Colonial Williamsburg Digital Library

General notes:

Kocher and Dearstyne describe this space as "one of the most elegantly proportioned house interiors in Williamsburg…the joinery is more elaborate than in other parts of the house and includes a modillion cornice, a heavy wall dado that projects at each window, forming a pedestal base to the window opening, and a boldly projecting baseboard." (Kocher and Dearstyne 1950, 20) .

The report notes that all of the woodwork in this room is original but was repaired and patched where necessary. These repairs were minimal. All of the plaster walls date to the restoration.

Results:

Twenty-one samples were taken from this room focusing on selected areas of woodwork including the mantel (FH 1-FH 7), the cornice (FH 9-FH 13), the wainscot (FH 8, FH 17, FH 18), the baseboard (FH 15, FH 16), the window architraves (FH 14), and both sides of the closet door leaf (FH 19-21).

The cross-section evidence suggests that all of the woodwork in this room was painted tan in the first generation with the exception of the baseboards, which were red-brown and varnished. The same tan paint was used on all woodwork throughout the house in this period.

This first generation tan was built up with three layers: first, a pale orange autofluorescence in the wood substrate suggests that shellac was used to seal the surface before painting. This layer is designated 1a. Second, a thin, coarsely ground red-brown priming layer was applied to the wood. This layer is designated 1b. In cross-section, this red-brown primer contains large, coarsely ground deep red and white particles, as well as fine black particles visible at higher magnifications. Polarized light microscopy (PLM) of this layer suggests it contains red ochre, lead white, and carbon black pigments. Flurochrome staining suggests the red primer contains a minor carbohydrate component, possibly as a pigment dispersal agent, but stronger media reactions for oils or proteins were not seen. The finish layer is a tan-colored paint made with lead white and yellow ochre (see PLM results). This layer is designated 1c. Flurochrome staining was not able to determine the binding media, but its pinkish autofluorescence is suggestive of an oilbound lead whitebased paint.

In the west room, none of the cornice samples contained the red-brown primer, although the shellac and first generation tan paint were present (p. 21-23). This could suggest that the cornice was a later addition that was painted to match the rest of the woodwork in the room, or that this element was made with a different type of wood that did not require a priming layer. Further analysis with techniques such as dendrochronology (for dating), or wood identification would be necessary to answer these questions.

Interestingly, the red-brown priming layer was also absent from the closet-side of the door leaf (FH 21, p. 25), while the room-side of the door leaf (FH 19, p. 24) contains the same paint history (including the red-brown primer), as the as other woodwork in this room. The reason for this discrepancy is unknown.

In the west room, the generations immediately following the first generation tan paint are a series of subtle light tan and light blue colors with very little dirt separating the generations, suggesting they were repainted frequently.

In the second generation, the tan paint appears to have been re-applied. In some samples, it is difficult to distinguish the first and second tan generations, but a distinct paint boundary between the two was observed in some samples, particularly FH 18 (surbase, p. 13), and FH 14 (window architrave, p. 15). This suggests that the first tan paint had dried completely before the second was applied. Since oil-bound paints are slow-drying, this boundary suggests the first generation had dried completely and a substantial amount of time had passed between the two generations.

In the third generation, the woodwork was painted a pale blue color. Please note that, at high magnifications, this blue paint in cross-section looks very similar to the tan paints below it. However, examination of all uncast samples from the west room found each contained this light blue (see color matching section for a photomicrograph of an uncast sample containing the light blue, p. 108). Polarized light microscopy found that this light blue paint contains white lead, chalk, Prussian blue, and a small amount of red and yellow earth pigments. Binding media analysis with fluorochrome stains was inconclusive. Interestingly, the blue paint generation varies among the mantel samples. Some contain numerous layers of blue, white and possibly tan paints, but others contain only one blue paint and a layer of varnish. This discrepancy within a single generation suggests that the mantel was 'picked out' in varying shades of blue, or could have received a decorative finish in this period. Further on-site excavation of paint layers would be necessary to explore the nature of this finish.

In the fourth generation, the west room woodwork was painted tan again. In the fifth generation, an olive-green paint was used. This paint is highly autofluorescent in UV light, suggesting a resinous binding media. These resinous olive-green paints align with the sixth generation resinous light olive-colored paints that were found on the woodwork in the central block and east passage of the house in the same generation.

Possible wallpaper evidence was found in sample FH 7, taken from the vertical facing of the mantel that is flush with the wall. This sample contained only the first tan paint generation, a tannish material not seen elsewhere, and the fifth generation resinous olive-green paint. Generations 2-4 were missing. Fluorochrome staining with TTC determined that the tannish material is a carbohydrate, most likely a starch-based wallpaper paste (p. 93). This would indicate that the walls were wallpapered early in the history of the room, possibly from generations 2-4.

First-floor, west room, sample locations (* indicates sample discussed in report)

West wall, mantel (south face)

West wall, mantel

West wall, mantel

Southwest corner, adjacent to closet

All cornice samples taken from the south wall. The modillions are numbered from the east.

Southeast window architrave

South wall, base cap

East wall, baseboard

East wall, closet door

East wall, rear (inferior) side of closet door

First floor, west room: surbase

Sample FH 18: east wall surbase, ovolo of bed mold

FH 18, visible light, 100x

FH 18, UV light, 100x

Seventeen paint generations were identified on the east wall surbase, beginning with the first generation red-brown primer and tan paint. Generation three is a light blue not seen anywhere else in the house during this period. (Please note that, at high magnifications, the light blue paint in cross-section looks very similar to the tan paints below it. However, examination of all uncast samples from the west room found this light blue (for a photomicrograph of an uncast sample containing the light blue, see p. 109). This sample is comparable to the paints found on the flush board dado (sample FH 8, p. 14), and the window architrave (FH 14, p. 15), suggesting that all of the west room trim received the same decorative finish in the early history of the house.

First floor, west room: wainscot

Sample FH 8: south wall wainscot, flush board dado

FH 8, visible light, 200x

FH 8, UV light, 200x

This sample is comparable to the paints found on the window architrave (sample FH 14, p. 15), and the surbase (FH 18, p. 13), suggesting that all of the west room trim received the same decorative finish in the early history of the house. Only the earliest paint generations are pictured here, but up to 17 generations of paint were found on the trim.

First floor, west room: window architrave

Sample FH 14: southeast window architrave, west jamb, top of bottom cyma

FH 14, visible light, 200x

FH 14, UV light, 200x

This sample is comparable to the paints found on the flush board dado (sample FH 8, p. 14), and the surbase (FH 18, p. 13), suggesting that all of the west room trim received the same decorative finish in the early history of the house. Only the earliest paint generations are pictured here, but up to 17 generations of paint were found on the trim.

First floor, west room: baseboard

Sample FH 16: east wall, baseboard

FH 16, visible light, 200x.

FH 16, UV light, 200x.

FH 16, visible light, 200x. Early layers on substrate.

FH 16, UV light, 200x. Early layers on substrate.

Thirteen paint generations were found on the baseboards. The paint evidence suggests that they were almost always painted differently from the rest of the woodwork in this room (possible exceptions being generations 6 and 7). In the first generation, the baseboards were sealed with shellac (1a) and painted dark red-brown (1b). In comparison with the first generation red primer seen throughout the house, the first generation paint on the baseboards has a similar thickness and pigment dispersion, and it could have been applied at the same time as the red-brown primer, but it is clearly not the same coating. It appears to have been simply varnished (1c). The bright white autofluorescence of this varnish suggests a plant resin source. The baseboards continued to be painted dark red or red-brown and varnished until generation 6 and 7, when it was painted white with what appears to be a zinc-based pigment (indicated by the 'twinkling' autofluorescent particles, and introduced after c. 1845). Generations 6 and 7 on the baseboards appear to align with white paint generations 8 and 9 on the rest of the woodwork in the room.

First floor, west room: Mantel

First floor, west room: Cornice

First floor, west room: closet door leaf (room-side)

Sample FH 19: Closet door leaf, (room-side), top of middle rail, 4" south of middle stile

FH 19, visible light, 200x

FH 19, UV light, 200x

In general, the early paint history of the room-side of the closet door leaf aligns with the woodwork finishes in the rest of the room. The red-brown primer and first and second generation tan paints are seen. In the third generation, the door leaf appears to have been painted with a light blue, as was the rest of the woodwork in this period. However, comparison of uncast sample portions from the closet door and the mantel suggest that the blue on the closet door is somewhat paler and more yellow (although this could result from inherent color variations in hand ground paints and/or oxidation of the oil binding medium).

First floor, west room: closet door leaf (Closet-side)

Sample FH 21: Closet door leaf, (closet-side), upper south corner of lower south panel

FH 21, visible light, 200x

FH 21, UV light, 200x

FH 21, visible light, 400x. Early layers on substrate.

FH 21, UV light, 400x. Early layers on substrate.

The red-brown primer (1b) was not found on the inferior-side of the closet door leaf, although the wood substrate does appear to have been sealed with shellac (1a), and painted tan (1c), like the other side of the door (FH 19). Like sample FH 19, after the first tan generation, the earliest paints have such subtle colors that they are difficult to differentiate at high magnification. Examination of an uncast portion of this particular sample was not able to find the light blue paint used on the rest of the woodwork in this room, although the same number of layers are present in the cross-section. It is possible that the door was painted a neutral color at that time, and the more expensive blue pigment was used on visible surfaces, like the other side of the door.

General notes:

The central block was originally intended as one large room. In the 1950 report, Kocher and Dearstyne write that before the restoration, a vestibule of later origin "intervened between the main entrance doorway and the large center room," which was removed during the restoration (Kocher and Dearstyne 1950, 3). However, other partitions have been constructed since that time to separate the central block into the present three units- the kitchen, the 'south central' room, and the front passage. Much of the woodwork along the perimeter of the central block is original, including the chair rails and baseboards, the cornice, the door and window architraves, and the front (north) door leaf, trim, and HL hinges. The east door leading to the east passage is original, but the west door leading to the vestibule before the west room was relocated, possibly from the west room to become the west vestibule entrance door. The report does not mention where the present west passage door originates from. On-site observation suggests that the south wall of the current front passage appears to have been outfitted with original wainscot flush panelling from the adjacent south central room. (Chappell 2011, Appendix C). The plaster walls date to the restoration.

Results:

Seven samples were taken from this space focusing on the chair rails (FH 22 and FH 23), the north (front) door leaf, hinge, and architrave (FH 24 — FH 26), and the door leaves to the east passage (FH 60), and the door leaf to the vestibule before the west room (FH 61). The sample removed from the window architrave on the south wall of the adjacent south central room (FH 27), should also be considered with this group, considering that the central block was originally laid out as one large space (see South Central Room section).

The cross-section evidence suggests that the first finish on all of the woodwork in this room was the tan color used in the west room as well as throughout the house in this first period. This first generation was built up with three layers consisting of the shellac sealant (1a), a thin red-brown primer (1b), and a tan-colored paint (1c), made with lead white and yellow ochre.

Generation 2 is another tan-colored paint. This generation was found on all of the woodwork sampled in this room. Like generation 1, this paint also contains coarsely ground yellow particles that appear to be yellow ochre, although this paint could not be isolated for pigment identification. There is no dirt separating generations 1 and 2, which indicates that the room was repainted within a short period of time, but the distinct boundary between the first two paint generations does suggest these finishes are independent of one another. This boundary is seen in samples FH 25 (p. 34), and FH 26 (p. 30).

In the third generation, the woodwork in the front passage was painted an olive-green color. This paint was most certainly hand ground, as it contains large yellow, black, and blue pigment particles in a green matrix. It was coated with a very thin layer of varnish, the dim autofluorescence of which suggests a high oil component. This same color and varnish was reapplied in the fourth generation, although the paint is not as coarsely ground.

In generations 5 and 6, the chair rail and window and door architraves were painted a light brown and olive green colors, respectively, while the door leaves were painted red-brown. The brown paint has a translucency that was observed in the uncast portion, and in reflected UV light these paints are very autofluorescent (particularly generation 6), suggesting a high resin component that would have lent a glossy surface to the finish. The red-brown on the door leaves is coarsely ground and coated with a varnish that appears rather worn and degraded.

It is worth noting that comparison of the samples from the front door leaf (FH 24, p. 31-32) and HL hinge (FH 25, p. 33-34) indicate that from generations 1-12 the hardware received the same painted finish as the door. These finishes ranged from tan, green, and red-brown paints (generations 5-9) and included a faux-wood graining finish in the 10th generation. However, in generations 13 and 14, the hinges were painted black while the door leaf was white. This was a popular "colonial revival" color scheme in the 20th century, yet the early history of these samples provide clear evidence that this scheme was a modern invention.

First floor, front passage, sample locations (* indicates sample discussed in report)

First-floor, front passage, east wall (door to east passage)

First-floor, front passage, west wall (door to vestibule before west room)

First-floor, front passage, front door, interior side

First-floor, front passage, front door architrave

First floor, front passage

General notes:

As mentioned previously, the first floor of the central block was originally one large space. At some point after the initial restoration, the present south central room was created when the north and east walls were added to create the kitchen and front passage spaces. The trim on the south and west walls is original, but the south door architrave and leaf date to the restoration. The mantel on the west wall was moved into this room from the now-lost south (rear) wing of the house. It was hoped that the paint history of the mantel would help elucidate whether the lost wing was original to the house, or an early addition. The plaster walls were not sampled because the restoration report states that they were replaced in the 20th century.

Results:

Three samples were taken focusing on the architrave of the southwest window (FH 27), and the mantel (FH 28, FH 29).The early paint history of the window architrave on the south wall is the same as that seen on the trim in the present front passage east wall (compare to samples FH 22 and FH 26), starting with the shellac sealant on wood (1a), red-brown primer (1b), and oil bound tan paint (1c), that was seen throughout the house. This is followed by another tan paint (2), two generations of olive-green paints (3 and 4), and two resinous light brown and olive-green paint generations (5 and 6). This is consistent with the understanding that the central block was originally one large space in the 18th century.

Both mantel samples appeared to contain the same paint evidence, and only FH 28 was cast and discussed here. The paint history of the mantel was found to be very different from that of other woodwork in the house. The first generation red-brown primer and tan paint found throughout the house is absent from the mantel. Instead, the first two generations are gray paints, followed by six generations of black paints with varnish coatings. None of these paints could be aligned with other elements in the house to determine when the mantel was installed. These did not appear to be the same early grays used in the east room (see East Room section). The absence of the first-period red-brown primer and tan paint strongly suggests that this mantel, and the south (rear) wing from which it originates, date to a later period of construction.

First floor, South Central Room, sample locations (* indicates discussed in report)

First-floor, south (rear) central room, south wall window architrave

First-floor, south (rear) central room, west wall

General notes:

Kocher and Dearstyne (1950) refer to this space as a dining room. The baseboard, chair rail, cornice are original, as are the window frames and trim on the north and south elevations. The door leaf and architrave to the passage are also original. The report seems to suggest that the mantel was brought in, but is somewhat ambiguous (Kocher and Dearstyne, p. 40 reads "mantel is not original to this house," yet p. 41 reads "the mantel in the dining room is old with some evidence of patching.")

Results:

Six samples were taken from this space focusing on the mantel (FH 38 — FH 40), the chair board (FH 41), the north window architrave (FH 42), and the room-side of the door leaf (FH 43).

The paint evidence on the chair rail, window architrave, and door leaf suggests that the trim in this room received the same decorative treatment as the rest of the house in the first generation, consisting of the shellac sealant (1a), a thin red-brown primer (1b), and a tan-colored paint (1c). However, in the second generation, while the rest of the woodwork in the house was repainted tan, the trim in this room was painted gray.

In the third generation, the trim was painted gray again, this time in a slightly darker tone than the previous generation. Both of these gray paints were coated with a thin layer of varnish. These varnishes have a dim autofluorescence suggesting a high oil component. Generation 4 is a light brown color whose autofluorescence suggests a high resin component. This tan paint appears to be the same as paint generation 6 on the trim in the central block and east passage, which also aligns with generation 5 in the first-floor west room.

The three samples collected from the mantel seem to contain different paints from the trim in this room. Sample FH 40 contained modern paints only and was not cast. Samples FH 38 and FH 39 contained similar paint evidence and FH 38 is used here for discussion. The early paints are very disrupted and difficult to interpret, but the first-period red-brown primer and second-period gray paints found on the trim were not seen here. This could suggest that the mantel is not original, but more confident conclusions could not be made at this time.

First floor, east room sample locations (*indicates discussed in report)

West wall, mantel

East wall, chair board

North wall, window architrave

West wall, entrance door (room-side)

General notes:

The woodwork in this space is original, with the exception of the partition between the east passage and the vestibule before the east room, which is a modern addition.

Results:

Four samples were taken from this space focusing on the door leaf to the front passage (FH 30), the door architrave and leaf to the east room (FH 31, FH 62), and the rear (south) entry door FH 32). Interestingly, the results suggest that the east passage received the same decorative treatments as the central block, suggesting a chromatic connection between the two spaces.

The early paint history of all samples from this space are comparable, starting with the first generation shellac sealant (1a), red-brown primer (1b), and oilbound tan paint (1c), that was found throughout the house in this period.

This is followed by the second generation tan paint , also seen throughout the house with the exception of the east room. The third and fourth finish generations are olive-green paints coated with thin varnishes. This color was found on the trim and the door leaves, but the varnish was not present in all samples. In the fifth generation, the woodwork was painted with a somewhat translucent light brown paint. This paint is very autofluorescent in UV light, suggesting a high resin component. This same resinous brown paint was also found in the central block woodwork. In the passage, this brown resinous paint was used on the architrave and door leaves, but in the central block it was only used on the trim while the leaves were painted red-brown.

First floor, east passage sample locations

East side of east passage door leading to front passage

West side of east passage door leading to east room

Interior side of south (rear) door

General notes:

The report states that "the stairway to the second floor main house appears to be original throughout" although a few of the balusters are new, as is the newel post at the second floor, and the half newel against the second-floor wall (Kocher and Dearstyne 1950, 52). The stringers, handrail, risers and treads are also original, but repaired and patched with antique material where necessary. The handrail was not sampled as on-site excavations found only a modern clear coating.

Results:

Five samples were collected from the staircase. These comprised the stair riser (FH 33), the newel post (FH 34), the upper stringer (FH 35), the half baluster attached to the newel (FH 36), and the lower stringer (FH 37).

The evidence suggests that the newel post, upper stringer, and balusters were all painted tan in the first period. As seen throughout the house, this finish is comprised of a shellac sealant (1a), a red-brown primer (1b), and an oilbound tan paint (1c) made with white lead and yellow ochre. The second generation tan paint was found on the half baluster, but not on the newel post or upper stringer. It is possible that this layer is missing from these samples, or that these elements were not repainted in the second generation.

In the third generation, the newel post was painted with the same coarsely ground olive green paint (3a), and oil varnish (3b), that was used in the central block and east passage. However, while the newel was olive-green the balusters and stringers were painted red-brown and varnished. This polychromy was carried into the second-floor passage and rooms (see following sections). In the fourth generation, the newel was again painted green and varnished, but the balusters and stringers were painted a bright blue. This blue paint was also found throughout the second floor of the house, but not the first.

The lower stringer paint history began with a shellac sealant and a thin red-brown paint that does not seem to be the red-brown primer but appears to align with the third generation red-brown paint on the balusters and stringers. This suggests that the lower stringer is a later addition.

A thick layer of dirt was found on the surface of the stair riser, followed by a few layers of paint, all of which appear to date from the mid-19th century or later. This evidence suggests that the risers were originally unpainted, and remained so for at least half a century, if not longer.

Staircase sample location photographs (*indicates sample discussed in report)

Fourth stair riser with newel

South face of upper stringer

First half baluster, center of stair winding

Lower stringer, east wall

Staircase

General notes:

The shape of this passage has changed much over time, and the woodwork is a mix of new, original, and re-used material from other parts of the house. The architectural report notes that "all original partitions [have been] moved to new positions...originally closet in what is now new bath removed. In the north and south bedrooms a continuous, irregular joint in the flooring can be seen. This has been taken as indication of the partition that ran across the building from north to south before the house was restored." (Kocher and Dearstyne 1950, 50). Original woodwork includes the baseboards, the south window architrave, and a small section of chair rail inside of the south closet.

The south closet space is original but almost all of its associated woodwork is new. The north closet is a new space with a re-used door leaf that has been reversed (raised panels on inside). The door leaf and trim leading to the north room are original, and the door leaf to the south room is re-used from "an old closet door" (Kocher and Dearstyne 1950, 57) . The bathroom is a modern space but the door trim was apparently re-used from original trim at the top of the stair, although on-site examination found only modern paints which suggested that this trim was new.

Results:

Six samples were collected from woodwork in this space that retained substantial paint accumulations: the south window architrave (FH 54), the north closet door leaf, passage-side (FH 56) and closet-side (FH 57), the southwest room door leaf, passage-side (FH 55), and the north room door architrave (FH 59), and leaf, passage-side (FH 58).

Out of this group, the south window architrave )FH 54), and the north room door leaf (FH 59), and architrave (FH 55), are known to be original to this space, so their results will be discussed first. The first and second generations are the same as those seen throughout the house, consisting of a shellac sealant (1a), red-brown primer (1b), and tan-colored paint (1c), followed by a second generation tan paint that appears to have been applied shortly thereafter.

In the third generation, the trim was painted a deep green color. This layer is different from the third 67 generation olive-green paint used in the first-floor central block, east passage and staircase newel, which contained large yellow, white, red and blue pigment particles in a green matrix. By contrast, the second-floor green paint is much more finely ground and only green, white and colorless particles are seen. The layer is almost completely non-fluorescent (compared to the first-floor green which had a dim autofluorescence), suggesting that it contains verdigris, which would have lent it a deep, rich, green color. Consequently, this finish has oxidized and appears very dark, so its original color could not be determined.

The original window (FH 54), and door architrave (FH 59), also contained the first two tan generations and the third generation deep green. Comparison of these samples to the northwest room door leaf (FH 55), determined that in the third generation the door leaves were red-brown.

The south window paints aligned with the finishes in this space but also contained thick, tannish layers that were not seen elsewhere. This material was re-examined with Susan Buck who suggests it may represent an aged, 'flatted' varnish layer (June 2011). Further analysis with FTIR or GC-MS would be necessary to identify this material with confidence. In the fourth generation, a blue paint was seen on the north room door leaf, while the trim was painted white. This blue paint was also used throughout the second floor rooms and on the staircase.

The paint history of the door leaf to the southwest room (FH 55), was different from any other door in this space, or for that matter, the house. The stratigraphy begins with generation 1, a white paint that could not be directly aligned with any other paint elsewhere. This was followed by generation 2, a wood graining finish comprising a peach-colored base coat, an orange-red graining layer, and thin varnish layer. Multiple faux-wood graining and red-brown finishes follow, none of which could be aligned to any of the other door leaves in the house. The analysis was not able to determine which closet this leaf originated from (as was suggested by the 1950 architectural report). It may not be original to the house.

The north closet space is not original, but the paint evidence contained on the present door leaf is consistent with the finish history of the house, confirming that it was re-used from this building, as stated in the report. The first generation is the shellac (1a), red-brown primer (1b), and tan paint found throughout the house in this period. The second generation tan paint was found on the passage-side of the door, but this generation was not seen on the closet-side. In the next generation, both sides of the door were painted red-brown (3a) and varnished (3b), consistent with the door leaves on the second-floor passage in this period. The varnish is worn and has very little autofluorescence suggesting a high oil component. In the fourth generation, the passage-side of the door was painted light blue while the closet-side was painted white. The paint stratigraphy on the passage-side of the door is consistent with the passage-side of the northwest room door leaf (FH 58), which suggests that the present north closet door leaf originates from the second-floor.

Second-floor passage sample locations (*indicates discussed in report)

south wall, passage window

door to southwest room

closet door at top of stairs

closet door at top of stairs, closet-side

northwest room, passage-side of entrance door

entrance to northwest room from passage

Second-floor passage

General notes:

As mentioned previously, the arrangement of the second floor has changed much over time. The original partitions were moved and the present bathroom was originally part of this room (Chappell, sample memo, Appendix C). The entrance door trim and leaf in this room are relocated from the original partition, as is the door leaf to the closet in the northeast corner, although this closet is not original to the room (Kocher and Dearstyne 1950, 49). The window architraves are original, but the sash is new. The mantel in this room is also new, as is most of the chair rail.

Results:

Six samples were taken from this room. FH 44 and FH 46 were taken from the center and westernmost window architraves, respectively. Their comparative paint histories are very similar to each other and to the easternmost window architrave (FH 50), which was once part of this room (now in the present bathroom). These samples contain a first generation red-brown primer and tan paint, followed by a second generation tan paint, and a third generation green paint whose dark autofluorescence is suggestive of verdigris pigment, the same as what was seen on the second-floor passage trim. This third generation verdigris-green finish varies among the three samples: on the west window there could be two green paint layers coated with a natural resin varnish, on the central window one sees verdigris paint with verdigris glaze without a resinous coating, while on the easternmost window there appears to be two layers of green paint without glaze or varnish. The reason for this discrepancy is unknown, but the deep cracks in this layer indicate a long period of exposure, during which time this finish could have been inconsistently 'touched up' or abraded, waxed, and/or re-varnished in an irregular manner. In the fourth generation, the window architraves were painted a bright blue.

Sample FH 49 was taken from the room-side of the entrance door leaf. The first and second paint generations on this door leaf are the same as those on the window architraves, suggesting that all woodwork was painted tan in the first two generations. In the third generation, while the trim was verdigris green, the door leaf was painted red-brown and coated with a varnish whose dim autofluorescence suggests a high oil component. This color scheme was also found in the second-floor passage. In the fourth generation, the door leaf was painted with the same bright blue paint as that found on the window architraves.

Samples FH 47 - 48 were taken from both sides of the northwest closet door leaf, which is not original to the room. The room-side of this leaf (FH 47), contains the same paint history as that found on the room-side 77 of the entrance door leaf, consisting of two generations of cream paint, followed by a red-brown paint coated with varnish, and a bright blue paint. By contrast, the first two cream paint generations were found on the interior of the closet door leaf (FH 48), but this side of the leaf was missing both the later red-brown and light blue paint generations. This side of the leaf does not appear to have been painted at all during these periods. Therefore, while the report states that this door is not original to the room, the paint history does suggest it originates from the second-floor of the house.

Second-floor, north room sample locations (*indicates discussed in report)

middle front window

west front window

east wall, closet door

east wall, closet door (open)

east wall, door to passage

Second floor, Northwest room

General notes:

The current bathroom was added in the 1930s, but would have originally been part of the northeast room.

Results:

One sample was taken in this space from the window architrave on the north wall (FH 50). It was expected that this window would have a similar paint history to the window architraves in the northwest room (FH 44 and FH 46), as this was originally one large north room.

The analysis confirmed that the paint history on this window architrave is consistent with the other window architraves in the second-floor northwest room. The first generation red-brown primer and tan paint are seen here, followed by the second generation tan paint. This is consistent with the first two finish generations seen throughout the house in this early period. The third generation is a green paint whose dark autofluorescence suggests it contains verdigris. This verdigris finish was found on the other window architraves on the second floor, although it varies from sample to sample. Here, in sample FH 50, there two layers of verdigris paint appear to be present. There is no evidence of a verdigris glaze, or a resinous varnish layer, as seen in the other window samples. The reason for this inconsistency is unclear. However, this finish does appear to have been exposed for a long period of time, evidenced by cracks in its surface, so it is possible that wear and abrasion followed by localized 'touch-ups' could have led to the current conditions.

The verdigris generation is followed by a very thick layer of tannish material that has a mottled autofluorescence. This material was examined by Susan Buck who suggests it may be a layer of flatted varnish (June 2011).

The fourth paint generation is a blue color that was also found on the other window architraves and trim on the second floor. This paint generation was exposed through repeated polishing.

Second-floor, present bathroom sample location

North wall, easternmost window

General notes:

The architectural report states that all of the baseboards in this room are original, as is the chair rail on the south wall. On-site examination (and later analysis) indicates that the chair rail on the east wall is original, as well. The windows on the south elevation are original. As discussed in the second-floor passage section, the door leaf to this room is "an old closet door" (Kocher and Dearstyne 1950, 57). The report also states that the door trim is re-used from the kitchen wing, although on-site examination suggests this trim is new.

Results:

Three samples were removed from this room. The samples from the west wall window architrave (FH 51), and the east wall chairboard (FH 52), have the same paint history, starting with generation 1, the red-brown primer followed by the tan-colored paint that appears to have been used throughout the house in the first period. However, the second generation tan-colored paint seen in other areas of the house was absent here, suggesting this room was not repainted during this period. The third generation is a verdigris-green paint (3a) followed by verdigris glaze (3b). This aligns with the third generation verdigris finishes seen throughout the second floor during this period. This is coated with a layer that is light brown in visible light and dim in UV light, most likely a wax or oil dressing, although further analysis with FTIR could elucidate this material. A fourth generation blue paint follows the verdigris-green. This blue was also seen on the stairs and second-floor woodwork in this period.

As discussed in the section pertaining to the second-floor passage, the door leaf to the south room is not original, but was reportedly re-used from a closet in the house. However, the paint evidence on this door leaf (FH 53), is very different from the trim in this room and the house in general. The first period red primer and cream paint were not seen, instead numerous wood-graining finishes are present. This was also found on the other side of this same door (FH 55), which did not align with anything else in the house. Considering this evidence it seems as though this door leaf is not from the Finnie House.

Second-floor, south room sample locations

West wall, window

East wall, partition to passage

Second floor, South Room

Sample FH 7: First floor, west room, vertical facing of west mantel, flush with wall plaster

FH 7, UV light, 200x. Before TTC stain for carbohydrates (present in starch-based wallpaper pastes)

FH 7, UV light, 200x. Before TTC stain for carbohydrates (present in starch-based wallpaper pastes)

The sample collected from the vertical facing of the west mantel was missing paint generations 2-4, and instead an irregular layer of tannish material with a bluish autofluroescence was present. Since this area was flush with the wall plaster, it was suspected that this could represent wallpaper paste residues. The sample was stained with TTC to tag for the presence of carbohydrates (present as starch-based wallpaper paste) in this layer. A reaction (a dark reddish-brown color), was observed in the tannish material, suggesting that wallpaper was used on the walls of the room, possibly during generation 1, as there is no dirt layer between the tan paint and paste (although very little inter-generational dirt was observed in this room at all). It appears that wallpapers would have been used on this surface until the fifth generation, when this face was painted to match the rest of the woodwork in the room.

Sample FH 11: First floor, west room, south wall, cornice, bottom of bottom fascia adjoining wall plaster

FH 11, UV light, 200x. Before TTC stain for carbohydrates (present in starch-based wallpaper pastes)

FH 11, UV light, 200x. After TTC stain. No reaction (red-brown color) was observed.

A thin, tannish layer was found on the bottom of sample FH 11, below the first generation tan paint. It was suspected that this could represent wallpaper paste residues. The sample was stained with TTC to tag for the presence of carbohydrates (present as starch-based wallpaper paste) in this layer. No reaction (a dark reddish-brown color), was observed in the tannish material. A reaction was observed in some of the later, more modern generations, possibly indicating the presence of cellulosic fillers.

Sample FH 5: First floor, west room, mantel fretwork

FH 5, UV light, 200x
Before TTC stain for carbohydrates

FH 5, UV light, 200x
TTC reaction

Sample FH 5 was stained with TTC to tag for the presence of carbohydrates in the earliest paints. A positive reaction (a dark reddish-brown color) was observed in the binding media associated with the first generation red primer and in the wood cells. This could be the result of a water-soluble gum used to aid with pigment dispersal during hand-grinding.

FH 5, B2A filter, 200x
Before FITC stain for proteins

FH 5, B2A filter, 200x
FITC reaction

Sample FH 5 was stained with FITC to determine the presence of proteins in the earliest paints. (the same was repolished to remove residual TTC stain, and a new area of sample was exposed). No positive reactions (a bright yellow-green fluorescence) were observed. This indicates that the primer was not bound with animal glue, (also known as size), as was sometimes practiced by house painters of the period.

Sample FH 5: First floor, west room, mantel fretwork

FH 5, B2A filter, 200x
Before DCF stain for lipids (oils)

FH 5, B2A filter, 200x
After DCF stain

Sample FH 5 was stained with DCF to determine the presence of lipids, particularly oils, in the earliest paints (the stain was repolished to remove residual FITC stain).

A positive reaction is a bright green fluorescence. No reactions were observed. This could result from the age of the earliest paints, because as long chain fatty acids (lipids) in oils deteriorate over time, the DCF stain cannot dissolve into, and 'tag' these materials.

FH 5, early paints, B2A filter, 200x
Before DCF stain for lipids (oils)

FH 5, early paints, B2A filter, 200x
After DCF stain

Sample FH 5, generations 1-7 were stained with DCF to determine the presence of lipids, particularly oils, in the earliest paints. A positive reaction is a bright green fluorescence. No reactions were observed.

Sample 14: First floor, south central room, window architrave on south wall

FH 14, UV light, 400x
Before TTC stain for carbohydrates

FH 14, UV light, 400x
After TTC stain for carbohydrates

Sample FH 14 was stained with TTC to determine the presence of carbohydrates in the earliest paints. Reactions were observed in the shellac sealant (1a), suggesting some type of gum additive in the shellac. The reaction in the later paints could represent a cellulosic bulking agent commonly added to industrially prepared paints.

FH 14, B2A filter, 400x
Before FITC stain for protein

FH 14, B2A filter, 400x
After FITC stain

Sample FH 14 was stained with FITC to tag proteinaceous materials in the earliest paints. No reactions (a bright yellow-green fluorescence) were observed.

Sample 14: First floor, south central room, window architrave on south wall

FH 14, B2A filter, 400x
Before DCF stain for lipids

FH 14, B2A filter 400x
After DCF stain

Sample FH 14 was stained with DCF to determine the presence of lipids (oils), in the earliest paints. This reaction was observed with the B2A filter. No reactions were observed in the early paints. A positive reaction was observed in generations 8 and 9.

Sample FH 44: Second floor, north room, middle front window, east architrave

FH 44, UV light, 400x
Before TTC stain for carbohydrates

FH 44, UV light, 400x
After TTC stain

Sample FH 44 was stained with TTC to determine the presence of carbohydrates in the earliest paints. Reactions (reddish-brown colors)were observed where a modern paint had flowed into cracks in the earlier paints. This probably represents a cellulosic bulking agent added to industrially prepared paints.

FH 44, B2A filter 400x
After DCF stain

FH 44, B2A filter, 400x
Before DCF stain for lipids (oils)

Sample FH 44 was stained with DCF to determine the presence of lipids (oils) in the earliest paints- particularly to determine if this green verdigris finish was an oilbound green paint. However, no reactions (yellow-green fluorescence) were observed.

Sample FH 44 was not stained with FITC because no reactions were observed for proteins in any of the paints analyzed to this point.

Generation 1 red primer used throughout house

Dispersed pigments from sample FH 34, red primer, plane polarized transmitted light, 1000x

Dispersed pigments from sample FH 34, generation 1b, cross polarized transmitted light, 1000x

A sample of the red priming layer (generation 1b), seen throughout the house was collected with a clean scalpel blade from the uncast portions of FH 18 and FH 34, dispersed on a glass slide, and mounted with Cargille Meltmount (refractive index 1.66) for polarized light microscopy.

The red pigment was identified as an isotropic red earth (Fe₂O₃). The broad particle size distribution (some large, plate-like flakes, some small grains), suggests a natural origin rather than a synthetic analogue (Eastaugh et al. 2008, 903), in which a few different forms of the pigment may be present. The sample also contains lead white (2PbCO₃ ∙ Pb(OH)₂), appearing as small colorless grains that are highly birefringent (bright) under crossed polars. Opaque, isotropic black particles with sharp edges were identified as carbon black (C), and flat colorless plate-like particles with a sweeping birefringence were identified as chalk (CaCO₃).

Dispersed pigments from sample FH 18, red primer, plane polarized transmitted light (left), cross polarized transmitted light (right), 1000x

Generation 1 tan paint used throughout house

Dispersed pigments from sample FH 44, generation 1c, cross polarized transmitted light, 1000x

Dispersed pigments from sample FH 44, generation 1c, plane polarized transmitted light, 1000x

Dispersed pigments from sample FH 44, plane polarized transmitted light, 1000x.

FH 44, cross polarized transmitted light, 1000x

A sample of the first generation tan paint found throughout the house was collected with a clean scalpel blade from the uncast portion of FH 44, dispersed on a glass slide, and mounted with Cargille Meltmount (refractive index 1.66) for polarized light microscopy.

The sample contains lead white (2PbCO₃ ∙ Pb(OH)₂), appearing as small greenish or colorless particles that are highly birefringent (bright) under crossed polars. The large, amorphous yellow particles were identified as an isotropic yellow earth (Fe₂O₃ ∙ nH₂O). The sample also contains chalk (CaCO₃), visible as thin plates with strong interference colors, as well as coccoliths (marine phytoplankton fragments), with distinct "cross-shapes" on a radial body (Eastaugh et al. 2008, 818)

Generation 2 gray paint used in first-floor east room

Dispersed pigments from sample FH 41, generation 2, plane polarized transmitted light, 1000x

Dispersed pigments from sample FH 41, generation 2, cross polarized transmitted light, 1000x

A sample of the second generation gray paint found in the first-floor east room was collected with a clean scalpel blade from the uncast portion of FH 41, dispersed on a glass slide, and mounted with Cargille Meltmount (refractive index 1.66) for polarized light microscopy.

The bulk of the sample contains lead white (2PbCO₃ ∙ Pb(OH)₂), which appears as small, rounded colorless particles that are birefringent (bright) under crossed polars, and chalk (CaCO₃), visible as thin plates with strong interference colors. Dispersed throughout the paint are small particles of carbon black (C). Prussian blue (Fe₄[Fe(CN)₆]₃) was also seen, which has a "smeary" quality and displays a deep blue color in transmitted light and is isotropic (dark) under crossed polars. (The noticeable difference in this particular Prussian blue and the blues found in the other paints examined for this report may result from varying methods of preparation). Yellow and red particles were identified as isotropic earth pigments (Fe₂O₃ ∙ nH₂O).

Detail of yellow ochre and lead white in sample FH 41, plane polarized transmitted light, 1000x

Detail of Prussian blue and lead white in sample FH 41, plane polarized transmitted light, 1000x

Generation 3 light blue paint used in first-floor west room

Dispersed pigments from sample FH 14, generation 3, cross polarized transmitted light, 1000x

Dispersed pigments from sample FH 14, generation 3, plane polarized transmitted light, 1000x

Dispersed pigments from sample FH 14, generation 3, cross polarized transmitted light, 1000x

Dispersed pigments from sample FH 14, generation 3, plane polarized transmitted light, 1000x

A sample of the third generation light blue paint found in the first-floor west room was collected with a clean scalpel blade from the uncast portion of FH 14, dispersed on a glass slide, and mounted with Cargille Meltmount (refractive index 1.66) for polarized light microscopy.

The bulk of the sample contains lead white (2PbCO₃ ∙ Pb(OH)₂), which appears as small, rounded colorless particles that are birefringent (bright) under crossed polars, and chalk (CaCO₃), visible as thin plates with strong interference colors. Prussian blue (Fe₄[Fe(CN)₆]₃) was also seen, which has a "smeary" quality and displays a deep blue color in transmitted light and is isotropic (dark) under crossed polars. Yellow and red particles were identified as isotropic earth pigments, also known as ochres (Fe₂O₃ ∙ nH₂O).

Generation 3 olive-green paint used in first-floor central block and east passage

Dispersed pigments from sample FH 27, generation 3, cross polarized transmitted light, 400x

Dispersed pigments from sample FH 27, generation 3, plane polarized transmitted light, 400x

A sample of the third generation olive-green paint found in the central block and east passage was collected with a clean scalpel blade from the uncast portion of FH 27, dispersed on a glass slide, and mounted with Cargille Meltmount (refractive index 1.66) for polarized light microscopy.

The sample contains lead white (2PbCO₃ ∙ Pb(OH)₂), which appears as small, rounded colorless particles that are highly birefringent (bright) under crossed polars. Particles of Prussian blue (Fe₄[Fe(CN)₆]₃) were also seen, that are blue in transmitted light and isotropic (dark) under crossed polars. This pigment was present in a wide range of particle sizes, often large and angular with distinct edges but sometimes having a "smeary" quality when spread across the glass slide. The sharp, well-defined edges seen here are characteristic of Prussian blue manufactured in the 18th-century (Welsh 1988). The large, amorphous yellow particles were identified as an isotropic yellow earth (Fe₂O₃ ∙ nH₂O). The sample also contains chalk (CaCO₃), visible as thin plates with strong interference colors, and small amounts of carbon black (C). No green particles were found.

Generation 3 deep green paint used on second-floor trim

Dispersed pigments from sample FH 44, generation 3, plane polarized transmitted light, 1000x

Dispersed pigments from sample FH 44, generation 3, plane polarized transmitted light, 1000x

A sample of the third generation green paint found in the second-floor trim was collected with a clean scalpel blade from the uncast portion of FH 44, dispersed on a glass slide, and mounted with Cargille Meltmount (refractive index 1.66) for polarized light microscopy.

FH 44, visible light, 400x

The sample contains lead white (2PbCO₃ ∙ Pb(OH)₂), which appears as small, rounded colorless particles that are birefringent (bright) under crossed polars, and chalk (CaCO₃), visible as thin plates with strong interference colors. Highly birefringent (bright in crossed-polars) fibrous crystals of verdigris (a variety of copper acetates) were also present. This pigment was visible in some cross-sections as large green particles that were dark in UV light. The amorphous green areas that have a bluish-green transparency in transmitted light and are isotropic (dark) in cross polarized light may be a copper based glaze. A small amount of goethite, the primary constituent of yellow ochre, was also found (Fe₂O₃ ∙ nH₂O).