Colonial Williamsburg Digital Library

First-floor Passage

Nine samples were taken from the first-floor passage and one sample was taken from the cellar side of the door under the stairs. The samples generally have the same finish history except that the passage side of the door under the stairs has several intermediate layers not found in the other samples from the passage. The finish history of this room is summarized in a table on page 11.

Trapped in the wood cells of most samples are remnants of an autofluorescent natural resin that was likely applied to seal the wood before painting. The resin is probably shellac, based on its characteristic orange fluorescence. The first-generation finish was a coarsely-ground red-brown paint. The paint was thinly applied and weathered, but grime collected on its surface so it was a presentation surface for a period of time and not merely a primer. Additionally, there are cracks in the red-brown paint that were filled in by the next generation. The paint is not autofluorescent and was composed of iron oxide red pigment in an oil binder.

Sample TYH1 from the stair stringer in the first-floor passage

Generation 2 is interesting since it appears that in this period the stair was painted with a cream-colored paint while the wainscot was not repainted and was simply left red-brown. The front of the cellar door under the stairs was painted with a yellowish-tan paint that was colored with a few large yellow pigments. (Cross-sections from the cellar door are shown on page 9 and cross-sections from the stair stringer are shown on page 7.) Both the cream-colored and yellowish-tan paints are probably oil-bound and mostly colored with lead white pigment which is autofluorescent. It is interesting to think of the stair being picked out in a contrasting color to the rest of the elements in the room. The 1950s restoration report notes that the door to the southwest room was first painted "Grayish Yellowish-tan #280". This door and the door to the northwest room were not sampled in the passage, but they may also have been painted yellowish-tan in generation 2 like the cellar door.

In generation 3 everything in the room was painted with two coats of a coarsely-ground, green paint that probably contains a copper-based green pigment since the layer has very little fluorescence and these pigments quench autofluorescence. The paint was coarsely-ground with large pigment clumps, including what appears to be clumps of lead white and yellow ochre. The coarsely-ground, unevenly mixed nature of all the early layers is consistent with eighteenth-century hand-ground paints. The 1950s restoration report suggested that the first finish was a dark green paint applied over a red-brown primer. It was probably generation 3 that they identified as the first finish and used as the basis for the paint scheme still used in the house.

Generation 4 was a dark green glaze that may have been applied to refresh and saturate the color of the green paints below it. There is a definite boundary between this and the generation 3 green paint so they were not applied at the same time. The green glaze has large, coarsely-ground pigment clumps. There are large deep green pigment particles in the layer that are probably verdigris and the cross-sections on the next page show a large charcoal black particle that still has the cellular structure of wood. Currently, the layer is somewhat brown, but this 7 may be due to the degradation of verdigris, which is unstable and turns brown with age. This glaze is somewhat fluorescent and probably has a natural resin component. In several of the samples there is evidence of a flatted varnish applied over the green glaze that must have helped to cut the gloss. For the most part generation 4 was not found in samples from the second-floor.

Sample TYH1 from the stair stringer in the first-floor passage

Generation 5 was a dark red-brown paint that was darker than the generation 1 red-brown paint. This layer was disrupted in most samples and was probably left on the surface for a long period of time and allowed to wear. The paint is often cracked in the cross-section images, but in several samples there are remnants of a fluorescent plant resin varnish above the paint. The cross-section photomicrographs for sample TYH1 on the previous page show the fluorescent plant resin varnish over this generation.

In generation 6 a coarse orange-brown paint with muted fluorescence was applied in two coats. On the north and south doors, this paint serves as a base coat for a decorative treatment with a reddish glaze and a plant resin varnish, as shown in the cross-section TYH26 below. The reddish glaze does not have much fluorescence and may be oil-bound, while the varnish has a pale orange fluorescence that suggests it contains shellac. The presence of the glaze and varnish on the north and south doors may represent a graining treatment in generation 6. There are some pockets of dark material above the varnish that could be grime or pigmentation added to create a pattern on the surface. On all other elements in the room the orange-brown paint was left as the presentation surface.

Generation 7 was a cream-colored paint that has a sparkly appearance in ultraviolet light characteristic of zinc white pigment. The use of zinc white would date this layer to after 1845 when the pigment became commercially available for use in oil paint. Generation 8 was a dark cream-colored paint with large particles of calcium carbonate (chalk) discernible in reflected ultraviolet light. Generation 9 was applied in two coats, the first was a dark cream color and the second was a light cream. In ultraviolet light, it is apparent that these two layers blended, so they were most likely applied at the same time. Generations 12 through 18 are missing on all the samples from this room except the sample from the front, paneled face of the cellar door. It is not clear whether the other elements were not repainted for a long period or if extra layers were applied to the cellar door. Perhaps the latter is true since this door is likely to have received a lot of wear.

Sample TYH26 from the north door in the first-floor passage

The paneled front of the cellar door under the stair has the same early layers as other elements in the passage except that in generation 2 this face of the door was painted yellowish-tan while the stair was painted cream and other woodwork was left unpainted. This cross-section has evidence of the flatted varnish that was applied over the green glaze of generation 4. The varnish is fluorescent and translucent with clumps of calcium carbonate. Generations 6 through 9 are missing from this cross-section but are present in the cross-section TYH31 on the next page from the same door.

This door is the only element sampled in the passage that has evidence of the paints applied in generations 12 through 18. The green paints in generations 13 through 15 could represent early color matching applied after the 1950s restoration since they are similar to the degraded color of the generation 3 green paint.

Sample TYH27 from the cellar door in the first-floor northwest room

The upper cross-section TYH27 on this page shows evidence of the paints applied to the front of the cellar door in generations 6 through 9 that are missing from the cross-section TYH27 on the previous page. These are the same layers found on other elements in these generations. Interestingly, the orange-brown paint in generation 6 served as a base coat for a decorative scheme on the front and rear doors of the passage, but the cellar door does not have the glaze or varnish layers found in those samples. The cellar door was painted to match the paneling in generation 6.

The lower cross-section was taken from the cellar face of the cellar door. This side of the door was not repainted in generation 2. After generation 6 the back side of the door was not repainted until generation 19.

Sample TYH27 from the passage side of the cellar door in the first-floor northwest room

Sample TYH31 from the cellar side of the cellar door in the first-floor northwest room

The table below gives the finish history for various woodwork elements in the first-floor passage. Finishes that were different from other elements in a particular generation are shown in bold. In generation 1 everything in the room was painted red-brown. In generation 2 the stair was repainted in a cream-colored paint while the door to the cellar was painted with a yellowish-tan paint that is also found on doors in the northwest and southwest rooms.

In generation 3 everything was painted with two coats of a green paint that probably verdigris and other colored pigments. This finish was covered with a verdigris glaze in generation 4. In generation 5, the room was painted with a dark red-brown paint and varnished. This finish is worn and probably remained on the surface for a long period of time. In generation 6 everything in the room was painted with an orange-brown paint. On the rear and front door this paint serves as a base coat for a decorative treatment which has an additional reddish glaze and clear varnish. Generation 7 was the first layer with an autofluorescent appearance to suggest that it contains zinc white pigment, which would date it to after 1845. Generations 12-18 are only found on the cellar door and it appears that the rest of the room was not repainted during this time. The green paints found in generation 13-15 on the door may represent an early color matching attempt to replicate the color of the degraded green paints in generation 3 following the 1950s restoration.

First-floor Northwest Room

The finish history of the first-floor northwest room is similar to the passage, although the evidence is more fragmentary. The finish history for this room is presented in table form on page 18. In the two samples taken from the wainscot, the stratigraphy is identical to the passage wainscot through generation 4. As in the passage, the green glaze in generation 4 is covered with a flatted varnish. In generation 5 the wainscot was painted with a dark yellow paint, while the rest of the elements in the room were painted red-brown. Generations 6 through 9 are missing from the wainscot and there is a corresponding accumulation of grime on generation 5. Generations 10 and above match those applied to elements in the passage. Some layers missing from this cross-section are present in the cross-section on the next page that is also from the wainscot.

Sample TYH11 from the wainscot in the first-floor northwest room

One sample from the wainscot has a thin layer of red paint above the green paint of generation 15 that may represent a decorative treatment. The red layer is very thin and worn, and there is no evidence of a varnish above it.

Sample TYH9 from the wainscot in the first-floor northwest room

In the northwest room samples were taken from the door to the southwest room and the door to the passage. In most generations the doors were painted to match the wainscoting in this room. However, neither door has the first-generation red-brown paint. Either these doors were not added until generation 2, or they were left unpainted in generation 1. The sample from the door to the southwest room is fragmentary, but does have evidence of the second-generation, yellowish-tan paint. In generation 2, the wainscot was not repainted, so while it remained red-brown, the doors were painted a contrasting yellowish-tan. After this, the sample from the door has the same stratigraphy as the wainscot in this room until generation 5. This particular sample has what seems to be two coats of flattened varnish over the green glaze in generation 4. In generation 5, the door was painted dark red-brown like the passage. The wainscot in the northwest room has no evidence of the dark red-brown paint and instead was painted dark yellow in generation 5. Like the wainscot, after generation 5 the doors are not repainted until generation 10, but after this they are always painted to match the wainscot.

Sample TYH30 from the door to the passage in the first-floor northwest room

The sample from the mantelpiece begins with the green paint of generation 3, so either the mantelpiece was not added until generation 3, or remained unpainted until this period. There is no grime on the wood substrate to suggest the mantelpiece sat unpainted for very long, so this may actually be a later element (see the cross-section TYH10 on next page). In generation 5 the mantelpiece was painted dark red-brown like the doors, while the wainscot was dark yellow. In generation 6, the mantelpiece cross-section had a thick, translucent green layer with almost no autofluorescence. This appears to be a similar green glaze to that found in generation 4. In generation 7 a thick red-brown paint was applied. Generations 8 through 12 appear to be composed of dark glazes with resinous varnishes (see page 16 for a more detailed photomicrograph). These layers were probably blackening treatments which were commonly applied in the mid-nineteenth century as maintenance coats. In generations 6 through 9 the only element that was repainted in the northwest room was the mantelpiece, probably because it received more wear. Generation 13 and after on the mantelpiece were identical to those found on the rest of the elements in the room.

Sample TYH10 from the mantelpiece in the first-floor northwest room

The cross-section below is from the mantelpiece and has the wood substrate. There is no evidence of any earlier finishes or grime accumulation under the green paint of generation 3, so the mantelpiece may not have been installed before this period.

Sample TYH10 from the mantelpiece in the first-floor northwest room

The cross-sections below and on the next page have evidence of the dark and translucent resinous layers applied to the mantelpiece in generations 8 through 12 that may have been blackening treatments.

Sample TYH10 from the mantelpiece in the first-floor northwest room

Sample TYH10 from the mantelpiece in the first-floor northwest room

The table below gives the finish history for various elements in the first-floor northwest room. Finishes that were different from other elements in a particular generation are shown in bold. In generation 1 there was evidence that the wainscot was painted red-brown, but the doors and mantelpiece do not have any paint evidence and may be slightly later elements. In generation 2 only the doors were repainted. Thus in generation 2 the wainscot would have remained red-brown while the doors were painted yellowish-tan to match elements in the southwest room. In generation 3 everything was painted with two coats of green and this was covered with a green glaze in generation 4. In generation 5 the doors and mantelpiece were painted dark red-brown like the passage, but the wainscot in this room was painted a contrasting yellow. Generations 6 through 9 are not found on the wainscot or doors and might have been lost. The mantelpiece has several more generations of finish, but perhaps this element became dirty faster. In this room, generation 12 was the first layer that seems to contain zinc white and thus dates to after 1845.

First-floor Southwest Room

Throughout most of its history the southwest room was painted monochromatically in yellowish-tan or creamcolored paint. In fact, it appears that while most rooms in the house were treated similarly throughout the life of the house, the southwest room was given a different color scheme to emphasize that this was the best room. In a few generations there were thin applications of red paint over the yellowish-tan that suggest decorative schemes might have been applied to selectively highlight certain elements within the room, making it an even more elaborate space. The finish history of this room is presented in table form on page 24.

Three samples were taken from the paneling in the southwest room and one from the door to the passage. None of the samples have evidence of the first-generation red-brown paint that was found in the passage and the northwest room. Instead, all the samples begin with the yellowish-tan paint with large yellow pigment particles that was found on a few other elements in the house in the second generation. Either the paneling was not added to this room until the second generation, or it was not painted initially. There is no evidence of grime accumulation on the wood that would suggest the latter theory. The cross-section below shows the generation 2 yellowish-tan paint was applied directly to the wood substrate above a resinous sealant.

Sample TYH6 from the paneling (stile below surbase) in the first-floor southwest room

One sample from the paneling had evidence of a thin and discontinuous red paint layer just above the second-generation yellowish-tan paint. There is no varnish over the red, but this must have represent some kind of decorative treatment where certain elements were picked out or emphasized. The only way to fully understand this scheme would be remove the later layers in a controlled area to expose this generation of paint.

In all the samples from the southwest room, generation 3 is a yellowish-tan paint applied in two coats with large yellow pigments. This paint is similar in appearance to the two layers of green paint found in other rooms in generation 3. In generation 4 a cream-colored finish coat was applied over a darker cream base coat. Both of these layers are slightly translucent and autofluorescent and probably have a resin component.

Generation 5 was a yellow paint that was also used on the paneling in the northwest room in this generation. The paneling in the southwest room was not repainted until generation 9 and there is an accumulation of grime over generation 5. Generation 9 was another dark yellow paint. Generations 10 and 11 were cream-colored paints.

Sample TYH7 from the paneling (stile above surbase) in the first-floor southwest room

The cross-section below shows some of the paints that were applied after generation 11. The white paint in generation 12 was found throughout the first floor of the house. This layer has a sparkly appearance in ultraviolet light that suggests it contains zinc white and therefore dates to after 1845. The yellowish-tan paints in generations 18 and 19 are probably the paints chosen after the 1950s restoration of the house when an effort was made to reproduce the original paints.

Sample TYH7 from the paneling (stile above surbase) in the first-floor southwest room

One sample was taken from the surbase in the southwest room. The stratigraphy of the finishes is identical to the rest of the paneling, except that there is evidence of a dark red-brown paint mixed into the dark yellow paint of generation 5. A similar dark red-brown and yellow paint scheme was also found in the northwest room, and most of the other rooms had evidence of a dark red-brown paint in the same generation. Therefore it seems that in this generation the surbase and chair boards were picked out in a different color for emphasis. The baseboards were not sampled during this study but they may also have been picked out in a contrasting color in some generations.

Sample TYH8 from the surbase in the first-floor southwest room

The sample from the door to the passage in the southwest room indicates that generally the door was painted to match the rest of the paneling, with a few exceptions. Like the paneling, there was no evidence of a first generation paint. Instead, the stratigraphy begins with the yellowish-tan paint of generation 2. In generation 5 the door was painted with a dark red-brown paint applied over a yellow. Thus the door was painted to match the surbase in this generation while the paneling remained yellow. In generation 6, only the door was repainted with what may have been a graining treatment. The finish consisted of a yellow paint covered with a red glaze or paint layer. There are remains of a resinous varnish over the red layer. This sample was taken from the bevel of a panel on the door so the red may also have been added selectively only to this recess.

Sample TYH28 from the door to the passage in the first-floor southwest room

The table below gives the finish history for various elements in the first-floor southwest room. Finishes that were different from other elements in a particular generation are shown in bold. In several generations, the room was not repainted although other rooms were. In this room there was no evidence of a first-generation finish so, either the paneling in this room was not installed in generation 1, or was initially left unpainted. In generation 2, a yellowish-tan paint was applied that matches paint found on a few other elements in the house. In one sample from the paneling there was a thin and discontinuous red paint over the yellowish-tan paint that might be evidence of a decorative finish in which certain elements were picked out in a contrasting color. Likewise, in generation 5 it appears that the surbase and doors were painted at least partially in a dark red-brown that would have contrasted with the yellow paint applied to the paneling in the same period. The door to the passage has an additional decorative layer in generation 6 in which a yellow base coat, reddish glaze, and varnish were applied perhaps to replicate wood grain. In this generation only the door was repainted. The room was not repainted in generations 7 and 8 or generations 13 through 15, but after generation 9 the evidence suggests the room was painted monochromatically. As in the northwest room, generation 12 was the first layer to contain zinc white and thus probably dates to after 1845.

Second-floor Passage

The finish history of the second-floor passage is similar to the first-floor passage although there were a few differences. The stratigraphy of the cross-sections from various elements in this room are given in table form on page 29.

The wainscot on the west wall of the stair landing and the second-floor architraves were always painted to match the wainscot in the first-floor passage. All these elements were painted red-brown in generation 1, not repainted in generation 2, and painted green in generation 3. In generation 4 they were given a green glaze. In generation 5 they were painted dark red brown and in generation 6 orange-brown. Thus, the color of the first-floor wainscot was carried up the left side of the stair. The only exception is that the architrave is missing the green glaze in generation 4 and the orange paint in generation 8. The architrave sample is disrupted, so evidence of these layers could have been lost.

Sample TYH13 from the wainscot on the stair landing in the second-floor passage

Sample TYH15 from the door architrave door to the southwest room in the second-floor passage

Meanwhile, the stair landing seems to have had a different finish treatment in generation 1 and 2 perhaps mirroring the different finish treatment of the stair in the first-floor passage. A sample was taken of the stair landing finishes off the small closet door on the landing. This sample is missing the generation 1 red-brown paint. The closet door may have been unpainted in generation 1 or was not added until generation 2. In generation 2 the landing was painted with a cream-colored paint that matched the paint applied to the stair stringer in the first-floor passage. This cream paint is not found elsewhere in the second-floor passage.

The 1950s restoration report notes that this room had a gray paint under the green paint and so they chose the gray paint for replication. The gray paint that was discovered was probably a portion of the cream-colored paint in generation 2 that was soiled and grimy since the staircase would have received a lot of wear.

Sample TYH12 from the closet door on the stair landing in the second-floor passage

The chair board on the north end of the east wall has a finish history which indicates that it is an eighteenth-century element, despite the changes that were made to this wall when two doors were added to an east wing and all the plaster was removed from this space during the restoration. It appears that despite these changes, sections of original chair board survive. The chair board was not painted or was not installed in generation 1 since there was no evidence of the first-generation red-brown paint. In generation 2 the chair board was painted yellowish-tan while most other elements were not repainted. In generation 3 the second-floor passage was monochromatically painted green. The green glaze of generation 4 was missing from the sample although there is some of the flatted varnish that was applied over the green glaze. In generation 5 nearly all the elements in the first and second-floor passage were painted red-brown, but in this generation the chair board was picked out in gray with a varnish. This gray paint was not found in the first-floor passage, but that space has no chair boards. The same gray paint was applied to the chair boards in the second-floor northwest and southwest rooms. After this the chair board was painted to match the rest of the room in creams and yellowish-tans.

Sample TYH14 from the chair board in the second-floor passage

The sample from the door to the southwest room had a stratigraphy that matched its architrave throughout its finish history. The only exception was generation 6 when most elements in the passage were painted orange-brown. There were a few small pockets of what may be remnants of the orange-brown paint in the cross-section below, but it is possible that the door was not repainted and remained dark red-brown.

Sample TYH32 from the door to the southwest room in the second-floor passage

The table below gives the finish history for various elements in the second-floor passage. Finishes that were different from other elements in a particular generation are shown in bold. In generations 11 through 17 the room was not repainted, although other rooms were. In this room, generation 7 and above probably date to after 1845 since this was the first layer that seems to contain zinc white.

Second-floor Northwest Room

The finish history of the second-floor northwest room is similar to that of the second-floor passage. The finish history of this room is summarized in table form on page 35. On all the elements in the room the first-generation paint was red-brown followed by two coats of green paint applied in the generation 3. In one sample from the paneling under the window seat (shown below) there were remnants of the green glaze applied in generation 4 but this layer was missing from the other samples. In generation 5 the paneling under the window seats and the chair board were painted gray and the doors and door architraves were painted dark red-brown. The same two-color scheme was found in the passage and the southwest room. All the samples from this room had evidence of the generation 6 orange-brown paint found in other rooms, but here it was applied over a yellowish-tan primer.

Sample TYH19 from the window seat paneling in the second-floor northwest room

In one sample from the window seat paneling the orange-brown paint of generation 6 was missing, but the yellowish-tan primer was present. Generations 7 and 9 were thick cream-colored paints that were found throughout the house. It seems that this room was not repainted in generations 10 through 16. Generations 17 and 18 were light yellow and cream-colored paints that seem to be different colors compared to the paints found in the second-floor passage.

Sample TYH21 from the window seat paneling in the second-floor northwest room

The chair board in the northwest room shares a nearly identical finish history with the window seat paneling. The exception is that the green glaze of generation 4 is missing.

Sample TYH20 from the chair board in the second-floor northwest room

The cross-section below is from the door architrave inside the closet. It shows the dark red-brown paint applied in generation 5 to the doors and architraves which contrasts with the gray paint applied to the other elements in the room. The orange-brown paint of generation 6 is less orange here than in other locations. The inside of the closet appears to have been painted to match the rest of the room, although it was missing a few of the modern generations indicating that the closet interior was not repainted as often.

The sample from the door to the closet was fragmentary but had evidence of the red-brown paint of generation 1, the green paint of generation 3, and a dark red-brown paint in generation 5. So both the doors and architraves were painted dark red-brown in generation 5 to contrast with the gray paint on the window seat paneling and the chair boards.

Sample TYH24 from the door architrave in the closet of the second-floor northwest room

The Greek Revival double door between the northwest and southwest room is thought to date to the mid-nineteenth century. The finish history of the door and architrave indicates that they were installed before the generation 6 paint was applied. The wood cells have no evidence of the resinous sealant that was applied to the original elements in the house. This door helps to date the generation 6 paint to the mid-nineteenth century.

Sample TYH23 from the door architrave to the southwest room in the second-floor northwest room

Sample TYH22 from the door to the southwest room in the second-floor northwest room

The table below gives the finish history for various elements in the second-floor northwest room. Finishes that were different from other elements in a particular generation are shown in bold. Samples from the window seat had the most complete stratigraphies, with evidence of the paints applied in generations 4 that were missing from other samples. Either the room was repainted selectively, or evidence of some layers was lost in some samples.

In several generations the room was not repainted although other rooms were. Note that the door between the southwest and northwest room appears to have been added in generation 6. The profile of this door suggests it dates to the mid-nineteenth century, which helps to comparatively date this layer.

Second-floor Southwest Room

The early finish history of the second-floor southwest room is identical to that of the northwest room and the passage. The finish history is given in table form on page 38. Generation 1 was a red-brown paint, no paints were applied in generation 2, and generation 3 had two layers of green paint. Generation 4 was missing from all the samples in this room. As in the passage and northwest room, generation 5 consisted of a gray paint on the window seat paneling but was dark red-brown on the door architrave. One of the samples from the paneling under the window seats (shown below), had a light green paint in generation 6 that was not found anywhere else in the house. A second sample from the window seat paneling did not have evidence of this green layer. The cross-section below was taken from inside the bevel of the raised panel so it may represent a contrasting color that was applied to pick out this detail in generation 6. After this the room was painted in a series of cream colors until after the 1950s restoration when modern green paints began to be applied.

Sample TYH16 from the window seat paneling in the second-floor southwest room

A cross-section from the closet architrave is shown below that contains the dark red-brown paint of generation 5 that contrasted with the gray applied to the rest of the room. In generation 6 there was no evidence of a light green paint, but instead there was a yellowish-tan paint that was found in other second-floor samples in the same generation.

Sample TYH18 from the closet architrave in the second-floor southwest room

The table below gives the finish history for various elements in the second-floor southwest room. Finishes that were different from other elements in a particular generation are shown in bold. In several generations the room was not repainted although other rooms were. The general finish history of this space is similar to that of the secondfloor passage and the northwest room. The only oddity is the layer of light green paint found in generation 6 on the window seat that was not found anywhere else in the house. Based on their sparkly appearance in reflected ultraviolet light generations 8 and after probably date to after 1845.

Attic

Several samples were taken from boards in the attic that appeared to have white finishes. The boards were fastened with cut nails and probably date to the 1820s or afterwards.¹ The most complete sample was taken from a clapboard on the east wall and it had at least eight generations of whitewash. The samples fractured above the wood so it is possible that evidence of some layers was lost. Nevertheless, the accumulation of finishes indicates that the attic space was used for a period of time. All the layers are unpigmented whitewashes. The first and second generations of whitewashes are close to a white color with few inclusions. The third and fourth generations have a lot of embedded material that does not appear to be pigmentation and looks more like dirt. The crosssection below is missing the sixth generation but it is present in a cross-section shown on the next page from the same sample. Above the eighth generation is a thick layer of grime.

Sample TYH35 from the clapboards on the east wall in the attic

Sample TYH35 from the clapboards on the east wall in the attic

The table below summarizes the finish history of the interior of the house. If there was a multi-colored scheme in one generation, the two colors are separated by an "or". Primers and finish coats are separated by a comma.

Weatherboards

Seven samples were taken from weatherboards on the south (front) elevation since the restoration report noted that all the salvageable early weatherboards were moved to this location in the 1950s. A sample was also taken from the sheathing boards of the pediment over the rear porch since these boards were left in place in the restoration. The finish history of the weatherboards and some trim is given in table form on page 50.

Very few of the weatherboard samples had an intact early stratigraphy, suggesting that the first few generations of aints may have been lost to weathering or wear. On the exterior only the doors had evidence of the generation 1 red-brown paint. All the other exterior trim begins with a cream-colored paint that is generation 2. This suggests the exterior may have gone unpainted for a generation or that the doors were painted before they were installed.

Only two weatherboard samples have evidence of the early cream-colored paint. The wood substrate appears to have been sealed with a resinous sealant with a slight orange fluorescence that is generally characteristic of shellac. The generation 2 cream-colored paint was somewhat coarse with large pigment clumps, typical of a hand-ground paint. There are small particles of grime collected on the surface of this layer indicating that it was a presentation surface. (This is especially evident in the photomicrographs on page 55.) This layer has some colored particles that could be red lead used as a drier or particles of yellow ochre added as a colorant. Generation 3 appears to have been applied in two coats. The first layer was a yellowish-tan paint with large yellow ochre particles. Above this was a cream-colored paint also with large yellow ochre particles. There is no obvious boundary between the two layers and they seem to have blended suggesting that they were applied at the same time. Above this is an accumulation of dirt. The generation 3 paint seems similar to the yellowish-tan paint applied to the southwest room in the same generation.

Sample TYH55 from a weatherboard on the south elevation

One other sample from the weatherboards had fragmentary evidence of the same early finish layers including the yellowish-tan paint in generation 3, and evidence of a resinous sealant trapped in the wood cells of the substrate. This sample is disrupted and skips to generation 9 after this.

Sample TYH56 from a weatherboard on the south elevation

Above the cream-colored and yellowish-tan paints in generations 2 and 3, generations 4 and 5 were cream-colored paints. Generation 6, a white paint, is the first generation that appears to contain zinc white, dating the layer to after 1845.

Sample TYH55 from a weatherboard on the south elevation

Generations 6 and 7 were white paints while generation 8 was a pinkish-brown paint. Generations 9, 10, and 11 were dark yellow paints. Interestingly, these yellow paints were not found on other trim elements so at this period in time the house appears to have a multicolored scheme consisting of yellow weatherboards and mostly white trim. This era probably dates to the mid to late nineteenth century or even as late as the early twentieth century.

Sample Tayloe4 from a weatherboard on the south elevation

Above the yellow paint of generation 11 was a light yellow paint in generations 12 and 14 and a darker yellow paint in generation 13. Generations 15, 16, and 17 were white paints, the last with a bright blue fluorescence. Generation 18 was another white paint that is missing from this cross-section. At the top of the cross-section are four layers of modern white paint.

Sample TYH55 from a weatherboard on the south elevation

Dormer Sheathing Boards

Two samples were taken from the sheathing boards on the sides of the dormers. These have a stratigraphy that roughly follows that found on the weatherboards, suggesting that the sides of the dormers were generally painted to match the body of the house throughout their history. However, both sheathing samples have disrupted early layers of paint. Directly above the wood in the samples is a cream-colored layer that could be remnants of the cream-colored paint in generation 2. It appears that the vulnerable sheathing boards on the dormers may have become quite worn early on and evidence of the early layers was lost. There are fragments of the yellowish-tan paint from generation 3 above the wood. The cream-colored paints of generations 4 and 5, and the paints applied after this to the sheathing boards were identical to the stratigraphy to the rest of the weatherboards on the house.

Sample TYH49 from the sheathing boards of the center dormer on the south elevation

Lightning Rod

An early lightning rod on the house was removed to storage in the Architectural Fragments Collection in 1981-82, but was sampled by Olley for paint analysis. The 1952 restoration report describes the lightning rod: "rising to a height of about 5 feet above the chimney top this runs down the west side of the chimney and the face of the house below and is grounded a foot or so below the surface". Above the metal on the bottom of the cross-section are remnants of a red-brown layer that could be rust or an iron oxide red pigmented coating. The red-brown layer has a muted red fluorescence while the metal is nonfluorescent. If the red material is rust it could indicate that the lightning rod was left unpainted for a period allowing it to weather.

Above the metal is the pinkish-brown paint of generation 8 which probably dates to the mid-nineteenth century. Since this is the first obvious coating, the lightning rod was probably installed around this period as well. The lower set of photomicrographs show that some of the yellow paint applied in generation 9 flowed under the pinkish-brown paint of generation 8.

The general finish history of the lightning rod seems to indicate that it was always painted to match the weatherboards, although it was painted much less often. The lightning rod was installed on the west elevation and this could have been painted less often than other elevations as well.

Sample Tayloe34 from the early lightning rod

Rear Porch Sheathing Boards

The early sheathing boards in the pediment of the back porch have a similar upper stratigraphy to the rest of the weatherboards. However, below generation 9 there were four unpigmented limewashes instead of the opaque oil-bound paints found on other elements. No other sample had limewashes, but these more ephemeral finishes may have been used on the rear porch as this was a lower status area. The bottom of the sample is disrupted so the remains of other finishes may have been lost, and it is not possible to be certain which paint generation the limewashes align with. There are a few wood fibers trapped in the underside of the limewashes that have pockets of a bluish fluorescent resin different from the resinous sealant found in other samples.

Sample TYH57 from the sheathing boards of the north porch pediment

The table below gives the finish history for various weatherboards and trim on the house. Generation 6 is the first layer that appears to contain zinc white and therefore dates to 1845 or after.

Corner boards

A sample taken from a corner board on the front elevation also appears to have evidence of early finishes that match those applied to the weatherboards. Generation 2 was a cream-colored paint and generation 3 was a yellowish-tan paint. Generations 4 and 5 were cream-colored paints. Above this the stratigraphy seems to consist of cream and white paints, with the exception of the pinkish-brown paint in generation 8. There is no evidence of the yellow paints found in the intermediate generations on the weatherboards so at some point in the mid to lateeighteenth century the corner boards were painted differently. During this period, however, the corner boards were painted to match the door architraves, cornice, and windows with white paints.

The finish history of the corner boards, door architrave, cornice, rear porch posts, and windows on the exterior of the house is given in table form on page 61.

Sample TYH42 from the west corner board on the south elevation

Door Architrave

Some remnants of early paint layers found on the door architrave match up with the stratigraphies from the weatherboards. Along with evidence from other trim samples, this suggests that the house was painted monochromatically at least early on. The cross-section below from the front door architrave has a cream-colored paint in generation 2. Generation 3 seems to have a cream-colored base coat and a disrupted layer of yellowish-tan finish paint. These appear to be the same paints used in generation 3 on the weatherboards, but in the opposite order. The cream-colored paint in generations 4 has a slightly more bluish fluorescence in this sample than in others and has a thick grime accumulation above it.

Sample TYH41 from the door architrave on the south elevation

Generations 6 through 8 were identical to those found on the weatherboards, except that generation 7 on the door architrave was pinkish-brown while the weatherboards were white. Thus, the door architrave was painted brown one generation before other elements on the house. In generations 9 through 11 white paints were applied to the door architrave while the weatherboards seem to have been painted yellow. Above this are a series of cream and white paints that were similar to those applied to the weatherboards.

Sample TYH41 from the door architrave on the south elevation

Cornice

Sixteen samples were taken from the cornice on the front elevation and one was taken from the crown molding of a dormer pediment. The molding on the dormer was missing the earliest paint layers and began with generation 7. However, most of the samples from the main cornice began with the same early layers as the weatherboards. Generation 2 was a cream-colored paint, generation 3 was a yellowish-tan paint. In the cross-section below there is some grime collected on the surface of this yellowish-tan layer so it was definitely a presentation surface. Generations 4 and 5 were the same cream-colored paints as those applied to the weatherboards and other elements.

Sample Tayloe8 from the cornice on the south elevation

The sample below is from a different location on the cornice and has evidence of the second-generation creamcolored paint. There is a layer of dirt above this paint that indicates its was a presentation surface. In generation 3 there is a cream-colored paint and a yellowish-tan paint that blended together. Above this the paints are identical to those found on the corner board. Thus the cornice does not have the yellow paints applied in the intermediate generations to the weatherboards.

Sample Tayloe12 from the cornice on the south elevation

The cross-section on this page shows the upper paint layers on the cornice which are identical to those found on the corner board and door architrave. None of these elements were painted yellow in the intermediate generations the way the weatherboards were.

Sample Tayloe10 from the cornice on the south elevation

One sample from the cornice had evidence of a yellowish-tan paint in generation 3 with much darker fluorescence than that found in other samples. The layer is fragmentary in this sample making it hard to fully characterize. In visible light this layer appears to have the same color, but the darker appearance of the layer in ultraviolet light suggests a altered composition, perhaps with more oil.

Sample Tayloe14 from the cornice on the south elevation

Rear Porch Posts

Two samples were taken from the early posts of the rear, north porch that was later enclosed. The 1952 restoration report noted that these were original and were retained. Both samples were identical and the cross-sections begin with the generation 11 paint found on other samples. Perhaps the posts are actually replacements, or they were not originally painted, or all the original paint evidence has been lost.

Sample Tayloe32 from the east post of the north, rear porch

Windows

Seven samples were taken from the windows, but only one appears to have remnants of the earliest finishes found on other elements. The first generation on the windows was a cream-colored paint as found on other elements. There are impressions of wood fibers in the bottom of this layer. The next layer is fragmentary but seems to have some of the yellowish-tan paint found around the house (with one large yellow pigment particle) applied over a cream-colored primer. Above this the finish history is identical to most of the trim on the house, although several layers are missing from this sample. On the right side is a small amount of a green paint that might have dripped onto the window frame while the shutters were being painted. This sample became disrupted and a paint flake folded over on itself, which is why there are two layers of generation 7 and 8.

Sample Tayloe6 from the sill of the middle window on the south wall

The cross-section below from a dormer window shows more of the later paint layers applied to the windows. These layers were identical to those found on the rest of the trim. It appears that after generation 8 the windows were painted white like the rest of the trim, with none of the yellow paint found on the weatherboards. The earliest paint layers are missing from this sample, and there is dirt trapped under the first layer, suggesting that the window became so weathered that the wood substrate was left exposed to collect grime and all the early paint evidence was lost. In generation 8 there is a tan primer under the pinkish-brown paint that was not found in other samples.

Sample TYH53 from the frame of the center dormer window on the south wall

The table below gives the finish history for various trim elements on the house. As with most elements on the exterior, generation 6 probably can be dated to after 1845 based on its pigment composition.

Doors

Eight samples were taken from the exterior faces of the front door and the rear door (now the door to the kitchen). Both doors begin with a red-brown paint that soaked deep into the wood cells. This layer is quite worn, suggesting that the red-brown is not merely a primer, but was exposed as a presentation surface for a time. This paint appears identical to the first-generation paint inside the house. Since the rest of the exterior of the house was painted cream color in generation 1, the doors would have certainly stood out.

On the front door, generation 2 consisted of a cream-colored primer and a yellowish-tan paint that was similar to the second-generation finish on the rest of the exterior of the house. Most of the samples from the front door have a red-brown paint and pockets of a black material applied above the yellowish-tan paint that may be evidence of a decorative scheme or even a graining treatment. All the samples taken from this door were taken from the edge of a raised panel, or in the bevel of the panels, since this is where the most paint evidence seems to have survived. The red-brown paint may have been selectively applied to these elements. Evidence of a similar treatment was found on the interiors of the southwest and northwest rooms. This generation of finish is also very worn and fragmentary suggesting that it was left on the surface for a long time.

Generation 3 included a cream-colored primer and a thin black paint. Generation 4 is a thick green paint and resinous glaze that has no autofluorescence. This layer probably contains a copper-based green pigment and is similar to the green glaze found on the interior of the house in the same generation. On the front door the glaze was applied over a cream-colored primer that was not used on the interior.

Sample Tayloe20 from the south exterior door

The cross-section below has more evidence of the early paints applied to the door. There are fragments of the worn red-brown paint from generation 1 at the bottom of the sample. The cream, yellowish-tan, and red-brown paints of generation 2 are topped with a thick, discontinuous black layer. The number of layers present in this generation suggests that it represents a graining or decorative treatment. Generation 3, a black finish coat applied over a cream-colored base coat, is worn and disrupted in this sample. All the early finishes show signs of wear and weathering that suggest they were left on the surface of the door for some time before repainting.

Sample TYH38 from the south exterior door

The cross-section below shows the later layers applied to the front door. Above the green glaze of generation 4 is what may be a faux graining scheme composed of a yellow primer, brown glaze, varnish, and a discontinuous redbrown paint layer in generation 5. Generation 6 is similar to the same generation finish used on interior doors. It consists of a thick, coarse orange-brown base coat, a thin reddish glaze layer that may be oil-bound as it is dark in ultraviolet light, and a fluorescent varnish. Generation 7 is coarse pinkish-tan paint with a brown glaze.

Sample TYH40 from the south exterior door

The cross-section below is missing some of the early layers but retains the later layers applied to the front door. Generations 8 through 10 were blue-green paints with very little autofluorescence. Generation 11 was a olive green and generation 12 was a another blue-green paint. Generations 13 through 17 were modern, finely ground brown paints.

Sample TYH39 from the south exterior door

The rear door shares a similar stratigraphy to the front door, although there are a few differences. Generation 1 was a red-brown paint that was also found on the front door and the interior of the house. There was no evidence of a generation 2 finish and the rear door may have remained red-brown in this period. In generation 3, a gray paint is applied that may relate to the cream-colored base coat and black finish coat found on the front door in the same generation. The green glaze of generation 4 that was found on the front door was found on a few samples from the rear door but is missing from this sample. Generation 5 on the rear door was also identical with a yellow base coat and brown glaze (this can be seen more clearly in the cross-sections on pages 65 and 67). Generation 6 was another decorative scheme with an orange-brown base coat, reddish glaze, and varnish. Generation 7 was a thick brown glaze without the pinkish-brown base coat found on the front of the door. This glaze filled in cracks in the layer below. Beginning in generation 8 the rear door was painted with a series of blue and green paints that were similar to the paints found on the front door. In generation 13 and after the rear door begins to be painted differently and this probably represents the period after the rear porch was enclosed to create a kitchen.

Sample TYH62 from the rear door now located in the kitchen

The cross-section below from the rear door begins with the gray paint of generation 3 and then skips to generation 5. Other early generations are missing indicating that the door probably received a lot of wear.

Sample TYH61 from the rear door now located in the kitchen

The cross-sections below from the rear door have evidence of the verdigris finish applied in generation 4 over a cream-colored primer.

Sample TYH61 from the rear door now located in the kitchen

Shutters

Eighteen samples were taken from the shutters, but most had a disrupted early stratigraphy that suggests that these elements were allowed to become very worn early on. Like other trim on the house, there is evidence that a resinous sealant was first applied to seal the wood before painting. Evidence of the generation 1 red-brown paint is missing from the shutters. Instead, the earliest finish is a cream-colored base coat and a red-brown finish coat that mirrors the generation 2 finish on the front door (see page 64). This suggests that the shutters were added at a later date than the doors. The finish history of the shutters and the front and rear door is summarized in table form on page 72.

Sample TYH69 from shutter number five on paneled face

In two samples there is evidence of a thin black paint applied in generation 3 that seems related to the black finish coat seen in some door samples in the same generation (see page 64). Generation 4 in the shutter cross-sections consists of a cream-colored paint topped by a glaze that is too fragmentary to resolve. The glaze may be the same green glaze found on the doors in generation 4. Generation 5 was a coarse gray paint with a brownish fluorescence. Generations 6 and 7 were bright green layers with different fluorescence colors.

Sample TYH71 from shutter number 6 on the raised panel face

The cross-section below shows the upper layer of paint that were applied to the shutters. Generations 8 was a green paint with a some autofluorescence that suggests a resinous component. Generations 9 and 10 were green paints with little autofluorescence. Generations 12 through 19 were blue-green paints. The later layers are finelyground and unweathered suggesting that they are modern paints perhaps applied after the 1950s restoration.

Sample TYH74 from shutter number 6 on the flat face

The table below gives the finish history for the shutters and doors on the house.

The table below summarizes the finish history of the exterior of the house. If there was a multi-colored scheme in one generation, the two colors are separated by an "or". Primers and finish coats are separated by a comma.

These are the locations from which you took paint samples this morning. Our intent is to understand the system of how these rooms were painted in the 18th century. We focused on the principal woodwork and doors. We did not sample bases. I have noted your initial observations as you took the samples.

Stair Passage, First Floor

• A. (TYH1) Stair stringer immediately below sharp (south) groove in sixth stair bracket counting from bottom. Appears to be red on the bottom, as on B and C.
• B. (TYH2) Wainscot, east wall, third panel from south end, south bevel on raised panel, 2' above floor, below marble serving table.
• C.(TYH3) Wainscot, east wall, second panel from north end, south edge, molding on stile, ½" below middle rail.
• D. (TYH4) Stair, fifth baluster from bottom, center of south side, ½" below rail. Earliest layer on this and E look white rather than red.
• E. (TYH5) Stair, twelfth baluster, west face of baluster where shaft meets necking.

Southwest Room, First Floor

• F. (TYH6) Panel stile, 1/8" below surbase, 3½" west of western window in south wall, 1" east of intersection with rail. Looks like cream, not red, on bottom, as do G and H.
• G. (TYH7) Panel stile ½" above surbase 1" north of north architrave/frame on east doorway.
• H. (TYH8) Surbase, west wall, 4" south of west (closet) door, top of cyma below applied bolection. Seems to include red.

Northwest Room, First Floor

• I. (TYH9) North wall, top of second, wainscot style, counting from west, ¼" below molded cap and 3" west of west window architrave/frame.
• J. (TYH10) Fireplace backband, top edge of top ovolo, 5" southeast of northwest end. Looks dirty, or dark paints.
• K. (TYH11) East wall, bottom panel, just south of east door, upper north corner of bevel, 1" south of stile.

Stair Passage, Second Floor

• L. (TYH12) Stair landing, east stair wall, small closet jib door, south end of upper panel bevel. Appears to have fewer layers, although not visibly stripped.
• M. (TYH13) West wall, top panel rail, northernmost panel, 1" north of second stile, top cyma molding. Appears to include red.
• N. (TYH14) East wall, chair board, 5" south of north wall, in groove of lower bead. See no red. Some of this board dates from the 20th century, but this piece looks older.
• O. (TYH15) West wall, south doorway, south architrave, middle fascia, against backband, 2' 4" above floor. Seems to have red.

Southwest Room, Second Floor

• P.(TYH16) West window seat, bottom panel, top of bevel, 1" from east end.
• Q.(TYH17) East window seat, top (recessed) panel, top stile, ½" west of junction with east stile, ¼" below cap.

Southwest Closet, Second Floor (now Bath)

• R. (TYH18) North architrave, fascia ½" south of backband, 1' 6" above floor. Looks dark, possibly red.

Northwest Room, Second Floor

• S.(TYH19) West window seat, lower panel, top stile, ½" east of intersection with west stile, ¼" below cap.
• T. (TYH20) South wall, chair board, groove of bottom bead, 10" east of door architrave. Red.
• U. (TYH21) East window seat, east panel, raised field, 3" north of south edge, 4" above bevel. Taken from a chipped face that reveals old dark green and red below present 105 green. The old green may be the source of the present lighter green, and the red may have been interpreted as a primer.
• V. (TYH22) South (Greek Revival) door, bottom rail, ½" east of west rail, at angular bottom molding.
• W.(TYH23) South door, east facing, fascia ½" east of bead, 1' 10" above floor. We took this and V to help date mid-19th-century layers.

Northwest Closet, Second Floor

• X.(TYH24) North architrave of door, fascia adjoining backband 1' 10" above floor.

Doors

• Y. (TYH25) First-floor passage, south door leaf, interior face, bottom west panel, top bevel ½" east of west edge. Red.
• Z. (TYH26) First-floor passage, north door leaf, interior face, 3rd rail, top edge, 1" west of intersection with right stile. Red.
• AA. (TYH27) First-floor passage, door leaf to cellar stair, west bottom panel, east end of top bevel at intersection east bevel. Looks red.
• BB. (TYH28) First-floor southwest room, east door (to passage), north bottom panel, top bevel, against rail moldings, at intersection with north bevel. Looks cream or white, not red. Maybe white with discolored linseed oil. This could represent significant variation from other spaces. Later finish may be grained.
• CC. (TYH29) First-floor, northwest room, south door leaf (to front room), east bottom panel, top bevel against rail molding at intersection with east bevel. Surprisingly, we see no red.
• DD.(TYH30) Northwest first-floor room, east door leaf (to passage), north bottom panel, top bevel, adjoining rail moldings, 1" south of north bevel. Again, we see no red.
• EE. (TYH31) First-floor passage, door leaf to cellar, back (cellar/closet) side, west bottom panel, ¼" below middle rail, ¾" east of west stile.
• FF. (TYH32) Second-floor passage, door leaf to southwest room, north bottom panel, intersection of top and south bevels ½" below lock rail moldings. Looks red.
• GG. (TYH33) Second-floor northwest room, west (closet) door leaf, south bottom panel, intersection of top and south bevels, ¼" below lock rail moldings. Looks red.

Attic

• 106
• HH. (TYH34) East wall, cut-nailed riven pine clapboards, sixteenth clapboard from bottom, top edge of exposed surface, 6" north of north window frame. Looks like all limewashes.
• II. (TYH35) East wall, same, twenty-fifth clapboard from bottom, top edge of exposed surface 11" south of north window. Cut nails with rough, small, rectangular heads.
• JJ. (TYH36) South knee wall, sawn and planed weatherboard, also appears to be secured by cut nails with small uneven rectangular heads. Fourth board above floor, 2' 4" west of stair enclosure.
• KK. (TYH37) North roof slope, lower edge of third exposed roof sheathing board, ½" east of fourth pair of rafters.

This morning you, Ernest Clements, and I looked at the shutters from the Tayloe House now in the mill shop and paint shop for repair and repainting. Five of the shutters are visibly early; the rest are 20th-century. There is more decay on the 20th-century shutters than the old ones, which are made of heavier, more resinous pine. I take the latter to be 18th-century because of their form, ovolo moldings, and apparent dark red paint (seen as bottom layer) on one of the shutter samples Peggy Olley and I took in 2004.

We are sampling these in hopes of confirming the red or discovering other paints as an early finish.

There is general weathering, with raised grain on the five shutters, more on the faces (with raised fields and ovolos) than on the back (with flat panels and no moldings). An exception is the ghost of slide bolt plates, rectangular with rounded inner corners and a horizontal arm. The paint is thicker there, where protected by previous plates. Your first impression is that the earliest layers are absent from these, however, so the slide bolts were probably additions, possibly removed when the Tayloe House was restored.

The shutters have no permanent numbers. You have kept a record of where you took the samples, noting the numbers on temporary tags matched to the windows. There are two 5s, two 6s, and one 10.

Old photos show louvered shutters on the front, so these must have survived on secondary elevations.

PAINT COLORS

The present colors of the woodwork of the house, both exterior and interior, are thought to be quite authentic since they were determined in each ease by scraping off superimposed later layers of paint and exposing the original paint coats. Paint samples closely approximating the original colors were then made and these colors were used on the woodwork of the various parts of the house. The following are the schedules of colors used on the exterior and interior of the house. The number, in each case, is that under which the color is recorded at the Colonial Williamsburg paint shop.

EXTERIOR

INTERIOR

PAINT COLOR RESEARCH

The following is a schedule of the paint colors found on the exterior and interior of the Tayloe House when the paint layering was scraped off in places so as to lay bare the wood or the plaster. The color found in each one of the succession of superimposed paint coats is recorded in the order in which it appeared, beginning with the deepest, which is, of course, the earliest. In most cases the color of the earliest finish coat, exclusive of the primer, was reproduced in the repainting of the exterior and interior of the house during its restoration. In the listing below the paint colors corresponding to the ones used in the final repainting are denoted by an asterisk (*).

First-generation red-brown paint

Second-generation cream-colored paint

Third-generation yellowish-tan paint

Third-generation green paint