubassin, it was planned that the wall around the kitchen
would be
filled with squared pickets
roughcast first with clayey earth, above that with mortar, and whitewashed.
It was planned that the second floor
would be
also picketed like the ground floor,
coated with clayey earth, rough‑cast with mortar and whitewashed [NOTE
7].
However one must not conclude from
these few examples that the use of paint was the rule at Louisbourg. In fact
there is surprisingly little information about painting, nor even frequent
mention of it. Apart from documentation on public buildings, only four more or
less explicit
references to painting have been
found so far, though the documentation now filed covers more than a hundred
houses. Does this scarcity of references arise from the nature of the sources?
That is doubtful, for on the whole, inventories after deaths and construction
specifications are precise, detailed documents. It is likely that if paint was
widely used, it would receive much more frequent mention, whether direct or
indirect. The situation was evidently different for the king's buildings, as
has been noted above.
(2) TYPES OF PAINT USES
Both water paints and oil paints
were used at Louisbourg. In the case of water paints, a clear distinction must
be made between public buildings and private houses. In the former, distemper
paint was often used. Distemper paint is a water paint with a base of whiting
mixed with
paste or another adhesive substance
to make it hold to the walls. The inventories of the victuals storehouse for
1738 and 1739 include two articles on whiting: they show a stock weighing 217
pounds in 1738 and a stock of 25 pounds in 1739 [NOTE 8]. For private houses,
the paint appears to have been whitewash, which is less costly and more simple
to use. But it is hard to generalize, for the houses mentioned above, those of
Sieur Pierre Aurieu and M. Beaubassin are the only two examples we know at
present.
Oil paint was used chiefly for
exteriors, but also for various pieces of military equipment ‑ the drums
of the Compagnies Franches, for example and for iron fittings. There is no
specific document which discusses the painting of ironwork, but lamp‑black
[NOTE 9], a colour principally used for painting interior and exterior ironwork
[NOTE 10], is mentioned
several times. One can surely infer
from this that at least some of the ironwork was painted.
Oil paints were prepared nut oil or
linseed oil, which was boiled with litharge to increase its drying qualities
[NOTE 11]. Next white lead was added, producing the base of the paint.
Curiously, we have found no documentary reference to turpentine, though it must
have been
indispensable for thinning the
paint. It seems unlikely that pure paint would always have been used:
Turpentine had to be mixed into the first coat, so that the paint would soak
into the wood.
(3) COLOURS
The range of colours was fairly
wide. A list of the colours mentioned in the documents used for this study will
be found below. Most of the references are taken from the inventory of Charles‑Yves
Duval, a joiner, and the inventories of the victuals storehouse. Total
quantities of each type are given, preceded by the sign "+" when the
quantities are not entirely known.
(A)
WATER COLOURS
(1)
Whiting: 257 pounds
(2) Lime: n.a.
(B) OIL PAINTS
(1) Blanc d'azur [NOTE: Literally
"azure white"]: +487 pounds
(2)
Cendre bleue: [NOTE: Literally "blue ash"]: n/a
(3)
Yellow ochre: 20 pounds
(4)
Red ochre: +113 pounds
(5) Yellow and red ochre: 209 pounds
(6)
Red ochre (diluted with oil): 929 pounds
(7) Red graphite: 6 pounds
(8) Green: 6 pounds
(9)
Lamp‑black (powder): 4 barrels
(10)
Lamp‑black (diluted with oil): 11 pounds
If we might draw conclusions from
these few indications, it would seem that yellow and red were the most
frequently used colours, both for public and private buildings: the Duval
inventory shows more red and yellow ochre than all other colours. The great
quantities of white lead "blanc de ceruse" give no indication of
colour, for white was only the colour of the base of the paint.
Let us close by hoping that before
too long, we will be able to complete this study by an analysis of coloured
plans and views of 18th century Louisbourg.
The appendices contain:
(1) a glossary explaining, some technical
terms used in this report
(2) the inventory after the death of Charles‑Yves
Duval.
4 APPENDIX I: GLOSSARY
(01) CENDRE BLEUE (bleu ash)
Colour obtained by precipitating
with potassium the (blue ash) oxide contained in a solution of copper nitrate
and crushing the remainder with lime (CHABAT, DICTIONNAIRE DES TERMES EMPLOYÉS
DANS LA CONSTRUCTION, T. I. ARTICLE "CENDRE")
(02) CÉRUSE (BLANC DE)(white lead)
Carbonate of lead obtained by
exposing small pieces of lead to fumes of vinegar. It becomes a powder which is
employed as a white coloured base for oil paints (DIDEROT ENCYCLOPÉDIE, VOL.
II, ARTICLE "BLANC DE PLOMB", VOL. III ARTICLE "CERUSE" ‑
CHABAT DICTIONNAIRE T. I. ARTICLE "CERUSE"
(03) HUILE GRASSE (rich or thick oil)
The oil which painters mix into
their colours to make them dry. Huile grasse is made of nut oil or linseed oil
boiled with litharge. The litharge sinks to the bottom: what floats on top is
huile grasse.
(04) LAIT DE CHAUX (whitewash)
Paint obtained by dissolving lime in
a large amount of water. (CHABAT, DICTIONNAIRE T. I ARTICLE, CHAUX)
(05) LAITANCE
Synonym for lait de chaux, whitewash.
(06) LITHARGE
Oxide of lead which dries the oils
with which colours are mixed [NOTE 12].
(07) NOIR DE FUMÉE (lamp‑black)
One of the three kinds of blacking
(vegetable black, bone black, and lamp‑black). A substance obtained by
the burning of the residues of resins. Lamp‑black has the appearance of
soot. It mixes perfectly with oil paints, and is most often used to paint
indoor iron fittings. Lamp‑
black is sold in wooden barrels. (CHABAT
DICTIONNAIRE T. II ARTICLE NOIR
‑ DIDEROT ENCYCLOPEDIE, VOL.
XI ARTICLE NOIR DE FUMEE)
(08) OCRE (ochre)
A clayey substance coloured yellow,
red or brown by different iron oxides which it contains in varying qualities.
(DIDEROT ENCYCLOPÉDIE, VOL. XI, ARTICLE OCHRES)
(09) PLOMB (Mine de) (graphite)
Strictly speaking, mine de plomb is
simply graphite, a black mineral used, according to Blondel, to paint fire‑backs.
However, the document ‑ there is only one, unfortunately ‑ where
mine de plomb is mentioned, specifies red mine de plomb. Hence one may wonder
if it is not actually minium (red lead). This seems more likely. Minium is a
red‑orange oxide of lead, used as a first coat to protect ironwork from
rust. Minium is obtained by the calcination in air of massicot (a monoxide of
lead which also provides, when heated red, litharge). (BLONDEL, COURS
D'ARCHITECTURE T. 6, p. 444‑445 ‑ CHABAT DICTIONNAIRE T. II ARTICLE
MINIUM).
ENDNOTES
[NOTE 1:] Bail à loyer: Robert
Duhaget à Daniel Augier. Louisbourg, 20 juillet 1753. A.N., Section Outre‑Mer,
G3, carton 2041 suite, no. 41. [NOTE 2:] Lettre de Sabatier à Maurepas.
Louisbourg, 12 novembre 1739. A.N.., Col., C11B, vol. 21, fol. 179v.
[NOTE 3:] Lettre de Bourville et
Bigot à Maurepas. Louisbourg, 20 octobre 1740. A.N., Col., C11B, fol. 43v.
[NOTE 4:] Voir le memo rédigé par
Blaine Adams le 30 mai 1969.
[NOTE 5:] Lettre de Bigot à
Maurepas. Louisbourg, 21 novembre 1743. A.N., Col.,
C11B, vol. 25, fol. 150. [NOTE 6:]
Devis d'une maison. Louisbourg, 26 juillet 1754. A.N., Section Outre‑Mer,
G3, carton 2042, no. 69.
[NOTE 7:] Marché entre Mr Beaubassin
et Dubenca. Louisbourg, 30 mai 1756. A.N.,
Section Outre‑Mer, G3, carton
2044, no. 53.
[NOTE 8:] Blaine Adams, Memo Sur la
peinture, p. 4.
[NOTE 9:] (i) Succession de feu
Charles‑Yves Duval, menuisier. Louisbourg, 19 mai 1733. A.N., Section
Outre‑Mer, G2, vol. 182, f. 730. (ii) "Balance de la recette et
consommation faites dans les magasins du Roy a l'Isle Royalle pendant l'année
1738." Louisbourg, 2 novembre 1739. A.N., Col., C11B, vol. 21, fol. 196.
(iii) "Balance ... pendant l'année 1739." Louisbourg, 1 er janvier
1740. A.N., Col., C11B, vol. 21, fol. 246.
[NOTE 10:] J.F. Blondel, Cours
d'architecture (Paris, V ve Desaint, 1777), Tome 6, p. 445. Chabat,
Dictionnaire des termes employés dans la construction (Paris, Morel, 1875),
Tome 2, Article "NOIR".
[NOTE:11] On trouve mention d'huile
de lin et de litharge dans l'inventaire des effets de feu Charles‑Yves Duval
(A.N., Section Outre‑Mer, G2 vol. 182, fol. 730); on a une mention
d'huile
de noix dans un seul document:
Compte avec Madame Demaret, Louisbourg, a.d. Archives de la Marine, C7, 184,
Dossier Levasseur. L'huile d'oeillette était peut‑être utilisée également,
mais nous n'en avons pas trouvé de mention. Pour les bâtiments du Roi, les
peintures étaient presque toujours à base d'huile de lin (Balance de la recette
... pour 1724 à 1730, Louisbourg, 30 avril 1731. A.N., Col., C11B, vol. II,
fol. 205v. Balance ... pendant l'année 1738. Louisbourg, 2 novembre 1739. A.N.,
Col., C11B, vol. 21, fol. 196. Pratiquement toutes les "Balances"
mentionnent degrandes quantités d'huile de lin. Trés peu d'huile de noix).
[NOTE 12:] En 1756, le sieur Fizel
reçut 36 livres pour vingt deux livres et demie de litharge qu'il a fourni pour
mettre dans les "peintures qui ont été employées dans les maisons de sa
majesté en ce port...." A.N., Col., C11B, vol. 36, fol. 212.
(IV)
APPENDIX
THREE
05/02/2001
To: bruce.fry@ns.sympatico.ca,
Tom Meagher/Est-East/PCH/CA@PCH, Bill O'Shea/Est-East/PCH/CA@PCH, Lionel
Wadden/Est-East/PCH/CA@PCH
cc: Wendy
Bryan/Est-East/PCH/CA@PCH, Eric Krause/Est-East/PCH/CA@PCH
Subject: Correction to Carrerot Exterior Colours
A correction to the colours
recommended for the Carrerot House exterior:
-
the colour for the eaves of the House should be dull Yellow Ochre, not
Walnut stain.
Please note that the "Walnut
stain" approved in the past by Structural Design Team for use on site is a
solid-hide stain, which forms a surface layer on the wood. Technically, it is a paint really, not a
penetrating stain. It is medium brown in
colour.
Also note that the extent of
painting to the Carrerot House and Magasin is to be substantially reduced, with
the timber frame of the house rendered over and that of the Magasin
whitewashed. The only items now painted
on the Magasin will be the door and shutters.
Susann
(L)
APPENDICES
APPENDIX
ONE
LOUISBOURG:
PAINT TERMINOLOGY
THE
BUILT HISTORY OF PORT TOULOUSE, ISLE ROYALE,
ACTUAL
AND PROPOSED, 17131758
BY
ERIC
KRAUSE
FEBRUARY
28, 1998
VOLUME
FOUR
GLOSSARY
OF ISLE ROYALE BUILDING
AND
FORTIFICATION TERMINOLOGY AND TECHNIQUES
(01)
BUILDING TERMINOLOGY
... FIREPLACES - MATERIALS AND DECORATION
Home-owners of all building types
preferred the rubble-stone fireplace. Finishing their jambs, mantles, breasts
and stacks with a simple mortar rendering (often whitewashed) also kept costs
to a minimum. Less frequently did they choose a fireplace of New England or
poorer quality local bricks. Some also used local sandstone, though they
suffered from the same fate as locally produced bricks: rapid deterioration in
a fire.
... WALL FINISHES - EXTERIOR PAINT
Exterior painting was always a
possibility, but in reality a lack of sustained military or civilian commitment
to the idea and a continued problem with supply meant that painting was not
general practice. Notwithstanding, the military wanted to paint all its exposed
wood, a deep red ‑ for reasons of protection rather than aesthetics ‑
all doors, shutter, window frames, gates, railings, sentry boxes, gun
carriages, even iron cannons, but this plea was not made until 1739. By then
the problem with rot was critical. In conclusion: exterior painting was not
generally practiced on Isle Royale. Even private building contracts, even those
sufficiently detailed to provide precise details on the size of bevels for the
weatherboards, did not include any rider concerning exterior painting.
WALL FINISHES - EXTERIOR RENDERINGS
The common protection in the early
years, the covering of an exterior surface like a wall or chimney, first with
an earth‑based or a lime‑mortar‑based finish, followed
perhaps by a lime-wash (whitewash), or perhaps even paint, took two forms: crépi
or crépissage, the rough coat applied either as a preliminary or as a
final covering; or enduit, a crépi more expensively refined
through a screen, to produce a final, fine, uniform finish less apt to crack,
and technically, though not always, trowelled over a crépi....
In Europe a lime-wash often followed
an exterior crépi or enduit, although the degree to which this
practice was followed on Isle Royale is unknown. The standard Isle Royale
military recipe for lime-wash specified two coats of lime slaked that day, with
the second, containing glue, to be applied only after the first had dried.
Unfortunately, these specifications were meant for interior crépis and enduits
only (and never for wood).
... WALL FINISHES - INTERIOR PAINT
Aesthetic reasons perhaps lay behind
much of the desire to whitewash or paint interior walls. Yet it was a practice
with few followers. Those that did bear the cost were lime washing a mortar
finish in every case (never a wooden wall). Even fewer chose to use paint.
Painters could choose to use either
an oil or a water‑based distemper paint, with a variety of pigments.
Available mixing materials were water, linseed oil, nut oil, milk, glue,
turpentine, lime, white lead, whiting, a variety of ochres, vermilion and other
pigments. Required equipment included paint brushes and stone pestles for
grinding the paint.
... WINDOWS - MAINTENANCE
... The degree to which window
frames, indeed the exterior surface of any part of a building at all, was
painted is a moot point, and is a question which comprises the larger issue of
exterior finishes in general. An unescapable conclusion, however, is that few
window frames were painted, owing to a supply problem.
APPENDIX
TWO
DOMESTIC
BUILDING CONSTRUCTION
AT
THE FORTRESS OF LOUISBOURG,
1713
‑ 1758
By
Eric
Krause
1996
Draft Report
(Fortress
of Louisbourg Report Number H G 10)
CHAPTER
FOUR
INTERIOR
WALL FINISHES
... Aesthetic reasons perhaps lay
behind much of the desire to whitewash or paint interior walls.
Yet it was a practice with few
followers. Those that did bear the cost, like the owners of
private homes in Block 5A or 34C or
like the military, were lime washing a mortar finish in
every case (never a wooden wall).
Even fewer chose to use paint: the only known examples
being the Block 2 and 23 residence
of two of the highest ranking officials in Louisbourg.
Importation tables, administrative
expenditure accounts and estate inventories, particularly
that of Charles Ives Duval, a joiner
and carpenter, suggest that painters could choose to use
either an oil or a water‑based
distemper paint, with a variety of pigments. Available mixing
materials were water, linseed oil,
nut oil, milk, glue, turpentine, lime, white lead, whiting, a
variety of ochres, vermilion and
other pigments. Required equipment included paint brushes
and stone pestles for grinding the
paint.
CHAPTER
FIVE
EXTERIOR
WALL FINISHES
... The common protection in the
early years, the covering of an exterior surface like a wall or
chimney, first with an earth‑based
or a lime‑mortar‑based finish, followed perhaps by a
limewash (whitewash), or perhaps
even paint, took two forms: crépi or crépissage, the rough
coat applied either as a preliminary
or as a final covering; or enduit, a crépi more
expensively refined through a
screen, to produce a final, fine, uniform finish less apt to
crack, and technically, though not
always, trowelled over a crépi ...
... In Europe a limewash often
followed an exterior crépi or enduit, although the degree to which this
practice was followed on Isle Royale is unknown. The standard military recipe
for
limewash in Louisbourg specified two
coats of lime slaked that day, with the second,
containing glue, to be applied only
after the first had dried. Unfortunately, these
specifications were meant for
interior crépis and enduits only (and never for wood).
Nevertheless, the description of a
Block 15C house as "in a very bad state without any
whitewash" was perhaps an
indication that exterior limewashes were somewhat popular ...
... Exterior painting was always a
possibility in Louisbourg, but in reality a lack of sustained
military or civilian commitment to
the idea and a continued problem with supply meant that
painting was not general practice.
Usually in short supply ‑ 1742 was a possible exception ‑
the paint was to have come from
France, but one year, 1743, the supply had all leaked away
on board ship. In fact, that year
there was no paint at all in the colony.
For certain, the military wanted to
paint all its exposed wood, a deep red ‑ for reasons of
protection rather than aesthetics ‑
all doors, shutter, [window] frames, gates, railings, sentry
boxes, gun carriages, even iron
cannons, but it did not make this plea until 1739. By then the
problem with rot was critical. In
fact, a series of 1736 Louisbourg contracts, for the
maintenance and repair of crown‑owned
buildings failed to even mention paint (unlike a
similar 1733 contract for Quebec).
Only a few individual examples
besides the 1739 plea mention exterior painting in
Louisbourg at all: two coats of red
oil paint (the recipe: 40 livres of oil, 20 livres of red [ochre]
for the pigment) for the windows of
the lighthouse and/or lighthouse keeper's house (1731 ‑
military building); Duhaget will see
to it that the first coat is applied this year, and Augier will
apply the second coat in the
following year (1753 ‑ private home).
In 1741 the engineer wanted the
commissaire‑ordonnateur to approve a new contract with the
entrepreneur, that included payment
for red paint. The clause, however, did not appear in the
1742 amended contract. In 1744 the
authorities paid for the services of painters. The low
charges, however, suggest that it
was for minimal work. The conclusion: exterior painting
was not generally practiced at
Louisbourg. Even private building contracts, even those
sufficiently detailed to provide
precise details on the size of bevels for the weatherboards,
did not include any rider concerning
exterior painting.
...
CHAPTER NINE
DOOR
AND WINDOW OPENINGS ‑ WINDOWS
... The degree to which window
frames, indeed the exterior surface of any part of a building at
all, was painted is a moot point,
and is a question which comprises the larger issue of
exterior finishes in general. An
inescapable conclusion, however, is that few window frames
were painted at Louisbourg, owing to
a problem with supply ...
...
CHAPTER TWENTY‑THREE
FIREPLACES
‑ CONSTRUCTION
Home‑owners of all building
types preferred the rubblestone fireplace. Finishing their jambs,
mantles, breasts and stacks with a
simple mortar rendering (often whitewashed) also kept
costs to a minimum ...
APPENDIX
THREE
SELECT
BIBLIOGRAPHY OF LOUISBOURG
PAINT
REPORTS AVAILABLE ON
http://fortress.uccb.ns.ca
Hoad, Linda, "Interior
Finish," in Historians, Preliminary Architectural Studies, Volume
03, Unpublished Report HG 02 03 03 (Fortress of Louisbourg, 1972)
Krause, Eric, The Built History
of Port Toulouse, Isle Royale, Actual and Proposed, 1713-1755, Volume Four,
Glossary of Isle Royale Building and Fortification Terminology and
Techniques, Unpublished Report 9816 (Krause House Info-Research Solutions
for the Fortress of Louisbourg, February 28, 1998)
Krause, Eric, Domestic Building
Construction at the Fortress of Louisbourg, 1713-1758, Unpublished Report H
G 10 (Fortress of Louisbourg, 1996 Draft Report)
Krause, Eric, Exterior House‑Paint
(Documentation), Unpublished Draft Report in Progress (Krause House Info‑Research
Solutions)
Krause, Eric, Exterior House‑Paint
(Narrative), Unpublished Draft Report in Progress (Krause House Info‑Research
Solutions, 1977 - Present)
Pouyez, Christian
"Paints," In Historians, Preliminary Architectural Studies,
Volume 03, Unpublished Report HG 02 03 02 E (Fortress of Louisbourg, 1972,
Report)
Storm, A, Eighteenth Century
Paint Materials and the painters Craft as Practised in Louisbourg, Training
Manual, Unpublished Report H G 05 (Fortress of Louisbourg, May 1982)
##############################################
ADDITIONAL
RESEARCH - PLACE WHERE REQUIRED
(A) NOTE: IS THERE A DIFFERENCE ‑
TERMS
(SEE MAISON RUSTIQUE)
(1) BLANCHIR CES MURS AVEC DU LAIT
DE CHAUX
(2) BLANCHIR LES MURAILLES A L'HUILE
OU EN DETREMPE
(3) APPLIQUER QUELQUES COUCHES D'EAU
DE CHAUX ... DU BLANC DES CARMES
(THIS IS A LIMEWASH)
(4) BLANCHIR A COLLE, SOIT MURAILLES
OU BOIS, MEME POUR DORE
SEE JOMBERT
(5) DONNER UNE COUCHE DE BLANC
DÉTREMPÉ AVEC LA COLLE
SEE BELIDOR
(6) LAVÉE DEUX FOIS AVEC LA BROSSE
D'UN LAIT DE CHAUX VIVE MELÉ DE PETIT BLEU
(B) BARRACKS [More Details to Add]
(C) BLONDEL
(1) UN LAIT DE CHAUX
(2) LES OUVRAGES COMMUNS DE BLANC EN
DETREMPE
(3) PEINTURE EN DÉTREMPE COMMUNE
(4) UNE PEINTURE EN DETREMPE EN
BLANC DE ROI ORDINAIRE
(5) LAIT DE CHAUX
(6) BROYER A L'EAU AVEC DE LA COLLE
DE PARCHENIN POUR LES PEINTURES EN DETREMPE
(D) BRISEAUX
(1) ON DÉTREMPE OU ÉTEINT UNE LIVRE
DE CHAUX VIVE DANS UNE PINTE D'EAU CLAIRE = UN LAIT DE CHAUX
(E) BULLET
(1) LE BLANC EN DETREMPE
(2) ÉCHAUDER DE PLUSIEURS COUCHES
(3) COUCHES DE CHAUX ÉTEINTE &
CLAIRE , CE QU'ON APPELLE ÉCHAUDER
(F) LOUISBOURG IMPORTS
Do they contain any of the following
besides ochres and linseed oil :
Spanish White for Whiting
Sizings
White Lead ‑ Cerise
####################################
Christopher Morris, The Illustrated Journeys of Celia Fiennes, 1685 ‑
c. 1712 (London, 1982), pp. 96‑97.
Christopher Morris, The Illustrated Journeys of Celia Fiennes,
1685 ‑ c. 1712 (London, 1982), pp. 96‑97.
Christopher Morris, The Illustrated Journeys of Celia Fiennes,
1685 ‑ c. 1712 (London, 1982), p. 137.
Isaac Ware, A Complete Body of Architecture (London, 1756),
Volume X, pp. 743 ‑ 744.
Malachy Postlethwayt, Universal
Dictionary (London, 1757), mensuration.
The Builder's Price Book (London, 1783),
pp. 1, 12.
J. F. Blondel, Cours D'Architecture (Paris, 1777), pp. 436 ‑
442.
Bardet de Villeneuve, Traité de L'Architecture Civil (Haye,
1740), p. 148; Bullet, Architecture Pratique (Paris, 1780), p. 543.
Belidor, La Science des Ingeniurs
(Paris, 1729), p. 64; J. F. Blondel, Cours D'Architecture, Volume 6
(Paris, 1770), p. 442.
Louis Liger, La Nouvelle Maison Rustique (Paris,
1755), Volume 1, p. 38; Pierre Bullet, Architecture Pratique (Paris,
1780), pp. 394 ‑ 395; J. F. Monroy, Traité d,Architecture Pratique
(Paris, 1789), p. ?????; M. Viollet‑Le‑Duc, Dictionnaire
Raisonné de L'Architecture (Paris, 1967 (Reprint), p. 117 ‑ 118.
Belidor, La Science Des Ingenieurs Dans La Conduites Des Travaux
De Fortification Et D'Architecture Civile (Paris, 1729), Livre VI, p. 66.
Belidor, La Science Des Ingenieurs Dans La Conduites Des Travaux
De Fortification Et D'Architecture Civile (Paris, 1729), Book 4, p. 100.
A. C. Daviler, Dictionnaire D'Architecture, Volume 2, (A La
Haye, 1730), p. 247.
C. F. Roland Le Virloys, Dictionnaire D'Architecture (Paris,
1770), Volume 2, p. 103 ‑ 104.
C. F. Roland Le Virloys, Dictionnaire D'Architecture (Paris,
1770), Volume 2, p. 104.
C. F. Roland Le Virloys, Dictionnaire D'Architecture (Paris,
1770), Volume 2, p. 94.
C. F. Roland Le Virloys, Dictionnaire D'Architecture (Paris,
1770), Volume 1, p. 200.
Charles Henri Arnhold, translator,
of the work: Praktische Denkmalpflége par Georg LILL, édité par le
Service des Monuments Historiques de Bavière (Munich, 1941).
R. Campbell, The London Tradesman
(London, 1747), p. 103
John Muller, A Treatise
containing The Practical Part of Fortification (London, 1755), pp.
246 ‑ 247.
Campbell, p. 103; Richard M. Candee,
"Housepaints in Colonial America: Their Materials, Maunufacture and
Application," Colour Engineering (1966????????), p. 26
Ian A. Melville, The Repair and
Maintenance of Houses (London, ????), p. 351.
The Builder's Price Book (London, 1783), pp. 134 ‑
143.
Peter Nicholson, The New
Practical Builder and Workman's Companion (1823), p. ??????????????
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 118.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 118.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 119.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 119.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 119.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 119.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 117.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 119.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), pp. 120 ‑ 121.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), pp. 117 ‑ 118.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 41.
Bardet de Villeneuve, Traité de
L'Architecture Civil (Haye, 1740), p. 148; Bullet, Architecture Pratique
(Paris, 1691, 1780), pp. 391, 543; Liger, La Nouvelle Maison Rustique
(Paris, 1755), p. 963.
J. F. Blondel, Cours
D'Architecture (Paris, 1777), pp. 436‑442.
Theodore Zuk Penn, "Decorative
and Protective Finishes, 1750 ‑ 1850," APT, 16: 1 (1984), pp.
25 ‑ 26.
J. F. Blondel, Cours
D'Architecture, 6 (Paris, 1770), pp. 436 ‑ 442, 448 ‑
450.[Check this Footnote - May be Incorrect]]
Malachy Postlethwayt, Universal
Dictionary (London, 1757), mensuration.
M. Felibien, Des Principes de
L'Architecture (Paris, 1697), p. 373.
M. Felibien, Des Principes de
L'Architecture (Paris, 1697), p. 429.
A. C. Daviler, Dictionnaire
D'Architecture (A La Haye, 1730), Volume 2, pp. 26 ‑ 27.
A. C. Daviler, Dictionnaire
D'Architecture (A La Haye, 1730), Volume 2, p. 133.
A. C. Daviler, Dictionnaire
D'Architecture (A La Haye, 1730), p. 85.
A. C. Daviler, Dictionnaire
D'Architecture, Volume 2, (A La Haye, 1730), p. 166.
C. F. Roland Le Virloys, Dictionnaire
D'Architecture (Paris, 1770), Volume 2, p. 104.
C. F. Roland Le Virloys, Dictionnaire
D'Architecture (Paris, 1770), Volume 1, pp. 493 ‑ 494.
C. F. Roland Le Virloys, Dictionnaire
D'Architecture (Paris, 1770), Volume 1, p. 201.
C. F. Roland Le Virloys, Dictionnaire
D'Architecture (Paris, 1770), Volume 1, pp. 201 ‑ 202.
C. F. Roland Le Virloys, Dictionnaire
D'Architecture (Paris, 1770), Volume 1, p. 202.
C. F. Roland Le Virloys, Dictionnaire
D'Architecture (Paris, 1770), Volume 1, p. 211.
Bullet, Architecture Pratique
(Paris, 1780), p. 440.
C. E. Briseux, L'Art de Batir
Des Maisons de Campagne, volume 2, (Paris, 1743), pp. 174 ‑ 185.
Richard M. Candee,
"Housepaints in Colonial America: Their Materials, Manufacture and
Application ‑ II‑ The application of Interior Paints," Color
Engineering (November‑December, 1966,) p. 24.
John Obed Curtis, "How to save
that old ceiling," The Old‑House Journal 8:10
(October, 1980), p. 131; Bullet, L'Architecture Pratique (Paris, 1691),
p. 284.
The Builder's Dictionary
(London, 1734), Distemper, Water Colours.
G. Beard, Craftsmen and Interior
Decoration, (??????????), p. 37.
Peter Nicholson, The New
Practical Builder and Workman's Companion ( 1823), p. ??????????????
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), pp. 117 ‑ 118.
James Gallier, American Builder's
General Price Book and Estimator (New York, 1833), p. 41.
M. Felibien, Des Principes de
L'Architecture (Paris, 1697), p. 444.
A. C. Daviler, Dictionnaire
D'Architecture, Volume 2, (A La Haye, 1730), p. 85.
A. C. Daviler, Dictionnaire
D'Architecture, Volume 2, (A La Haye, 1730), p. 136.
William Alan, The Police of
Paris, 1718 ‑ 1789, Barton Rouge, 1979. p. 177
[Liger], La Nouvelle Maison
Rustique ... (Paris, 1755), Volume 2, p. 56.
[Liger], La Nouvelle Maison
Rustique ... (Paris, 1755), Book 2, pp. 665 ‑ 666.
[Liger], La Nouvelle Maison
Rustique ... (Paris, 1755), Book 1, p. 18.
[Liger], La Nouvelle Maison
Rustique (Paris, 1755), Volume 1, pp. 16.
C. F. Roland Le Virloys, Dictionnaire
D'Architecture (Paris, 1770), Volume 2, p. 135.
John Muller, A Treatise
containing The Practical Part of Fortification (London, 1755), p. 115.
John Muller, A Treatise
containing The Practical Part of Fortification (London, 1755), p. 245.
The Builder's Price Book (London, 1783), p. 114.
The Builder's Price Book (London, 1783), pp. 114 ‑
115.
The Builder's Price Book (London, 1783), pp. 115 ‑ 116
The Builder's Price Book (London, 1783), pp. 118 ‑
119.
The Builder's Price Book (London, 1783), p. 123.
The Builder's Price Book (London, 1783), pp. 125 ‑
126.
The Builder's Price Book (London, 1783), p. 141.
The Builder's Price Book (London, 1783), p. 143.
M. Duhamel du Monceau, Du
Transport, De La Conservation Et De La Force Des Bois (Paris, 1767),
p. 58.
M. Felibien, Des Principes de
L'Architecture (Paris, 1697), p. 472.
Duhamel Du Monceau, p. 58.
Duhamel Du Monceau, pp. 59 ‑
64.
William Salmon, Palladio
Londinensis (London, 1734), pp. 56 ‑ 57.
Charles James, An Universal
Military Dictionary (London, 1816), p. 591.
Daniel T. Atwood, Atwood's
Country and Suburban Houses (New York, ????), p. 111.
James K. Barr, and panelist
comment, Commentary, in Sharon Timmons, Preservation and
Conservation: Principles and Practices (Washington, 1976), pp. 304, 306 ‑
307; A. Bettesworth, The Builder's Dictionary (????????????),
White Lead, Oil
Geoffrey Beard, Craftsmen and
Interior Decoration in England 1660 ‑ 1880 (New York, ????),
p. 59
Theodore Zuk Penn, "Decorative
and Protective Finishes, 1750 ‑ 1850: Materials, Process, and
Craft," APT, 16:1 (1984), p. 7.
James K. Barr, "Commentary," Preservation and
Conservation: Principles and Practices (Washington, 1976), p. 304; Ibid.,
"Discussion," p. 306 ‑ 307.
J. F. Blondel, Cours
D'Architecture (Paris, 1770), p. 441.
A. Bettesworth, The Builder's
Dictionary (?????????????), Colours
A. Bettesworth, The Builder's
Dictionary (London, 1734), Painting of Timber Work.
"Discussion," Preservation
and Conservation: Principles and Practices, (Washington, 1976), p.
307.
Theodore Zuk Penn, "Decorative
and Protective Finishes, 1750 ‑ 1850: Materials, Process, and
Craft," APT, 16:1 (1984), pp. 24 ‑ 25; A. Bettesworth, The
Builder's Dictionary (London, 1734, Washing of Colours.
A. Bettesworth, The Builder's
Dictionary (London, 1734), Blacks, Brown (Spanish), Grind, Lead, Painting,
Size.
Edward Cresy, ????????????????????,
1847, p. 910.
A. Bettesworth, The Builder's
Dictionary (London, 1734), Blacks.
C. E. Briseux, L'Art de Batir
Des Maisons De Campagne (Paris, 1743), p. 176; Bullet, Architecture
Pratique (Paris, 1780), pp. 394, 440 ‑ 441; André‑Jacob Roubo, L'Art
Du Menuisier (Colph, 1770), p. 265.
R. Campbell, The London
Tradesman (London, 1747), pp. 103, 105 ‑ 107.
Charles Francis Dow, The Arts
and Crafts in New England, 1704 ‑ 1775 (Topsfield, 1927), p.
237.
A. Bettesworth, The Builder's
Dictionary (London, 1734), Painting; Daniel T. Atwood, Atwood's Country
and Suburban Houses (New York, ???????), p. 112.
A. Bettesworth, The Builder's
Dictionary (London, 1734), Oil; Daniel T. Atwood, Atwood's Country and
Suburban Houses (New York, ??????), p. 110; Ian Bristow,
"Painting," in Jack Bowyer, editor, Handbook of Building Crafts in
Conservation (London, 1981), p. 360; Ellis A. Davidson, A practical
Manual of House‑Painting (London, 1931), p. 24.
Daniel T. Atwood, Atwood's
Country and Suburban Houses (New York, ????????, pp. 107, 111 ‑ 113;
Charles Francis Dow, The Arts and Crafts in New England, 1704 ‑
1775 (Topsfield, 1927), p. 239; Harry Parker, Materials and Methods of Architectural
Construction ( New York, 1961), p. 288.
Ellis A. Davidson, A Practical
Manual of House‑Painting (London, 1931), p. 139 ‑ 140, 144;
Richard M. Candee, "Housepaints in Colonial America," Color Engineering,
September‑October???, 1966), p. 29; Theodore Zuk Penn "Decorative
and Protective Finishes, 1750 ‑ 1850, Materials, Process, and
Craft," APT, 16: 1 (1984), p. 21.
C. F. Roland Le Virloys, Dictionnaire
D'Architecture (Paris, 1770), Volume 2, p. 174.
M. Bullet, Architecture Pratique
(Paris, 1780), p. 441.
Ellis A. Davidson, A Practical
Manual of House‑Painting (London, 1931), p. 7; A. J. Downing, The
Architecture of Country Houses, Reprint, (New York, 1966), p. 40.
A. Bettesworth, The Builder's
Dictionary (London, 1734), Blacks, Oil, Varnish.
Valuable Secrets Concerning Arts and
Trades (London, 1775), p. 104.
A Bettesworth, The Builder's
Dictionary (London, 1734), Varnish; J. F. Blondel, Cours D'Architecture,
Volume 6 (Paris, 1770), pp. 440 ‑ 441; Nina Fletcher, Little, American
Decorative Wall Painting, 1700 ‑ 1850 (New York, 1952), p. 5.
J. F. Blondel, Cours
D'Architecture, Volume 6 (Paris, 1770), p. 436, 442
Theodore Zuk Penn, "Decorative
and Protective Finishes, 1750 ‑ 1850, Materials, Process, and Craft, APT,
16:1 (1984), pp. 3 ‑ 17; A. Bettesworth, The Builder's Dictionary
(London, 1734), Painting of Timberwork, Verdegrease; Duhamel Du Monceau, Du
Transport De La Conservation Et De La Force Des Bois (Paris, 1767), p.
58; Architecture Moderne (Paris, 1728), p. 95.
William Salmon, Palladio
Londinensis: Or, The London Art of Building (London, 1734), pp. 56 ‑
58; Bullet, Architecture Pratique (Paris, 1780), p. 445.
Ian Bristow, "Ready‑Mixed
Paint in the Eighteenth Century," The Architectural Review (April,
1977), p. 246.
A. Bettesworth, The Builder's
Dictionary (London, 1734), Grind, Lead (White Lead), Oil, Painting of
Timber Work, Spanish Brown; Harry Parker, Materials and Methods of
Architectural Construction (London, 1961), pp. 288, 298.
J. F. Belidor, Cours
d'Architecture (Paris, 1770), pp. 440 ‑ 442.
Peter Benes, "Sky Colors
....", p. 53
Virginia, Colonial Williamsburg,
Tucker‑Coleman Papers, August 30, 1798.
Peter Benes, "Sky Colors and
Scattered Clouds: The Decorative and Architectural Painting of New England
Meeting Houses, 1738 ‑ 1834," The Dublin Seminar for New
England Folklife: Annual Proceedings, 1979, (Boston, ?????), p. 53
Peter Benes, "Sky Colors
...", p. 53
Hezekiah Reynolds, Directions
for House and Ship Painting (1812), p. 13.
J. F. Blondel, Cours
D'Architecture (Paris, 1770), p. 441‑442, C.E. Briseaux, L'Art de
Batir (Paris, 1743), p. 176; A. C. Smeaton, The Builder's Pocket Manual
(London, 1836), p. 91.
J. F Blondel, Cours
D'Architecture Volume 6 (Paris, 1770), pp. 436 ‑ 438; For the reason
for applying warm, see: A. J. Downing, The Architecture of Country Houses,
Reprint (New York, 1969), p. 399; [Liger], La Nouvelle Maison Rustique
Book 4 (Paris, 1755), p.963; A. C. Smeaton, The Builder's Pocket
Manual (London, 1836), p. 98; Theodore Zuk Penn, "Decorative and Protective Finishes, 1750 ‑
1850," APT, 16:1 (1984), p. 24.
Christopher Moore, "Commodity
Imports of Louisbourg," MRS 317 (April, 1975), f. v..
Christopher Moore, "Commodity
Imports of Louisbourg," MRS 317, (April, 1975), pp. v ‑ viii.
Frederick John Thorpe, The
Politics of French Public Construction In The Islands of The Gulf of St.
Lawrence, 1695 ‑ 1758 (Ottawa, 1973), pp. 135, 150, 141, 172 ‑
173, 175, 179, 197, 199, 200 ‑ 202, 208, 212, 219 ‑ 220, 225 ‑
226, 248 ‑ 249, 298 ‑ 301, 312 ‑ 313, 316, 329 ‑ 332.
Moore, p. viii. Together, these
records form an impressive commodity data base.
See also, Thorpe, p. 251.
Fortress of Louisbourg, Structural
Design Team Minutes, Painting, March 9, 1978, B 205, f. 632.
Henry How, The Mineralogy of
Nova Scotia (Halifax, 1869), p. 109.
Fortress of Louisbourg, Structural Design Team, Paint,
Artifact/Archaeology Research Request, October 24, 1980, B 205, f. 703;
Christopher Sergeant, Analysis of Painted Wooden Object from
Louisbourg, August 5, 1980, B 205, f. 706.
Archives de la Seminaire de Québec,
Surlaville Papers, April 19, 1753, f. 51v.
C11B, Volume 9, October 7, 1727, f.
?????2 references?; C11B, Volume 18, November 14, 1736, f. 103; C11B, Volume
24, circa 1742, f. 296v; C11B, Volume 28, December 31, 1749,
ff. 331v, 340v.
Louisbourg Report, A E 1, p. 83.
Fortress of Louisbourg, Structural
Design Team Minutes, Paint, Design Team Meeting to Examine color sample found
and other pending items, January 23, 1981, B 205, f. 727; Andrée Crepeau to
Structural Design Team, Structural Design Team Minutes, Paint, Painted Plaster
Fragments, January 23, 1981, B 205, f. 730 ‑ 731, C. Sergeant, Analysis
of Paint Layers On PlasterFrom Louisbourg, N.S. , February 18, 1981,
Structural Design Team Minutes, Paint, B 205, f. 744.
Fortresss of Louisbourg Archives, B 201, April 25, 1967, p. 107.
Fortress of Louisbourg Archives, B 202, May 26, 1969, p. 235.
Fortress of Louisbourg Archives, B 202, May 26, 1969, p. 236.
Fortress of Louisbourg Archives, B 202, June 5, 1969, p. 244.
Fortress of Louisbourg Archives, B 204, January 9, 1973, pp. 427 ‑ 431
(a).
Belidor, La Science des
Ingenieurs (Paris, 1729), Volume 6, p. 61.