Colonial Williamsburg Digital Library

Parlor (Southwest First-Floor Room) Samples

Parlor (Southwest First-Floor Room), West wall

Parlor (Southwest First-Floor Room), East wall

Parlor (Southwest First-Floor Room), North wall

Parlor (Southwest First-Floor Room), East wall

Parlor (Southwest First-Floor Room), West wall

Parlor (Southwest First-Floor Room)

Binding Media Analysis (Fluorochrome staining): TTC for carbohydrates

Binding Media Analysis (Fluorochrome staining): FITC for proteins

GE 9a, B-2A filter, 200x. Before FITC stain

GE 9a, B-2A filter, 200x. FITC reaction.

Sample GE 9a was stained with FITC to tag proteins in the sample. No positive reactions (a bright, yellow-green fluorescence), were observed.

Binding Media Analysis (Fluorochrome staining): DCF for lipids (oils)

Binding Media Analysis (Fluorochrome staining): TTC for carbohydrates

Binding Media Analysis (Fluorochrome staining): FITC for proteins

GE 9b, B-2A filter, 200x. Before FITC stain

GE 9b, B-2A filter, 200x. FITC reaction.

Sample GE 9b was stained with FITC to tag proteins in the sample. No positive reactions (a bright yellow-green fluorescence), were observed.

Binding Media Analysis (Fluorochrome staining): DCF for lipids (oils)

Summary

GE 9b, visible light, 200x (enlarged and lightened for legibility)

Pigments in some of the earliest paint generations were identified using polarized light microscopy (PLM) techniques. Pigment samples were collected with a clean scalpel blade from the uncast portions, dispersed on a glass slide, and mounted with Cargille Meltmount (refractive index 1.66) and examined in plane polarized transmitted light and cross polarized transmitted light.

The results indicate that the first generation green finish contains verdigris particles. Lead white (2PbCO₃ ‧ Pb(OH)₂), and chalk (CaCO₃) particles were also seen, most likely contaminants from adjacent generations 2 and 3. See p. 33 for further details.

Generation 2 appears to be composed of lead white (2PbCO₃ ‧ Pb(OH)₂) pigment only. See p. 32 for further details.

Generations 3-5 could not be separated for independent analysis.

Generation 6 is composed of lead white (2PbCO₃ ‧ Pb(OH)₂), with some carbon black (C), yellow ochre (Fe2O₃ ‧ nH₂O), and Prussian blue pigment (Fe₄[Fe(CN)₆]₃). Generation 6a and 6b could not be separated for independent analysis. See p. 33 for further details.

Generation 1 verdigris-green finish on period 1 woodwork

Dispersed pigment sample from sample GE 9, generation 2, transmitted plane polarized light, 400x

Dispersed pigment sample from sample GE 9, generation 2, transmitted cross polarized light, 400x

This sample contained large particles of verdigris pigment (Cu(C₂H₃O2) ‧ 2Cu(OH)₂) having an intense blue-green color and a "fibrous structure" made more visible in cross-polarized light (Gettens and Stout 1942, 169). Small particles of lead white (2PbCO₃ ‧ Pb(OH)₂), and larger plate-like particles of chalk (CaCO₃), were also visible, although these are most likely contaminants from paints above, since none of these pigments were visible in the cross-section.

Generation 2 white paint on period 1 woodwork

Dispersed pigment sample from sample GE 9, generation 3, transmitted plane polarized light, 1000x

Dispersed pigment sample from sample GE 9, generation 3, transmitted cross polarized light, 1000x

The third generation light gray paint is mostly comprised of lead white (2PbCO₃ ‧ Pb(OH)₂), which appears as small, rounded colorless particles that are birefringent (bright) under crossed polars.

There were no other colored particles found in this paint.

Generation 6 gray paint on period 2 woodwork

Dispersed pigment samples from sample GE 2, generation 6a, transmitted plane polarized light, 1000x

Dispersed pigment sample from sample GE 92 generation 6a, transmitted cross polarized light, 1000x

The sixth generation light gray paint is mostly comprised of lead white (2PbCO₃ ‧ Pb(OH)₂), and carbon black (C). Some chalk (CaCO₃), was also present, visible as thin plates with strong interference colors. Yellow ochre (Fe₂O₃ ‧ nH₂O), was also present, visible as particles with a deep yellow color in transmitted light that are isotropic in crossed polars. Finally, a few scattered particles of Prussian blue (Fe₄[Fe(CN)₆]₃), were seen, which have a deep blue color in transmitted light and are isotropic in crossed polars.

Generation 2 White Paint (Sample GE 3, door architrave to passage, inner fascia)

Underside of sample GE 3, uncast, visible light, 40x

Accurate color readings for the second generation white paint in the parlor could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match was determined to be Benjamin Moore HC-28 "Shelburne Buff", a tannish color. However, PLM found only lead white pigments present in this paint (see p. 37). Therefore, it seems most likely that the tannish color results from the extensive age and deterioration of this paint and its oil binder with time, and was not the original color.⁵

Benjamin Moore
HC-28
"Shelburne Buf"

A color match is provided below that was taken from a sample of a hand ground paint made with lead white pigment in cold-pressed linseed oil.⁶ This may better represent the color of the paint when it was freshly painted.

Benjamin Moore
OC-17
"White Dove"

Generation 6 Gray Paint (Sample GE 2, cornice, west wall)

GE 2, visible light, 40x

Generations 6a and 6b from sample GE 2 were measured with a Minolta Chroma Meter colorimeter/ microscope to obtain color values in CIE L*a*b* and Munsell color-space. Measurements could only be obtained from 6a, while generation 6b had to be matched by eye. For 6a, readings were obtained from two different areas measuring 0.3 mm across, and averaged together resulting in one value (although the difference between the two readings was negligible).

The closest commercial matches for both generation 6a and 6b were determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. Commercial swatches used for matching included Benjamin Moore, Sherwin Williams, Pittsburgh Paints, and the Colonial Williamsburg Color Collection. Final determination of the closest match was carried out by obtaining the CIE L*a*b* value of the commercial swatch, and mathematically calculating the color difference (known as ΔE), between the swatch and the actual sample. The commercial swatch with the lowest ΔE was the best match (see Appendix A for more details).

The closest commercial color match for generation 6a was determined to be Sherwin Williams swatch #6164 "Svelte Sage". The color difference (ΔE) between this swatch and the actual sample was calculated as 6.75. This was the closest color to be found amongst the various sample sets.

S . Williams
"Svelte Sage"

The closest commercial color match for generation 6b was obtained by eye and determined to be Sherwin Williams swatch #7060 "Attitude Gray".

S. Williams
"Attitude Gray "

GE 25: Door architrave to passage, left jamb, backband

GE 25a, visible light, 100x

GE 25a, UV light, 100x

Sample GE 25, taken from the door architrave backband, contains the complete paint history for first period elements in the dining room. The earliest finish is a white primer (1a) and a yellow paint (1b). The same first generation finish was seen on the door architrave center fascia (GE 24, p. 52) and the inner fascia (GE 23, next page). This confirms that all architrave elements are contemporary and first period. (In this particular sample, a modern coating has flowed underneath the first generation yellow paint at the bottom of the sample. It is visible as a tannish layer with a bright blue autofluorescence, characteristic of a varnish).

GE 23: Door architrave to passage, left jamb, inner fascia

GE 23a, visible light, 100x

GE 23a, UV light, 100x

The early paints in sample GE 23 are very disrupted, but they do contain the first generation white primer (1a) and yellow paint (1b) that was seen on the door architrave backband (GE 25, previous page) and center fascia (GE 24, next page). This confirms that all architrave elements are contemporary and first period.

GE 24: Door architrave to passage, left jamb, center fascia

GE 24b, visible light, 100x

GE 24b, UV light, 100x

GE 24a, visible light, 200x

GE 24a, UV light, 200x

Sample GE 24, taken from the architrave center fascia, contains the first generation white primer (1a) and yellow paint (1b) that was seen on the same door architrave backband (GE 25, p. 50) and inner fascia (GE 23, p. 51). This confirms that all architrave elements are contemporary and first period.

Note: while the surface of the white primer (1a) looks uneven in this sample (suggestive of wear), this condition is an anomaly amongst the many dining room samples, and could result from the overall disruption of the early paints in this particular sample.

GE 26: Door architrave to passage, plinth

GE 26b, visible light, 200x

GE 26b, UV light, 200x

GE 26a, visible light, 200x

GE 26a, UV light, 200x

Comparison of sample GE 26 with the rest of the door architrave samples (see previous pages) suggests that the earliest extant finish applied to the plinth is generation 12. This would suggest that the plinth is much later, but more likely that the earliest finishes have been lost from this surface (a strong possibility considering its proximity to the floor and vulnerability to high foot traffic).

GE 36: Buffet, right jamb, cyma of backband

GE 36, visible light, 200x

GE 36, UV light, 200x

Sample GE 36, taken from the buffet architrave backband, begins with the first generation white primer (1a) and a yellow paint (1b). The same first generation finish was seen on the buffet architrave center fascia (GE 37, p. 55), and the fascia under the bolection (GE 38, p. 56). This confirms that these sections of the buffet are first period and contemporary with the passage door architrave and the window architraves (with the exception of the SW window architrave on the west wall).

GE 37: Buffet, right jamb, cyma between inner and center fascia

GE 37a, visible light, 200x

GE 37a, UV light, 200x

GE 37c, visible light, 200x

GE 37c, UV light, 200x

GE 38: Buffet, fascia at far right end, under bolection

GE 38, visible light, 200x

GE 38, UV light, 200x

The buffet fascia contains the same first generation white primer (1a) and deep yellow paint (1b) as the rest of the buffet, and the room.

GE 123: Buffet, east side, interior panelling towards front, just under bottom shelf

GE 123b, visible light, 400x

GE 123b, UV light, 400x

GE 123c, visible light, 200x (enlarged)

GE 123c, UV light, 200x (enlarged)

This sample from the buffet interior indicates that the interior was painted the same yellow (1b) as the rest of the room in the first period. In the second period, the interior of the buffet was picked out in black. This would have been contemporary with the white paint on the rest of the woodwork, and would have created a very striking effect.

GE 124: Buffet, west side, edge of second shelf up from bottom

GE 124a, visible light, 200x, GE 124a, UV light, 200x

This sample from the buffet shelf edge interior indicates that the buffet interior was painted the same yellow (1b) as the rest of the room in the first period. In the second period, the interior of the buffet was picked out in black, as seen in other buffet interior samples (GE 123, previous page, and GE 125 and GE 126, next page).

Interestingly, this sample from the shelf edge has a third generation brown paint. This paint was not found in any of the other buffet samples. It looks as though the previous generation of black paint (2) was disrupted when this brown paint was applied, so they do not belong to the same generation. This third generation brown paint is disrupted and has a thin layer of grime on its surface, suggesting it was exposed for a long period of time. It may indicate that the edges of the shelves were 'picked out' in brown at an early date, but this requires further exploration.

GE 125: Buffet, back panelling, center, just below bottom shelf

GE 125, visible light, 200x

GE 125, UV light, 200x

GE 126: Buffet, east side, panelling towards front, under second shelf)

GE 126, visible light, 400x

GE 126, UV light, 400x

These two samples from the buffet again illustrate that the first generation is the same as the rest of the room— a white primer (1a) and yellow paint (1b). In the second generation the buffet interior was painted black (2a) with a disrupted varnish layer (2b). In the third generation, it was painted black again (3). The third generation brown paint seen in sample GE 124 (previous page), was not seen here, so it is unclear exactly how these early paints align.

GE 27: window architrave, north wall, inner fascia of bottom right corner

GE 27b, visible light, 200x

GE 27b, UV light, 200x

GE 27a, visible light, 200x

GE 27a, UV light, 200x

Sample GE 27, taken from the inner fascia of the north wall window architrave, begins with the first generation white primer (1a) and a yellow paint (1b). This suggests this architrave is contemporary with the buffet architrave, the passage door architrave, and the other window architraves (with the exception of the SW window architrave on the west wall). The same first generation white primer and yellow paint were seen on the rest of this architrave (GE 28, p. 61; and GE 29, p. 62).

GE 28: window architrave, north wall, center fascia, bottom right corner

GE 28a, visible light, 400x

GE 28a, UV light, 400x

GE 28a, visible light, 200x (enlarged)

GE 28a, UV light, 200x (enlarged)

GE 29: window architrave, north wall, center fascia, bottom right corner

GE 29b, visible light, 100x

GE 29b, UV light, 100x

GE 29a, visible light, 200x

GE 29a, UV light, 200x

GE 31: window architrave, west wall, NW window, center fascia

GE 31b, visible light, 200x

GE 31b, UV light, 200x

GE 31a, visible light, 200x

GE 31a, UV light, 200x

Sample GE 31, taken from the center fascia of the west wall NW window architrave, begins with the first generation white primer (1a) and a yellow paint (1b). This suggests this architrave is contemporary with the buffet architrave, the passage door architrave, and the other window architraves (with the exception of the SW window architrave on the west wall).

The same first generation white primer and yellow paint were seen on the rest of this architrave (GE 30, p. 64; and GE 32, p. 65), although some of the early paint evidence is fragmentary.

GE 30: window architrave, west wall, NW window, inner fascia

GE 30b, visible light, 200x

GE 30b, UV light, 200x

GE 30a, visible light, 200x

GE 30a, UV light, 200x

GE 32: window architrave, west wall, NW window, backband

GE 32b, visible light, 200x

GE 32b, UV light, 200x

GE 32a, visible light, 200x

GE 32a, UV light, 200x

GE 40: window architrave, west wall, SW window, inner fascia (continued from next page)

GE 40b, visible light, 200x (enlarged)

GE 40b, UV light, 200x (enlarged)

GE 40a, visible light, 200x

GE 40a, UV light, 200x

Sample GE 40, taken from the SW window architrave on the west wall, begins with the fourth generation white paint seen on the rest of the woodwork in this room. This surface of 4a has a tannish, translucent appearance in visible light, but a medium autofluorescence in UV light. This could be some type of oil/resin additive to increase the glossiness of the final finish. Four other samples were taken from this architrave (GE 33, GE 35, and GE 39, following pages), and all began with the fourth generation finish. Therefore, this evidence suggests that this window was converted from a doorway in the fourth generation, when all of the woodwork in this room was painted white.

GE 33 and 39: window architrave, west wall, SW window, center fascia

GE 33b, visible light, 200x

GE 33b, UV light, 200x

GE 39a, visible light, 200x

GE 39a, UV light, 200x

Both GE 33 and GE 39 were taken from the center fascia of the SW window architrave on the west wall. Sample GE 39a contained good evidence that generation 4a was the earliest paint applied to this architrave. Sample GE 33 did not have the wood substrate attached, but contained better evidence regarding the remainder of the stratigraphy.

This sample evidence was also seen on the inner fascia (GE 40, previous page), and backband of the same architrave (GE 35, next page).

GE 35: window architrave, west wall, SW window, backband

GE 35b, visible light, 100x (enlarged)

GE 35b, UV light, 100x (enlarged)

GE 35a, visible light, 200x

GE 35a, UV light, 200x

GE 127: Baseboard

GE 127b, visible light, 100x

GE 127b, UV light, 100x

GE 127a, visible light, 200x

GE 127a, UV light, 200x

The earliest paint generations on the baseboards are a series of black paints (generations 1-4). These are followed by white paints that contain zinc white (based on its twinkling autofluorescence in UV light), postdating these paints to the mid-19th century or later.

GE 28: window architrave, north wall, center fascia, bottom right corner

GE 28, UV light, 200x. Before TTC stain.

GE 28, UV light, 200x. TTC reaction.

Sample GE 28 was stained with TTC to tag carbohydrates in the sample. No major reactions (a dark reddish-brown color) were observed. The sample was also stained with FITC to tag proteins (see below). No results (a yellow-green fluoroscence) were observed.

GE 28: window architrave, north wall, center fascia, bottom right corner

GE 28, B-2A filter, 200x. Before DCF stain.

GE 28, B-2A filter, 200x. DCF reaction.

Sample GE 28 was stained with DCF to tag lipids (oils) in the sample. A false positive reaction was observed along the bottom of the sample, beneath generation 1. Weak reactions were observed in generations 7b, 8, 9, and 12.

Generation 1a: white primer

GE 36, dispersed pigment samples from generation 1a, white primer, plane polarized light, 1000x

GE 36, dispersed pigment samples from generation 1a, white primer, cross polarized light, 1000x

The white primer (generation 1a), is mostly comprised of lead white (2PbCO₃ ‧ Pb(OH)₂), and chalk (CaCO₃). The lead white particles are visible as very small, rounded transparent to greenish-colored particles with a bright birefringence in crossed polars. The chalk particles are visible as larger, colorless, plate-like particles with an undulose birefringence.

Generation 1b: yellow paint

GE 36, dispersed pigment samples from generation 1b, yellow paint, plane polarized light, 1000x

GE 36, dispersed pigment samples from generation 1b, yellow paint, cross polarized light, 1000x

The yellow paint (generation 1b), is comprised of lead white (2PbCO₃ ‧ Pb(OH)₂), yellow ochre (Fe₂O₃‧ nH₂O), chalk (CaCO₃), and carbon black (C). The lead white particles are visible as very small, rounded transparent to greenish-colored particles with a bright birefringence in crossed polars. The yellow earth particles range in size but have a golden color in transmitted light and are dark under crossed polars. The chalk particles are visible as larger, colorless, plate-like particles with an undulose birefringence. The carbon black particles vary in size and shape but have shard-like edges, are black and opaque in transmitted light, and dark under crossed polars.

Generation 4: white paint

GE 40, dispersed pigment samples from generation 4, white paint, plane polarized light, 1000x

GE 40, dispersed pigment samples from generation 4, white paint, cross polarized light, 1000x

The white paint (generation 4), is comprised of lead white (2PbCO₃ ‧ Pb(OH)₂), and large particles of chalk (CaCO₃). The lead white particles are visible as very small, rounded transparent to greenish-colored particles with a bright birefringence in crossed polars. The chalk particles are visible as larger, colorless, plate-like particles with an undulose birefringence.

Generation 1a: white primer

GE 36, uncast, visible light, 40x

Accurate color readings for the first generation white primer in the dining room could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match was determined to be Benjamin Moore swatch OC-11 "Clay Beige".

Polarized light microscopy suggests this paint contains only lead white and chalk. Therefore, the off-white color of the present paint could result from age and deterioration of the oil binding media.⁹

Benjamin Moore
OC-11
"Clay Beige "

A color match is provided below that was taken from a sample of a hand ground paint made with lead white pigment in cold-pressed linseed oil.¹⁰ This could reflect the color of the paint when it was freshly painted.

Benjamin Moore
OC-17
"White Dove"

Generation 1b: yellow paint

GE 36, uncast, visible light, 40x

The first generation yellow paint in sample GE 36 was measured with a Minolta Chroma Meter colorimeter/microscope to obtain color values in CIE L*a*b* and Munsell color-space. To compensate for the inherent color variation in early hand ground paints, the average of two readings was determined.

The closest commercial color match was determined to be Benjamin Moore HC-41 "Richmond Gold." The color difference (ΔE) between this swatch and the yellow paint was calculated to be 2.47. Since the average human eye cannot detect ΔE values less than 3, this is an excellent visual match.

Benjamin Moore
HC-41
"Richmond Gold"

Generation 4: white paint (first finish on west wall, SW window architrave)

GE 40a, visible light, 200x

Accurate color readings for the fourth generation white paint in the dining room could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match was determined to be Benjamin Moore swatch OC-32 "Tapestry Beige". However, polarized light microscopy suggests this paint contains only lead white and chalk (p.74). Therefore, the off-white color of the present paint could result from age and deterioration of the oil binding media.¹¹

Benjamin Moore
OC-32
"Tapestry Beige "

A color match is provided below that was taken from a sample of hand ground paint made with lead white pigment in cold-pressed linseed oil.¹² This could reflect the color of the paint when it was freshly painted.

Benjamin Moore
OC-17
"White Dove"

GE 104: Window architrave on south wall, left fascia

GE 104b, visible light, 200x

GE 104b, UV light, 200x

The sample from the window architrave fascia begins with three generations of blue paint, which is representative of what was seen on all of the trim in this room (with the exception of the mantel), suggesting that all of the woodwork in this space is first-period and was installed at the same time.

These blues appear to align with the early blues used in the passage and second-floor SE chamber.

Twenty-nine paint generations in total were identified on the trim (see next page).

GE 109: Door architrave to passage, left fascia, 37" up from floor

GE 109b, visible light, 100x (enlarged)

GE 109b, UV light, 100x (enlarged)

GE 109b, visible light, detail of earliest paints

GE 109b, UV light, detail of earliest paints

GE 105: East wall, chair rail, 3" from south wall, 1.5" up from bottom of rail

GE 105b, visible light, 200x

GE 105b, UV light, 200x

The chair rail sample begins with the same three generations of early blue paint that was seen on the rest of the woodwork in this room. In this sample, the blue paints are disrupted, blurring their boundaries.

GE 108: Door leaf to passage, left stile, above bottom hinge

GE 108b, visible light, 200x

GE 108b, UV light, 200x

GE 108a, visible light, 200x

GE 108a, UV light, 200x

The sample from the passage door leaf begins with the same three generations of blue paint seen throughout the room, an indication that this leaf is first-period and contemporary with the rest of the woodwork. The first generation shellac (1a), and light-colored primer (1a) are clearly visible here. They are less visible in other samples.

GE 118: Door leaf to shop, bottom right raised panel, lower right corner

GE 118b, visible light, 200x

GE 118b, UV light, 200x

GE 118b, visible light, 400x

GE 118b, UV light, 400x

The sample from the door leaf leading to the shop begins with the same three generations of blue paint, an indication that this leaf is first-period and contemporary with the rest of the woodwork in this room. The first generation shellac (1a), and light-colored primer (1a) are clearly visible here. They are less visible in other samples.

GE 111: Mantel, left side of backboard, 45" from floor

GE 111b, visible light, 200x

GE 111b, UV light, 200x

From generations 12 to the present, the mantel was painted to match the rest of the woodwork. From generations 6-11, the mantel was painted black while the rest of the woodwork was painted a variety of colors. The early blue paint generations were found on the mantel, although the earliest generation is a grimy light ochre-colored paint that was not seen elsewhere in the room (see next page).

GE 100: Mantel, top left side of backboard, ½" from top

GE 100b, visible light, 200x

GE 100b, UV light, 200x

GE 100b, visible light, 200x

GE 100b, UV light, 200x

The light ochre-colored paint seen as the earliest layer applied to the mantel was not seen elsewhere in the room. The hard boundary between this paint and the first generation blue paint strongly suggests this is a finish coat, not a primer. It is unclear why this ochre-colored paint was found on the mantel only, but it is possible that this element was constructed using wood that had been previously painted.

In this sample, generation two appears to be another ochre-colored paint, but there are blue pigment particles in its matrix. It is possible that this paint simply appears different in this particular sample.

GE 113: Mantel, fascia of center trim, right jamb just above plinth

GE 113b, visible light, 200x

GE 113b, UV light, 200x

GE 113a, visible light, 200x

GE 113a, UV light, 200x

Like sample GE 100, the sample GE 113 shows that the first generation blue paint on the mantel was applied over an existing light ochre-colored paint. This paint was not seen elsewhere in the room.

The earliest generations are disrupted in this sample, but the first three blue paints appear to be present.

GE 129: Baseboard, east wall

GE 129, visible light, 200x

GE 129, UV light, 200x

The first paint applied to the baseboards is the blue paint on the rest of the woodwork, which was probably accidentally "slopped over" when the wainscot was being painted. The black paint above this is most likely from the first baseboard paint generation, similar to the black baseboards in the rest of the house, although this evidence is fragmentary.

GE 118: Door leaf to shop, bottom right raised panel

GE 118a, UV light, 400x. Before TTC stain.

GE 113a, UV light, 400x. TTC reaction.

GE 118a, B-2A filter, 400x. Before FITC stain.

GE 113a, B-2A filter, 400x. FITC reaction.

Sample GE 118 was stained with TTC to tag carbohydrates in the sample (top). No reactions (a dark reddish-brown color) were observed.

The sample was repolished and stained with FITC to tag proteinaceous materials in the sample (bottom). No reactions (a bright yellow-green fluorescence) were observed.

GE 118: Door leaf to shop, bottom right raised panel

GE 118a, B-2A filter, 400x. Before DCF stain.

GE 113a, B-2A filter, 400x. DCF reaction.

The sample was repolished a second time and stained with DCF to tag lipids (oils) in the sample. No reactions (a bright yellow-green fluorescence), were observed.

GE 117: door leaf to bedchamber, bottom left corner of bottom right panel

GE 117b, visible light, 100x

GE 117b, UV light, 100x

GE 117a, visible light, 200x

GE 117a, UV light, 200x

GE 101: door architrave, left fascia, 30" up from floor

GE 101a, visible light, 200x

GE 101a, UV light, 200x

The first generation applied to the architrave woodwork is a cream-colored primer (7a) and a yellow-gold paint (7b). Generation 7a was also seen on the door leaf, but without the yellow-gold finish coat. This confirms that the architrave is later than the leaf.

GE 117: door leaf to bedchamber, bottom left corner of bottom right panel

GE 117, UV light, 400x. Before TTC stain.

GE 117, UV light, 400x. TTC reaction.

GE 117, B-2A filter, 400x. Before FITC stain.

GE 117, B-2A filter, 400x. FITC reaction.

Sample GE 117 was stained with TTC to tag carbohydrates in the sample (top). A slight reaction (a dark reddish-brown color) was observed in the shellac sealant.

The sample was repolished and stained with FITC to tag proteinaceous materials in the sample (bottom). No reactions (a bright yellow-green fluorescence) were observed.

GE 117: door leaf to bedchamber, bottom left corner of bottom right panel

GE 117, B-2A filter, 400x. Before DCF stain.

GE 117, B-2A filter, 400x. DCF reaction.

Sample GE 117 was repolished and stained with DCF to tag lipids in the sample (top). A slight reaction (a yellow-green fluorescence) was observed in the shellac sealant, but not in the brown paint itself.

GE 117: Generation 1 brown paint on shop door leaf

Dispersed pigments from generation 1 brown paint on shop door, plane polarized transmitted light, 1000x

Dispersed pigments from generation 1 brown paint on shop door, plane polarized transmitted light, 1000x

The first generation brown paint on the shop door appears to be composed of a mixture of red earth (ochre), and charcoal black pigments. Red earth is visible as agglomerations of deep red to orange-red particles that are isotropic (dark) in crossed polars. Carbon black is visible as small black, opaque particles with sharp edges that are isotropic (dark) in crossed polars.

There are some small, rounded, colorless particles included in this sample that are birefringent. These could be silicate inclusions that accompany earth pigments, or particles of lead white pigment from generation two that contaminated this sample.

Generation 1 brown paint on shop door leaf

GE 117a, visible light, 200x

Accurate color readings for the first generation brown paint in the shop could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match was determined to be Colonial Williamsburg (Martin Senour) color #114 "Everard Washboard Brown".

Colonial Williamsburg
#114
"Everard Washboard Brown"

GE 89: chair rail, west wall, adjacent to dining room doorway, 5" south of the north end

GE 89, visible light, 400x

GE 89, UV light, 400x

On the chair rail, three early blue paint generations were observed. These are the same blue paints used in the adjacent SE chamber and the second-floor SE chamber. Generation 1a is a light blue-colored primer, followed by generation 1b, a coarsely-ground blue paint. Generation two is another blue paint that is coarsely ground and a very similar color to generation one. There is a thin, tan-colored layer on the surface that could be an oil glaze (2b). Generation three is another blue paint that also has an oil glaze on its surface.

Generation 4 is a dark gray paint. Generation 5 is another coarsely-ground blue, and generation 6 is a brick-red paint. These paints were seen throughout the stair passage and the rest of the house.

Kutney sample GE 117: Door architrave to bedchamber, top architrave, fascia

GE 117b, visible light, 400x

GE 117b, UV light, 400x

GE 117a, visible light, 200x

GE 117a, UV light, 200x

The paints on the door architrave to the bedchamber align with the rest of the original woodwork in the passage, starting with three generations of coarsely ground blue paints, a dark gray paint (4), another blue paint (5), and a brick red paint (6). In this sample, the earliest generations are disrupted and their boundaries are not as clear.

Kutney sample GE 79: Door architrave (top) to parlor, backband, far left end, bottom edge

GE 79b, visible light, 200x

GE 79b, UV light, 200x

GE 79a, visible light, 200x

GE 79a, UV light, 200x

The sample from the door architrave to the parlor (GE 79) aligns with the rest of the trim in the passage, starting with three generations of blue paints, a gray paint (4), another blue paint (5, very thin here), and the sixth generation brick red paint.

GE 18: Door architrave to parlor, right jamb, fascia

GE 18a, visible light, 200x

GE 18a, UV light, 200x

GE 18b, visible light, 200x

GE 18b, UV light, 200x

Although the earliest paints are disrupted, the paints on the parlor door architrave fascia are shown here to illustrate that they are the same as those found on the backband (previous page). The first three blue paint generations appear to be present, although they are disrupted and their boundaries are blurred for the most part. The rest of the stratigraphy aligns with the rest of the woodwork in this space.

Kutney sample GE 128: Door architrave to dining room, west jamb, fascia

MK_GE 128c, visible light, 100x

MK_GE 128c, UV light, 100x

The door architrave to the dining room contains the same early paints (generations 1-6) as the chair rail (GE 89) and the door architrave to the bedchamber (Mark Kutney sample GE 117, p. 115). The sample is shown here in its entirety to illustrate that there were twenty-three paint generations in total identified in the passage. The dining room door leaf appears to begin with generation 11.

GE 20: door architrave to dining room, left jamb, backband

GE 20b, visible light, 100x

GE 20b, visible light, 100x

GE 20a, visible light, 200x

GE 20a, visible light, 200x

Sample GE 20 from the dining room door architrave backband aligned with the other passage trim samples with some puzzling exceptions. The earliest paint is a white coating with a thin yellowish paint on top. This appears similar to the first generation paint in the dining room, and could be some of that paint accidentally applied on the passage trim, although this is uncertain. The same early blues were seen, although their boundaries are blurred, and they are followed by a thin light-gray-colored paint that was not seen elsewhere in the passage. This could be a wall paint that overlapped onto the backband.

Kutney sample GE 114: Door leaf to bedchamber, bottom right panel, top edge

GE 114d, visible light, 400x

GE 114d, UV light, 400x

GE 114c, visible light, 200x

GE 114c, UV light, 200x 6

The early paints on the door leaf to the bedchamber are disrupted, but the evidence aligns with its associated architrave (Kutney sample GE 117, p. 115), and the rest of the original woodwork in the passage, starting with three generations of coarsely ground blue paints. (As previously discussed, the bedchamber-side finishes on this particular leaf (GE 108, p. 89), suggest this door is first-period). The oil glaze and/or grime on top of generation two is very thick in this sample.

Kutney sample GE 80: Door leaf to parlor, center stile, ovolo

GE 80a, visible light, 200x

GE 80a, UV light, 200x

GE 80b, visible light, 400x

GE 80b, UV light, 400x

Mark Kutney's sample from the parlor door leaf had more early paint evidence than sample GE 19 (taken by Travers— very disrupted, not shown), although the complete stratigraphy is still not intact. However, the extant paints suggest that this door is original and that the earliest blue paint generations are present. (As previously discussed, the parlor-side finishes on this particular leaf (GE 8, p. 22), suggest this door is first-period).

GE 140: North entrance door, bottom rail

GE 140b, visible light, 200x

GE 140b, UV light, 200x

GE 140a, visible light, 400x

GE 140a, UV light, 400x

The early paint evidence on the bottom rail of the north entrance door is very disrupted, but it does appear to align with the early blues seen on the rest of the woodwork in this space. This would confirm that this door leaf is also first period.

GE 22: Door leaf to dining room (dates to c.1850), passage-side, left stile just above bottom hinge

GE 22b, visible light, 200x

GE 22b, UV light, 200x

GE 22a, visible light, 200x

GE 22a, UV light, 200x

The style of the door leaf to the dining room suggests it dates to the mid-19th century (see Chappell Sample Memo, Appendix D). This was confirmed by the paint evidence, which, when compared to the associated architrave (see Kutney sample GE 128, p.118 and sample GE 20, p. 119), revealed that the earliest finish is generation 11, a white paint with a peach-colored autofluorescence that is followed by generation 12, a wood graining finish. This graining finish contains 'twinkling' particles of zinc white pigment and this appears to be contemporary with the white paint (also containing zinc) on the architrave.

GE 95: Underside of stair trim on second floor (accessible by standing on first floor stair)

GE 95b, visible light, 400x

GE 95b, UV light, 400x

The paint evidence on the underside of the stair trim aligns with the rest of the original woodwork in the passage, starting with three generations of coarsely ground blue paints, although their boundaries are somewhat blurred in this sample.

Only the earliest paints in the sample are shown above.

GE 134: Baluster, first down from half newel at landing, plinth

GE 134b, visible light, 200x

GE 134b, UV light, 200x

All of the samples taken from the balusters had very disrupted early paint evidence. Sample GE 134 was the most intact. It appears to contain the same three early blues seen in the rest of the stair passage, although their boundaries are blurred here. The fourth generation gray paint and the fifth generation blue paints were not seen in any of the baluster samples. Instead, the balusters appear to have been painted dark brown or red-brown from generations 4-6.

GE 94: Second floor, ½ newel post against east wall, bottom edge

GE 94b, visible light, 200x

GE 94b, UV light, 200x

GE 94a, visible light, 200x

GE 94a, UV light, 200x

The sample from the newel post contains the same early blue paints, although a cream-colored paint follows generation one that was not seen in the other samples. This sample was taken very close to the second-floor wall, so this could originate from an early wall paint. There were also two thick tannish, cloudy coatings with bright autofluorescences (above generations three and six), that could represent wallpaper pastes.

GE 90: Stair stringer on first floor, under third baluster up from bottom, fascia just under top trim

GE 90a, visible light, 200x (enlarged)

GE 90a, UV light, 200x (enlarged)

In sample GE 90, taken from the stringer, the first blue paint generations is present on the wood substrate. This is followed by two generations not seen in the rest of the passage- a grayish-green-colored paint, and a lighter grayish paint with a bright autofluorescence, although it is unclear if these are different paints, or if these are the same blue paints in the rest of the passage, but they are simply degraded here.

Additional samples were taken but the evidence is very disrupted on the stair, which made it difficult to pin down these early finishes.

GE 93: bottom bead of handrail, east face above the 2nd baluster up from landing

GE 93a, visible light, 200x

GE 93a, UV light, 200x

The sample from the handrail (GE 93) is puzzling, as the first paint generation is clearly a white paint that was not seen elsewhere in the passage, or in any other samples taken from the stair. The surface of this paint is uneven and worn, and covered with a layer of tannish grime, which strongly suggests this was a finish layer. Perhaps the handrail alone was 'picked out' in white in the first period or was primed white and left unpainted for a period of time. The answer is unclear.

The second and third generation blue paints are more clearly seen here. Generations 4 is the red-brown paint also seen on the balusters, and generation 5 appears to be a brown paint although it is very disrupted and soiled. The sixth generation brick red paint used in the rest of the passage is also seen here, which has a dull red-brown matrix with larger red-brown pigment particles.

This is followed by a wood graining finish that was also seen on the second floor passage woodwork.

The handrail was re-sampled in multiple locations but this was the most intact sample.

GE 138: Column on second floor, extends to ceiling

GE 138b, visible light, 200x

GE 138b, UV light, 200x

GE 138a, visible light, 200x

GE 138a, UV light, 200x

The column on the second floor does not appear to contain any historic paints. In fact, the extant paints align with the later paints on the stair handrail (see sample GE 93, previous page). However, the wood in this sample does not appear to have been stripped. Multiple excavations were made on this element but the same paints were always found. The architectural report states that this is an old, and most likely original feature of the house, so the reason for these missing paints is unclear.

GE 128: Baseboard, east wall, under staircase and adjacent to closet (under stair)

GE 128b, visible light, 200x

GE 128b, UV light, 200x

GE 128a, visible light, 200x

GE 128a, UV light, 200x

The earliest paint on the stair passage baseboards is a black paint. Generation two is a dark brown paint, and generation three is another black paint. This is immediately followed by 19th c. zinc white paints, which suggests that this sample is missing intermediate finishes.

GE 89: West wall, chair rail (continued on next page)

GE 89, UV light, 400x. Before TTC stain.

GE 89, UV light, 400x. TTC reaction.

Sample GE 89 was stained with TTC to tag carbohydrates in the sample. No reactions (a red-brown color), were observed. The sample was also stained with FITC for proteins (see below). No reactions (a bright yellow-green fluorescence) were observed.

GE 89: west wall, chair rail

GE 89, B-2A filter, 400x. Before DCF stain.

GE 89, B-2A filter, 400x. DCF reaction.

Sample GE 89 was stained with DCF to tag lipids (oils). A very weak reaction (a yellow-green fluorescence) was observed in generation five, the later blue paint. No other reactions were observed in the sample.

Generation 1a blue primer

Dispersed pigments from generation 1a blue paint in stair passage, plane polarized transmitted light, 1000x

Dispersed pigments from generation 1a blue paint in stair passage, cross polarized transmitted light, 1000x

The first generation blue primer appears to contain primarily lead white pigment (2PbCO₃ ‧ Pb(OH)₂), visible as small, rounded particles with high relief, that are colorless to greenish in transmitted plane polarized light and have a bright birefringence in cross polarized light.

Particles of Prussian blue (Fe₄[Fe(CN)₆]₃), were also present, visible as bright blue areas of pigmentation in a range of shapes and sizes, always with low relief, soft edges, and a 'smeary' quality in some areas. This pigment is isotropic (dark) in crossed polars.

There were a few scattered particles of carbon black (C), visible as small, sharp-edged black particles of varying size that were isotropic in crossed-polarized light. These particles could also originate from a soiling layer. It is unclear if this was a deliberate pigmentation.

Generation 1b and 2 blue paint (could not be separated)

Dispersed pigments from generation 1b and 2 blue paint in stair passage, plane polarized transmitted light, 1000x

Dispersed pigments from generation 1b and 2 blue paint in stair passage, plane polarized transmitted light, 1000x

Dispersed pigments from generation 1b and 2 blue paint in stair passage, plane polarized transmitted light, 1000x

Dispersed pigments from generation 1b and 2 blue paint in stair passage, cross polarized transmitted light, 1000x

The first (1b) and second generation blue paints could not be isolated for analysis, and were examined together. The sample appears to contain primarily lead white pigment (2PbCO₃ ‧ Pb(OH)₂), visible as small, rounded particles with high relief, that are colorless to greenish in transmitted plane polarized light and have a bright birefringence in cross polarized light.

Chalk (CaCO₃), was also present in this sample, visible as larger particles with sharp edges, high relief and an unulose birefringence.

Particles of Prussian blue (Fe₄[Fe(CN)₆]₃), were also present, visible as bright blue areas of pigmentation in a range of shapes and sizes, always with low relief, soft edges, and a 'smeary' quality in some areas. This pigment is isotropic (dark) in crossed polars.

There were also particles of carbon black (C), visible as small, sharp-edged black particles of varying size that were isotropic in crossed-polarized light, as well as some yellow earth pigment (Fe₂O₃ ‧ nH₂O), visible as yellow particles of varying size with low relief, that are isotropic under crossed polars.

Generation 3 blue paint

Dispersed pigments from generation 3 blue paint in stair passage, plane polarized transmitted light, 1000x

Dispersed pigments from generation 3 blue paint in stair passage, cross polarized transmitted light, 1000x

The third generation blue paint appears to contain primarily lead white pigment (2PbCO₃ ‧ Pb(OH)₂), visible as small, rounded particles with high relief, that are colorless to greenish in transmitted plane polarized light and have a bright birefringence in cross polarized light.

Chalk (CaCO₃), was also present in this sample, visible as larger particles with sharp edges, high relief and an unulose birefringence.

Particles of Prussian blue (Fe₄[Fe(CN)₆]₃), were also observed, visible as bright blue areas of pigmentation in a range of shapes and sizes, always with low relief, soft edges, and a 'smeary' quality in some areas. This pigment is isotropic (dark) in crossed polars.

Generation 1 light blue base coat (1a) and blue finish coat (1b)^*

underside of uncast sample GE 89, 100x

GE 89, visible light, 200x

Accurate color readings for the first generation blue base coat (generation 1a), and blue finish coat (generation 1b), could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match for the base coat was determined to be Sherwin Williams #6214 "Underseas", while the match for the finish coat was Benjamin Moore AC-21 "Silver Pine".

Sherwin Williams
#6214
"Underseas"

Benjamin Moore
AC-21
"Silver Pine"

Generation 2 blue paint

* same as first-floor southeast chamber and second-floor southeast chamber.

Accurate color readings for the second generation blue paint could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match for the base coat was determined to be Sherwin Williams #6222 "Riverway".

Sherwin Williams
#6222
"Riverway"

Generation 3 blue paint

* same as first-floor southeast chamber and second-floor southeast chamber.

The third generation blue paint was measured with a Minolta Chroma Meter colorimeter/microscope to obtain color values in CIE L*a*b* and Munsell color-space. Readings were obtained from two different areas measuring 0.3 mm across, and averaged together resulting in one value.

The closest commercial match for this paint was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match was determined to be Sherwin Williams #0047 "Studio Blue-Green." The color difference (ΔE) between this swatch and the actual sample was calculated as 3.64. Since the human eye cannot detect color differences at values of 3 or less, this would be considered a very close match.

Sherwin Williams
#0047
"Studio Blue-Green"

Kutney sample GE 207: Door leaf to northwest room, lower right panel, bottom right corner

Kutney sample GE 207b, visible light, 200x

Kutney sample GE 207b, UV light, 200x

This sample contained evidence to show that the earliest gray paint is a finish coat, not a primer. This is suggested by the "hard boundary" between it and generation two. This gray paint was also seen in the second-floor southwest chamber, although it was applied much more thinly. There was very little dirt or grime observed on the surface of this gray paint, suggesting it was not exposed for very long. It is even possible that this was a primer for the blue paint (generation 2), that was exposed for a longer period of time that usual before receiving a finish coat.

Generation two is a blue paint that has cracks and grime on the surface, suggesting it was exposed for a long period of time. This blue paint appears similar to one of the first three blue paint generations used on the woodwork in the first-floor passage, but it is unclear precisely which blue paint this aligns with.

Generation three is a deep blue paint. Comparison of all second-floor passage samples indicates that this deep blue was used on the doors, while the trim was glazed with a verdigris-green finish (see architrave samples for comparison).

The brick red paint is the same as the brick red paint used on the first-floor passage woodwork in generation six. Its location within the stratigraphy here suggests that the woodwork in the second-floor passage was painted less often than that on the first-floor.

GE 67: Door leaf to northwest room, bottom ovolo of lock rail

GE 67b, visible light, 200x

GE 67b, UV light, 200x

GE 67a, visible light, 400x

GE 67a, UV light, 400x

Like the other door leaf sample (Kutney GE 207), sample 67 has a very intact early stratigraphy, as well. Generation 1 is the shellac sealant (1a) and gray paint (1b). This generation was not present in all samples from the second-floor passage, but appears to be a finish layer as evidenced by Kutney sample GE 207 (previous page).

GE 64: Doorway architrave at east wall (to bathroom), right architrave stop

GE 64a, visible light, 200x

GE 64a, UV light, 200x

GE 64b, visible light, 200x

GE 64b, UV light, 200x

The first and second generation paints on the architrave stop (shellac sealant (1a), gray paint (1b), and light blue paint (2)) align with what was found in the rest of the second-floor stair passage (see next section).

The third generation finish is a dark-colored layer which has a dark greenish color in visible light (very dark in the printed image) and no autofluorescence in UV, strongly suggesting this a verdigris or copper resinate glaze. This would be contemporary with the deep blue paint on the door leaves.

Generation six is the brick red paint used throughout the house in this period.

Kutney sample GE 209: Door architrave to northwest room, top architrave

Kutney sample 209, visible light, 200x

Kutney sample 209, UV light, 200x

Kutney sample 209, visible light, 400x

Kutney sample 209, UV light, 400x

The early finishes on the architrave to the northwest room begin with the gray paint (1b), and the light blue paint (2), which is followed by a deep green verdigris glaze (3). The verdigris glaze is believed to be contemporary with the deep blue paint on the door leaves.

The sixth generation brick red paint was observed under the microscope in a very small remnant above generation 3 in this sample (although it is difficult to see in the printed image).

GE 67: door leaf to northwest room (continued on next page)

GE 67, UV light, 400x. Before TTC stain.

GE 67, UV light, 400x. TTC reaction.

Sample GE 67 was stained with TTC to tag carbohydrates in the sample. No reactions (a red-brown color), were observed. The sample was also stained with FITC for proteins (see below). No reactions (a bright yellow-green fluorescence) were observed.

GE 67: door leaf to northwest room (continued from previous page)

GE 67, B-2A filter, 400x. Before DCF stain.

GE 67, B-2A filter, 400x. DCF reaction.

Sample GE 67 was stained with DCF to tag lipids in the sample. A strong reaction (yellow-green fluorescence) was observed in the wood substrate, most likely from oil-based paints applied to the surface. However, no reactions were observed in generations 1-3 (the 'patch' of fluorescence is most likely residual stain and is not a true reaction). There was a weak reaction in generations 6 and 7.

Generation 1 gray paint*

*also seen in second-floor southwest chamber (analyzed by Sara Lapham)

Dispersed pigments from generation 1 gray paint in second floor stair passage (GE 67), plane polarized transmitted light, 1000x

Dispersed pigments from generation 1 gray paint in second floor stair passage (GE 67), cross polarized transmitted light, 1000x

The first generation gray paint is mostly comprised of lead white (2PbCO₃ ‧ Pb(OH)₂), and carbon black (C), pigments. Yellow ochre (Fe₂O₃ ‧ nH₂O), was also present, visible as larger particles with amorphous edges and a deep yellow color in transmitted light that are isotropic in crossed polars. This paint was also used in the second-floor southwest chamber, and Sara Lapham identified the same pigments.

Generation 2 blue paint*

*also seen in second-floor northwest chamber

Dispersed pigments from generation 2 blue paint in second floor stair passage (GE 67), plane polarized transmitted light, 1000x

Dispersed pigments from generation 2 blue paint in second floor stair passage (GE 67), cross polarized transmitted light, 1000x

The second generation blue paint is comprised of lead white (2PbCO₃ ‧ Pb(OH)₂), and chalk (CaCO3), as well as a good deal of Prussian blue (Fe₄[Fe(CN)₆]₃), and some yellow ochre pigments.

Generation 3 deep blue paint*

*also seen in second-floor northwest chamber

Dispersed pigments from generation 3 blue paint in second floor stair passage (GE 67), plane polarized transmitted light, 1000x

Dispersed pigments from generation 3 blue paint in second floor stair passage (GE 67), cross polarized transmitted light, 1000x

The third generation dark blue paint is comprised of large amount of Prussian blue (Fe₄[Fe(CN)₆]₃), which has a very high tinting strength and accounts for its deep blue-black color. Some lead white (2PbCO₃ ‧ Pb(OH)₂), and chalk (CaCO₃) particles were also identified.

Generation 1 gray paint

* same as second-floor southwest chamber (also measured by Sara Lapham)

underside of uncast sample GE 67, 100x

GE 67a, visible light, 400x

Accurate color readings for the first generation gray paint could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match for the gray paint was determined to be Benjamin Moore AC-31 "Hot Spring Stones". Please note that this is a lighter match than the Laphams' gray paint match for the second-floor southwest chamber. For confirmation, swatch AC-31 was compared to several of the southwest chamber samples, and this does appear to be the correct color. Soiling and disruption of the early paint layers could be the source of this inconsistency.

Benjamin Moore
AC-31
"Hot Spring Stones"

Generation 2 blue paint*

*same as second-floor northwest chamber

underside of uncast sample GE 67, 100x

GE 67a, visible light, 400x

Accurate color readings for the second generation blue paint could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match for the base coat was determined to be Sherwin Williams #6494 "Lakeshore".

Sherwin Williams
#6494
"Lakeshore"

Generation 3 dark blue paint*

*same as second-floor northwest chamber

underside of uncast sample GE 67, 100x

GE 67a, visible light, 400x

Accurate color readings for the third generation blue paint could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match for the base coat was determined to be Benjamin Moore 2062-10 "Polo Blue".

Benjamin Moore
2062-10
"Polo Blue"

GE 63: Door at north end of east partition wall, right architrave casing (continued on next page)

GE 63, UV light, 400x. Before TTC stain.

GE 63, UV light, 400x. TTC reaction.

Sample GE 63 was stained with TTC to tag carbohydrates in the sample. No reactions (a red-brown color), were observed. The sample was also stained with FITC for proteins (see below). No reactions (a bright yellow-green fluorescence) were observed.

GE 63: Door at north end of wall, right architrave casing (continued from previous page)

GE 63, B-2A filter, 400x. Before DCF stain.

GE 63, B-2A filter, 400x. DCF reaction.

Sample GE 63 was stained with DCF to tag lipids in the sample. Strong reactions (yellow-green fluorescence) were observed in the later zinc white paints (generations 9-16). Weak reactions were observed in generations 2, 6, 7, and 8.

GE 70: West wall, right window architrave, cyma of backband

GE 70a (far right side), visible light, 100x

GE 70a (far right side) visible light, 100x

GE 70a (detail), visible light, 100x (enlarged)

GE 70a (detail), visible light, 100x (enlarged)

GE 74: South wall, top door architrave, underside of bottom bead

GE 74a, visible light, 100x

GE 74a, UV light, 100x

GE 73: South wall, door leaf, bottom right raised panel, lower left corner, underside, beveled edge

GE 73, visible light, 100x

GE 73, UV light, 100x

GE 75: South wall, door leaf, closet-side, lower left panel, upper left corner

GE 75b, visible light, 200x

GE 75b, UV light, 200x

GE 75a, visible light, 200x

GE 75a, UV light, 200x

GE 97: Center stile of door leaf to passage, 26" above floor, 1" from left edge

GE 97a, visible light, 400x

GE 97a, UV light, 400x

GE 97a, visible light, 400x

GE 97a, UV light, 400x

Generations 1 - 3 on the door leaf are the same as those seen in the second-floor passage and the adjacent bathroom (originally part of this room). However, in generation three, the door leaf was painted deep blue, as was the door architrave (see sample GE 98, next page). In generations 4 and 5, this room was not repainted. This was followed by the sixth generation brick-red paint used throughout the house.

GE 98: Right architrave of door to passage, fascia, 29" up from floor

GE 98b, visible light, 200x

GE 98b, UV light, 200x

GE 98a, visible light, 200x

GE 98a, UV light, 200x

Like the sample from the door leaf (GE 97), the door architrave (GE 98) contains the first generation gray paint (1) followed by the second generation blue paint (2). However, in generation three, the door architrave appears to have been painted deep blue (3) to match the door leaf. This is different to what was found in the rest of the second-floor passage and bathroom, where the door architraves were glazed green while the leaves were dark blue. Interestingly, the window architrave (Kutney sample GE 206, next page), was glazed green in period three.

Kutney sample 206: west wall, window, top architrave fascia at north miter joint

GE 206b, visible light, 200x

GE 206b, UV light, 200x

Like the door leaf and door architrave, the window architrave contains the first generation gray paint (1b), followed by the second generation blue paint (2). In the third generation, when the door leaf and architrave were painted deep blue, the window architrave was glazed green (3) with a verdigris glaze.

GE 99: South wall, baseboard, fascia, 2" above floor and 4" west of passage architrave backband

GE 99a, visible light, 200x

GE 99a, UV light, 200x

GE 99b, visible light, 200x

GE 99b, UV light, 200x

The earliest finish on the baseboard is a shellac sealant (1a), a thin layer of black paint (1b), and a very thin layer of autofluorescent varnish (1c). This is worn and uneven suggesting it was exposed for a long period of time, possibly through generations 2-5, because it is followed by what appears to be the brick red paint that aligns with generation 6 in the rest of the house. This is followed by a thick layer of orange-red paint that was designated generation two in the second-floor southwest chamber (Lapham 2012). However, this sample illustrates that the orange-red paint belongs to a later finish generation.

GE 78: West wall, door architrave, north jamb, cyma of backband, 30" from floor

GE 78, visible light, 100x

GE 78, visible light, 100x

Sample GE 78 and GE 79 (not shown), taken from the door architrave, were the most complete samples taken from the southeast chamber. Approximately twenty-six paint generations were identified. The earliest paints are shown in detail on the next page.

GE 78: West wall, door architrave, north jamb, cyma of backband, 30" from floor

GE 78, visible light, 400x

GE 78, visible light, 400x

The earliest generations are shown here in greater detail. Generation 1 is composed of a light-colored primer (1a), a blue paint (1b), and an oil glaze (1c), which is tannish in visible light but dim in UV. The base coat has a lighter autofluorescence and the finish coat has a darker autofluorescence. This pattern was observed in most samples taken from this space.

The second and third light blue paint generations are very similar to the first generation, suggesting that this finish was re-applied numerous times. Generations four and five are the gray and blue paints used in the first-floor (southeast room, shop, and passage).

In generation six, some of the trim was painted yellow-tan, while brick red colored paint was used on other elements (such as the door leaves, see "First-floor Southeast Room" section).

GE 80: South wall, window architrave, east jamb, backband fillet, 12" up from bottom of architrave

GE 80c, visible light, 200x

GE 80c, visible light, 200x

GE 80c, visible light, 200x

GE 80c, visible light, 200x

The sample from the window architrave was missing many of the early paint generations. However, it did contain the first generation base coat (1a) and blue paint (1b), suggesting it is first period. The window architrave fascia (GE 81) also contained an early blue but this was very disrupted as well.

GE 83: South wall, lower window sash, top central muntin, near center of fillet

GE 83a, visible light, 100x

GE 83a, UV light, 100x

Sample GE 83 did not contain a complete stratigraphy, but it did contain a fragment of what appears to be the fifth generation blue paint on top of a white primer. The earlier light blue paints were not seen. This would suggest that the sash is missing the earliest paint due to abrasion and wear, or that the sash is later.

GE 82: mantel, one of two remaining dentils at north end

GE 82a, visible light, 200x

GE 82a, UV light, 200x

Sample GE 82, taken from one of two remaining dentils on the mantel, contained some intriguing paint evidence. The earliest generation consists of two layers of green paint. The first layer (1a) is slightly lighter in color than the second layer (1b). This could be contemporary with the first generation light blue paint on the door architrave (GE 78), or this could suggest that the mantel was re-used from elsewhere, although this is uncertain. The pigments in the green paint were identified as lead white and some chalk, Prussian blue, and yellow earth (PLM). A color match for this paint is provided on p. 184.

The next finish appears to consist of three layers. The first is a gray paint, the second is a black paint, and the third is a varnish which could be shellac, based on its orange autofluorescence in UV light. Since the boundary between the gray and black are relatively amorphous, this suggests a 'wet into wet' technique which could reflect a faux-marbling finish. This would need to be confirmed by scraping away later paint layers on the mantel to expose this finish. The color and consistency of the gray paint is somewhat similar to the fourth generation gray paint on the door architrave (GE 78, although it is uncertain if these are contemporary. If so, this would suggest that the first generation green paint was exposed for a relatively long period of time.

The paints which follow the gray finish are zinc-based paint that date to the mid-19th century at the earliest. It is likely that the intermediate paints are missing from this sample.

GE 85: east wall, baseboard fascia near mantel

GE 85c, visible light, 200x

GE 85c, UV light, 200x

GE 85a, visible light, 200x

GE 85a, UV light, 200x

The first generation on the baseboard was a shellac sealant (1a), followed by a black paint (1b). Although most of the baseboards in the house were not sampled, a first generation black paint was also seen on the baseboards in the second-floor northwest room (GE 99, p.172).

Generation 1 deep green paint on mantel

Dispersed pigments from generation 1 green paint on mantel (GE 82), plane polarized transmitted light, 1000x

Dispersed pigments from generation 1 green paint on mantel (GE 82), cross polarized transmitted light, 1000x

The first generation green paint on the mantel in the second-floor southeast chamber is composed of lead white (2PbCO₃ ‧ Pb(OH)₂), and chalk (CaCO3), as well as some of Prussian blue (Fe₄[Fe(CN)₆]₃), and some yellow ochre (Fe₂O₃ ‧ nH₂O), pigments.

Generation 1 deep green paint on mantel

GE 82a, visible light, 200x

Accurate color readings for the first generation deep green paint on the mantel could not be obtained with the Minolta Chroma Meter because a clean, intact area could not be isolated for measurement. Instead, the closest commercial color match was determined by eye using a stereomicroscope at 30x magnification with a color corrected light source. The closest match for the base coat was determined to be Colonial Williamsburg Color #403 "Levingston Kitchen Green".

Colonial Williamsburg
#403
"Levingston Kitchen Green"

Baseboards:

Lapham collected one sample from the baseboard (GE 61), and determined that the first generation was a shellac sealant and a brown oil paint made with red and yellow earth pigments (PLM). The closest commercial match for this paint was Benjamin Moore 2114-20 "Mississippi Mud". This was immediately followed by an orange-red-colored paint, which Lapham identified as generation two. However, the author has observed this orange-red paint in other areas of the house at generation seven. This suggests that some of the earliest paints are missing from the baseboard in this room, and the brown paint may not be first period. Since the rest of the baseboards in the house contained a black paint as their earliest coating, this seems a likely explanation.

Mantel:

The paints on the mantel (GE 41-44), were very disrupted but the early paint history clearly does not align with the rest of the room. In fact, the mantel appears to have been painted much less frequently than the 188 rest of the woodwork. The earliest generation on the mantel is an off-white primer (1a) and a light blue paint (1b), which again, was not seen elsewhere in the room. This light blue contains coarsely-ground particles of Prussian blue in a lead white matrix, so it could be early, although it is difficult to determine which early scheme it aligns with. This is followed by an orange-red paint (called reddish-brown by Lapham), that was found in other areas of the house as a later (post-generation 7), paint. This suggests either: a) a very long time elapsed between painting the mantel light blue in the first generation or: b) the light blue is a later paint, possibly contemporary with the later blues (generation 5) or blue-green resinous paints (generations 7 and 8). It seems most likely that the mantel is an early addition to the room, possibly a replacement for an earlier mantel. This should be kept in mind when reading Lapham's report.

The complete paint history for the second-floor southwest chamber is found in the following table:

GE 51: Passage door architrave, top edge of right (south) jamb, inner edge of cyma backband

GE 51 (top layers), visible light, 200x

GE 51b, UV light, 200x

GE 51 (lower layers), visible light, 200x

GE 51b, UV light, 200x

GE 51 (substrate), UV light, 400x

GE 51a, UV light, 400x

Lapham's sample GE 51 was one of the most complete samples taken from this room.

The first generation appears to be the same gray paint used throughout the second-floor in this same period. It contains finely ground black pigment particles in a lead white matrix. In this sample, this paint is very thin and has almost no "hard boundary" to distinguish it from the following paint. As Lapham suggests, the lack of grime suggests that this paint might have been exposed for a very short period of time, perhaps as a "temporary" paint or primer.

GE 61: baseboard, east wall

GE 61 (substrate with paints), visible light, 200x

GE 61 (substrate with paints), UV light, 200x

GE 61 (no substrate), visible light, 200x

GE 61 (no substrate), UV light, 200x

The earliest surviving brown paint on the baseboard may not be first period, as it is immediately followed by the seventh generation orange-red paint seen throughout the house. The earliest paints on baseboards throughout the rest of the house were black.

GE 41: Fireplace mantel, beaded backboard

GE 41 (intermediate paints), visible light, 200x

GE 41 (intermediate paints), UV light, 200x

GE 41 (substrate with paints), visible light, 200x

GE 41 (substrate with paints), UV light, 200x

Only the early mantel paints in sample GE 41 are shown above. The earliest intact light blue paint (identified by Lapham as generation 1), is most likely later, since there are red-brown pigments deep in the wood cells, suggesting that earlier finishes are lost from this element. The orange-red paint (7b) and black paint (8) seen on the baseboard (previous page), are also seen here. These appear to be later paints, and may not be as early as previously thought.

Multiple samples were taken from this mantel and all revealed the same disrupted paint layers with fewer coatings that did not clearly align with the early finishes in this room. The reason for this is unclear. Perhaps the mantel was scraped down at an early date.

Sample locations:

Fireplace Mantel

Cross-section microscopy results, fireplace mantel:

The fireplace mantel has a total of 23 generations of finish. The early generations (1-6), are distinctly different from the early generations on the rest of the woodwork in this room. These generations are largely compromised and hard to distinguish from the adjoining generations. These conditions made it difficult to align the mantel finishes with those of the rest of the room.

Like the woodwork in the rest of the room, generation 1 on the fireplace mantel begins with shellac to seal the wood pores. On top of the shellac there is an off-white primer followed by a pale blue-gray paint. The two are difficult to distinguish in visible and ultraviolet light, but are clearly distinct with the B-2A filter cube (see GE 41, B-2A images in the binding media analysis section). They are both oil-based paints with dispersed small blue pigments surrounded by a lead white matrix. See images and table IV on page 21 for further detail of the early finish generations.

Generations 7 through 14, with the exception of generation 11, are the same cream/off-whites as generations 9-15 on the windows, doors, and architraves. Generation 11 appears to be a flattened varnish; it is tan, semi-translucent, and has a bright purplish-white autofluorescence, characteristic of a synthetic resin varnish. Generations 7-10 and 12-14 on the fireplace mantel correspond to generations 9-12 and 13-15 on the original windows, doors, and architraves. See corresponding descriptions in table II.

Generations 15-23 correspond to the modern generations on the other original woodwork in this room. For further information about generations 15-23 see descriptions of corresponding generations 16-25 in table III.

Early Finishes on the Fireplace Mantel, Generations 1-6 (GE 41)

Selected images of fireplace mantel samples:

GE 41: Fireplace shelf, beaded backboard, lower right (east) corner immediately above the bottom bead and ¼" in from the right bead. Of the samples examined from the fireplace in this study, only fragments from sample GE 41 include the readily identifiable layers that are generations 5 and 6. The images below also include the complete stratigraphy from generation 1- 23. GE 41 continued on next page.

GE-41
Fireplace Mantel, Beaded Backboard

GE 41: This detail of the wood substrate and finish generations 1-7 (missing generation 6) clearly shows the two distinct generations (3 and 4) of black oil paints.

GE-41
Fireplace Mantel, Beaded Backboard

GE 42: Fireplace shelf, right (east) end of the upper fillet on the (upper) cyma recta, 1¼" below the top and ¼" back from the front corner. This sample includes traces of the red paint from generation 2 on top of, and trapped in the cracks of generation 1. This confirms that there are no additional layers missing from the fireplace mantel samples that should be between generations 1 and 2.

GE 42
Fireplace Mantel, Upper Fillet

Sample location:

East Baseboard

Cross-section microscopy results, baseboard:

Only one sample (GE 61) from the baseboard was taken for this investigation. The stratigraphy of GE 61 was compared to the stratigraphies of other samples from this room, and to baseboard samples from other rooms in the house taken by Kutney in order to determine how this cross-section relates to the rest of the baseboard. Based on comparisons with the Kutney samples it appears that the stratigraphy in GE 61 is representative of the baseboard stratigraphy in this room. Further comparisons to how the Kutney samples relate to GE 61 are made in the conclusions of this report.

Sample GE 61 has a total of 22 generations of finish present. Comparing its stratigraphy to the stratigraphy on the windows, doors, and architraves, (as shown in table 2 in Appendix B) it appears that at least three early finish generations are missing, or the baseboard was not repainted with the same regularity as the rest of the woodwork until after generation 9 (compared to the windows, doors, and architraves).

Like the fireplace, the baseboard also has a shellac sealant, but otherwise these early finishes do not match. These early generations are very disrupted as a result of the many cracks and cleavages within the layers. The first generation is a coarsely ground, brown, oil paint (1b) on top of a shellac sealant (1a). In ultraviolet light patches of white or orange autofluorescing medium surround the fine and coarse non-autofluorescent red-brown and yellowish-brown pigments. All of the early generations (1-5 shown in table IV), as well as the wood substrate, are very disrupted in the baseboard sample.

Early Finishes on the Baseboards, Generations 1-5 (GE 61)

GE 61
Baseboard, East Wall

Binding media analysis (fluorochrome staining):

Samples GE 51, GE 49, GE 42, and 61 were analyzed using biological fluorochrome stains in order to characterize the binding media of the early finish generations. Digital images were captured before and after staining and compared to identify positive reactions. Only the images with the most useful are reactions included in this report. A summary of the results is listed in tables 3.1-3.4 of Appendix B, and Appendix A has more information about fluorochrome stains and procedures.

Pigment identification (polarized light microscopy):

Generations 1-5 on the original doors, windows, and architraves (from sample GE 51); generations 1-3 on the fireplace mantel (from sample GE 42); and generations 1-2 on the baseboard (from sample GE 61) were examined using transmitted polarized light microscopy (PLM) for pigment identification.

Uncast portions of each sample were glued to a glass slide and a micro-scalpel was used to expose each generation and scrape off a small dispersed pigment sample. Each dispersed pigment sample was mounted between a glass slide and coverslip using Cargille MeltMount (refractive index = 1.66). The optical properties, shapes, and sizes of the pigments in each sample were observed at 400x and used for identification. See Appendix A for more information about procedures and Appendix B, table 4 for the pigments identified in each generation that was analyzed. Due to the difficulty in isolating one generation from the next, some of the pigments identified in one generation could actually have come from an adjoining layer.

PLM results:

All of the pigments identified in each of the 10 generations analyzed with PLM are listed in table 4 of Appendix B, as well as in the section summarizing all of the results for the earliest finish generations just before the conclusions in this report. The dispersed pigment images are labeled with some of the major components of that generation, but not all pigments identified are always labeled or present in that image.

PLM images for generations 1-5 on the original windows, doors, and architraves (GE 51):

PLM images for generations 1-3 on the fireplace mantel (GE 42):

PLM images for generations 1 and 2 on the baseboard (GE 61):

Color measurement and matching:

Generations 1-5 of the woodwork on the windows and doors, and generations 1-3 from the fireplace woodwork were measured for color matching. Using uncast portions of the samples, with a Minolta Chroma Meter CR-241/microscope, the color values in CIE L*a*b* color-space and in the Munsell color system were recorded for each generation. Running through a series of steps explained in Appendix A, commercial paint matches for each generation were established.

The ΔE value, which is the color difference between any two colors, was calculated to compare the accuracy of the commercial match to the historic paint. The most sensitive human eye can detect a color difference with a ΔE around 2, but the average human eye is unable to detect differences with a ΔE in the range of 3-5 (Wolbers 2010). For this study color matches around or below a ΔE of 3 are considered a satisfactory match. Generations that were too compromised or translucent were color-matched visually under a color corrected-light source at 5x - 40x. For the samples matched visually only the color measurements from the commercial paint swatch are included in this report.

The fact that the first creamy-yellow paint on most of the woodwork is the same as generation 2 on the east door is confirmed by comparing the CIE L*a*b* values measured to get a ΔE of 2.81.

Painted woodwork from the windows, doors, and architraves:

GE 51 uncast, reflected visible light, 100x

Painted woodwork from the windows, doors, and architraves:

GE 51 uncast, reflected visible light, 100x

Painted woodwork from the windows, doors, and architraves:

GE 51 uncast, reflected visible light, 100x

Painted woodwork from the windows, doors, and architraves:

GE 51 uncast, reflected visible light, 100x

GE 51 uncast, reflected visible light, 100x

Fireplace mantel:

GE 42 uncast, reflected visible light, 100x

Fireplace mantel:

GE 42 uncast, reflected visible light, 100x

Fireplace mantel:

GE 42 uncast, reflected visible light, 100x