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UNIVERSITY OF EAST LONDON
THE METHODS AND MATERIALSOF THE HOUSE-PAINTER IN ENGLANDAn analysisof house-painting literature:1660 - 1850
A DISSERTATION SUBMITTED TOTHE FACULTY OF DESIGN & THE BUILT ENVIRONMENTIN CANDIDACY FOR THE DEGREE OFBACHELOR OF ARTS (HONS)BY INDEPENDENT STUDYBYPATRICK BATYP.T. BA by Independent StudyLevel 3MAY 1993
 
 Frontispiece fromPierre Francois Tingry,
 Painter's and Colourman's Complete Guide
.Sherwood, Gilbert, and Piper, 1830.
 
ACKNOWLEDGEMENTS No investigation into the field that this dissertation attempts to deal with could have been madewithout the enormous contribution of Dr. Ian Bristow. During the last sixteen years, he hasalmost single-handedly developed this area of research, and his many published and unpublishedworks have provided us with many clues into the way that buildings were painted from theseventeenth to the early nineteenth centuries. I am grateful for his initial assistance.On a more practical front, I am indebted to Catherine Hassall and Libby Sheldon of theUniversity of London, with their great expertise in the analysis of pigments, for having given memany opportunities to put theory into practice. I am also grateful for the encouragement shown by Pamela Lewis and Helen Hughes of English Heritage, and by Jo Darrah of the Victoria andAlbert Museum. Dr. Steven Parissien, also of English Heritage, has been a constant source of motivation and assistance, and very kindly acted as a referee when I embarked upon this BAcourse. Ian Gow, of the Royal Commission on the Ancient and Historical Monuments of Scotland, has been enormously generous and helpful over the years, as has Rab Snowden of theScottish Historic Buildings and Monuments Directorate.I am grateful, too, for the gentle but constant pressure of Dennis Kelly, my specialist tutor atUEL, and Michael Hall at Country Life, neither of whom would let me take the easy way out.Also, Peter Burman, of the Institute of Advanced Architectural Studies for his support andencouragement for further research.I am also much indebted to the many architects and custodians of historic buildings andinstitutions who have enabled me to look at the decorative finishes, and sometimes the archives of their properties.Finally, without the support and forbearance of my wife, Alex, none of this would have been possible.
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