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Palette of Historic Paints

Palette of Historic Paints

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Published by Patrick Baty
The perils of using so-called historical paint ranges in an unconsidered fashion. A brief review of the nature of historic paints and an explanation on how colours were used in the past. There was a distinct hierarchy of colour and it is the failure to understand this that so often leads to poor results. Patrick Baty ends by suggesting that it is time for the question of historic colours to be discussed more widely, instead of relying on vague perceptions and notions of good taste. Published by Country Life on February 20th 1992.
The perils of using so-called historical paint ranges in an unconsidered fashion. A brief review of the nature of historic paints and an explanation on how colours were used in the past. There was a distinct hierarchy of colour and it is the failure to understand this that so often leads to poor results. Patrick Baty ends by suggesting that it is time for the question of historic colours to be discussed more widely, instead of relying on vague perceptions and notions of good taste. Published by Country Life on February 20th 1992.

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Published by: Patrick Baty on Jan 25, 2009
Copyright:Attribution Non-commercial

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11/01/2013

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cially
as
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colo
"deadsalmon"
have
or
PALETTE
OF
HISTORIC
PAINTS
by PATRICKBATY
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andhelofulexplanation
printed
achieved
by
a
process
known
as
on
the'r.u..i.
of
the'leaflet1-A trial
for
the
repainting
of
Adarn's
drawing-roorn
ceiling
"flatting",
which,
as
we.ll
as,in-
supplied
with
the
paints.
frorn
Lansdowne
llouse,
now
in
the
Philadelphia
Museurn
of
Art
volvtng
an
extra operatlonthat
'
'The
sort
of
effect
achieved
added
to
the cost of
the
job,
was
!y
uping
a
so--called
"Palladian"colour
ont.--l
unsuitablefor vulnerable
areas
and
exteriortlie
doois
and
architraves
together
with-
oneI,,
:
.,
i.]
surfaces.
based
on
untinted
limewash"onthe
ceilins,
I
L
I I
Distemper
wasa
less
expensive
matt
and
rhen
having
the
walls painted
in
a
coJ-
I I I |
finish widely
used
on
plasterwalls
and ceil-
n'r
inqnired
hw"that
.,f
",lrr'-trleached
srrerar
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inss.
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was
made
withwhiting'
or
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our
inspired by"that
of
sun-bleached
sugar
||
ings...
It.wasmade,with,whiting,orground
bass.
is
no
doubtattractivein
a
room
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glue
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bags,
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-iEizoos.NonetheIess,ifthissortofthingffianimalbones,hornsorskin,andtintedwith
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ru*fij;JJgr."lJ;i,l:',',:,f;:'*'1i'1":"il:Ai
dvantases
6f
cheapness,the
wide
range
of
tints
achfevable
in it.
the
ease
with
whiih
iL
could
be
made and^applied,and
ihe
speed
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l
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to the
w"ork
carried
out
in
the
drawing
room
Etjt''r'rry1*:*:l
of
its,
application.Being
Ioosely
bound,
it
o the
work
Carriedout
in
the
drawing
roOm
I
''i''ri:{s1!iiir*':""-
'I
oI
lts-
applrca.tron'
5elng
loosery
]founo,
ll
from
LansdowneHouse
(Fig
l),
where
the
could
be.
washedoll
lor
renewal, but
lt
was
PhiladelphiaMuseum
of
Ariwii
advised
byT l
-_1
t------_-1
not
particu'larly
durable.
Dr
lan
Eristowand
Morgan
Phillips.'I I |-
.
Th.
pigments
used
for
tinting
both
fhir
is
I.,or
to
Lygg.it
that.appealing
decorative
effecrs
willi"ot
be
achieved
usin[| | |
some
being
considerabll
lore,
expensive
such
combinations
of
colours.
Moreover,
thE
original
colour
scheme
maynot n^ecessarily
|
::::::::=::r:;:r!i::i:::::'-':"ir-'
I
be
?he
most
attractive.
but'it
is
often
more
bu-red
earths,
tendedto
be
morefrequently
importantinsigni{icant1Bth-centurybuild-|@*"l|r-lused.
injs,wherethEdecoratio,1and,th6archi-ffil|-l^.l1.:.*|:.jli:'1^y11l..1.'^."9l'*:
^pp..i'o.".*t'atauste.eand'td1oi'rl,esst6T-^._--,=probI9m:1:::i1:T9yi,h'T^1ry^:l|:
i-,i"
"y.r,
w-ith
itsstone-like
wall
surface
and
2-sarnples
of
"Comrrron
Colours":
(ctock-hore
expensive
pigments.These common
colo.irtomatch;
butthateffectisexactlyzt,isefrimtop
left)
stone,
white,
pearl,
colours,-whichinclud.edwhite,stone.(inits
what the
original
designer
was
trying
to
"t".ri
chocolate,
Laklwainscot,
stoneo
lead
various
forms),
pearl,lead, crearr\wainscot

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