Colonial Williamsburg Digital Library

Restoration-era paint specifications:

The following colors were specified for interior woodwork at the Palmer House during the 1951-1952 restoration:

Previous finishes research:

In 2007, paint analyst Natasha Loeblich used cross-section microscopy techniques to determine the paint history of original exterior elements of the Palmer House (Loeblich 2007). Elements studied included the front (north) and rear (south) cornice, the rear (south) doorway, and the brickwork. Nineteen samples were taken. The results found original paints on the cornice and the rear door architrave and leaf. The first five paint generations on the cornice were oil-bound lead white paints. The same paints, although relatively more disrupted, were also found on the rear door architrave. The rear door leaf appeared to have been painted more often than the trim, consisting of a first generation white primer with red-brown finish coat, and a second red-brown paint generation, followed by three bright-green generations. Successive generations include bright orange and green colors, faux-wood graining and decorative finishes. Remnants of what could be a thin red limewash were found on the original mortar joints, but the evidence was elusive and Loeblich suggested additional analyses to further study the nature of this coating.

Description:

The main stair is located on the east wall, and has two landings on the ascent to the second-floor passage. It is a wide, generous staircase of the closed string type with square newel posts, a molded handrail and turned balusters with square bases and caps. It is largely original, including the stringers, balusters, risers and treads, handrails and newel posts, (Douglas 1956, 19). However, Edward Chappell noted that the north and west upper stringers appear new (Chappell 2011, sample memo).

The architectural report notes that the stairs were cleaned and waxed during the restoration (Douglas, 19). The interior paint color schedule in that same report relates that at that time the handrail, newels, and balusters were painted dark green #827, with the outer stringer dark brown #773. The risers and treads were waxed, and the baseboards were painted black. The same color scheme is in place today. During sampling, substantial accumulations of paint were visible in raking light, suggesting that the finish history was left intact.

Results:

Twelve paint samples in total were collected from the staircase. Two samples were collected from the stringers (PH 1, PH 4), three samples were collected from the balusters (PH 2, PH 3, PH 6), two samples were taken from the newel posts (PH 5, PH 7), two samples were taken from the handrail (PH 9, PH 28), and three from the baseboard (PH 10, PH 26, PH 27).

Approximately twenty-four generations of paint are extant on the staircase. In the first generation, the entire staircase was painted a light gray color. (This paint appears white in cross-section due to the intensity of incident light at high magnifications). PLM found that this paint is comprised chiefly of lead white pigment, with chalk additives (a common paint extender), carbon blacks and a very small amount of red ochre that lends this color an overall warm hue. This paint was applied to all elements, including the stringers, balusters, handrail, and baseboards. At first glance, this paint appeared to be a priming layer, but sample PH 28a (taken from the handrail), clearly illustrates that there were deep cracks in the surface of this light gray paint when the second-generation paint was applied, indicating that it was indeed a finish layer.

The second generation was a polychrome scheme. The evidence suggests that the baseboards were painted black and varnished, the stringers were painted a dark brown color, and the balusters, newel posts and handrails were painted with a green paint that contained verdigris. This same color scheme is in place today, suggesting that some scraping may have been carried out at some point.

In the third generation, the verdigris-green paint was re-applied to those elements that were green in the second generation, the baseboards were painted dark brown, and the stringers were left dark brown, not receiving a new layer of paint.

In later generations, the stringers, newel posts, and balusters were painted a variety of light gray, white, and off-white colors. Even the baseboards were painted white in the majority of these generations. However, from the sixth generation onwards, the handrail was decorated with a series of boldly-colored imitation wood graining finishes, matching what was found on the door leaves throughout the house.

Palmer House Staircase

Palmer House Staircase — stringer

Palmer House Staircase — balusters

Palmer House Staircase — newel post

Palmer House Staircase- handrail

Palmer House Staircase- baseboard

Description:

The four-panel cellar door leaf under the stairs is reported to be original to the house (Douglas 1956, 21). It had been relocated before the restoration, and is now restored to its rightful place. In-situ, the architrave was examined and it appeared to be old as well, having substantial accumulations of paint. The hinges are reproduction. Currently, the door is painted dark red-brown with olive-green trim. The paint schedule for the first floor hall reports that this door leaf was painted red brown #773 with dark green trim #827 (Douglas 1956, 37).

When examined, the cellar side of the door leaf did not appear to contain as many generations of paint as the hall side, and the trim looked new.

Results:

Three samples were collected from the door leaf under the stairs (PH 17 - PH 19), and one was collected from the architrave and the hall side (PH 20). One sample was collected from the cellar side of the door leaf (PH 21).

In the first generation, both sides of the cellar door leaf and the door architrave on the hall side were painted with the same light gray paint used on the stairs. In sample PH 19b, the surface of this paint is uneven and worn, again suggesting this was a finish layer, not a primer.

In the second generation, both sides of the door leaf were painted dark brown and varnished (although the cellar side evidence is fragmentary and questions remain), while the architrave was painted with a verdigris- green paint. This scheme matches the verdigris paint on the main stair in this period.

In the third generation, the door leaves were again painted dark brown and the trim was re-painted with the verdigris green paint. Again, this same scheme was found on the staircase.

Following the early verdigris green paint generations, the architrave was painted with various shades of gray, white, and off-white colors for most of its decorative history, similar to the staircase. In fact, the architrave sample (PH 20), has a very similar stratigraphy to the staircase balusters (PH 2 and PH 6).

The hall side of the door leaf was painted dark brown and varnished repeatedly in its early history, from generations 2-5. By comparison, generation 7 on the door leaf aligns strongly with generation 5 on the architrave, suggesting that the door leaf was painted with more frequency than the trim. Each dark brown paint layer exhibits substantial disruption and accumulations of grime on their surfaces, suggesting that frequent use may have been behind the constant re-painting. Following the dark brown paint generations, the door was painted a bright green color and varnished in generation 6. This may have aligned with the fourth generation white paint on the trim.

Shortly thereafter, the door leaf was painted with a series of brightly-colored imitation wood graining finishes that align with those found on the staircase handrail. The door architrave continued to be painted white or off-white. Therefore, during these periods, the entry hall scheme would have been white trim with faux-grained door leaves while the stair was painted white with a faux-grained handrail to match the leaves. This is suggestive of a late 19th-century or early 20th-century decorative scheme.

Sample Locations: First floor, entry hall, cellar door (under stairs)

Cellar door, entry hall

Cellar door, top of cellar stairs

First floor, entry hall, cellar door under stairs

First floor, entry hall, cellar door under stairs (hall side)

First floor, entry hall, cellar door under stairs (cellar side)

Description:

The closet on the west wall of the living room was constructed during the restoration, based on evidence that suggested a closet had originally been located there (Douglas 1956, 25). All of the closet woodwork is new except the six-panel door leaf, original to the house, having been found in the attic (Ibid.). However the report does not clearly state what evidence there was that suggested this door originates from the living room. On-site examinations found substantial paint accumulations exist on the room-side, but the closet-side appears to have lost its original paint history (Chappell 2011, sample memo).

The door leaf is currently painted dark red-brown with olive-green trim. The report paint schedule for this room states that the woodwork is to be painted dark green #827, "the same as the living room" (Douglas 1956, 38). This would appear to be a misprint, as no modern green paints were found on the door. The report also states "all other doors downstairs except in the kitchen are dark brown #773 (Douglas 1956, 37). This is more in keeping with what was found on the door in this analysis.

Summary of results:

Three samples were collected from the room-side of the door leaf (PH 13, 14, and 15). The evidence shows that the first seven generations of paint clearly align with those on the cellar door leaf in the entry hall (PH 19). The first generation is a light gray paint, whose worn and uneven surface indicates it was indeed a finish layer (PH 15). This is followed by repeated applications of dark brown paints with varnishes from generations 2-5. These paints appear disrupted and have substantial accumulations of grime separating the layers, like the cellar door. In the sixth generation, the door was painted with a gray base coat (6a), bright green paint (6b), and varnish layer (6c).

After the sixth generation, the door leaf was painted with various shades of gray and off-white, some of which align with paints found on the entry hall trim and stair. In contrast to the entry hall, where in later years the cellar door leaf and stair handrail were repeatedly painted to imitate wood grain, only one faux-wood graining generation (generation 10), was observed in the samples collected from this door leaf. This is immediately followed by modern, industrially prepared red-brown paints, most likely applied by CWF. Since the report states that this door was found in an attic, it is possible that this leaf is missing later wood-graining generations because it had been de-installed at that time.

Sample locations; Palmer House, first floor, living room, closet door

First floor, living room, closet door, room-side

First floor, living room, closet door, closet-side

Palmer House, first floor, living room, closet door leaf

Description:

The rear door leaf is reported to be original to the house and is suggested to have its original HL hinges (Douglas 1956, 12). In-situ, the door leaf was examined and did not appear to have any old paint evidence, although a ¼" ribbon of 'ghosting' was visible around the inner perimeter of the panels, suggestive of some type of painted decorative border beneath successive layers of paint. However, numerous micro-excavations with a scalpel and hand-held magnifier did not reveal more than one or two modern paint layers. The same conditions were found on the architrave, although approximately twenty-five generations were found on the exterior side of the leaf (Loeblich 2007, 13).

Currently, the door is painted red-brown with olive-green trim. The paint schedule for the first floor hall reports that the rear door leaf was painted dark green #827 in a satin finish (Douglas 1956, 37). As with the living room door leaf, this would appear to be a misprint, as no modern green paints were found on the door.

Summary of results:

Since multiple micro-excavations failed to find evidence of early paints on this side of the door leaf, only one sample was collected (PH 16), in the hope of finding early material embedded deep in the wood substrate. This sample was collected from the "paint ghost" around the inner perimeter of an upper panel.

This sample found no evidence of historic finishes on the hall-side of the south (rear) door leaf. The first paint generation is a white, finely ground paint or primer that appears industrially prepared. This is followed by at least five generations of what appear to be 20th-century red-brown paints that align with the later paints on the stair in the hall. These are the red-brown paints that have been applied by CWF since the restoration. Because of this evidence, it would appear that the historic finishes were stripped from this side of the door, possibly during the restoration. It is unclear why the finishes on the exterior-side were not removed as well.

Sample locations; Palmer House, first floor, entry hall, south (rear) door

First floor, entry hall, south (rear) door

Palmer House, first floor, entry hall, south (rear) door leaf

Description:

The architectural report states that the closet door in the northwest bedroom is original (Douglas 1956, 33). It is a six panel door with raised panels on the room-side and a plain, inferior construction on the closet-side. It was used as the model for all of the second-floor doors. The report refers to this room as "bedroom #1," and its paint colors are recorded as 'gray-green # 101' with the closets painted similarly (Douglas 1956, 29, 38). Today, the closet door is painted dark brown. During sampling it was noted that this door retains substantial accumulations of paint, much of which is cracked extensively in an 'alligatoring' pattern, possibly from heat exposure. On-site excavation suggests that fewer generations are present on the closet side.

Summary of results:

Six samples were collected from the door leaf. Samples PH 8, PH 12 and PH 29 -PH 31 were collected from the room side, while sample PH 11 was collected from the inferior closet side. Many of these showed heavily disrupted stratigraphies with missing paint layers, and are not discussed here.

Samples PH 31 (room side) and PH 11 (closet side) indicate that both sides of the door were painted in the same manner from generations 1-6, although the first generation light gray paint was found on the closet side, but not the room-side of the door. However, the painted surface was particularly disrupted and it may have been lost from the room side.

On both sides of the door, generations 2-5 are multiple applications of red-brown paints, and generation 6 consists of a gray base coat, green paint, and varnish layer. The sample taken from the ogee on the room side (PH 31), exhibits a much darker green paint in this generation, which suggests that the door was bright green with dark green ogees in this period. These first six generations are also the same as those found on the door leaves on the first floor, suggesting that the door leaves on the first and second floors were painted in the same manner in the early history of the house.

Sample locations; Palmer House, second floor, north bedroom, closet door

closet door, room-side

closet door, closet-side

Description:

The cellar-side of the entry door in the stair passage is painted dark red-brown with green trim, like the hall side. The trim appears to be new, but the door is old, although on-site examination suggests that fewer layers of paint appear to be present on this side of the leaf, compared to the opposite side.

The architectural report states that the doors in the cellar are all new (Douglas 1956, 18), this appears to include both the leaves and the trim, but is not specified. On-site examination by Edward Chappell suggests that the frame of the leftmost (south) door frame on the north-south partition could be original. On-site micro-excavation found one thin red-brown paint followed by what appear to be a few layers or modern white paints. However, this same paint history was also found on the north door frame, which is known to be new. The architectural report states that all woodwork in the cellar is to be painted flat white. The present color is a glossy white.

Results:

Three samples were collected from the cellar door frames along the north-south partition wall. Samples PH 22 and PH 24 were collected from the left (south) door frame, and for comparative purposes one sample, PH 23, was collected from the right (north), door frame, known to date to the restoration (1950). One sample, PH 25, was also collected from the surface of an exposed beam running along the east wall of the cellar stairway. Flaking accumulations of limewash appeared to have been applied to this element.

The samples from the cellar contain little information relating to the finish history of this space. Both the old and new door frames retain the same paint history consisting of one red and two white paint generations, all of which appear to be modern. This would suggest that the older frame was never painted, although there was no accumulation of grime that would be expected on a surface left exposed for over two centuries.

Approximately seven generations of limewash were found on the beam along the east cellar stair wall. One of these coatings, labelled generation 2, is a light yellow-tan color but it could not be determined if this was a deliberately pigmented limewash or an accidental deposit of some type (it was not consistently applied to the entire beam, although this could also result from deterioration and loss).

Sample locations: Cellar

cellar, south (left) door at north-south partition wall

cellar, south door viewed from the west room

cellar, beam running along east stair wall

No photo of north (right) door in north-south partition wall

Cellar door frames

Cellar stair beam

Summary:

In the majority of samples, fluorochrome staining reactions were faint and difficult to interpret, and did not provide conclusive evidence pertaining to the medium of the earliest paints. However, in sample PH 28, a positive reaction for oils with DCF was observed in the first generation light gray paint.

In sample PH 1 (staircase stringer), generations 9-12 stained positively with TTC, FITC, and DCF. Most likely these are 'false positives' resulting from detergents and cellulosic bulking agents added to industrially prepared paints. Although in cross-section the first generation light gray has the characteristics of a traditional oil-bound paint, no reactions for lipids (oils) with DCF were observed. However, a positive FITC reaction was observed, which could suggest that a proteinaceous material, such as animal glue, was used to disperse the pigments during grinding. Similar reactions were observed in the second generation dark brown paint, which stained positively for FITC, while TTC and DCF reactions were negative.

In sample PH 19 (entry hall, door to cellar), positive reactions with all three stains were observed in generation 11, which appear to be 'false positives' generated by industrially prepared paints. Faint, "splotchy" reactions for proteins with FITC and oils with DCF were observed in some of the earliest paints, but these do not appear to be true reactions.

In sample PH 28 (staircase handrail), a positive reaction for oils was observed in the first generation light gray paint, suggesting it is oil-bound. Later, industrially prepared paint generations exhibited 'false positives' seen in the other samples.

Binding media analysis results

Summary:

Pigments in 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 light gray paint seen throughout the house is composed primarily of lead white (2PbCO₃ ‧ Pb(OH)₂), chalk (CaCO₃), carbon black (C), and a very small amount of red earth pigment (Fe₂O₃).

The second generation dark brown paint applied to the door leaves and the stair stringers is composed of red earth pigment (Fe₂O₃), and carbon black (C). Some lead white was included in this sample, which most likely is a contaminant from surrounding paint layers.

The second generation green paint on the stair balusters, newel posts and handrails, as well as the door architraves appears to be a verdigris-based paint coated with a copper-based glaze in which particles of lead white (2PbCO₃ ‧ Pb(OH)₂), and yellow earth (Fe₂O3 ‧ nH₂O), were suspended. While large discrete verdigris particles were observed in cross-section, these were not seen in the dispersed pigment sample. Instrumental techniques such as FTIR or Raman spectroscopy could be carried out to conclusively identify verdigris, and organic media analysis with gas-chromatography mass-spectrometry (GC-MS), could determine if this is a copper-resinate glaze or verdigris pigments ground in a drying oil.

Pigment Identification Results

Color Measurement Results

Sample Preparation:

The samples were cast in mini-cubes of Extec Polyester Clear Resin (methyl methacrylate monomer), polymerized with the recommended amount of methyl ethyl ketone peroxide catalyst. The resin was allowed to cure for 24 hours under ambient light. After cure, the individual cubes were removed from the casting tray and sanded down using a rotary sander with grits ranging from 200 - 600 to expose the cross-section surface. The samples were then dry polished with silica-embedded Micro-mesh Inc. cloths with grits ranging from 1500 to 12,000, lending the final cross-section surface a glassy-smooth finish.

Microscopy and Documentation:

The cross-section samples were examined using a Nikon Eclipse 80i microscope equipped with an EXFO X-cite 120 fluorescence illumination system fiber-optic halogen light source. Samples were examined and photographed under visible and ultraviolet light conditions (330-380 nm), at 20 to 200x magnifications. Digital images were captured using a Spot Flex digital camera with Spot Advance (version 4.6) software. All images were recorded as 12.6 MB tiff files and stored on a hard drive in a folder titled "Palmer House Interior" on Susan Buck's laboratory computer. A separate set of images will be stored on the CWF digital database, accompanied by the appropriate metadata and a digital version of the final report.

Binding Media Analysis using Fluorochrome staining:

Fluorochrome stains adapted from the biological sciences were used to characterize the paint binding media (oils, proteins, carbohydrates), in layers within the cross-section sample. The following stains were used in this analysis:

• 2,7 Dichlorofluorescein (DCF): 0.02% w/v in ethanol. Fluorescent labeling reagent for lipids, particularly drying oils. One drop of stain was applied to the surface of the sample, blotted immediately, and cover-slipped with mineral spirits. The reaction was observed with the B2A filter cube (EX 450-490nm, BA 520nm). This stain exhibits a yellow-green fluorescence where lipids are present.
• Triphenyl tetrazolium chloride (TTC): 1.0% w/v in ethanol. Labeling reagent for carbohydrates (gums, starches, cellulosic thickeners). One drop of stain was applied to the surface of the sample, blotted dry, and allowed to sit for approximately 45 seconds before cover-slipping, (must be allowed to react with atmospheric moisture for reaction to move forward). The reaction is observed under reflected UV light conditions (EX 330-380nm, BA 420nm). A dark red-brown color is seen where carbohydrates are present.
• Fluorescein isothiocyanate (FITC): 0.02% w/v in anhydrous acetone. Fluorescent labeling reagent for proteins. One drop of stain was applied to the surface of the sample, blotted immediately, and cover-slipped with mineral spirits. The reaction was observed using the B-2A filter cube (EX 450-490 nm, BA 520nm). A positive reaction is a bright yellow-green fluorescence.

Pigment Identification with Polarized Light Microscopy:

To collect a pigment sample for polarized light microscopy (PLM), a surgical scalpel was used to collect a small scraping from a clean, representative area of paint. The blade was then pressed and pulled across a clean glass microscope slide, dispersing the pigment particles across the surface. The pigments were then permanently embedded under a cover slip using Cargille Meltmount (refractive index 1.66). The embedded pigments were then examined in cross and plane-polarized transmitted light with the Nikon Eclipse 80i microscope at 1000x magnification (using an oil immersion objective). The observed morphologies (size, shape, agglomeration, cleavage patterns), and optical properties (including color, refractive index, extinction), were compared to reference standards as well as literature sources before making final determinations.

Color measurement and matching:

Color measurements were taken using the Minolta Chroma Meter CR-241 colorimeter/ microscope in Susan Buck's paint analysis laboratory. Equipped with an internal 360-degree pulsed xenon arc lamp, this instrument is capable of obtaining accurate color measurements in any one of five different tristimulus color measurement systems from areas as small as 0.3mm. For the purposes of this project, color values in CIE L*a*b* colorspace and the Munsell color system were obtained.

The CIE L*a*b* color space system (developed in 1976 by the Commission International de l'Eclairage, and now an internationally accepted industry-standard color measuring system) uses three numerical values, known as "tristimulus" values, to measure color: L* is the lightness variable, representing dark to light on a scale of 0-100, while a* and b* are chromaticity coordinates, a* representing red to green on scale from -50 to +50, and b*representing blue to yellow on a scale from -50 to +50. These three coordinates are used to plot the location of a color in the CIE L*a*b* colorspace.

These resulting values can be used to quantify color differences (Δ E), between two samples. To obtain this value, the following calculation is used:

ΔE = (ΔL*)^½ + (Δa*)^½ + (Δb*)^½

Ideally, color measurements should be collected from a clean, unweathered sample area. If necessary, a scalpel is used to scrape an area clean before color matching. Due to inherent color variations in paints (especially in hand ground, pre-industrial coatings), multiple readings are taken and averaged together to establish the final CIE L*a*b* values.

Due to the deterioration, soiling, and fragmentary nature of some early paints, color readings cannot always be obtained with the Chroma Meter. In these instances, paints are matched by eye to Munsell standard color swatches and commercial paint chips, using a stereomicroscope at 30x magnification with a color corrected light source. Commercial systems consulted include Benjamin Moore, Sherwin Williams, Pittsburgh Paints, and the Colonial Williamsburg Color Collection.

Entrance to cellar, under hall staircase:

I did get good samples last time but they appeared to be missing the first generation, so I collected additional paint samples particularly wood with early layers. The architrave on the hall side appears to be old with substantial paint accumulations, so I was able to collect a sample from this as well, although the paint are very disrupted and I had to make numerous excavations to find a spot that had what might be intact evidence. On the opposite (cellar) side, this door leaf does not appear to have as many paint layers as the hall side, and the trim looks new.

PH 19: First floor, entry hall, cellar entrance door under staircase, door leaf, hall side, front surface of lower right raised panel, lower left corner, 3" up from bottom

PH 20: First floor, entry hall, cellar entrance door under staircase, door architrave, inner side of left jamb, 52" up from bottom

PH 21: Cellar entrance door from cellar side, door leaf, lower left panel, 24" up from bottom

Cellar:

I examined the frame of the south (left) door on the north-south partition in the east cellar space. This appeared to have a red-brown followed by modern white paints, but I saw these same paints on the jamb of the door on the north (right) side, which is known to be new. I did take samples from both surfaces for comparison. I also noticed that the beams you pass on the stairwell (floor joists? I am not certain), appeared very old and had some thick accumulations of limewash clinging to their surface. I collected a sample of this as well.

PH 22: Cellar, north-south partition wall, south (left) door frame, left jamb, east face, 38" up from floor

PH 23: Cellar, north-south partition wall, north (right) door frame, right jamb, 50" up from floor (this door dates to the restoration in 1950)

PH 24: Cellar, southwest room, frame of door on north-south partition (same door sampled as

PH 22, but from opposite side), right jamb, 50" from floor

PH 25: Cellar, east wall along stairs, exposed wood beam (floor joist?), 17" from north end and 8" up from bottom edge

Staircase:

I didn't get a good sample from the baseboards last time, this was confirmed on-site as I conducted a few micro-excavations which proved there were many more layers than what I had previously collected, most of which were white. I also felt that the sample from the handrail I collected on my previous visit was missing some paint layers. I tried to find a good spot from which to sample with an intact paint history, but this was very hard to find. I ended up going back to the site of the original handrail sample (PH 9) and taking another, hopefully more intact, sample from there.

PH 26: Staircase, baseboard along the east wall at the 6th step just under the junction of the window architrave (north jamb) and the east baseboard.

PH 27: Staircase, baseboard along the west wall, opposite sample PH 26, just under the 14th baluster from bottom (not counting the half baluster on the newel post).

PH 28: Staircase, second-floor landing, fascia of handrail, south face, same location as PH 9.

Second floor, north bedroom, closet door leaf:

I took three more samples from this door, because the previous samples hinted that the earliest paints were there (same as first floor), but that some later generations were missing. Since this is the only surviving second floor door leaf, I thought I would take more samples to get a clearer picture of how the leaves upstairs were finished in comparison with those on the first floor. I looked again at the closet side of this door, there are definitely fewer paints extant, and it appears that the paint sample I collected last time contains all there is.

PH 29: second floor, north bedroom, closet door leaf, room side, lower left raised panel under the bottom edge at the left corner

PH 30: second floor, north bedroom, closet door leaf, room side, bottom ogee of second rail up from the bottom, at the far left edge under the handle (same as PH 12, took a larger sample with wood substrate)

PH 31: second floor, north bedroom, closet door leaf, room side, second stile from the top, top ogee, 13" from left edge