st st. mary and st. john the divine, balham restoration of...

108 DOWNTON AVENUE, LONDON, SW2 3TT. TEL:020 8674 1969 E-mail: [email protected]

Website: www.granvilleandburbidge.co.uk

Jenny Granville Dip. Restoration (City & Guilds of London Art School)

John Burbidge Dip. Restoration (Opificio delle Pietre Dure, Florence), ACR

St St. Mary and St. John the Divine, Balham

RESTORATION OF THE PAINTED DECORATION: APSE CHANCEL TREATMENT REPORT

Jenny Granville January 2016

St. Mary & St. John the Divine, Balham RESTORATION OF INTERIOR DECORATION: APSE CHANCEL

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Contents 1. Introduction

2. Brief background history

3. Description

3.1 Painted decoration

3.1.1 Walls

3.1.2 Ceiling

3.2 Scagliola elements and plaster urns

3.3 Mosaic panels

3.4 Main altar

4. Condition assessment


4.1.1 Walls

4.1.2 Ceiling


4.3 Mosaic panels

4.4 Main altar

5. Environmental monitoring

6. Treatment trials

7. Treatment


7.1.1 Walls

7.1.2 Ceiling


7.2.1 Scagliola elements

7.2.2 Plaster urns

7.3 Mosaic panels

7.4 Main altar

7.5 Pulpit

8. Conclusions

9. Future care

10. Acknowledgements

11. Plates (1-71)

1. Introduction

In 1998 the interior of the church was damaged by a fire; a large part was subsequently cleaned

and repaired and a number of alterations were undertaken. However, the lavishly decorated

apse chancel which suffered smoke damage to the decorative painting on the walls and ceiling,

and a series of nine large mosaic panels was never treated. In addition there was severe flaking

and loss of paint in the upper cornice and surrounding areas due to previous water infiltration.

In response to the proposal to treat the interior decoration, a survey was undertaken between 8th

– 12th August 2011.1 The survey included: plotting areas of unstable paint, taking moisture

readings with a conductivity meter, trials to stabilise typical areas of flaking paint, and

widespread cleaning tests. A comprehensive selection of paint samples were also collected and

1 John Burbidge – “Survey of the interior decoration: Apse Chancel, St Mary & St John the Divine, Balham”

Granville and Burbidge, October 2011


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analysed by Catherine Hassall.2 The survey also included proposals and an estimate for the

treatment of the apse chancel which was accepted by the church in June 2014 after the necessary

funds had been raised.

Treatment to the Apse chancel began in February 2015.3

A birdcage scaffold was erected (Unique Scaffolding Ltd) which allowed access to all areas. A

large plastic sheet was placed at the entrance to the chancel to detract members of the public

entering the area and also to help prevent any dust created during treatment spreading to other

areas of the church. The small wooden altar was moved in front of the plastic sheet in order that

services could still be held. Prior to the erection of the scaffold, the floor was protected with

hardboard, cut to size, and the organ and pews were also covered in plastic sheeting .

2. Brief background history

From its origin as a proprietary chapel in 1805 to it becoming parochial in 1855, the church has

undergone a number of successive transformations and enlargements. The nave was built by

F.Hurlbatt in 1807 to which he added transepts in 1824. The apsed chancel was added in 1882 by

A.Cawston. The west front and projecting domed baptistery by William Newton Dunn in 1903.4

The narthex was renovated after the fire of 1998.

3. Description

The semi-circular apse chancel (10.04m dia) is lavishly decorated. The apse wall (7.9m high) is

divided into thirteen vertical bays. At its centre stands the main altar – a baldacchino type

structure which covers three bays. The bays at each end of the apse form entrances to the organ

(north) and south aisle. The vertical wall divisions fictively continue onto the domed ceiling

converging at a circular skylight. The five bays on each side of the altar are arranged in three

tiers with strong horizontal lines separating each level:

• the dado (1.5m high) consists of highly figured dark red/brown scagliola panels topped

by a dark red band of painted plaster

• the mid-section (3.4m high) has the glass mosaic panels, surrounded by a painted border

and separated by scagliola pilasters (orange/red in colour).Below the mosaic panels is a painted

band of fretwork above a painted gilt dedication. To the face of most of the pilaster bases are

attached brass memorial plaques. Separating the mid section from the top section is a

polychrome plaster entablature with a gilt inscription on the frieze.

• the top section (2m high) has stained glass windows alternating with blind painted

panels, each separated by a short scagliola pilaster in front of which is a painted plaster urn.

Separating the top section from the ceiling is a polychrome plaster entablature.


3.2.1 Walls

The walls are rendered with a lime plaster with the architectural plasterwork in gypsum. The

gypsum was sealed with what is believed to be animal glue before applying the paint (probably

2 Catherine Hassall – “St Mary’s Church, Balham”. Report no. A852. August 2011

3 Conservation Team: Jenny Granville, James White (site manager), Monika Galaj, Mariana Correia 4 Bridget Cherry and Nikolaus Pevsner – The Buildings of England, London 2: South Yale University

Press 2002. P 663-4


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oil based). The decoration is simple with specific mouldings picked out in gold leaf applied with

an oil size.

At dado level directly beneath the mosaic panels there is a painted band of a Greek key design

with painted black inscriptions on a gold background.

3.2.2 Ceiling

The ceiling is probably rendered with a lime plaster, trowelled smooth. The painted decoration is

divided into pale blue panels by a decorative yellow ochre band. The lower tier of panels

contains symbols of the passion; the upper panels each contain a single star. Many of the repeat

decorative elements are stencilled. Guide lines in pencil and pin holes (compass and where

stencils were attached) are visible. The surface of the pale blue is stippled. At the edge of the

ceiling (adjacent to the nave) there is a metal grille (air duct?). There are two large pieces of

cardboard which have been painted in a similar design to the ceiling which partially cover the

grille (three panels each side).

3.2 Scagliola elements

Scagliola is a composite substance made from selenite, glue and natural pigments, and used to

imitate marble and other hard stones. The scagliola elements have a highly polished surface with

white marble inclusions. Its colour lightens, in three distinct phases towards the top tier

(possibly to enhance the illusion of height), where inclusions become much smaller.

3.3 Mosaic panels

There are eight mosaic panels; rectangular with semi-circular arched tops (183 x 76cm) and

depict scenes from the life of Christ. They are constructed using a combination of coloured glass

tesserae and large tiles (opus sectile). Tesserae are usually rectangular of varying size (average c.

25 x 15mm). The glass tiles are different shapes and sizes, often corresponding to the design and

frequently painted before firing. Two colours of gold have been used for the gilt tiles: yellow and

red. The grout is a dark pink – now obscured beneath a black dirt layer. The panels have a

shallow curve replicating the curvature of the apse wall.

3.4 Main altar

The arched polychrome canopy (repainted) is supported by two pairs of scagliola columns

which rest on the scagliola altar. The rear of the altar is decorated with a large glass mosaic panel

(similar in technique to the other eight panels). Mounted on top of the canopy are five

polychrome (original) plaster figures (Christ and four angels). The figures are hollow with

timber reinforcement. The gilt decoration for the robes is probably applied to a stencilled oil

mordant. A varnish has been applied over the entire figures, except for these areas of gilt

decoration - possibly to avoid disturbing the freshly applied mordant. Each of the figures is

crowned with a wooden/ gilt halo attached by metal screws.

There is a simple wooden frame which surrounds the altar.

4. Condition assessment

Generally the condition of the distinct components of the decoration is relatively good. Despite

repeated repainting and the slight smoke damage, the decoration retains a cohesive unity. Much

of the painted decoration on the walls has been partially repainted once or twice, frequently

leaving the original gold exposed. Only the ceiling is original paint.


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4.1.1Walls

The most obvious problem was the disrupted paint with associated losses mostly around the

upper cornice, but also spreading up to the ceiling and down to the mid-tier cornice. Isolated

areas of flaking paint and losses are also evident towards the bottom of the mid-tier. At the worst

areas - and this is generally on the gypsum plaster architectural elements – salt

crystallisation/encrustation, staining and erupting plaster was evident; ultimately destroying the

paint film on the walls and certain areas of architectural moulding where large distorted flakes

of the entire paint structure hung loosely.

There was a darkening of most surfaces due to soot (fire of 1998) and other airborne deposits.

There was an accumulation of dust and small debris (including detached paint) particularly on

the high level horizontal surfaces.

As previously mentioned, widespread repainting had been carried out. Ultra-violet light was

generally unable to detect overpaints because of their widespread nature. On the other hand the

paint analysis provided a good insight. Hassall has confirmed that many of the repaints closely

match the original paint. On the square section column by the organ Hassall partially uncovered

an area of over painted original decoration. The overpainted decoration is also found on the

corresponding south column, but not on the columns or pilasters at the front of the chancel.

4.1.2 Ceiling

As with the walls, there were areas of disrupted paint with associated losses. Elsewhere,

different forms of deterioration were caused by moisture: on the ceiling a lesser form of

disruption had occurred with pustules forming in isolation or groups with the resultant

distortion and loss of paint. A white chalky bloom was also evident in patches.

The cause of most of the higher damage to both the walls and ceiling was very likely due to

water infiltration. Readings with a conductivity meter (Rapitest™ damp meter) were taken at

regular points; the results were always negative, indicating that there was no damp present. It is

very likely that the (water soluble) animal glue sealant over the architectural plasterwork was a

factor in the failure of the paint film.

There were a few small areas of cracks within the plaster and associated loose plaster and paint

along the edges. There was a small area of bulging plaster directly adjacent to the edge of the

skylight (North side); the plaster has become detached from the wooden support.

There was an uneven, patchy appearance in some areas and runs, from a previously applied

varnish and also a darkening of the surface due to soot and other airborne deposits.


Moisture appears to also be responsible for destabilising all of the scagliola pilasters from the top

tier. Three of the pilasters had become detached during cleaning and the remaining nine were

found to be loose and unstable. At dado level four of the scagliola bases (three to the south and

one to the north of the main altar) were loose and had probably become detached at some time;

there was evidence of screws and small wedges which have been used to keep them in place.

This may have occurred due to some slight differential movement. The detached pilaster on the

north side had dropped and was displaced. A cement repair to its base prevented the return to

its original position. The pilasters which had become completely detached revealed grooves

which had been cut out of the rear with wooden batons inserted, probably to strengthen the

plaster, the wood had become rotten due to the moisture infiltration on one of the pilasters.


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The scagliola had a number of small, but visible losses. These appeared to be the result of

physical damage and are found on the altar and on the skirting of the dado panelling at the

entrance to the south aisle. The scagliola pilasters and columns at the dado level and mid

sections had been coated at some stage with a resin varnish (shellac) which has slightly darkened

the scagliola. Where there has been water infiltration, the shellac has become patchy in

appearance with visible “runs” caused by water, giving an unsightly appearance.

Scattered wax drops were also observed on the scagliola altar.

Six of the plaster urns were found to be unstable and in danger of becoming detached, probably

due to the previous moisture infiltration. Both the scagliola and plaster urns have darkened due

to the soot and other airborne deposits.

4.3 Mosaic panels

The mosaic panels are in good condition, but have darkened due to soot and other airborne

deposits.

4.4 Main altar

There was disrupted paint with associated losses on the arched polychrome canopy and also

areas of unstable/erupting plaster.

The five polychrome plaster figures were generally in good condition, two of the wooden gilt

halos were loose and there was evidence of previous repairs; plaster had been crudely applied to

reattach the halos. Three halos had become detached and were just resting on the heads of the

figures.

A section of the wing (tip) had become detached from the left hand figure (kneeling), there was a

section of wing (tip) missing from the right hand figure (kneeling), there were three fingers

missing from the right hand figure (kneeling) and two fingers were loose from the figure of

Christ.

The large central mosaic was in good condition although it was covered with soot and other

airborne deposits obscuring the vivid coloured and gilded glass tesserae.

The wooden frame was also covered in soot and dust and also numerous wax droplets.

5. Environmental monitoring

During the week of the survey, the opportunity was taken to monitor the environmental

conditions within the church to establish how they related to external conditions. Monitoring

was undertaken with a whirling hygrometer5.

The limited readings over five days showed a fairly steady temperature and relative humidity

(rh); an average of 20.5˚C and 66% with little variation despite changes in the weather.

The survey established that there is currently no water infiltration and that the areas of disrupted

paint were dry. It is possible that historic water infiltration at the eaves may have been the cause

of previous repainting.

6. Treatment trials

During the survey a series of small initial trials were undertaken to reduce/remove the

superficial dirt and also to stabilise the flaking paint and plaster.6

5 John Burbidge – Op.cit. P7. 6 John Burbidge – Op.cit. P6.


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Successful methods were found for the cleaning, but despite using a variety of methods and

materials in varying strengths, the results were not satisfactory for re-adhering the thick and

distorted paint flakes. Fractures and crushing of the paint regularly occurred and there was

a strong likelihood of short term failure, especially once cleaning had commenced.

Due to the inability to successfully fix the lifting paint and also that the disrupted areas were

from a previous restoration, it was decided to remove the areas of loose and unstable paint

and plaster and re-create the decorative scheme.

7. Treatment


7.1.1 Walls

The accumulated dust and debris was removed using two vacuum cleaners with small

nozzle attachments and a variety of brushes.

From the findings in the trials carried out in the survey for fixing the unstable paint and

plaster which showed that there was not a satisfactory method for stabilising these areas, it

was decided to remove the loose/flaking areas. This was carried out using small spatulas

and scrapers taking great care not to damage the sound areas. Small samples of the paint

were kept to aid with colour matching for the repainting.

The edges of the remaining paint were stabilised by pre-wetting the edges with deionised

water and Industrial Methylated Spirit (1:3 v/v), applied with a small brush and then

applying an acrylic dispersion in varying strengths (Plextol B500™), also with a small brush.

Excess adhesive was removed with deionised water applied with a small cotton wool swab.

The unstable plaster was removed and adjacent areas were consolidated using the same

method as for the paint.

As a result of the cleaning trials undertaken during the survey, deionised water was found to

give the best results, but since the survey similar cleaning had been carried out successfully

using melamine sponges (Magic Eraser™) and deionised water. It was decided to use this

method for the cleaning of the walls as trials showed that a greater level of cleaning could be

obtained. There were some areas of painted decoration; the green painted “inserted” panels

on the dado and mid sections where this method was not successful, probably due to an

extremely thin layer of paint. These were cleaned using nylon erasers.

It had been hoped that taking small samples of the detached paint to a decorators, an exact

colour could be produced, this was not successful and so all the colours used for the

repainting were mixed by hand. A small test area was created, but it was found to discolour,

probably due to salts present in the plaster leaching through to the paint. To avoid this it

was decided to seal each area of plaster that was to be repainted using a commercial sealant

(B.I.N sealant).

The repainting was carried out using acrylic colours (Winsor & Newton™) applied by brush.

Varying strengths of matt and gloss mediums were added to the paint to successfully

recreate the sheen of the original paint or to disguise the glossy appearance of the acrylic

paint where necessary.

A stencil was fabricated copying a more elaborate area of the painted decoration, and this

was used to re-create the original pattern.

There were some areas of gilding which were removed due to their instability, the new areas

were recreated using a 3 hour oil size (Charbonel™) and then applying transfer gold (23¼ct


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gold leaf), this was then toned to match the existing gilding with acrylic paint (Winsor &

Newton™).

At the mid-level there were areas of the painted/gilded inscriptions missing; these were

recreated by first gilding the missing areas and recreating the black lettering using an oil

paint (Winsor & Newton™). This was also used to recreate the areas of missing lettering at

the dado level.

During the survey, traces of an original painted decorative scheme were found on the square

column adjacent to the organ concealed beneath a later monochrome paint. A small area had

been uncovered using a scalpel to remove the many layers of paint. It was decided to

enlarge this area to give a better idea of what this scheme consisted of. An area (width 20

cms, length 20 cms) just above eye level was uncovered and a simple moulded frame was

attached to the border with double-sided adhesive pads (Sellotape Sticky Fixers) to prevent

further overpainting in the future.

A small area of architectural detail was found to be missing from the top of the square

column (North side). This was replaced by taking a mould from a complete area using a

silicone rubber (Steramould™) and casting the missing piece using epoxy filler (Ronseal

Wood Filler™) which was attached with an epoxy resin (Araldite™) and then painted to

match the existing colour used.

During the repainting of the mid-section, a leak occurred with water coming through the

window and onto the wall directly north of the main altar. A bucket was put in place and a

temporary repair constructed until the problem could be rectified. Unfortunately, the water

infiltration caused some staining of the newly painted areas. The cause of the damage was

due to a leak in an area of guttering, directly above the window, this was promptly fixed, but

it was decided to let the damaged area dry out and leave this to be re-painted at the end of

the project.

7.1.2 Ceiling

The treatment of the ceiling varied somewhat, as the paint on the ceiling was the original

used when it was constructed. Some fixing of the flaking paint was successfully achieved by

pre-wetting an area with deionised water and a small percentage of industrial methylated

spirit (IMS) through wet strength tissue (PEL™), then applying an acrylic dispersion (Plextol

B500 ™) and deionised water (1:4v/v), pressing back the unstable areas with a cotton wool

pad dampened with deionised water and then removing the tissue.

The cleaning was carried out using deionised water and cellulose sponges; it was decided

that the melamine sponges were too abrasive for the thinner, original paint. The sponges

were almost completely rung-out so as not to allow a surplus of water to come in contact

with the painted surface, thus avoiding a risk of disturbing the original layer of animal glue

beneath the surface of the paint.

Some of the larger cracks in the plaster that could possibly be seen from the ground were

treated. The edges of the paint was first consolidated by pre-wetting with deionised water

and a small percentage of industrial methylated spirit (IMS) and then applying an acrylic


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dispersion (Plextol B500 ™) and deionised water (1:4v/v)using a small brush. The cracks

were then filled with cellulose filler (Toupret™) mixed with deionised water. The fillings

were then cut back and repainted using acrylic paint (Winsor & Newton™).

The area of plaster (approx 1 metre square) which had become detached from the wooden

support adjacent to the skylight proved problematic to treat. After unsuccessfully

attempting to stabilise the area by inserting filler into the gap it was decided to “tray” the

damaged area. This involved treating the area from the rear of the ceiling, acess was

obtained through the missing panels of glass in the skylight. A support was constructed

using stainless steel chicken wire which was then screwed into the wooden beams

supporting the ceiling. Plaster of Paris was then poured onto the area which adhered the

loose area of the plaster to the wire support. The gap on the edge of the ceiling was filled

from the front with lime (Totternhoe™) putty with hessian cloth added as a filler to avoid

excess weight being added to an already unstable area of plaster. This filling was then

capped with a lime (Totternhoe™) mortar and when dry, toned with acrylic paint.


7.2.1 Scagliola elements

All the scagliola elements were cleaned with the melamine sponges.

On the top section, three of the pilasters which were already loose, had become detached from

the wall during the cleaning. Removing them from the wall in order to reattach them

revealed the method of their construction; vertical groves running the length of the pilasters

had been cut into the rear with wooden batons fixed into the groves with plaster of Paris to

give extra support. On one of the pilasters, the wooden support had become rotten, probably

due to the previous moisture infiltration. The decayed wood was removed and new wood

supports were put in place with plaster of Paris, having first being treated with a wood

preservative (Cuprinol™). The detached pilasters were first cleaned around all edges to

remove traces of paint and previous fillings, as was the edge of the wall where they were to

be re-attached. The pilasters were then fixed back into place with plaster of Paris; any gaps

were filled with cellulose filler (Toupret™) and then toned with acrylic paint. The remaining

nine loose pilasters were secured by injecting a grouting of lime (Totternhoe) 50% and a

silicone binder (Pozzolan) 50% with a few drops of an acrylic adhesive (Plextol B500™) mixed

with water. Once in place the gaps between the pilasters and the wall were filled using the

method described before.

The gilded and painted plaster capitols on the pilasters at the top section were cleaned with

the melamine sponges and deionised water, five of these at the North and South side of the

altar were badly damaged from the previous water infiltration. As so much of the paint was

lost or flaking, the small amount of remaining paint and gilding on these capitols was

removed. The capitols were repainted and gilded using the method described before.

The ornate gilded capitols on the pilasters at the mid-section were in good condition and just

cleaned with deionised water applied with cotton wool swabs.

The scagliola bases at the dado level proved more problematic to secure. One of the bases

had become completely detached from the wall, only being held in place by a cement repair at

the bottom and two nails at the top, these previous repairs were preventing the base from

returning to its original position so it was decided to remove the base, reduce the concrete

filling and replace it in its correct position. Due to its composition and size, the base was

extremely difficult to manoeuvre. The concrete was reduced using a small drill (Dremel™)

and the base was repositioned and fixed in place using small plastic spacers to find the correct


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position and then fixed in place with a filling of lime + sand (1:3) at the bottom and plaster of

Paris at the side. The fillings were capped with Toupret™ and toned with acrylic paints. The

three other bases were secured in place with plaster of Paris and filled and toned as before.

There were numerous small areas of scagliola missing, mainly from around the altar, the

bottoms of the bases and the base of the entrance to the chancel (North side). A filler for the

scagliola was made from a gypsum plaster (Herculite) and an animal glue, mixed with

pigments. This was then cut back to the correct shape before it had set and then given several

coatings of linseed oil to recreate the high gloss sheen of the original scagliola.

The coating on the pilasters and bases which had become abraded was treated by applying

Linseed oil to the areas which slightly darkened the damaged areas, integrating them with the

original.

Finally, all the scagliola was polished using a microcrystalline wax (Rennaissance Wax™); the

pilasters on the top section were polished by hand using soft lint-free cloths, the pilasters and

bases on the mid-section and dado level were polished with a hand held electric polishing

machine fitted with a lamb’s wool mop head.

7.2.2 Plaster urns

The urns were first cleaned with the vacuum cleaner and soft brushes to remove the surface

dust and debris and then cleaned using the melamine sponges and deionised water. During

the cleaning, six of the urns were found to be extremely loose and possibly in danger of

falling from the ledge. These were detached, the old plaster was removed with scalpels and

the urns were fixed back into place with plaster of Paris.

7.3 Mosaic panels

The mosaic panels were all in good condition, but the vivid colours used were heavily

disguised by a thick layer of dust and soot. The panels were cleaned using the melamine

sponges and deionised water.

7.4 Main altar

The main altar consisted of a variety of different surfaces to treat; scagliola columns and bases

with gilded plaster capitols, a large central mosaic at the back, painted and gilded

architectural plasterwork and five painted/gilded figures at the top of the altar.

The figures were first cleaned with a vacuum cleaner and soft brushes to remove surface dust

and debris, they were then cleaned with the melamine sponges and deionised water. There

were several loose and missing elements, these consisted of:

Figure of Jesus – halo detached and resting on top of head, 3 x loose fingers (2 on left hand, 1

on right hand)

LH figure (kneeling) – halo detached, 3 x missing fingers (left hand),left hand wing tip loose

LH figure (standing) – halo loose

RH figure (kneeling) – halo detached, left hand wing tip missing

RH figure (standing) – halo loose

All the halos had pins in the centre which was probably the original method of fixing. They

had all been previously restored with a surplus of gypsum plaster having been used, which


11

in some cases distorted their positioning. The loose halos were detached and the plaster was

removed. The halos were reattached in their correct positions using an epoxy resin

(Araldite™). The pins were first treated with a rust converter (Krust™).

The loose fingers were secured in place using an epoxy resin (Araldite™). The missing

fingers were modelled onto a small stainless steel dowels which were fixed into the hand

with Araldite, using an epoxy putty (Milliput™) and then toned using the acrylic paints.

The loose wing tip was secured using Araldite. The missing wing tip was carved from wood

(pine) and then secured into place using two small stainless steel dowels and Araldite, it was

then toned to match the rest of the wing using acrylic paints.

A corner of the architectural plasterwork was missing directly above the far LH column, this

was replaced by first inserting a stainless steel dowel into the plaster and remodelling the

corner; the base of the filling was made from plaster of Paris and the capped with Toupret.

The filled corner was then painted to match the existing colours.

Loose /flaking paint found on the architectural plasterwork was treated with the same

methods as the walls and ceiling.

The wooden (oak?) surround at the base of the altar had become structurally unsound at the

left hand side. This section of wood was removed and a wooden dowel inserted, fixed into

place with a PVA adhesive (Evostick™). Both the wooden surround and the scagliola shelf

directly behind had numerous wax droplets (probably from candles placed on the altar.)

These were removed by reducing the wax with a small metal spatula and then removing the

rest with white spirit applied with small hand held cotton wool swabs.

The large central mosaic was cleaned with melamine sponges and de-ionised water.

7.5. Pulpit

The painted plaster pulpit which is positioned on alabaster columns had become damaged

during the installation of an electric cable. A hole had been drilled in the side and the

surrounding area of plaster had become destroyed. The pulpit was also covered in surface

soot and dust.

During the treatment to the chancel, the church decided to have treatment to the pulpit

carried out at the same time. The pulpit was first cleaned with melamine sponges and

deionised water, the damaged area of plaster was filled with Toupret and toned with acrylic

paint. The alabaster columns were also cleaned with the melamine sponges and the stone

steps were cleaned with deionised water.

8. Conclusion

The aim of the project was to create a homogeneous appearance to the 19th century chancel

despite having to undertake large areas of repainting which needed to be integrated with the

older painted decoration, and treating a wide selection of surfaces with varied, complex

problems. This was successfully achieved despite certain unforeseen problems, producing a

brighter more vivid appearance, but retaining the original scheme.

9. Future Care

Due to the construction of the scagliola elements (plaster), great care should be taken to

avoid any knocks, especially to the corners where most of the previous damage had

occurred. Ideally, candles should not be placed on either the scagliola shelf at the base of the

altar or the wooden surround.


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Dust will inevitably accumulate; this can be carefully removed using a soft brush and a

vacuum cleaner. For any further treatment, a qualified conservator should be consulted.

10. Acknowledgements

The church underwent a massive period of upheaval for three months while the treatment

was carried out to the chancel, our thanks go to Revd. Wilma Roast, Churchwardens Martin

Grey & Keith Holmes and the many volunteers and members of the parish for their friendly

hospitality which made our time on site so pleasant.


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11. Plates (1-71) Walls (Plates 1-15)

Plate 1: view of the chancel prior to treatment showing the location of lifting and flaking paint


14

Plates 2 & 3: show the worst areas of disrupted paint believed to have been caused by previous water

infiltration


15

Plate 4: detail of one of the four badly damaged capitals showing typical examples of the

erupting plaster surface and deteriorated paint and gilding

Plate 5: the capital after treatment


16

Plates 6 & 7: details of treatment to clean the painted surfaces


17

Plates 8 & 9: (above) show the

extent of the damaged painted

surfaces. Plate 8 shows the

wall prior to treatment, Plate

9:shows the loose paint

removed and the edges sealed

Plate 10: detail of one of the

repainted areas


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Plates 11 & 12: detail area of painted decoration (south side of apse) before and after treatment


19

Plates 13, 14 & 15: show comparative details

of damaged area at ground level: before

treatment, after gilding the filled area and

after retouching


20

Ceiling (Plates 16-28)

Plate 16: James White

carrying out the cleaning

to the ceiling

Plate 17: detail showing

a crack in the plaster

support with associated

losses to the plaster and

paint


21

Plates 18 & 19: detail of damage to the plaster and paint on the ceiling, note the pustules

of distorted plaster and paint


22

Plate 20: detail of cleaning carried out to

one of the painted panels on the ceiling

Plate 21: detail of two cracks (filled), these

were caused by the area of plaster that

was “bulging “adjacent to the skylight


23

Plate 22 & 23: detail of painted ceiling panel before and after treatment. A stencil was

replicated to copy the pattern which was then traced onto the surface and painted to match

the existing colours


24

Plate 24: shows the “bulge” in the plaster adjacent to the skylight where a section of plaster had become

detached from the wooden support, this had to be treated from the rear as attempts to treat the damaged

area from the front proved unsuccessful.

Plates 25 & 26: the ceiling from the rear showing the installation of chicken wire screwed into the wooden

beams with new plaster applied which successfully adhered the damaged area to the recently added

plaster. This damage if left untreated could have resulted in a fairly major loss to the ceiling.


25

Plate 27: detail of the

damaged area of ceiling

after treatment. The gap

at the front was filled and

retouched to match the

existing colours.

Plate 28: detail of the

ceiling after treatment;

cleaning, filling cracks in

the plaster and integration

of fillings


26

Scagliola elements and Plaster urns (Plates 29-45)

Plate 29: shows one of the detached

pilasters from the top section

Plate 30: detail of the detached

pilaster from the rear, note the

wooden batons inserted into the

plaster for support

Plate 31: detail of the pilaster once

reinstated, note the filling at the side,

this was later retouched to integrate

the filling with the scagliola


27

Plate 31: detail of one of the scagliola columns during cleaning

Plate 32: detail showing the damage to the surface of the scagliola due to water

infiltration. The scagliola columns on the mid and ground levels were coated with a

resin (shellac) which the water had abraded. This was successfully treated by applying

linseed oil to the lighter areas of scagliola


28

Plate 33 & 34: detail of gaps

surrounding scagliola base on the

north side, note the cement filling at

the base in Plate 33.

Plate 34: shows the base being

removed, this was only carried out so

that the cement repairs could be

removed thus ensuring that the base

could be positioned correctly.


29

Plates 35: detail of the gap at the bottom of the scagliola base once the cement repair

had been removed, spacers were use to obtain the correct position prior to filling

Plate 36: detail of the scagliola base after treatment


30

Plate 37: two of the detached urns which were

removed due to the fact that they were unstable.

The urn on the left has been cleaned

Plate 38: shows the old plaster which has been

“keyed” prior to reinstating the base

Plate 39: detail of the reinstated base with filling

around the edge, this was later retouched with

acrylic paint to integrate it with the existing

colours


31

Plate 40: an example of the

damage to the scagliola

surrounding the alter

Plate 41: detail of the same area

after treatment


32

Plate 42 & 43: detail of damaged area of scagliola around the alter before and after treatment


33

Plates 44 & 45: shows the scagliola after

treatment; cleaning, filling, treating

damaged surfaces and polishing


34

Main Altar (Plates 46-61)

Plate 46: detail of one of the mosaic

panels during cleaning

Plate 47: One of the mosaic panels after

treatment


35

Plate 48: detail of the canopy

from the main alter showing

cleaning in progress and areas

of missing/loose paint

Plate 49: the same area after

treatment


36

Plates 50, 51 & 52: details of cleaning of the plaster figures and canopy from the main altar,

showing the accumulated dust.


37

Plate 53: detail of the left missing

wing tip from the kneeling angel

from the canopy of the main altar

(south).

Plate 54: detail of the replacement

wing tip carved in wood (pine)

having been attached with two

small stainless steel dowels

Plate 55: detail of the replacement

wing tip after treatment (filling and

retouching with acrylic paint)


38

Plate 56: detail of the missing fingers from the

kneeling angel above the canopy of the main

altar (north), note the stainless steel dowels

attached so that the replacement fingers can be

modelled. Plate 57: detail of the modelled

replacement fingers

Plate 58: detail of the fingers after retouching

with acrylic paint


39

Plate 59 & 60: detail of the standing angel above the canopy of the main alter (north) before and after

treatment

Plate 61: figure of Christ and two kneeling angels after treatment


40

Plate 62: detail of the uncovering of the original decoration (stencilled band above a dark red

dado) beneath a later monochrome paint. Plate 63: detail of completed area, a simple wooden

frame was attached for protection and a description placed underneath

Original decoration

(Plates 62-63)


41

Pulpit (Plates 64-69)

Plate 64: the pulpit before treatment Plate 65: detail of the damage to the plaster moulding

Plate 66: detail of the stone stairs during cleaning


42

Plate 67: detail during the cleaning of the alabaster Plate 68 & 69: the pulpit after treatment


43

Plates 70 & 71:

The chancel apse

after treatment

st st. mary and st. john the divine, balham restoration of...

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