Colonial Williamsburg Digital Library

South Door Leaf

Four samples (GR1-4) were taken from the south door and all of them have some evidence of the earliest paint layers. There are pockets of resinous sealant trapped in the wood cells. The dull-orange fluorescence color of this resin in reflected ultraviolet light is characteristic of shellac, but further analysis would be needed to identify the resin. Above the sealant are remains of the generation 1 red-brown paint. This paint must have been left on the surface for a long period of time, as it is extremely worn in all samples. The resinous sealant and remains of the generation 1 red-brown paint can be seen in the lower crosssection image (sample GR4) on this page. This stratigraphy of this sample is disrupted and is missing many early layers.

The upper cross-section image on this page (sample GR2) has the generation 2 dull yellow paint, which has a few yellow pigment particles. This paint is found on the south door leaf and shutters, while the cornice fragment and north door architrave seem to have been painted cream in the same period. The dull yellow paint contains lead white, yellow ochre, and chalk while the cream-colored paint contains lead white and chalk. Generation 3, a cream-colored paint that was found on the shutters and north door architrave, is missing from the door samples so this element may have remained dull yellow in this period. Generation 4 was a thick red-brown paint that is also found on the south door leaf, shutters, and the cornice. This paint was more pink in color than the generation 1 paint and has clumps of white pigments.

Sample GR2, south door leaf, exterior face, east (right) middle panel, bottom ovolo 4" west of east end

Sample GR4, south door leaf, exterior face, east (right) bottom panel, top bevel ½" east of west end

The cross-section image below from sample GR2 shows the more recent paint layers that were applied to the south door leaf. Above the red-brown paint of generation 4 was a resinous tan paint that may have been applied in generation 6 and corresponds to the black paint found in one shutter sample in this period. After this the stratigraphy of all the south door samples skips to generation 10, a cream-colored paint. The generation 10 cream-colored paint was the first generation on many elements on the southern elevation, including the cornice, the weatherboards, the soffit below the second-floor, and the rear door architrave. It seems likely that this may represent the 1930s restoration of the house when many elements were replaced. Generation 11 was a light green paint that is also found on the shutters. After this the south door was consistently painted in shades of dark brown.

Sample GR2, south door leaf, exterior face, east (right) middle panel, bottom ovolo 4" west of east end

Shutters

Only the two shutters on the east window on the south elevation had early paint evidence. These shutters have an unusual one-sided configuration that may have been hard to replace. Additionally, the south kitchen addition could have sheltered this window from wear. Most of the other shutters seem to have been replaced or have lost their early finish history through weathering. Interestingly, the pre-restoration image of the house on page 3 seems to show that the north elevation shutters have been replaced with louvered shutters and the east elevation shutters are already missing.

The cross-sections images below (sample GR19) are from one of the shutters on the east window of the south elevation. As seen on the south door leaf, generation 1 was a red-brown paint and generation 2 was a dull yellow paint that is quite fragmentary in this sample. Generation 3 was cream-colored paint also found on the north door architrave. Generation 4 was a red-brown paint that was also found on the south door and cornice fragment. Generation 5 was a cream-colored paint. Evidence of generation 6 was only found on this one shutter and it was a black paint. Around the same time, the south door leaf seems to have been painted tan. Generation 7 was a cream-colored paint and generation 8 was missing from all the shutter samples. Generations 9 and 10 are green finish paints with almost no fluorescence in reflected ultraviolet light, above coarse gray primers. The dark fluorescence suggests the green paints may contain a copper-based pigment like verdigris since these tend to quench fluorescence. Generation 11 was a light green paint also found on the south door leaf.

Sample GR19, south wall, east window, outer shutter, outer (raised panel) face, top ovolo on bottom panel adjoining second rail, 1½" west of east rail, adjoining ghost of a latch plate

The cross-section image below is from another shutter on the same window (sample GR18) and retains more of the upper layers. This sample skips from the yellow-pigmented paint in generation 2 to the cream-colored paint of generation 7. The cream-colored paint had some mold growth seen below as brown clumps. The gray primers and green finish coats of generations 9 and 10 can be seen in this cross-section. Generation 11 and above were all varying shades of green paint that seem to have gotten darker over time. Some of the later layers also had gray primers.

Sample GR18, south wall, east window, inner shutter, paint pulled loose from red-embedded pine, west (left) stile, immediately adjoining third rail, counting from bottom

Cornice Fragment

A section of molding is held in the Architectural Fragments Collection and was probably collected around the time of the 1930s restoration. The fragment appears to match the cornice on the south elevation, but both are of a common form. The old label on the reverse says the piece is a fragment of a bed molding from the main cornice of the Barlow (or Orr) House which is the old name for the Reid House. The molding is quite weathered and some of the paint seems to have been applied after the piece was worn down. There is red paint visible on the surface, but it seems to be confined to the cymatium. The molding section had evidence of early finishes, while all the samples taken from the present cornice did not. Sample GR32 from the fragment began with a red-brown paint that was thicker than that found on other samples in the same generation. The sample is disrupted above the generation 1 red-brown paint and evidence of the generation 2 dull yellow paint may have worn away. Generation 3 was a creamcolored paint that was also found on the north door architrave. After this the paint was disrupted by the application of some sort of yellowish putty or filler. This material has a bluish fluorescence in reflected ultraviolet light and appears somewhat translucent in reflected visible light. It does not appear to be either a limewash or an oil paint, but may have been applied to fill cracks, level the surface, or for even for waterproofing. Generation 4 was a red-brown paint also found on the south door leaf and shutters, although it is quite thin in this sample.

Sample GR32, exterior cornice bed molding fragment (GRH 003-07), 4½" from right side, bottom of cymatium

The photomicrographs below are from the same sample and show the more recent layers applied to the cornice fragment. At the bottom of the cross-section are portions of the generation 3 cream-colored paint that flowed down a crack and under the generation 1 red-brown paint. The most recnet layers are worn suggesting that the paint was allowed to wear almost away. Generation 5 and 7 were cream-colored paints also found on many of the other early elements. There was no evidence of the black and tan paints applied to the shutters and doors in generation 6. Generation 8 was a white paint that is the first layer to contain zinc white, dating it to after 1845. There are no more layers after generation 8, but the fragment is quite weathered so later layers may have worn off. The weathered surface of this element may be indicative of the extreme wear on the surface that existed on elements before the 1930s restoration. This may explain why it was felt necessary to replace so many of the elements at that time.

Sample GR32, exterior cornice bed molding fragment (GRH 003-07), 4½" from right side, bottom of cymatium

North Door Architrave

The architrave of the north elevation front door had one of the most complete stratigraphies of all the elements on the house. Along with the south door leaf and the shutters, the architrave sample began with remnants of the generation 1 red-brown paint. At some point the house was allowed to weather so significantly that only the red-brown paint that was absorbed into wood cells survived. In the wood cells pockets of a resinous sealant also survived that have a muted orange fluorescence characteristic of aged shellac. There is no evidence of the generation 2 dull yellow paint. In generation 3 a cream-colored paint was applied that was also found on the cornice fragment. The generation 4 red-brown paint and the generation 6 black and tan paints were not found on the door architrave, instead it was painted cream or white throughout its history.

Sample GR29, north wall, exterior door, west (right) architrave, middle face 3" above bottom, ½" in from backband

Generation 8 on the front door architrave was a white paint that is also found on the cornice fragment. Generations 9 through 22 were white and cream-colored paints that appear to have a variety of binders and pigments. After the initial red-brown paint was applied in generation 1, the architrave was always painted white or cream.

Sample GR30, north wall, exterior door, west architrave, outer edge in joint between backband and principal piece, 2' 6" above bottom

West Gable Window

The gable window on the west elevation was the only window that appeared to have early paint evidence when examined on site. Cross-sections from this window (sample GR30) began with three jumbled cream-colored paints that probably correspond to generations 3, 5 and 7 on the north door architrave. In fact, the gable window seems to have been painted to match the north door architrave in all but the most recent paint generation. When the house was last repainted the gable window was painted to match the surrounding weatherboards instead of white like the other windows. The earliest paint layers are missing from the west gable window, but this is probably due to weathering and the surface of the window is quite worn.

Sample GR30, north wall, exterior door, west architrave, outer edge in joint between backband and principal piece, 2' 6" above bottom

First-floor Windows

Only one sample was taken from one of the first-floor windows because on-site investigation suggested the sash and frames were either replaced or too worn to have early paint evidence. This is evidenced by the cross-section image below from sample GR16 that begins with generation 10, a cream-colored paint. Many elements begin with this same finish layer suggesting that this generation represents the 1930s restoration of the house. The restoration report notes that many elements were replaced at this time. The cross-section indicates that the windows have always been painted white or cream since they were installed.

Sample GR16, south wall, east window frame, west exterior facing, 1" east of outer edge 1' 2" above base

South Door Architrave

Like the first-floor windows, the south door architrave began with the cream-colored paint of generation 10 as shown in the cross-section images below from sample GR5. This suggests that the south door architrave also dates to the period of the 1930s restoration. Since its installation, the complete evidence suggests that the south door architrave has always been painted to match the north door architrave in shades of white and cream.

Sample GR5, south door frame, head, soffit, middle, 1¼" east of west end

South Cornice and Soffit

The cornice and weatherboards on the southern elevation have an identical stratigraphy. They also began with a cream-colored paint that is generation 10 on other elements. It seems likely that the cornice and weatherboards were replaced in the 1930s restoration of the house. Generation 11 was a light gray paint, but generations 12 through 20 were all gray paints that were similar in color to the current paint on the house, generation 21.

Sample GR11, south exterior cornice, bed mold, face of fillet above bottom cyma immediately above east (right) jamb of east window (and of west wall of hyphen)

South Weatherboards

Like many other elements on the southern elevation, the weatherboards also began with a cream-colored paint in generation 10, as shown in the cross-section images below from sample GR12. Thus, they are likely to have been added in the 1930s restoration. The weatherboards share an identical stratigraphy with the cornice, soffit, and door architrave on the southern elevation.

Sample GR12, south wall, weatherboard immediately below ninth weatherboard, 1" east of northeast porch post

Results of Binding Media Analysis with Fluorochrome Stains

Several cross-sections with early paint layers were chosen for binding media analysis. The cross-sections were treated with biological fluorochrome stains that mark out proteins, carbohydrates, oils, and zinc (Zn²⁺) in the individual layers.

The first-generation red-brown paint in sample GR2 seemed to react positively for oils when the fluorochrome stain DCF was applied. This stain marks out aged oils (saturated lipids) with a pink positive reaction color and less aged oils (unsaturated lipids) with a yellow reaction color. In the photomicrographs below, the remnants of the generation 1 red-brown paint have become slightly more pink after staining. Since the layer was already red in ultraviolet light, it may be masking the pink positive reaction color. Further analysis will be need to confirm that this paint has an oil binder, but it seems likely.

The generation 2 dull yellow paint developed a pink color after staining with DCF that indicates strong positive reaction for aged oils. Thus, this was also probably an oil paint.

Generation 3 was missing from this sample, but the thick red-brown paint in generation 4 seemed to become more yellow indicating a positive reaction for less aged oils. Again, the red autofluorescence color of the paint may be masking a reaction for aged oils.

All three early layers appear to be typical eighteenth century and early nineteenth century paints with oil binders.

Sample GR2, south door leaf, exterior face, east (right) middle panel, bottom ovolo 4" west of east end, ultraviolet light, 200x magnification

The photomicrographs below show the results of staining with DCF for oils on more recent layers. As seen on the previous page, there was a slight positive reaction in the dull yellow paint of generation 2. This layer developed a slight pink reaction color which indicates that saturated lipids (typically found in aged oils) are present. There was a strong reaction in the cream-colored paint of generation 10 with both pink and yellow positive reaction colors appearing, suggesting that saturated and unsaturated lipids are present. The uppermost modern paint layers also showed a strong reaction for unsaturated or uncrosslinked oils with a yellow positive reaction color. These are typically found in comparatively fresher oils. Some of the modern paint layers also had a strong positive yellow reaction color for fresh oils. Many of the other layers could also have oil binders but the oil components could have leached out of the paint through weathering.

Sample GR2, south door leaf, exterior face, east (right) middle panel, bottom ovolo 4" west of east end, ultraviolet light, 200x magnification

A cross-section from sample GR31 from the north door was also stained with DCF to mark out the presence of oils in the layers. The photomicrographs below show that generations 3 through 9 stained positive for saturated oils with a pink reaction color. Generation 11 had both a pink and yellow reaction color indicating that both saturated and unsaturated lipids are present in this paint which is probably less aged and weathered than the paints below it.

Sample GR31, north wall, exterior door, west (right) architrave, middle face 2' 2" above bottom and at inner edge of the backband, ultraviolet light, 100x magnification

Sample GR19 from a shutter was also tested for the presence of oils with the fluorochrome stain DCF. As seen in the photomicrographs below there were positive reactions in the cream-colored paints of generation 3, generation 5, and generation 7 for aged oils with a pink reaction color. The modern paint that flowed down below the generation 1 paint on the right side of the cross-section showed a strong reaction for comparatively fresh oils with a yellow positive reaction color.

Sample GR19, south wall, east window, outer shutter, outer (raised panel) face, top ovolo on bottom panel adjoining second rail, 1½" west of east rail, adjoining ghost of a latch plate, ultraviolet light, 200x magnification

There were no obvious reactions for proteins in any of the early layers, but some of the early layers did react positively for carbohydrates when the stain TTC was applied. Period recipes sometimes call for the addition of a natural plant gum when grinding pigments into an oil binder to aid in dispersion. This may explain the presence of carbohydrates in the early layers. Sample GR19 from a shutter shows that some of the early layers reacted positively for carbohydrates when the stain TTC was applied. This may be due to the addition of a natural plant gum when grinding the pigments into the oil binder to aid in dispersion. The photomicrographs show a dark red positive reaction color in the generation 3 and 5 paints. There are only fragments of the generation 1 red-brown and the generation 2 dull yellow paint in this sample so it is not possible to be sure of the reactions in these layers after staining.

Sample GR19, south wall, east window, outer shutter, outer (raised panel) face, top ovolo on bottom panel adjoining second rail, 1½" west of east rail, adjoining ghost of a latch plate, ultraviolet light, 200x magnification

The photomicrographs below from sample GR2 from the south door leaf show that a dark red positive reaction color developed in the generation 2 dull yellow paint as well as in generation 6 and generation 10. There could also have been a positive reaction for carbohydrates in generation 4 but the red autofluorescence color of this layer could be masking the reaction.

Sample GR2, south door leaf, exterior face, east (right) middle panel, bottom ovolo 4" west of east end, ultraviolet light, 200x magnification

The cross-section image (sample GR31) below is from the north door architrave and shows the early layers on the elements after staining with TTC for carbohydrates. Like the early paint layers on other elements, the early paint layers on the architrave showed faint positive reactions for carbohydrates. The white paint in generation eight stained strongly positive for carbohydrates with a dark red reaction color.

Sample GR31, north wall, exterior door, west (right) architrave, middle face 2' 2" above bottom and at inner edge of the backband, ultraviolet light, 100x magnification

One sample from the exterior cornice fragment (GR32) was also stained since this had an unusual layer above the generation 4 red-brown paint that appears to be a wood putty or filler. This layer stained weakly positive for carbohydrates with a dark red reaction color when TTC was applied and yellow for less aged oil (unsaturated lipids) when DCF was applied. There was no reaction for protein in the layer. Further analysis will be needed to characterize the layer, but the fluorochrome staining suggests it contains an oil and a starch, so is probably not a glue-based filler.

Sample GR32, exterior cornice bed molding fragment (GRH 003-07), 4½" from right side, bottom of cymatium, ultraviolet light, 100x magnification

The fluorochrome stain TSQ marks out the presence of zinc (Zn²⁺) with a bright blue reaction color. In the photomicrograph below from a shutter sample, the first layer to show a positive reaction for zinc was the light green paint of generation 11. The zinc is most likely present in the form of zinc white pigment which was not available for use in oil paint until after 1845.

Sample GR18, south wall, east window, inner shutter, paint pulled loose from red-embedded pine, west (left) stile, immediately adjoining third rail, counting from bottom, ultraviolet light, 200x magnification

On the north door architrave, generation 8 was the first layer to react positively when the stain TSQ was applied to mark out the presence of zinc (Zn²⁺). This layer had a faint positive reaction with spots of bright blue appearing in the paint after staining. Generation 11 also stained positive for zinc. The zinc is most likely present as zinc white pigment which was not available for use in oil paint before 1845.

Sample GR31, north wall, exterior door, west (right) architrave, middle face 2' 2" above bottom and at inner edge of the backband, ultraviolet light, 100x magnification

Results of Pigment Identification with Polarized Light Microscopy

Dispersed pigments from the first-generation red-brown paint, and the second-generation dull yellow and cream-colored paints were examined with polarized light microscopy to determine the pigment composition. The first generation red-brown paint was found to contain an iron oxide red pigment (possibly red ochre or Spanish brown) and calcium carbonate (chalk is a common paint extender). These pigments were present in a range of sizes suggesting a hand-ground paint. A few particles of yellow ochre, charcoal black, and lead white were also detected. Because of the thinness of the red-brown paint it was difficult to isolate for sampling, so it not possible to be sure that the other pigments are not contaminants from other paint layers. In cross-section there were no yellow, black, or white pigment clumps visible in the red-brown paint, so if these other colored pigments are present, they are in low concentration. All of the pigments detected in the red-brown paint are common and relatively inexpensive pigments that were eadily available in the eighteenth century.

Sample GR15, south wall, shutter on east window, inner shutter, rear face of left stile 5" above bottom rail, ¾" west of panel, near HL hinge, dispersed pigment sample

The second-generation dull yellow paint on the door leaf was found to contain yellow ochre, chalk and lead white. Some red pigment particles were also detected that could be contaminants from the redbrown paint since it was difficult to isolate the early layers for sampling. In cross-section it is possible to see large yellow-brown pigment clumps that may be the yellow-brown mineral geothite but attempts to isolate these for analysis were unsuccessful. As with the red-brown paint, all of the pigments detected in the red-brown paint are common and relatively inexpensive pigments that were readily available in the eighteenth century.

Sample GR2, south door leaf, exterior face, east (right) middle panel, bottom ovolo 4" west of east end, dispersed pigment sample

Only lead white and chalk were detected in the third-generation cream-colored paint on the north door architrave. The large pigment size and the pigment composition is consistent with an eighteenth-century paint.

Sample GR29, north wall, exterior door, west (right) architrave, middle face 3" above bottom, ½" in from backband

Results of Colorimetry

Color measurements were undertaken for this report on a samples with the generation 1 red-brown paint (GR32), three samples with the generation 2 dull yellow paint (GR21, GR27, and GR29), and one sample with the generation 2 cream-colored paint (GR30).

Sample GR32 from the cornice fragment was chosen for analysis because it had a portion with a large area of the generation 1 red-brown paint. This paint had an L* value of 38.57, an a* value of +13.57, and a b* value of +11.59 in the CIE L*A*b* color system. In the Munsell color system this paint has a hue of 9.7R, a value of 3.4, and a chroma of 2.8. Under magnification with a color-corrected light source, the best commercial paint match found to the first-generation red-brown paint was a swatch of Sherwin Williams 1315 "Chutney Brown" which has an L* value of 34.91, an a* value of +13.69, and a b* value of +12.95. This commercial paint swatch is different from the color of the first-generation red-brown paint by a ΔE value of 3.91. This commercial paint swatch is a good match for the original paint since it is very close in color, but is slightly darker than the original paint. Thus, this swatch represents a paint color that is a good match for the red-brown paint which appears to have been applied to all the elements in generation 1.

Best commercial paint match to generation 1 red-brown paint, Sherwin Williams 1315

Upside down uncast sample GR32 with generation 1 red-brown paint and color match

After all the generation 2 dull yellow paint samples were measured, the closest match to the average was from sample GR27 and had an L* value of 69.13, an a* value of +1.02, and a b* value of +25.71. In the Munsell color system this paint has a hue of 1.3Y, a value of 6.4, and a chroma of 3.5. Like the red-brown paint, the dull yellow paint is quite variable in color and this measurement was different from the average by a ? value of 2.45. The high ? value can be explained by the variability of the paint caused by hand grinding the pigments into the binder. Under magnification with a color-corrected light source, the best commercial paint match was a swatch from the Williamsburg Color Collection CW 308 "Scrivener Store Gold" which has an L* value of 68.18, an a* value of +0.80, and a b* value of +29.19. This commercial paint swatch is different from the color of the second-generation dull-yellow paint by a .E value of 3.61. The commercial paint swatch represents a paint color that is a good match for the dull yellow paint that was applied to the doors and shutters elements in generation 2.

Best commercial paint match to generation 2 dull yellow paint, Williamsburg Color Collection CW 308

Upside down uncast sample GR29 with generation 2 dull yellow paint and color match

The cream-colored paint that was applied to the shutters, cornice, gable window, and door architrave in generation 3 was found to contain only lead white and chalk. This paint had an L* value of 76.63, an a* value of -0.40, and a b* value of +12.74. In the Munsell color system this paint has a hue of 3.4Y, a value of 7.8, and a chroma of 1.6. The best match to this is Sherwin Williams 6149 "Relaxed Khaki". This paint has an L* value of 76.97, an a* value of -0.94, and a b* value of +13.15, which is different from the original paint by a low ? value of only 0.76.

Best commercial paint match to generation 2 cream-colored paint, Sherwin Williams 6149

Upside down uncast sample GR27 with generation 3 cream-colored paint and color match

The above color is quite dark due to the darkening and yellowing of the oil binder with age and weathering. Since this paint is pigmented only with lead white and chalk, the current color is probably not indicative of its original appearance. Therefore, it would be more appropriate to repaint with a paint that is matched to a batch of fresh lead white in oil, as this is closer to the original intent. A good commercial paint match to a sample board of fresh lead white and linseed oil is Martin Senour CW 707 "Bracken Cream Medium White" from the Williamsburg Color Collection. This paint has an L* value of 90.40, an a* value of -1.60, and a b* value of +10.60, which is different from a sample batch of fresh lead white in linseed oil paint by a low ? value of only 1.02. Hence, this commercial paint match could be used for reproducing the cream-colored paint used on the cornice and north door architrave in generation 2.

Best commercial match to fresh lead white in linseed oil, Martin Senour CW 707

Sample of fresh lead white in linseed oil on color swatch

This is a list of exterior locations from which we took paint samples today. I have noted our initial observations.

• 1. South door leaf, exterior face, west (left) middle panel, top ovolo ½" east of west end. This is a relatively thin six-panel door with relatively little weathering, but otherwise we see no evidence that this was not originally an exterior leaf in this location. Now dark brown.
• 2. South door leaf, exterior face, east (right) middle panel, bottom ovolo 4" west of east end. More or thicker layers than sample 1.
• 3. South door leaf, exterior face, east (right) middle panel, top bevel ½" east of west end.
• 4. South door leaf, exterior face, east (right) bottom panel, top bevel ½" east of west end.
• 5. South door frame, head, soffit, middle, 1¼" east of west end. This has the crispness of 20th-century woodwork, but the architectural reports identify it as original, and you see much paint. Now white.
• 6. South door frame, east (right) architrave, backband, face of cyma, 7" above bottom.
• 7. South door frame, west (left) architrave, outer edge, ½" below tenth weatherboard, counting from bottom. There is a thick buildup of paint here, protected from stripping by the angle of weatherboards.
• 8. South door frame, west (left) architrave face, in groove of bead, 1' 4" above sill.
• 9. South door frame, west (left) architrave, outer edge ¼" below eighth weatherboard. This, like sample 7, is protected by the angle of the weatherboards.
• 10. South exterior cornice, bed mold, bottom of fillet above bottom cyma 10" east (right) of west (left) window. Seems thin, but possibly with old paint on the bottom.
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• 11.South exterior cornice, bed mold, face of fillet above bottom cyma immediately above east (right) jamb of east window (and of west wall of hyphen). You see light gray paint on the bottom, lighter than present light gray. However, there is relatively little wear, and the wood looks very light in color.
• 12. South wall, 1930-31 weatherboard, immediately below ninth weatherboard, 1" east of northeast porch post. This sample taken for comparison. Now painted gray.
• 13. [No sample taken]
• 14.South wall, shutter on east first-floor window, outer shutter (of two hinged together), flat rear face of bottom panel, lower west (left) corner near H hinge. This is an early shutter and appears not to have been stripped or badly weathered. You may see redbrown on the bottom, at the dark southern yellow heart pine.
• 15. South wall, shutter on east window, inner shutter, rear face of left stile 5" above bottom rail, ¾" west of panel, near HL hinge.
• 16.South wall, east window frame, west exterior facing, 1" east of outer edge 1' 2" above base. This looks like 1930-31 finish, and has light-colored wood below many whites.
• 17. South wall, east window, inner shutter, flat rear of bottom panel 1" out from bottom west corner. Again, this looks early.
• 18. Same shutter, paint pulled loose from red-embedded pine, west (left) stile, immediately adjoining third rail, counting from bottom.
• 19. Same window, outer shutter, outer (raised panel) face, top ovolo on bottom panel adjoining second rail, 1½" west of east rail, adjoining ghost of a latch plate. This face of the shutter is much more weathered than the inner one, but it may retain red on the bottom. So a question is whether the dark red is an original layer or simply the earliest modern layer over the weathered shutter.
• 20. Same outer shutter, second stile, counting from bottom, 2" above bottom and 1½" west of east stile. Note that this is taken from an unweathered area that appears to have been protected by a latch plate or other hardware. The inner shutter lacks corresponding ghosts, so the shutters may have been moved among the windows as well as, in this case, joined to avoid the 1930-31 hyphen.
• 21.South wall, west window, east shutter, paneled outer face, bottom bevel of bottom panel, 1" west of east end, adjoining raised field. You see browns here, different from red-brown seen earlier.
• 22. Same shutter, outer face, top rail, ovolo ½" west of east end, adjoining flat face. Wood is light in color, conceivably replaced.
• 23.Same shutter, outer face, top panel, east (right) bevel adjoining bottom bevel and raised field.
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• 24.Same shutter, west (left/hinge) stile, east edge adjoining lower west corner of top panel. Dark, early wood. Note that the outer face of the shutters on this window is less weathered than the rear face, conceivably indicating the shutters were kept closed more here than on the east window, sampled above.
• 25. South exterior cornice, bed mold, face of fillet above bottom cyma 1' east (right) of east window. This is the same element as sample 11 but a separate piece of wood, east of a diagonal joint. Again, the wood is very light, looking c.1930-31.
• 26. South wall, soffit of eaves, sheathing, 10" out from bed mold and 8" east of west window jamb in east window. This surface looks old, but you think it may have the same layers as sample 25, which I think is from c.1930-31.
• 27. North wall, east window, east shutter, outer (raised panel) face, second panel, upper east corner, bevel at the intersection of ovolos.
• 28. North wall, west window, west shutter, outer face, bottom panel, upper bevel, west end 1" from upper west intersection of ovolos. These shutters look early, and the wood is dark s.y.h.p., but we do not see much paint.
• 29. North wall, exterior door, west (right) architrave, middle face 3" above bottom, ½" in from backband. This piece of the door frame looks original and seems to have early layers in spite of having been ruthlessly scraped in the past.
• 30. North wall, exterior door, west architrave, outer edge in joint between backband and principal piece, 2' 6" above bottom
• 31. North wall, exterior door, same piece as sample 29, 2' 2" above bottom and at inner edge of the backband. This appears to be early paint that escaped the scraper. There seems to be cream below light gray.

Note: The beaded frame of the west gable attic window (above collars) is early but requires a long ladder.

Addendum:

On August 7, 2008, a sample was taken from a cornice section in the Architectural Fragments collection. Two further samples were taken on August 8, 2008 using a tall ladder provided by the painters. Both samples were taken from the attic window in the west gable. This originally has four panes, but the lights have been replaced with a modern grate.

GR32. Exterior cornice fragment (GRH003-07), bottom of cyma, 4½" from right side

GR33. West gable, small early window south of chimney stack, north jamb at intersection with head. You see no early paint surviving in this or 34.

GR34. Same window, south jamb at intersection with head.

First-generation red-brown paint

Second-generation dull yellow paint

Third-generation cream-colored paint