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The following questions are those which are most frequently asked by clients. Please note that the information on this page represents the personal opinion of the author and should not be regarded as legally or in other ways definitive. If your question is not listed here, please contact us and we would be happy to answer it directly.
What is the difference between a wall painting, a mural painting and a fresco ? What is the difference between a wall painting, a mural painting and a fresco ?
The terms 'wall painting' and 'mural painting' are interchangeable and describe all types of decorative painting on built structures. 'Fresco' refers to a particular technique of wall painting in which pigments are applied to fresh lime plaster, so that the pigment particles are bound in the lime (calcium carbonate) matrix as it sets. True fresco (buon fresco) technique is common it Italy and southern European countries, but is not believed to exist in Great Britain. However, there is a similar technique involving the application of pigments in limewash which is found in a number of British examples in the 12th century.
Are there wall paintings in Great Britain ?
Most definitely yes. Until the 20th century, wall painting was the most common and cheapest form of wall decoration and was very widely used. All medieval churches and cathedrals would have been painted, as well as houses ranging from the simple farmhouse to the grandest palace. Paintings varied in subject matter from ornate figurative subjects (biblical, classical and morality subjects are well represented) to decorative schemes or fictive architectural detail.
Why are so few wall paintings visible in Great Britain ?
In fact there are very many fragmentary wall paintings visible, but these are a tiny fraction of what would originally have been seen. The terrible iconoclasm of the Reformation and the Civil War is responsible for the destruction or covering over of very many of our church wall paintings (as well as so much other figurative art). This was followed by the Victorian desire for plain white walls and bare stone which led to the destruction or covering over of yet another trench of paintings. In domestic buildings, changes in fashion, alterations to buildings and the growth of wall paper are chiefly responsible for the disappearance of wall paintings.
Is it likely that wall paintings survive in my church or house ? If your church or house dates to the 18th century or earlier, it would almost certainly have been decorated with wall paintings of some type. Whether they still survive depends largely on the historic treatment of the interior of the building. Although easily damaged, wall paintings are remarkably durable and, if the original plaster survives, then the wall paintings (or fragments of them) are likely to survive as well. It is possible that they may be below plaster, limewash, paint, panelling or wall paper.
Churches continued to be decorated with wall paintings after the 18th century, indeed the biggest surviving schemes of wall paintings date to the Victorian era. In domestic buildings, with the exception of the grandest houses, wall paintings became less popular after the 18th century. Nevertheless there are important examples of wall paintings in houses of all types right up to the present day.
Should I uncover my wall paintings ?
Uncovering of wall paintings is a specialist task, which should never be undertaken by non-trained personnel. Uncovering is difficult and time consuming, and paintings are easily damaged. Indeed there is a long history of serious damage being caused to wall paintings by enthusiastic and well meaning amateurs, which has often lead to costly remedial work having to be undertaken. In many cases, it is the best conservation option to leave stable wall paintings covered over.
Where do I go for advice if I discover a wall painting ? This depends on where the painting is. If your wall painting is in an Anglican church, you should contact the Conservation Officer at the Council for the Care of Churches. If your wall painting is in a listed domestic building you should contact the regional office of English Heritage or the Conservation Officer at your local County or City Council. If your wall painting is in an unlisted domestic building, you should contact the Conservation Officer at your local County or City Council. Other conservation organisations can be found on our links page.
If you discover a wall painting in either a domestic or ecclesiastical building it would also be advisable to inform the Survey of Medieval Wall Painting at the Courtauld Institute of Art (Conservation of Wall Paintings Department), who may be able to offer advice on both conservation and art historical details.
What should I do if I have builders working in a church where there are wall paintings ?
Building or decorating work in churches should only be undertaken under the supervision of the church architect and with a Faculty. If you have any concerns regarding proposed work in your church, you should contact your local Diocesan Office or the Council for the Care of Churches. Contact details can be found on our links page. If work is to be carried out in a church where wall paintings are exposed or suspected to exist, a conservator should be consulted and a preliminary protection examination undertaken. Failure to carry out an initial examination can lead to time consuming and costly delays to work if wall paintings are discovered or damaged during the building programme.
Where do I find a suitable conservator ?
The Council for the Care of Churches and English Heritage will be able to recommend a suitable conservator, depending on the nature of the building, the type of wall painting and the conservation services required. You could also consult the Conservation Register at the United Kingdom Institute for Conservation. Contact details can be found on our links page. A conservator should be qualified and experienced in the specific conservation discipline and accredited to the relevant professional body.
What is the sequence of events in a typical conservation programme ? There is no such thing as a typical conservation programme as the requirements vary so much from case to case. However, most good conservation programmes have the following stages;
In practical terms this generally leads to a programme along the following lines: Preliminary survey: The preliminary survey is undertaken to assess the nature and condition of the wall painting, to identify the causes of deterioration, and to make proposals for conservation (both treatment and longer term measures). A survey of this type tends to take between one and six days, depending on the complexity of the case. Further survey work: In some complex cases, it may be necessary to carry out further research before the cause of deterioration can be identified. This can involve analytical or historical research, environmental surveys or more extensive treatment testing. Fund Raising/ Grant application: While funding is available, this is often one of the most time consuming parts of any project for the client. It is essential that correct advice is taken on eligibility for grants and the application processes and deadlines. Further information on funding is given below. Conservation Treatment: The treatment phase is what is generally thought of as 'real' conservation. However, although important, it is only one small part of the overall conservation programme. The treatment phase always includes an element of recording and documentation.
Long Term Monitoring: Most damage to wall paintings can be prevented by careful monitoring of their condition and controlling the causes of deterioration before they occur. This approach, known as preventative conservation, is the most successful and cost effective way of conserving historic objects. Why is a survey so important - why can't we simply treat the wall painting ?
The history of conservation is littered with cases where paintings have been treated without first establishing why they were deteriorating. Unless the causes of deterioration are identified and controlled before treatment is undertaken, the damage will simply reoccur. In England, over eighty percent of the paintings that are currently being treated have been restored in the past century. However, because the causes of deterioration were not addressed, damage has simply reoccurred. Is funding available for the conservation of wall paintings in Great Britain ?
Yes, funding is available for the conservation of wall paintings, but as with all heritage funding it is limited and specifically targeted. Before making funding applications, you should seek advice as to the eligibility of a particular case and the application process and deadlines. A great many funding applications fail, not because the wall painting is not eligible, but because insufficient or incorrect advice is given during the application process. Contact details on specific funding bodies can be found on our links page. Are original wall paintings materials poisonous ?
Although many of the pigments used in wall paintings are relatively low toxicity, there are a number of materials which are highly toxic. Therefore caution should be exercised when paintings are exposed. In addition, some of the organic binding materials may present a hazard. Legal requirements and responsibilities ?
Wall paintings in listed buildings fall under the same statutory and legal framework as other architectural features. If you have any concerns as to whether planned work will infringe the regulations, you should contact the regional office of English Heritage or the Conservation Officer at your local County or City Council. Contact details can be found on our links page. |
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