Cross-section Microscopy Analysis of Farmer's Delight

Farmer’s Delight Interior Paint Study –Susan L. Buck, November 20, 2014

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Cross-section Microscopy Report

Farmer’s Delight Paint Interior Paint Study

Loudon County, Virginia

For: Maral Kalbian, LLC

Architectural Historian

P.O. Box 468

Berryville, VA 22611

Conservator: Susan L. Buck, Ph.D.

303 Griffin Avenue

Williamsburg, VA 23185

Date: November 20, 2014

Purpose:

The goal of this project is to use cross-section microscopy analysis techniques to identify

the paints remaining on protected areas of interior of ca. 1799 Farmer’s Delight. This

paint study is intended to help understand the original interior palette and how selected

interior spaces in the main block of the building were painted over time. Paint

archaeology will help to clarify early interior alterations. Original or early paints will be

color-matched for replication with the help of a colorimeter/microscope.


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Procedures:

The work began with a meeting at the site on August 6 and 7, 2014 with architectural

historians Dennis Pogue and Maral Kalbian to review the potential areas for sampling

and to discuss the goals of the project. It was agreed that because the budget was

limited, a conservative approach would be taken for sampling, with observations on-site

helping to clarify the analysis findings. Floor plans were provided by Kalbian for

reference.

Before sampling the surfaces were first examined at 30X with a monocular microscope

and at 10X with an illuminated loupe to find the most promising sample locations. The

samples were about 200 to 400 microns in size and were removed with a microscalpel

and placed in labeled baggies for transport. When the paint flakes cleaved away from the

wood substrates they were stored in the same baggies so they could be cast together for

analysis.

Before casting, the samples from both site visits were examined at 45X magnification

under a binocular microscope to screen them for duplicates. The samples that retained

the most complete stratigraphies were cast into polyester resin cubes for permanent

mounting. The cubes were ground and polished for cross-section microscopy analysis

and photography. The sample preparation methods and analytical procedures are

described in the reference section of this report.

The cast samples were analyzed with a Nikon Eclipse 80i epi-fluorescence microscope

equipped with an EXFO X-Cite 120 Fluorescence Illumination System fiberoptic halogen

light source and a polarizing light base using SPOT Advanced software (v. 6.1) for digital

image capture and Adobe Photoshop CS for digital image management. Digital images

of the best representative cross-sections are included in this report. Please note that the

colors in the digital images are affected by the variability of color capture printing and do

not accurately represent the actual colors.


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Paint Analysis Results

Farmer’s Delight is part of Robert Carter’s tract, and in 1791 Robert Lane acquired the

property. Dendrochronology analysis by Dan Miles determined that the house was built

in 1799.1 The alterations that can be dated include the 1940 ell at the south end, and the

1940 shed addition which created a connection between the dining room and the kitchen.

The south end of the building, which includes a utility room, was added in 1962.

Selective changes were made to the rooms in the main block, but all six spaces sampled

for this paint study seem to remain remarkably intact, with the exception of several later

door openings which were created to allow access to the ell additions. This study focused

on the paint histories on the interior woodwork, although a few areas of early plaster were

sampled to look for the earliest paint treatments. Two areas of the exterior were also

sampled to search for original paint.

First-floor Paint Findings:

The results of the cross-section microscopy analysis are presented by room, beginning

with the dining room (101), followed by the passage (102) and the parlor (103). The

dining room, passage and parlor were examined and sampled to establish the original

paint treatments and to comparatively date alterations and additions, such as the door in

the dining room leading to the 1940 ell, the corner closet in the southeast corner of the

passage, the door at the west end of the passage, and the window on the north wall of the

north bedroom. Paint archaeology can help relate the first paint layer on added elements

with the full sequence of paints found on original elements.

Dining Room 101

The woodwork in this space is currently painted light blue, and it was possible to see

substantial accumulations of earlier paints when the surfaces were examined with a 10X

hand-held loupe (Dermlite DL100). The plaster was as no promising areas were

identified. Eight samples were taken to establish the paint histories on all the

representative elements – doors, architraves, baseboards, mantel, chair rails – in the

dining room.

North Wall of Dining Room

1 Maral Kalbian, email communication.


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Dining Room Sample Locations

101-1. North wall, left architrave, backband molding, inner molding, about 5’ up.

101-2. North wall door, upper left corner, bottom left panel.

101-3. East wall, north window, left architrave, backband molding.

101-4. East wall, chair rail plinth, below left architrave of north window.

101-5. East wall, baseboard plinth, below left architrave of north window.

101-6. South wall, mantel, cove molding below dentils, left side.

101-7. South wall, trapped original door opening, interior or exterior surface?, in west

corner.

101-8. South wall, right architrave for door opening.

North Wall North Wall Door Architrave

North Wall Door East Wall Window Architrave

101-1

101-2 101-3


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East Wall Chair Rail East Wall Baseboard

South Wall Trapped Door Opening

Woodwork Paint in Room 101.

Comparative cross-section analysis shows that certain elements in the dining room were

originally painted in the same manner as the passage. The north wall door was originally

grain-painted on both sides, with a recognizable sequence of paints consisting of a red-

brown glaze on a yellow base coat and an off-white primer (see sample 101-2). All of the

woodwork in the passage was discovered to have been grained in the same manner, with

the exception of dark brown baseboards. The baseboards in the dining room were

originally dark brown as well (sample 101-5), but the window architraves and chair rails

were originally painted dark gray (samples 101-3 and 101-4). One unusual finding was

that the north wall door architrave was originally painted dark red-brown, like the mantel

(samples 101-1 and 101-6 respectively). This is surprising as interiors of this period were

more often painted in a monochromatic manner.

When the room was repainted in the second generation the mantel and door architraves

were repainted with a glossier dark brown, as were the baseboards. The chair rails and

window architraves were coated with a pigmented varnish, which would have produced a

101-5 101-4

101-7


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glossier, darker gray, and the door was also revarnished. In generation 3 all the first-floor

rooms were painted with the same type of monochromatic gray palette.

The paint history on the architrave for the south wall door opening (sample 101-8) is

more difficult to interpret as the wood substrate is fibrous and disrupted, likely from paint

stripping. The first paint layer on top of the stripped wood can be aligned with the gray

paint in generation 3 in the reconstructed paint history.

Sample 101-7 was taken from the trapped section of the original south wall door opening.

This element now appears quite blackened, and the paint history suggests that it may

have remnants of the same dark brown paint on an off-white primer found in the sample

from the north wall door architrave (101-1) and the mantel (101-6). The reconstructed

paint history for this space is shown in the following chart.

Room 101 Comparative Paint Histories Generation Mantel

101-6

Chair rail

101-4

Window

architrave

101-3

Baseboard

101-5

North door

architrave

101-1

Door

101-2

South door

architrave

101-8

10 - 14 Light

greens

Light

greens

Light greens Light

greens

Light greens Light greens Light greens

9 Green Green Green Green Green Green Green

8 Cream

color

Cream

color

Cream color Cream

color

Cream color Cream color Cream color

7 Cream

color

Cream

color

Cream color Cream

color


6 Cream

color

Cream

color

Cream color Cream

color


5 Cream

color

Cream

color

Cream color Cream

color


4 Light

gray

Light gray Light gray Light gray Light gray Light gray Light gray

3 Gray Gray Gray Gray Gray Gray Gray

2 Dark

brown

Pigmented

varnish

Pigmented

varnish

Dark

brown

Dark brown Pigmented

varnish

Missing

1 Brown Gray Gray Dark

brown

Brown Grained Missing


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Sample 101-1. North wall, left architrave, backband molding, inner molding, about 5’

up.

Visible Light 200X Ultraviolet Light 200X

Sample 101-2. North wall door, upper left corner, bottom left panel.


1. Graining on yellow base coat with off-white

primer

2. Pigmented varnish

3. Gray

1. Dark brown on off-white primer

3. Gray

4. Light gray 5. Tan

6. Cream color

7. Cream color

9. Green

9. Light green

10. Light green

11. Light green

12. Light green

4. Light gray

5. Cream color

6. Cream color

7. Cream color

8. Cream color

9. Green (generation 9 in room 102)


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Sample 101-3. East wall, north window, left architrave, backband molding.


Sample 101-4. East wall, chair rail plinth, below left architrave of north window.


Sample 101-5. East wall, baseboard plinth, below left architrave of north window.


2. Oil-resin varnish

1. Dark gray

Wood

1. Dark gray

2. Oil-resin varnish

Wood

3. Gray

4. Light gray

5. Cream color

6. Cream color

7. Cream color

Shellac sealant

Shellac sealant

Shellac sealant

1. Dark brown

2. Coarse dark brown

3. Black 4. Varnish

5. Cream color

3. Gray

6. Cream color


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Sample 101-6. South wall, mantel, cove molding below dentils, left side.


Sample 101-7. South wall, trapped original door opening, interior or exterior surface?, in

west corner.


Sample 101-8. South wall, right architrave for door opening.


1. Remnants of dark brown on off-white

primer

Wood

1. Dark brown on off-white primer

2. Dark brown (2 layers)

3. Gray

Darkened stripped wood

3. Gray

4. Cream color

4. Cream color

5. Cream color

6. Cream color

9. Green

10-14 Recent green paints

5. Cream color

6. Cream color

7. Cream color


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Entry Hall 102

The primary questions related to this central circulation space are whether the woodwork

for the door opening at the west end of the passage is original, how many paint layers

were applied to the trapped woodwork and wall plaster before the corner closet was

building, when in the paint history the corner closet was installed, and how the paints in

this space relate to the paints in the second-floor passage. Ten samples were taken from

representative areas of woodwork and one sample was taken from the undisturbed plaster

in the corner closet to help answer these questions.

Southeast Corner of Passage West End of Passage

Entry Hall Sample Locations

102-1. South wall, southeast corner, chair rail trapped in corner closet.

102-2. South wall, southeast corner, plaster on lower wall trapped in corner closet.

102-3. South wall, southeast corner, baseboard trapped in corner closet.

102-4. South wall, southeast corner, later corner closet, upper left corner of lower door

opening.

102-5. South wall, southeast corner, peg rail trapped in corner closet.

102-6. Staircase baluster, on north-facing plinth of baluster on seventh step up.

102-7. Door under stair, upper left corner, middle left panel.

102-8. South wall, door architrave under stair, backband molding, left side.

102-9. West wall, door opening, left side of door reveal, about 5’ up. (all paints match

except the moldings above the door)

102-10. North wall, chair rail, northwest corner.

102-11. North wall, base plinth, northwest corner.


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Room 102 Inside Corner Closet Baseboard Inside Corner Closet

Room 102 Corner closet Pegrail Inside Corner Closet

Staircase Elements Door Under Staircase

102-8

102-7

102-2

102-1

102-3

102-4

102-5

102-6


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West Wall Door Reveal Chair rail

Baseboard


The comparative paint evidence consistently shows that the woodwork in this space was

originally grain-painted with a recognizable sequence of paints consisting of a red glaze

layer on top of a yellow base coat and an off-white primer. In most areas the graining

was varnished over after the graining had become darkened and cracked. This evidence

of original graining was found on the trapped chair rail and pegrail (102-1 and 102-5), the

staircase baluster and architrave for the door under the staircase (102-6 and 102-8), and

the reveal for the west wall door (102-9). All the investigations on-site suggests that the

door opening on the west wall is original as all the elements except the door and the

narrow molding above the door opening retain the original graining. The same grain-

painting was found as the original treatment on the woodwork in the second-floor

passage.

There are approximately 12 generations of paint on the woodwork in the passage, and the

trapped woodwork in the corner closet was painted four times before the closet was

constructed. The first paint generation on the closet door is a gray paint that can be

aligned with generation 5 in the paint chronology.

102-10

102-11

102-9


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The comparative evidence also shows that the baseboards were originally painted dark

brown (102-3 and 102-11) and then repainted dark brown a second time before they were

consistently repainted to match the rest of the woodwork.

The paint chronology in the passage is shown in the chart below.

Passage Woodwork Paint Stratigraphy

Generation/Layer Observations 12. Light green

11. Light green

10. Light green

9. Green

8. Cream color

7. Gray

6. Cream color

5. Gray First paint layer on the corner closet

4. Light gray

3. Gray

2. Varnish Baseboards repainted dark brown

1. Uneven dark red glaze Graining became cracked and dirty before

being varnished over

1. Yellow base coat Baseboards were originally dark brown

1. White primer

1. Shellac sealant

Wood

Sample 102-1. South wall, southeast corner, chair rail trapped in corner closet.


Visible Light 200X Substrate Ultraviolet Light 200X

1. Graining on yellow base coat and

off-white primer

2. Varnish

Wood

3. Gray

4. Light gray


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Sample 102-3. South wall, southeast corner, baseboard trapped in corner closet.


Sample 102-4. South wall, southeast corner, later corner closet, upper left corner of

lower door opening.


Sample 102-5. South wall, southeast corner, peg rail trapped in corner closet.


1. Dark brown

3. Gray

4. Light gray

Wood Shellac sealant in the wood

Wood

5. Coarse gray

1. Graining on yellow base coat and

off-white primer

Wood

3. Gray

4. Light gray

2. Dark brown


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Sample 102-6. Staircase baluster, on north-facing plinth of baluster on seventh step up.


Sample 102-7. Door under stair, upper left corner, middle left panel.


3. Gray

4. Light gray

1. Graining on yellow base coat and white primer

2. Varnish

3. Gray

4. Light gray

5. Cream color

6. Tan

7. Tan

8. Cream color

5. Gray

7. Gray

8. Cream color

6. Cream color

9-12


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Sample 102-8. South wall, door architrave under stair, backband molding, left side.


Sample 102-9. West wall, door opening, left side of door reveal, about 5’ up.



2. Varnish

3. Gray

4. Light gray

5. Light gray

6. Cream color

7. Light gray

9. Green



3. Gray

2. Varnish

4. Light gray

5. Gray

6. Cream color

7. Gray

8. Cream color

10-12


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Sample 102-10. North wall, chair rail, northwest corner.


Visible Light 200X Substrate Ultraviolet Light 200x

Sample 102-11. North wall, base plinth, northwest corner.



Wood Shellac in the wood

2. Varnish

1. Dark brown

2. Dark brown

3. Gray

4. Light gray

6. Cream color

2. Varnish

3. Gray

4. Light gray

5. Gray

6. Cream color

7. Gray

8. Cream color

9. Green

10. Light green

11. Light green

12. Light green

5. Gray


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Wall Paint in Room 102.

One sample was taken from the early plaster that remains protected within the corner

closet. In this sample the first two translucent white layers are consistent with traditional

white limewashes that have darkened over time. These two chalky coatings are followed

by a thin off-white wall paint and the current gray paint. It is not possible to determine

how long each limewash was exposed before being repainted, but the evidence does

indicate that the walls in the passage were originally matte white or off-white when the

woodwork was grain-painted and the baseboards were dark brown.

Sample 102-2. South wall, southeast corner, plaster on lower wall trapped in corner

closet.


Brown coat

White finish plaster

1. Discolored limewash

2. Discolored limewash 3. Off-white 4. Light gray


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Parlor 103

Nine samples were taken from the woodwork and one was taken from a protected area of

plaster to identify the surviving paints. This is the only room in the main block with

wainscoting.

Parlor Sample Locations

103-1. North wall mantel, reeding above opening, right side.

103-2. North wall mantel, block below reeding, right side,

103-3. West wall, plinth for chair rail, below north window.

103-4. West wall, top of chair rail, just left of north window.

103-5. West wall, wainscoting below north window (graining?)

103-6. West wall, plinth of baseboard below north window.

103-7. West wall, cornice, base molding between the two windows.

103-8. South wall, door architrave, backband molding, left side about 4’ up.

103-9. South wall door, upper left corner of middle left panel.

103-10. West wall, materials overlapped onto top of north window architrave.

Room 103 Mantel West Wall Window

103-4

103-1

103-2


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West Wall Wainscoting Baseboard

West Wall Cornice South Wall Door Architrave

West Wall Plaster

103-10

103-5

103-3

103-6

103-7 103-8


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The evidence in the nine woodwork samples from this room suggests its original palette

was a more complex combination of colors than the passage or dining. The door was

originally grain-painted in the same manner as the adjacent passage (sample 103-9), and

the wainscoting (103-5) and the cap of the chair rail (103-4) seem to have originally been

grain-painted as well. The baseboards were originally the same dark brown as the

baseboards in the passage and dining room (103-6). A distinctive blue paint was found as

the original coating on the mantel (103-1, 103-2), on the chair rail plinth (103-3), and on

the cornice and door architrave (103-7 and 103-8).

So the comparative evidence suggests this room was quite originally colorful with its

grain-painted door, chair rail cap and wainscoting, in combination with a medium blue

cornice, chair rail plinth and architraves, and brown baseboards. In the second generation

it appears the door and wainscoting were re-grained, the baseboards remained dark

brown, and the rest of the woodwork was repainted cream color. In generation 3 the

room was a monochromatic gray, and it appears the room continued to be repainted in a

monochromatic manner up to the most recent paint scheme.

A chart with the comparative paint histories on the different elements is shown below.

Room 103 Comparative Paint Histories Generation Mantel

103-1

103-2

Chair

rail

plinth

103-3

Cap of chair

rail 103-4

Wainscoting

103-5

Baseboard

103-6

Cornice and

door

architrave

103-7

103-8

Door

103-9

10 - 14 Light

greens

9 Green

8 Cream

color

7 Cream

color

6 Cream

color

5 Tan Tan Tan Tan Tan Tan

4 Cream

color

Cream

color

Cream color Cream

color

Cream color Cream color

3 Gray Gray Gray Gray Gray Gray

2 Resinous

black

Cream

color

Grained Dark

brown

Cream color Possible

graining

1 Blue Blue Grained Dark

brown

Blue Grained


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Sample 103-1. North wall mantel, reeding above opening, right side.


Sample 103-2. North wall mantel, block below reeding, right side.


3. Gray

3. Gray

2. Resinous black

2. Resinous black

1. Blue

Wood

4. Cream color

5. Tans

4. Cream color

5. Tan

6. Cream color

7. Cream color

9. Blue-green

8. Cream color

1. Blue remnants


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Sample 103-3. West wall, plinth for chair rail, below north window.


Sample 103-5. West wall, wainscoting below north window.


3. Gray

2. Graining

1. Graining

4. Cream color

5. Tan

6. Cream color

7. Cream color

8. Off-white (2 layers)

9. Blue-green

11-14


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Sample 103-6. West wall, plinth of baseboard below north window.


Sample 103-7. West wall, cornice, base molding between the two windows.


Sample 103-8. South wall, door architrave, backband molding, left side about 4’ up.



1. Dark brown

2. Dark brown 3. Gray

1. Blue paint

2. Cream color

3. Light cream color

1. Blue paint

Wood

2. Cream color


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Sample 103-9. South wall door, upper left corner of middle left panel.



One sample taken from directly above a window architrave suggests that the walls may

have originally been coated with a matte yellow distemper paint (bound in dilute hide

glue). This is paint that was traditionally used for walls and wallpaper in the eighteenth

century, and it was frequently renewed because it is less durable than oil paints. The

yellow distemper is followed by four more generations of opaque oil paints beginning

with a cream color, and then dull yellow (see sample 103-10 below).

Sample 103-10. West wall, materials overlapped onto top of north window architrave.


1. Remnants of graining 3. Gray

Plaster

1. Yellow distemper

2. Cream color (2 layers)

3. Dull yellow

4. Pale green 5. Off-white


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South Bedroom 201

Six samples were taken from the woodwork in the north bedroom and one sample was

taken from an area that appeared to be early plaster. When the woodwork paints were

examined in situ it was easy to see an early pink paint on the later mantel which also

could be seen on the window and door architraves. The comparative cross-sections show

that this room was repainted somewhat less frequently than the first-floor rooms.

South Bedroom Sample Locations

201-1. North wall, right door architrave, about 4 ½’ up.

201-2. North wall, plaster just above chair rail, left of door.

201-3. North wall, chair rail, just left of door.

201-4. South wall, chair rail at join with mantel, right side.

201-5. South wall mantel, right side, third panel up from bottom, upper left corner –

mantel is a later installation.

201-6. North wall, baseboard right of door.

201-7. West wall, window architrave, north window, left architrave.

North Wall North Wall

201-1


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Room 201 North Wall South Wall

North Wall West Wall


The mantel was identified by Kalbian and Pogue as a later addition, but all the other

woodwork sampled appears to be original. The most complete paint sequence was found

in 201-4 from the chair rail to the right of the mantel. There are nine generations of paint

in this sample, beginning with a cream-colored paint on top of the wood. The second

generation is a distinctly pink paint, and it was found on all the woodwork except the

baseboards which were dark brown (sample 201-6). The first paint layer on the mantel is

this second-generation pink paint (sample 201-5). So the comparative paint stratigraphies

indicate that the room was only painted once before the mantel was installed and all the

woodwork was painted pink with dark brown baseboards. In the third generation a

varnish coating was applied to the woodwork, then in generation 4 the woodwork was

painted a uniform light gray. The door was not sampled, but it was likely grain-painted

on both the bedroom side and the passage side.

The following chart shows the chronology of paints on the woodwork in this room.

201-6

201-7

201-2

201-4

201-5

201-3


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Room 201 Comparative Paint Histories Generation Architraves

201-1, 201-7

Baseboards

201-6

Chair rail

201-3

Mantel

201-5

9 - 11 Whites Whites Whites Whites

8. Blue Blue Blue Blue

7. Light blue Light blue Light blue Light blue

6. Cream color Cream color Cream color Cream color

5. Cream color Cream color Cream color Cream color

4. Light gray Light gray Light gray Missing

3. Varnish Varnish Varnish Missing

2. Pink Pink Pink Pink

1. Cream color Dark brown Cream color Missing

Sample 201-1. North wall, right door architrave, about 4 ½’ up.



2. Pink paint

1. Cream color

Wood


3. Varnish

4. Light gray (2 layers)

5. Cream color

7. Light blue

8. Blue

9 -11. Whites


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Sample 201-3. North wall, chair rail, just left of door.


Sample 201-4. South wall, chair rail at join with mantel, right side.


Sample 201-5. South wall mantel, right side, third panel up from bottom, upper left

corner – mantel is a later installation.


2. Pink paint

1. Cream color

2. Pink paint

Wood

5. Cream color

2. Pink paint


5. Cream color

6. Cream color

7. Light blue

8. Blue (2 layers)

9. White

10. White


5. Cream color

6. Cream color

7. Light blue

8. Blue

9. White

3. Varnish

3. Varnish

11. White


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Sample 201-6. North wall, baseboard right of door.


Sample 201-7. West wall, window architrave, north window, left architrave.



The evidence in sample 201-2 suggests that the walls in this south bedchamber were

originally coated with a chalky, translucent white limewash, which is now quite

darkened. This was covered over with a second white limewash. The walls were then

repainted with a thin layer of opaque white paint. Generation 4 appears to be another

limewash and generation 5 is a medium yellow oil-bound paint.

Sample 201-2. North wall, plaster just above chair rail, left of door.


2. Dark brown

1. Dark brown

Wood Shellac sealant

1. Cream-colored paint (remnants)

Wood

2. Pink paint

4. Light gray

Plaster


2. Discolored limewash 3. White paint


5. Yellow paint


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Second-floor Hall 202

The investigations on-site suggested that the first- and second-floor stairhall elements

were always painted in the same manner. Six samples were taken from representative

areas of woodwork for comparison with the findings on the first floor.

Second-floor Hall Sample Locations

202-1. South wall, chair rail plinth, just right of door opening.

202-2. East wall, lower left corner of transom sash.

202-3. East wall, rail below transom window.

202-4. North wall door architrave, left side about 4 ½’ up.

202-5. North wall door, upper left corner, middle left panel.

202-6. East wall, baseboard left of door.

South Wall Chair Rail East Wall Transom Window

202-1 202-2

202-3


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North Wall Door East Wall Baseboard


One question posed about the woodwork in the second-floor passage is whether the

transom window on the east wall could be original. Comparative cross-section analysis

shows that all the original woodwork – chair rail, door architraves, doors – were

originally grained in the same manner as the woodwork on the first floor of the passage.

The architrave above the door opening on the east side was also originally grained (see

sample 202-3), but the early paints on the transom window sash do not have graining and

are considerably more disturbed. The original paint on the sash is cream-colored,

followed by dark tan. It is possible the sash was not originally grain-painted, but it is also

possible that this sash was moved from another location and was installed later, possibly

in generation 6, which is the earliest paint that can be aligned with the passage paint

layers.

The comparative paint histories show that the first and second-floor passage were

repainted in the same manner each time. The best example of a complete paint sequence

was found in sample 202-5 from the north wall door. The paint in sample 202-6 from the

east wall begins with the same dark brown observed as first coating on the first-floor

passage baseboards, and the baseboards were painted to match the rest of the woodwork

from generation 3 to the present.

202-4 202-6

202-5


33

Sample 202-1. South wall, chair rail plinth, just right of door opening.


Sample 202-2. East wall, lower left corner of transom sash.


Sample 202-3. East wall, rail below transom window.


1. Grain-painting on yellow base coat and white

primer


1. Grain-painting on yellow base coat and white

primer

1. Cream-colored paint on wood

Wood Shellac sealant

2. Varnish

3. Gray

4. Light gray

6. Cream color

8. Green

9. Light green

2. Dark tan paint

6. Cream color


34

Sample 202-4. North wall door architrave, left side about 4 ½’ up.


Sample 202-5. North wall door, upper left corner, middle left panel.


3. Gray

4. Light gray

1. Grain-painting on yellow base coat and off-

white primer Shellac sealant in wood Wood

2. Varnish 3. Gray

4. Light gray

5. Gray

6. Cream color

8. Blue-green

9. Light green

10. Light green

12. Light green

11. Light green

5. Gray

6. Cream color

7. Gray

8-12


35

Sample 202-6. East wall, baseboard left of door.


5. Gray

3. Gray

1. Dark brown

4. Light gray

6. Cream color

8. Cream color

9-12


36

North Bedroom 203

When small excavations were made in the paint on the mantel in the north bedroom it

was obvious at 10X magnification that there is an early, coarsely ground, intensely green

paint on all the mantel elements. The same type of observation helped to locate original

green paint on the architraves and chair rail. Six samples were taken from different areas

of woodwork, and two samples were taken from the wall plaster to characterize the early

paints in the north bedroom.

North Wall of Room 203

North Bedroom Sample Locations

203-1. North wall, right side of chimneybreast, original plaster.

203-2. North wall, right side of chimneybreast, top plinth of original baseboard.

203-3. East wall, section of early chair rail left of window, on cap.

203-4. East wall, window architrave, left side, about 4’ up.

203-5. North wall mantel, face of right dentil.

203-6. South wall door, upper left corner, middle left panel.

203-7. North wall, left architrave of later window.

203-8. South wall, left of door, plaster at edge of large hole.


37

Room 203 North Wall North Wall Plaster

East Wall North Wall

203-1

203-2

Trapped

baseboard

203-3

203-4 window

architrave

203-5

dentil


38

Room 203 South Wall

South Wall


The cross-section samples confirmed that the woodwork in this room was originally

painted with a deep green, coarsely ground paint composed primarily of the bright green,

copper-based pigment verdigris in combination with yellow ochre and white lead.

Verdigris is an unstable pigment which darkens significantly over time, but the

distribution of verdigris in the first green paint layer suggests that this paint was

originally a distinctive, deep glossy green. This green paint was found on the mantel

(203-5), the original architraves (203-4) and the chair rails (203-3). Like the other first

and second-floor rooms, the baseboards were originally dark brown (203-2) and the door

was originally grain-painted (203-5).

The baseboard plinth inside the narrow closet on the east side of the chimneybreast

retains generations 1 through 4, but was not repainted in generations 5 through 10. The

window on the north wall to the east of the mantel was identified as a later installation,

203-6 203-7

203-8


39

and its paint history begins at generation 7 of 10. The following chart shows how the

paints on the different woodwork elements can be aligned.

Room 203 Comparative Paint Histories Generation Architraves

203-4

Baseboard

trapped in

shelving

203-2

Chair rail

203-3

Mantel 203-5 Door 203-6 Later

window

architrave

203-7

10. Light blue-

green

Missing Light blue-

green

Light blue-

green

Light blue-

green

Light blue-

green

9. Light blue Missing Light blue Light blue Light blue Light blue

8. Blue Missing Blue Blue Blue Blue

7. Cream color Missing Cream color Cream color Cream color Cream color

6. Cream color Missing Cream color Cream color Cream color Missing

5. Cream color Missing Cream color Cream color Cream color Missing

4. Light gray Light gray Light gray Light gray Light gray Missing

3. Gray Gray Gray Gray Gray Missing

2. Varnish Varnish Varnish Varnish Varnish Missing

1. Verdigris-

based green

Dark brown Verdigris-

based green

Verdigris-

based green

Graining Missing

* Observations on-site.

Sample 203-2. North wall, right side of chimneybreast, top plinth of original baseboard.


1. Brown paint

Shellac sealant

2. Varnish

3. Gray

Wood

4. Light gray


40

Sample 203-3. East wall, section of early chair rail left of window, on cap.


Sample 203-4. East wall, window architrave, left side, about 4’ up.


Sample 203-5. North wall mantel, face of right dentil.


1. Deep green paint with verdigris

1. Gray primer

3. Gray


4. Light gray



1. Off-white primer

1.Off-white primer

Shellac sealant

Shellac sealant

8. Medium blue

9. Light blue

2. Varnish


5. Cream color

6. Cream color

7. Cream color


41

Sample 203-6. South wall door, upper left corner, middle left panel.


Sample 203-7. North wall, left architrave of later window.


1. Graining

3. Gray

4. Light gray

5. Cream color

6. Cream color

7. Cream color

8. Medium blue

9. Light blue

10. Light green

9. Light blue

8. Medium blue

7. Cream color

Wood

2. Varnish


42


The limited evidence in two samples from different areas of wall plaster suggests that

there were at least two generations of white limewashes on the finish plaster, which are

now discolored and darkened. Similar accumulations of limewashes were found on the

wall plaster in rooms 102 and 201. In sample 203-8 the third and fourth generation paints

are thinly applied, opaque, cream-colored layers. Sample 203-1 was taken from the

plaster within the small closet on the east side of the chimney and this area was only

painted twice with the first limewash and the fourth-generation cream-colored paint.

Sample 203-1. North wall, right side of chimneybreast, original plaster.

Visible Light 200X UV Light 200X UV & TTC 200X

For carbohydrates

Sample 203-8. South wall, left of door, plaster at edge of large hole.


Plaster

1. Discolored white limewash 2. Discolored white limewash

3. Cream color

4. Cream color

4. Cream color

Plaster

1. Discolored white limewash

remnants


43

Exterior:

One sample was taken from a relatively protected area of the soffit of the door opening to

search for the earliest surviving exterior paint, and one sample was taken from what

appeared to be an eroded line of paint on the original exterior door frame at the south end

of the house.

Exterior Sample Locations

EX-1. Soffit of door opening, east elevation, on north side.

EX-2. Trapped original door frame, south wall of house, left side at spot of white at

lower edge.

Neither exterior sample yielded helpful paint evidence. Sample EX-1 from the soffit of

the opening for the front door has only bright white modern paints. Sample EX-2 was

taken from what seemed to be a minute accumulation of white paint, but in the cross-

section there is only a film of grit and carbon on top of the wood.


44

Sample EX-1. Soffit of door opening, east elevation, on north side.

Visible Light 100X

Ultraviolet Light 100X

Eroded wood

Wood

Modern white paints

Modern white paints


45

Sample EX-2. Trapped original door frame, south wall of house, left side at spot of white

at lower edge.

Visible Light 200X

Ultraviolet Light 200X

Wood

Dirt and soot


46

Conclusion:

The evidence in this group of samples clearly shows that the woodwork paints on the

interior were mostly left intact with each repainting effort, leaving an important record of

the paint colors and materials applied from ca. 1799 to the present. The long sequences

of paint layers in each of the rooms in the main block of the house make it possible to

identify the original woodwork colors, and some of the plaster colors, in each of the

rooms. The interior woodwork was much more brightly colored when it was first

painted, but was later repainted in monochromatic palettes after the second generation of

paint.

The discovery of original blue paint on the woodwork in the parlor and the original rich

green paint on the woodwork in the north bedroom was particularly surprising. These

colors, using the pigments Prussian blue in the parlor and verdigris in the north bedroom,

were far more expensive than the later gray and cream-colored paints found in all the

spaces. The discovery of original grain-painting on the almost all the doors, and grain-

painting on the woodwork in the first- and second-floor passage, indicates that the first

owner spent a considerable amount of money on the interior finishes, and his selection of

stylish and costly finishes would have been recognized by every visitor to the house

during that early period. The combination of graining on the wainscoting in the parlor,

with a grained chair rail cap, but a blue-painted chair rail plinth, is eccentric. It is more

typical to pick out the chair rail cap in a different color from the wainscot. However, it

would be very interesting to replicate this paint treatment.

Four areas of intact early plaster were sampled to identify the earliest coatings in the

passage, the parlor and both bedrooms. The original layers found in the passage and

north bedroom are unpigmented, white limewashes, which would have been quite matte

and also easy to freshen with similar coatings. Limewashes were frequently applied as

hygienic coatings, and as temporary coatings while lime plaster cured. A distinctive

yellow-pigmented distemper paint (pigments bound in dilute hide glue) was found as the

first coating on the plaster in the parlor. This layer would have had a soft, matte

appearance and must have been an interesting contrast to the blue trim paint and the

grain-painted wainscoting and door in the most formal room in the house. No evidence

for early wallpapers (fibers, trapped papers, starch paste residues) was found in any of the

plaster samples.

Only two areas of the exterior were sampled to see how the exterior colors might relate to

the interior treatments, but the woodwork at the entrance had been stripped and the

trapped exterior door trim on the south elevation does not retain any helpful evidence. A

more concerted and extensive investigation of the exterior is sure to reveal more early

paint materials, if desired.

The following chart shows how the early paints in each of the rooms can be related. This

modest investigation suggests that in many of the repainting efforts all the woodwork was

painted the same color.


47

Chart of Comparative Interior Paint Treatments

Room/Elements Generation 1

Ca. 1799

Generation 2 Generation 3 Generation 4 Generation 5 Observations

101 Dining Room

Mantel Dark brown on

off-white

primer

Dark brown Gray Light gray Cream color

Chair rails and

window architraves

Gray Pigmented

varnish

Gray Light gray Cream color

North door

architrave

Dark brown on

off-white

primer

Dark brown Gray Light gray Cream color

North door Graining Pigmented

varnish


South door

architrave*

Missing Missing Gray Light gray Cream color *Wood substrate

is disturbed

South door,

trapped opening

Dark brown on

off-white

primer

Missing Missing Missing Missing

Baseboards Dark brown Cream color

102 and 202

First and second-

floor passage

Chair rails and

door architraves *

Graining Pigmented

varnish

Gray Light gray Gray *Including west

wall door reveal

Baseboards Dark brown Dark brown Gray Light gray Gray

Trapped baseboard Dark brown Dark brown Gray Light gray Missing

Trapped pegrail Graining Missing Gray Light gray Missing

Trapped chair rail Graining Pigmented

varnish

Gray Light gray Missing

Trapped plaster Limewash Limewash Thin off-

white

Light gray Missing

Corner closet Missing Missing Missing Missing Gray

Balusters Graining Pigmented

varnish


Doors * Graining Pigmented

varnish

Gray Light gray Gray *Not including

west wall door

Transom window* Cream color or

graining

(disturbed

paint history)

Glossy tan Missing Missing Missing * The paint

history on the

transom window

is difficult to

decipher

103 Parlor

Mantel Blue Glossy black Gray Cream color Tan

Cornice, door

architraves

Blue Cream color Gray Cream color Tan

Chair rail plinth Blue Cream color Gray Cream color Tan

Wainscoting, cap

of chair rail

Graining Graining Gray Cream color Tan

Baseboards Dark brown Dark brown Gray Cream color Tan

Door Graining Graining Gray Cream color Tan

Plaster Yellow

distemper

Cream color Dull yellow Pale green Off-white


48

Room/Elements Generation 1

Ca. 1799

Generation 2 Generation 3 Generation 4 Generation 5 Observations

201 South bedroom

Mantel Missing Pink Missing Missing Cream color

Architraves Cream color Pink Varnish Light gray Cream color

Baseboards Dark brown Dark brown Varnish Light gray Cream color

North door* Graining Possibly

varnished

Varnish Light gray Cream color *Door was

originally grained

on passage side

Plaster Limewash Limewash White Limewash Yellow

203 North bedroom

Mantel Coarse deep

green

Varnish Gray Light gray Cream color

Baseboard trapped

in shelving

Dark brown Varnish Gray Light gray Cream color

Chair rail Coarse deep

green

Varnish Gray Light gray Cream color

Door Graining Varnish Gray Light gray Cream color

North wall window

architrave

Missing Missing Missing Missing Missing

Plaster trapped in

shelving

Limewash Missing Missing Cream color Missing

Plaster Limewash Limewash Cream color Cream color Missing


49

COLOR MATCHING PROCEDURES

Uncast portions of the most intact samples taken from representative areas of woodwork

in the passage, dining room, parlor, south chamber and north chamber, and the plaster in

the parlor, were used for matching with the Minolta Chroma Meter CR-241, a tristimulus

color analyzer/microscope with color measurement area of 0.3mm. This instrument has

an internal, 360-degree pulsed xenon arc lamp and provides an accurate color

measurement in a choice of five different three-coordinate color systems. The target

period layer was ca. 1799 for all the rooms, except for the second-period pink paint on

the woodwork in the south bedroom. This pink paint is the first layer on the slightly later

mantel in this room.

The target period paints were exposed with a scalpel at 30X magnification to provide

clean areas for color matching. The exposed layers were measured three times in three

different areas of the exposed target layers to establish the color coordinates. The

measurements were first generated in the Munsell color system (a color standard used in

the Architectural Preservation field), and after the measurements were taken the closest

Munsell color swatches from a standard Munsell Book of Color (gloss paint standards)

was compared under 30X magnification to the actual samples. The measurements were

also generated in the CIE L*a*b* color space system, which is currently one of the most

widely accepted industry color space measuring systems.

However, when the Munsell matches generated through color measurement were

compared to the actual samples it became obvious that the paints were too darkened and

degraded to allow accurate color measurement. So, a second round of color matching

was done by eye comparing the Munsell swatches to the samples under 30-45X

magnifications and a color-corrected light source. The best visual matches for the

Munsell swatches were then used to generate close commercial paint matches.


50

Dining Room – ca. 1799 Gray Woodwork Paint

Sample 101-3, 101-4

Color-matched November 20, 2014

Benjamin Moore #2126-40 “Sweatshirt Gray”

Color System* Coordinates

Munsell Hue Value Chroma

2.0PB 6.1 0.9

CIE L*a*b* Black to White Green to Red Blue to Yellow

L61.86 a-1.01 b-3.83

Sample 101-3

The gray paint layer was matched by eye at 30X magnification under a color-corrected

light source to the Munsell Book of standards because it was too degraded to allow

accurate color measurement with a Minolta CR 241 colorimeter/microscope. The swatch

for #2126-40 is an excellent visual match to the best surviving areas of this original gray

woodwork paint. The evidence in the cross-section and the uncast samples suggest this

paint was originally somewhat glossy and could be replicated in a “semi-gloss” gloss

level.


51

First and Second Floors – ca. 1799 Dark Brown Baseboard Paint

Sample 101-5, 102-3




2.5YR 3.3 2.3


L33.63 a+8.89 b+9.80

Benjamin Moore #HC-71 “Hasbrouck Brown”



2.5YR 3.1 2.4


L32.2 a+9.03 b+10.16

Sample 101-5

The dark brown baseboard paint was matched by eye at 30X magnification under a color-

corrected light source to the Munsell Book of standards and it was measured with a

Minolta CR 241 colorimeter/microscope. The color difference between the dark brown

paint and the commercial match HC-71 is an excellent numeric match. The swatch for

#HC-71 is also an excellent visual match to the best surviving areas of this original

baseboard paint. The evidence in the cross-section and the uncast samples suggest this

paint was originally somewhat glossy and could be replicated in a “semi-gloss” gloss

level.


52

First and Second-floor Passage – ca. 1799 Yellow Graining Base Coat

Sample 102-6, 102-8, 102-9


Benjamin Moore #2158-30 “Delightful Golden”



9.0YR 6.5 7.2


L65.9 a+10.91 b+44.81

Sample 102-8

The yellow graining basecoat was matched by eye at 30X magnification under a color-

corrected light source to the Munsell Book of standards but it was too uneven and

degraded to allow accurate measurement with the Minolta colorimeter/microscope CR-

241. The swatch for #2158-30 is an excellent visual and numeric match to the best

surviving areas of this original graining base layer. The evidence in the cross-section and

the uncast samples suggest this paint was originally somewhat glossy and could be

replicated in a “semi-gloss” gloss level.


53

Parlor – ca. 1799 Blue Woodwork Paint

Sample 103-7, 103-8


Benjamin Moore Colonial Williamsburg Color Collection #CW-600 “Bracken Blue”



4.5B 6.1 4.0


L61.83 a-12.86 b-12.12

Sample 102-7

The original blue woodwork paint was matched by eye at 30X magnification under a

color-corrected light source to the Munsell Book of standards as it is too discolored for

accurate color measurement. The swatch for #CW-600 is an excellent visual match to the

best surviving areas of this blue paint. The evidence in the cross-section and the uncast

samples suggest this paint was originally somewhat glossy and could be replicated in a

“semi-gloss” gloss level.


54

Parlor – ca. 1799 Yellow Distemper Wall Paint

Sample 103-10


Benjamin Moore Colonial Williamsburg Color Collection #CW-400 “Damask Yellow”



4.7Y 8.2 5.6


L83.46 a-3.26 b+39.74

Sample 103-10

The original yellow wall paint was matched by eye at 30X magnification under a color-

corrected light source to the Munsell Book of standards as it is too translucent and

discolored for accurate color measurement. The swatch for #CW-400 is an excellent

visual match to the best surviving areas of the original distemper wall paint. The

evidence in the cross-section and the uncast samples suggest this paint was originally

matte and could be replicated in a flat gloss level.


55

South Bedroom – post-1799 Pink Woodwork Paint

Sample 201-1, 201-3, 201-4, 201-5, 201-7




3.0YR 5.8 5.9


L54.78 a+17.08 b+23.76

Benjamin Moore Colonial Williamsburg Collection #CW-230 “Carter Red”



7.9R 5.6 6.9


L56.82 a+28.42 b+21.52

Sample 201-4

The second-generation woodwork paint was matched by eye at 30X magnification under

a color-corrected light source to the Munsell Book of standards and it was measured with

a Minolta CR 241 colorimeter/microscope. This is the first paint layer on the slightly

later mantel. The swatch for #CW 230 is a good visual and numeric match to the best

surviving areas of this dark pink paint. The commercial swatch is just slightly more red

than the surviving pink paint, but some areas of this degraded paint seem to have been

bleached by sunlight. The evidence in the cross-section and the uncast samples suggest

this paint was originally somewhat glossy and could be replicated in a “semi-gloss” gloss

level.


56

North Bedroom – ca. 1799 Deep Green Woodwork Paint

Sample 203-3, 203-4, 203-5


Benjamin Moore #HC-135 “Lafayette Green”



8.2G 3.7 2.0


L37.56 a-11.11 b+2.05

Sample 203-4

The original green woodwork paint was matched by eye at 30X magnification under a

color-corrected light source to the Munsell Book of standards but it is too discolored and

degraded for accurate color measurement. The swatch for #HC-135 is an excellent visual

match to the best surviving areas of this grainy darkgreen paint. The evidence in the

cross-section and the uncast samples suggest this paint was originally glossy and could be

replicated in a high gloss level.


57

* COLOR SYSTEMS Derived from the Minolta CR-241 Instruction Manual and

Minolta Precise Color Communication

Chroma Meter CR-241 offers five different color systems for measuring absolute

chromaticity: CIE Yxy (1931), L*a*b* (1976), and L*C*H* (1976) colorimetric

densities DxDyDz; Munsell notation and four systems for measuring color differences.

For two colors to match, three quantities defining color must be identical. These three

quantities are called tristimulus values X, Y, and Z as determined by CIE (Commission

Internationale de l=Eclairage) in 1931.

Color as perceived has three dimensions: hue, chroma and lightness. Chromaticity

includes hue and chroma (saturation), specified by two chromaticity coordinates. Since

these two coordinates cannot describe a color completely, a lightness factor must also be

included to identify a specimen color precisely.

Munsell Color System: The Munsell color system consists of a series of color charts

which are intended to be used for visual comparison with the specimen. Colors are

defined in terms of the Munsell Hues (H; indicates hue), Munsell Value (V; indicates

lightness), and Munsell Chroma (C; indicates saturation) and written as H V/C.

CIE Yxy (CIE 1931): In the Yxy (CIE 1931) color system, Y is a lightness factor

expressed as a percentage based on a perfect reflectance of 100%, x and y are the

chromaticity coordinates of the CIE x, y Chromaticity Diagram.

CIE L*a*b*: Equal distances in the CIE x,y Chromaticity Diagram do not represent equal

differences in color as perceived. The CIE L*a*b* color system, however, more closely

represents human sensitivity to color. Equal distances in this system approximately equal

perceived color differences. L* is the lightness variable; a* and b* are the chromaticity

coordinates.


58

ΔE: ΔE (Delta E) is the industry measure used to determine how closely two colors

match in the CIE L*a*b*. The symbol Δ means “the change in”. It is based on

calculating the sum of the differences between each measure. The calculation is: ΔE =

√(ΔL*) 2 + (Δa*)

2 + (Δb*)

2 , or, the color difference equals the square root of the squared

sums of the differences between each of the three L* a* b* tristimulus values. Industry

color standards indicate a ΔE of 1 is barely perceptible to the human eye, and ΔE of 6 to

7 is acceptable for color matches in the printing industry.


59

REFERENCES

Cross-section Preparation Procedures:

The samples were cast into mini-cubes of polyester resin (Excel Technologies, Inc.,

Enfield, CT). The resin was allowed to cure for 24 hours at room temperature and under

ambient light. The cubes were then ground to expose the cross-sections, and dry polished

with 400 and 600 grit wet-dry papers and Micro-Mesh polishing cloths, with grits from

1500 to 12,000.

Cross-section microscopy analysis was conducted with a Nikon Eclipse 80i epi-

fluorescence microscope equipped with an EXFO X-Cite 120 Fluorescence Illumination

System fiberoptic halogen light source and a polarizing light base using SPOT Advanced

software (v. 4.6) for digital image capture and Adobe Photoshop CS for digital image

management. Photographs and digital images of the best representative cross-sections

are included in this report. UV photographs were taken with the UV-2A filter in place

(330-380 nanometers excitation with a 400 nm dichroic mirror and a 420 nm. barrier

filter). Please note that the colors in the printed photomicrographs may not accurately

reflect the actual color of the samples because the colors in the digital images are affected

by the variability of color printing.

The following fluorescent stains were used for examination of the samples:

Fluorescein isothiocyanate (FITC) 0.2% in acetone. Positive reaction for proteins

is yellowish-green under the B-2A filter.

Triphenyl tetrazolium chloride (TTC) 4.0% in ethanol to identify the presence of

carbohydrates (starches, gums, sugars). Positive reaction color is dark red or

brown.

2, 7 Dichlorofluorescein (DCF) 0.2% in ethanol to identify the presence of

saturated and unsaturated lipids (oils). Positive reaction for saturated lipids is pink

and unsaturated lipids is yellow.

Rhodamine B (RHOB) 0.06% in ethanol to identify the presence of oils. Positive

reaction color is bright orange.

N-(6-methoxy-8-quinolyl)-p-toluenesulfonamide (TSQ) 0.2% in ethanol to mark

the presence of Zn in the cast cross-section. Positive reaction color is bright blue-

white.

The best cross-section photographs for each area were included in this report.

Photographs were taken at 100X, 200X and 400X magnifications.


60

Information Provided by Ultraviolet Light Microscopy:

When viewed under visible light, cross-sections which contain ground, paint and varnish

may often be difficult to interpret, particularly because clear finish layers look uniformly

brown or tan. It may be impossible using only visible light to distinguish between

multiple varnish layers. Illumination with ultraviolet light provides considerably more

information about the layers present in a sample because different organic, and some

inorganic, materials autofluoresce (or glow) with characteristic colors.

There are certain fluorescence colors which indicate the presence of specific types of

materials. For example: shellac fluoresces orange (or yellow-orange) when exposed to

ultraviolet light, while plant resin varnishes (typically amber, copal, sandarac and mastic)

fluoresce bright white. Wax does not usually fluoresce; in fact, in the ultraviolet it tends

to appear almost the same color as the polyester casting resin. In visible light wax

appears as a somewhat translucent white layer. Paints and glaze layers which contain

resins as part of the binding medium will also fluoresce under ultraviolet light at high

magnifications. Other materials such as lead white, titanium white and hide glue also

have a whitish autofluorescence.

There are other indicators which show that a surface has aged, such as cracks which

extend through finish layers, accumulations of dirt between layers, and sometimes

diminished fluorescence intensity, especially along the top edge of a surface which has

been exposed to light and air for a long period of time.


61

Farmer’s Delight Sample Locations

Paint Samples removed August 6 and 7, 2014 by Susan L. Buck

Sample Locations

First Floor

Dining Room 101

101-1. North wall, left architrave, backband molding, inner molding, about 5’ up.

101-2. North wall door, upper left corner, bottom left panel.

101-3. East wall, north window, left architrave, backband molding.

101-4. East wall, chair rail plinth, below left architrave of north window.

101-5. East wall, baseboard plinth, below left architrave of north window.

101-6. South wall, mantel, cove molding below dentils, left side.

101-7. South wall, trapped original door opening, interior or exterior surface?, in west

corner.

101-8. South wall, right architrave for door opening.

Entry Hall 102

102-1. South wall, southeast corner, chair rail trapped in corner closet.

102-2. South wall, southeast corner, plaster on lower wall trapped in corner closet.

102-3. South wall, southeast corner, baseboard trapped in corner closet.

102-4. South wall, southeast corner, later corner closet, upper left corner of lower door

opening.

102-5. South wall, southeast corner, peg rail trapped in corner closet.

102-6. Staircase baluster, on north-facing plinth of baluster on seventh step up.

102-7. Door under stair, upper left corner, middle left panel.

102-8. South wall, door architrave under stair, backband molding, left side.

102-9. West wall, door opening, left side of door reveal, about 5’ up. (all paints match

except the moldings above the door)

102-10. North wall, chair rail, northwest corner.

102-11. North wall, base plinth, northwest corner.

Parlor 103

103-1. North wall mantel, reeding above opening, right side.

103-2. North wall mantel, block below reeding, right side,

103-3. West wall, plinth for chair rail, below north window.

103-4. West wall, top of chair rail, just left of north window.

103-5. West wall, wainscoting below north window (graining?)

103-6. West wall, plinth of baseboard below north window.

103-7. West wall, cornice, base molding between the two windows.

103-8. South wall, door architrave, backband molding, left side about 4’ up.

103-9. South wall door, upper left corner of middle left panel.

103-10. West wall, materials overlapped onto top of north window architrave.


62

Second Floor

South Bedroom 201

201-1. North wall, right door architrave, about 4 ½’ up.

201-2. North wall, plaster just above chair rail, left of door.

201-3. North wall, chair rail, just left of door.

201-4. South wall, chair rail at join with mantel, right side.

201-5. South wall mantel, right side, third panel up from bottom, upper left corner –

mantel is a later installation.

201-6. North wall, baseboard right of door.

201-7. West wall, window architrave, north window, left architrave.

Second-floor Hall 202

202-1. South wall, chair rail plinth, just right of door opening.

202-2. East wall, lower left corner of transom sash.

202-3. East wall, rail below transom window.

202-4. North wall door architrave, left side about 4 ½’ up.

202-5. North wall door, upper left corner, middle left panel.

202-6. East wall, baseboard left of door.

North Bedroom 203

203-1. North wall, right side of chimneybreast, original plaster.

203-2. North wall, right side of chimneybreast, top plinth of original baseboard.

203-3. East wall, section of early chair rail left of window, on cap.

203-4. East wall, window architrave, left side, about 4’ up.

203-5. North wall mantel, face of right dentil.

203-6. South wall door, upper left corner, middle left panel.

203-7. North wall, left architrave of later window.

203-8. South wall, left of door, plaster at edge of large hole.

Exterior

EX-1. Soffit of door opening, east elevation, on north side.

EX-2. Trapped original door frame, south wall of house, left side at spot of white at

lower edge.

Cross-section Microscopy Analysis of Farmer's Delight

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