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Preserving Elements I�•�-��-T�v�.vc� .Z-, 7`f 7t16 Classic Gutter Systems -History of Gutters and Downspouts Page 1 of 2 CLJ \ ' )SIC)01NaHistory of Gutters and Downspouts UTTER SYSTEMS About Us "Out with the old, in with the new." It's a common phrase when technology provides consumers with a more efficient, cost-effective product or service. In • About CGS most cases, these attributes are placed ahead of aesthetics and authenticity, and • History standard residential gutters are a prime case in point. Today, very few homeowners view gutters and downspouts as anything more than a necessity. Products This means cost and practicality are the primary considerations, in other Catalogue words, seamless 5" k-style aluminum gutter. The technology of the k-style Frequently Asked Questions machine provided the industry with the affordable seamless product it needed Order Contact so badly. However, the cost of these utilitarian concerns was the disruption of Installation Examples the charm and architectural integrity intended for classic structures. What is New? Prior to 1960,before the invention of the k-style machine, almost all gutters were half-round. K-style gutters are a product of modern ranch-style housing - and that's fine on those types of homes. On the other hand, half-round gutters have a charm and beauty all their own. It is truly disheartening to see someone "re-muddle" their treasure by covering up large crown molding facia and other elegant detail, while not at all preserving the style intended. Half-round gutter, by design, is superior; literally duplicating the configuration of a natural trough or gutter. The k-style at the time offered many advantages -no joints, aluminum with baked enamel painted finish, and of course, cheaper prices because of reduced labor. Originally 4" and 5" k-style were the norm, but the advantages of a bigger gutter quickly made the 4" k-style obsolete. Many people, even people in the gutter industry, don't realize that the water capacity of a 4" k-style is equivalent to that of a 5" half-round. Generally, the accepted sizes in half-round systems were a 5" gutter and 3" corrugated round downspout. The use of 6" half-round gutter and 4" corrugated round downspouting is truly a more realistic working combination. The corrugated round downspout is made for the expansion and contraction due to ice, with most people agreeing that it features a more authentic look. Again, it is time to go "Out with the old, and in with the new!" At last, technology and aesthetics have come together to provide a seamless 6" half- round gutter with 4" corrugated downspouts that not only look great, but work great! Now, homeowners need not compromise taste, originality and function when selecting gutters and downspouts. All the charm of yesteryear with the durability and practicality of the 21 st century are here today. Classic Gutter Systems can produce seamless half-round gutter up to 26' lengths in both heavy copper and heavy aluminum. State of the art hanging systems as well as stunning cast facia brackets provide practical, simple installation. We've also taken our gutters to new levels of charm with decorative cast components to compliment the value of any classic structure. For historical classics, or future classics being constructed today, installing anything but 6" half-round gutter would be like putting a Picaso in a plastic frame. At Classic Gutter Systems, we like to say, "In with the old, in with the http://www.classicgutters.com/history.html 10/19/2001 Classic`Gutter Systems -History of Gutters and Downspouts Page 2 of 2 new!" E-Mail: info@classicgutters.com o 1999-2000 by Classic Gutter Systems Last update: 04 December 2000 E-mail to: webmaster@classicgutters.com . http://www.classicgutters.com/history.html 10/19/2001 Classic Gutter Systems -Aluminum Half-Round Gutter Installation Examples Page 1 of 2 CLLSSIC Aluminum Installation Examples -UTTER SYSTEMS About Us Products rc., . Catalogue `"•. , it,. � ',, Frequently Asked Questions d � ; #- � ,, Low gloss white gutter used with Order double open curl facia bracket Contact Installation Examples ; and crown molding block. , = Crown molding or angled soffit • Aluminum Examples — `` i blocks are provided by the • Copper Examples ` customer. What is New? Pacific blue (special order color) ` r gutter shown with a double open -- rr curl facia bracket. ,...„:„-,--: 1 I . .. ; + Pacific blue (special order color) * gutter installed with an outside 1 '' a 90 degree strip miter. �' l � r�:. Low gloss white double elbow _*; a (2 - 45 degree elbows) and ��> ---- downspout shown with pacific Y �� blue gutter, double open curl r _; facia bracket and endcap. : 4L.T" . I .,--,7:0----:- 4t: , 10/19/2001 http://www.classicgutters.com/installation/alexampl.html Classic'Gutter Systems -Aluminum Half-Round Gutter Installation Examples Page 2 of 2 ©1999-2000 by Classic Gutter Systems Last update: 04 December 2000 E-mail to: webmaster(a classicgutters.com http://www.classicgutters.com/installation/alexampl.html 10/19/2001 CopperCraft Gutters and Downspouts Page 1 of 2 via GUTTERS AND DOWNSPOUTS Download Gutter AutoCAD files Download Gutter Specifications CopperCraft offers a wide selection of gutter systems. Our fabrication etechnique allows us to provide virtually any size and profile. A few of our more common selections are shown below. Gutters for Standing Seam: Downspouts: Quarter Round Gutter: All CopperCraft profiles are Round downspouts This profile provides also available with full 6" available from 3" to 8" exceptional performance and flanges, open hems at the top diameter. Square and beauty in vertical fascia and 1" deep lock to receive rectangle available in any applications. Works well standing seam panels. Can be size. with slate or standing seam installed with roof mounted panels. Available with hangers or internal brackets. hemmed return or traditional bead roll. High Back Gutters: s °- Gutter Miters and Available in all profiles. -;;1.-- Downspout Elbows: Eliminates need for seperate �` 1' CopperCraft miters and eave drip edge. Roof flange Is L' elbows are hand fitted and insures no blowing rain gets ' soldered(except prefmished). behind gutter to soak wood and '_, ,I �_ cause rotting. Can be installed -) 4; . s:;'. with roof mount hangers or internal brackets. Accessories: Face Mount Gutters: CopperCraft can provide CopperCraft offers brackets, CopperCraft also offers old style hand curved half hangers, and other accessories traditional half round and round, quarter round, and in various sizes and materials. ogee face mount gutters. ogee gutter in Copper, Lead Coated Copper, or Zinc. BOX BEAD CORNICE STYLE COVE MOLD http://www.coppercraft.com/gutters.html 10/19/2001 CopperCraft Gutters and Downspouts Page 2 of 2 HALF ROUND HALF ROUND DOUBLE BEAD SINGLE BEAD HIBACK HIBACK FOR STANDING QUARTER ROUND BEAD SEAM OGEE ROLL rf QUARTER ROUND RETURN ROLLED BOX RETURN STANDARD .1 Page I Company Info I Dormers I Gutter Systems I Conductor Heads I empires and Finials I Cupolas I Cornice Systems Roof Panels I New Products I Product Specifications Send an e-mail to CopperCraft http://www.coppercraft.com/gutters.html 10/19/2001 CopperCraft Gutters and Downspouts Page 1 of 2 fir. AM NM Iiiiiii GUTTERS AND DOWNSPOUTS Download Gutter AutoCAD files Download Gutter Specifications TLCopperCraft offers a wide selection of gutter systems. Our fabrication p ir technique allows us to provide virtually any size and profile. A few of our more common selections are shown below. Gutters for Standing Seam: Downspouts: Quarter Round Gutter: All CopperCraft profiles are Round downspouts This profile provides also available with full 6" available from 3" to 8" exceptional performance and flanges, open hems at the top diameter. Square and beauty in vertical fascia and 1" deep lock to receive rectangle available in any applications. Works well standing seam panels. Can be size. with slate or standing seam installed with roof mounted panels. Available with hangers or internal brackets. hemmed return or traditional bead roll. High Back Gutters: Gutter Miters and •Available in all profiles. . i< Downspout Elbows: Eliminates need for seperate _,� `,., CopperCraft miters and eave drip edge. Roof flange _ L I._• C ; � elbows are hand fitted and insures no blowing rain gets '1' # 6' $ r soldered (except prefinished). behind gutter to soak wood and ` .1 ; I cause rotting. Can be installed �:� _� i,4 with roof mount hangers or internal brackets. Accessories: Face Mount Gutters: CopperCraft can provide CopperCraft offers brackets, CopperCraft also offers old style hand curved half hangers, and other accessories traditional half round and round, quarter round, and in various sizes and materials. ogee face mount gutters. ogee gutter in Copper, Lead Coated Copper, or Zinc. x BOX BEAD CORNICE STYLE COVE MOLD http://www.coppercraft.com/gutters.html 10/19/2001 CopperCraft Gutters and Downspouts Page 1 of 2 Allis Mk MO MEI "1 -e a . Th.'; ' —� Th GUTTERS AND DOWNSPOUTS Download Gutter AutoCAD files Download Gutter Specifications p yCopperCraft offers a wide selection of gutter systems. Our fabrication technique allows us to provide virtually any size and profile. A few of our more common selections are shown below. Gutters for Standing Seam: Downspouts: Quarter Round Gutter: All CopperCraft profiles are Round downspouts This profile provides also available with full 6" available from 3" to 8" exceptional performance and flanges, open hems at the top diameter. Square and beauty in vertical fascia and 1" deep lock to receive rectangle available in any applications. Works well standing seam panels. Can be size. with slate or standing seam installed with roof mounted panels. Available with hangers or internal brackets. hemmed return or traditional bead roll. High Back Gutters: ..: Gutter Miters and Available in all profiles. —y,,,r r.,.. i Downspout Elbows: Eliminates need for seperate = -` 5 j CopperCraft miters and eave drip edge. Roof flange " ( 3 elbows are hand fitted and i insures no blowing rain gets itrif" ;e- soldered (except prefinished). behind gutter to soak wood and y$ .1 _{ L' cause rotting. Can be installed 1: tti'># with roof mount hangers or internal brackets. Accessories: Face Mount Gutters: CopperCraft can provide CopperCraft offers brackets, CopperCraft also offers old style hand curved half hangers, and other accessories traditional half round and round, quarter round, and in various sizes and materials. ogee face mount gutters. ogee gutter in Copper, Lead Coated Copper, or Zinc. ....000'11.1:0000 BOX BEAD CORNICE STYLE COVE MOLD - http://www.coppercraft.com/gutters.html 10/19/2001 CopperCraft Gutters and Downspouts Page 2 of 2 '--fir. ` ----"------;',..----..' ''''' 1,-- -r,. HALF ROUND HALF ROUND DOUBLE BEAD SINGLE BEAD HIBACK r / � r �HIBACK FOR STANDING QUARTER ROUND BEAD SEAM OGEE ROLL QUARTER ROUND RETURN ROLLED BOX RETURN STANDARD l%— Pa�Lte I Company Info I Dormers I Gutter Systems I Conductor Heads I Spires and Finials I Cupolas I Cornice Systems Roof Panels I New Products I Product Specifications Send an e-mail to CopperCraft http://www.coppercraft.com/gutters.html 10/19/2001 CopperCraft Gutters and Downspouts Page 2 of 2 HALF ROUND ��HALF ROUND DOUBLE BEAD SINGLE BEAD HIBACK { HIBACK FOR STANDING ,, _.,......, QUARTER ROUND BEAD SEAM _ OGEE ROLL 400000,/ 4, QUARTER ROUND RETURN ROLLED BOX RETURN STANDARD 1` Pale I Company Info I Dormers I Gutter Systems I Conductor Heads I Spires and Finials I Cupolas I Cornice Sy,,tc,~:- Roof Panels I New Products I Product Specifications Send an e-mail to CohperCraft http://www.coppercraft.com/gutters.html 10/19/2001 ARCHITECTURAL STAINED GLASS AND ITS PRESERVATION WORKSHOP AND TOUR by Bob Jones Presented by The Florida Trust for Historic Preservation The Bureau of Historic Preservation March 9, 1999 Rollins College, Olin Library Winter Park, Florida ARCHITECTURAL STAINED GLASS AND ITS PRESERVATION WORKSHOP AND TOUR by Bob Jones Presented by The Florida Trust for Historic Preservation &The Bureau of Historic Preservation March 9, 1999 Rollins College, Olin Library Synopsis ORIENTATION DEFINING"STAINED GLASS" WHY PRESERVATION?-VALUES THE MEDIUM & STRUCTURES SLIDE PRESENTATION (Florida Windows) - STYLES &HISTORIC PERIODS (LUNCH) PRESERVATION PRINCIPLES PRESERVATION TECHNIQUES PARTICIPANTS DISCUSSION TOUR VALUES of HISTORIC AND CULTURAL PROPERTIES * FINANCIAL VALUE "Replacement value" (consideration of level of craftsmanship and skill level of current studios) "Market values" of select items within the fluctuating art and collectibles market * ARTISTIC/TECHNICAL VALUES Works of a high level of artistry, craftsmanship, or engineering regardless of the creator * RARITY The scarcity of a particular type of work, from a particular period or maker, can make it valuable on various levels. * INFORMATIONAL VALUES Names, dates, and inscriptions within a work. * ASSOCIATIVE VALUES Associations with creator, donor, building, organization, community, etc. The character of these entities is better understood by association with the historic property. Consistency or inconsistency with known associations is revealed. Relational value. Connection to other known entities strengthens the understanding of the ensemble. This value is commonly used by the art and archival fields. * CREDIBILITY The level of physical integrity the historic property retains makes it a more, or less, good example of its type, time, and place of creation. STAINED GLASS: THE MEDIUM "Stained glass" in common language refers to most any colored decorative window glasswork. Multiple piece, non- colored glass windows, such as beveled or clear glass fan transoms, are often and properly referred to as "leaded glass. " THE GLASS COLORED GLASS Most colored glass one sees in artistic windows comes from manufactures in sheets. The raw materials that go into glass are mixed together in exact amounts. This mix is called a "batch. " Into this batch are mixed various metallic oxides which give the glass its colors depending on which oxides and in what amount. Cobalt gives glass a well known blue color. Copper gives a different blue and a fine red. Sulphur gives a very familiar gold color. White glass (not clear) which is often combined with other colors and is partially opaque is called "opalescent" glass. It is created by adding fluorides and alumina to the batch. Glasses such as these with the color in the sheet are known as "pot metal, " since the metal oxide is cooked in the crucible pot or furnace. ANTIQUE GLASS The oldest method for blowing glass into sheets is to use a metal pipe with a "gather" of molten glass on one end. Air is blown into the gather to form a bubble. This bubble is expanded until it can form a disc when flattened. This flattened glass disc is then spun on the pipe so that centrifical force spreads the material. Such spun discs are called "crown glass. " The center where the pipe was attached is irregular but is used as a novelty piece of glass and is called a "bullseye. " The popularity of the bullseye as a specialty glass led to the creation of "rondels. " They are usually small 4 and 6 inch discs, spun on the end of a blow pipe and the end of a work day with the small amounts remaining in the furnace. They are sometimes described as looking like bottle bottoms. A later technique for forming sheet glass was to blow the gather into an elongated bubble. After the glass is cooled or "annealed" in this form, the ends of this elongated form are cut off leaving an open ended cylinder referred to as a "muff" after winter fur hand warmers. The cylinder is cut along one side and reheated which relaxes the glass into a rectangular sheet. Both forms of sheet glass formed with a blow pipe are called "antique" glasses with the crown glass being the least common. There is a colored sheet glass known as "flashed" glass which usually combines two colors of glass. The blower will usually blow a clear glass bubble which is dipped into another color. When formed into a sheet it is clear with a colored surface. The surface color can then be etched away in a decorative manner. CATHEDRAL GLASS An English invention of the mid 19th century was to roll sheets of pot metal glass onto steel tables with heavy steel rollers. This produced colored glass much more affordable than antique glass. Rollers and steel tables leave surface irregularities which obscure vision through with this type of glass. It has its applications and is very popular but affordable color cannot replace the smooth surfaced beauty and cutability of antique glass. The use of machine rolled glass was quickly adopted by Americans. OPALESCENT GLASS At the urging of entrepreneurs John La Farge and Louis C. Tiffany, glass makers in Brooklyn, New York, made "opalescent" sheet glass. The formulas for this white glass created an obscure effect rather than the usual transparent material . Varying densities of opalescence within a sheet gave the illusion of highlights and gradual shading. This glass was usually blended with other colors to form variegated sheets of colored glass. This innovation revolutionized the esthetics of stained glass windows and a new approach to window design developed which came to be known as "American" style stained glass. This opalescent glass was machine rolled like cathedral glass. Other innovations quickly followed. Glass was rolled unevenly to produce "ripple" glass. Molten glass was rolled over colored glass threads and thin chips to form "stringer" and "confetti" glass. Globs of glass was pressed into molds to form faceted "jewels" and various thick decorative shapes. PLATE GLASS Plate glass is clear glass made in different thicknesses. This material has been used for decorative purposes primarily for beveling the edges for their prismatic beauty. Plate glass has also been etched and abraded using hydrofluoric acid, grit and compressed air etching and copper wheel engraving. Multiple pieces of beveled plate are assembled with metal came strips in the same manner as colored glass. Ordinary clear window glass has also been decorated using acid and compressed air etching techniques. GLASS TREATMENTS GLASS PAINT Another method glass gets color and surface effects is by painting with kiln-fired paints. The oldest type of paints are still widely used today and contain, among other ingredients, copper and iron oxides. These paints are of limited colors, black, several browns and a drab grayish green. These are high- fire paints in that they are kiln fired to around 1250 degrees F. Around 1300 A.D. a paint was discovered based on silver nitrate as a colorant. Fired to around 950 degrees F. it stained the 11 glass a brilliant yellow color. The silver formed a durable bond with the glass despite the lower temperature of kiln firing. This silver paint became exceedingly popular and the name "stained glass" came to define the whole field of activity. In the fifteenth century enamel paints began to be developed which broadened the range of paint colors. They kiln-fire at a lower temperature but they bond .less readily than silver stain at this lower temperature. ABRASIVE TREATMENTS Various methods have been used to abrade the surface of glass to achieve an etched effect and to bevel and polish plate glass. Hydrofluoric acid is an ancient method occasionally used today to etch the surface of glass. Copper wheels mounted on a special lathe, known as a copper wheel engraver, dates to the ' 16th century. They have been used to carve designs on thicker window glass. In the. late 19th century compressed air began to be used to blow sand and grits to abrade the surface of glass . Abrasive wheels and wheels with abrasive grits have been used to bevel and polish the edges of thick glass. Small vertically mounted wheels with abrasive grits have been used to grind and polish designs on thick glass although their primary use has been to decorate tableware known as cut crystal. All techniques except beveling wheels have been used to etch away the colored surface of flashed antique glass. Traditional European forms of window decoration have relied on antique glass and kiln-fired paint. With the• American -- introduction of "opalescent" window glass around 1880, a new tradition or "American" style of window developed. Opalescent designers tended to execute their designs relying on the glass itself and minimizing the use of paints. These two major traditions of material use have been exhibited in American stained glass history. THE ASSEMBLY A stained glass window of traditional structure is multiple pieces of glass held together by lead strips or "cames, " which have flanges that grip the edge of the glass. The pieces of lead are joined by solder. These connections are known as "solder joints. " Glazing putty is rubbed between the lead flanges and glass to weather-proof the assembly. This assembly is installed in a window frame. Supplemental support for windows two feet and higher is provided by reinforcing bars which are joined to the: window frame. The leaded window is attached to these bars. Large windows are made in sections. "T" bars are built into the window frame. Upper window sections are installed on these T- bars. (Illustration 1) This arrangement keeps the weight from being carried by the leaded section beneath. Another, less desirable method, has been to stack the leaded sections by using II a large flange lead between the sections, and reinforcing the. intersection with a rebar. (Illustration 2) METAL CAMES The lead came is made by casting or extruding and milling the metal to the desired shape. A cross section, or profile, of . a typical "H" shaped lead has these features, the "tops" or "caps" have different widths and consist of "flanges" which hold the glass. The "heart" of the came forms a network around the edges of the glass. The profile is either "flat" or "round. " ._Round profile came is an attempt to strengthen the material by 'increasing the amount of metal. Strength and durability is effected also by the composition or alloy of the metal. To make the metal more resistant to the atmosphere and maintain elasticity needed to respond to temperature change and wind pressure, manufactures include small amounts of antimony, copper and silver. To support the heavier assembly of beveled plate glass, zinc cames have been commonly used. More rigid cames of brass and copper have been used on occasion mostly for their attractive color. 1 L.LUMAM014 * 1 1LL145 Tk'N ; ' r/ /4/./;1 5@E y i \\/ 51 vJ XV TOP 'PANEL_ ;l LAGE ftty\14E.1) LEAN CTI EPILl 'PING Lo\VCP-) - t . 4 -;— PANEL 1 • 2 DL E AR iVIrE5 I 'llvs� Y.rIfi� TOP LEAD CAME .P9OFl LE HEART y 1 ., \Vi1H�XV OPEN1N6- a7 ti.,- -‘• . AIt1 . 61L4 `4111 'OV - „. A. .0., . - . .. .. 1. 34k___ _,,mt_Li • (11 1 %�,,► - \'41ip\J oPEJIN i . � ` _ ` " •� \\I1MDO\�J mouLDING- 11 lite 1:P T- BA./ , \\111\11)0`1 .DC V I Lt 5ADI)I_E -Bk, j 3EINFCP DA-1 i-, • :71 IN . 0 ii FMB P r : . %rnE vplE5TNNNE)) e_ v E !III*111 STAINED GLASS: HISTORY IN THE UNITED STATES rEARLY GLASS PRODUCTION "With alacrity and success" , according to Captain John Smith, a glass making operation, known as a "glass house, " started by the first Jamestown settlers was in operation by the spring of 1609 . This description was more promotion than an enduring fact. Several attempts at glass production at Jamestown were short lived, as were efforts in Salem, but with reoccurring efforts Boston, New York and Philadelphia became early centers of glass making in America with window glass and bottles the main products. Early window glass came in small pieces. Discs of molten glass known as "crown glass" were spun on the end of a steel blowpipes. Except for the thick portion where the blowpipe was attached, the thinner portions of the disc were cut into small panes. Leaded diamonds or rectangles of this glass was a customary window opening if one had glass, but oil paper or cloth was quite common. Shutters filled window openings and were not just for storm protection. Artistic decoration of window glass at this time relied on kiln fired painting upon the glass rather than artistic arrangements of colored glass. In the 1600s Evert Duyckingh and two sons painted and fired glass in New Amsterdam. Painted squares, ovals and circles were set into leaded geometric backgrounds. Such simple artistic assemblies would have been a rarity in early America and for several hundred years no more artistic statement was demanded when it was wanted at all . Glass houses were continually attempted and failed with glass workers moving to the next ambitious entrepreneur. Glass houses existed across New England, New Jersey, Philadelphia, Pittsburgh and west to Zanesville, Ohio. Bottles and tableware were made in a variety of colors. If Americans by 1800 did not use and produce beautiful colored window glass, it was not for lack of the facility to do so. DEVELOPMENT OF AN AMERICAN INDUSTRY The Gothic Revival movement in England of the 1830s returned older design principles to stained glass production and by 1850 many notable firms were established which endured into this century. Gothic Revival influences were noticeable in America. The first known use of colored glass for high artistic work in the United States was in the 1840s by William Jay Bolton and his brother John. In 1843 Jay built an altar window for Christ Church, near his home at Pelham, New York. In 1844 the brothers began the huge undertaking of. 60 large windows at St. Ann and the Holy Trinity Church in Brooklyn, New York. While that work was underway, Richard Upjohn the architect for Trinity Church at Wall St. , designed a set of altar windows for that Gothic building. Rich colors, 7 standing figures and medallions dominate Upjohn' s windows. Serious artistic windows were being made in the United 11 States. As early as 1834, a William Gibson was listed in New York City as having. a stained glass business but nothing is known of his work. Henry Belcher, who had been in the glass business since the 1830s was doing decorative glass by 1855 and Henry Sharp started a business in that decade which would remain until the end of the century. The oldest existing stained glass firm is Lamb Studio' s begun in New York City in 1857 . Little remains of 1860s or 1870s leaded colored windows although good examples o the works of New Jersey born Owen Doremus, English immigrants Daniel Cottier, Charles Booth, and Scottish W.J. McPhearson remains. The evidence is of sophisticated designs of vibrant figures and ornamentation from this eclectic time. Edward Colgate also worked around New York City in association with others, including Sharp, until establishing his own business . Colgate' s and McPhearson' s work is represented in Florida. Following the Civil War the popularity of decorative glass in this country increased dramatically and remained strong until the economic depression of the 1930s. Centuries old techniques for beveling, wheel engraving, and etching glass were popular along with the new use of Tiligman' s compressed air sandblasting technique to etch glass. The use of artistic wood sash windows with multiple lights had been used since the 1840s but the popularity of Queen Anne sash used in conjunction with buildings of that style became widely popular. Wood mills produced sashes with every possible geometric arrangement of wood muntins to subdivide the sash. Usually machine rolled cathedral glass was used in them but sometimes the panes would be painted or artistically treated. Many sashes with colored rectangles around their perimeters are still intact today. With the 1880s came a dramatic change in the art form which demonstrated the eclectic, innovative character of American society. John La Farge, of New York City, is credited with conceiving the use of opalescent glass in leaded windows, but Louis C. Tiffany promoted and marketed this innovation of window design on such a scale that even today he is by far the best remembered of any American window artist. The introduction of opalescent glass along with many innovations in glass production, as well as window assembly techniques, created the most radical alteration in the craft' s history. The opalescent stained glass window was dubbed the "American Style" window, and was distinctly and American major art form. In a frenzy of experimentation, window glass was made with two to five colors in a sheet. The texture of the sheet was rippled and deeply folded like drapery. Chips and threads of colored glass were added to the sheet to create "fracture" and "streamer" glass. One inch thick colored glass was chipped, and molten glass was mold pressed into "jewels" and special shapes. Another major development of the "American" style window was the use of "plating" or building up layers of glass. This was done for artistic and structural reasons. Maitland Armstrong, also of New York City, along with Frederick Lamb of Lamb Studios, with a hand full of other fine artists, were early enthusiasts for the new opalescent material . La Farge, Tiffany, Armstrong and Lamb are noteworthy for producing outstanding art, in large quantity, in the opalescent medium. Examples of their windows are to be found in Florida. Many other fine artists and studios are associated with making American style windows which remained popular from the 1880s into the 1920s, but by the time of the great depression other styles had arisen and preferences had changed. At the turn-of-the-century, Frank Lloyd Wright introduced a novel_ approach to window design that predated art-deco and modern art. Wright' s style, mostly non-representative, sometimes abstract, elevated geometric ornamentation to a fine art. Wright' s inventiveness with glass can be seen at the chapel at Florida Southern College in Polk County. Louis Sullivan designed along a similar line. Both were architects who designed windows that integrated with their building plans. A student of Wright' s, Henry J. Klutho of Jacksonville, was Florida' s first and most famous Prairie School architect. He too designed ornamental windows as a part of his buildings and some of his windows remain. Another Gothic Revival was taking shape at the turn-of-the- century, sometimes referred to as Twentieth Century Gothic. A pioneer of this trend was William Willet who founded his own studio in Philadelphia in 1898. Willet was a portraitist who had worked for La Farge, assisting him on mural projects in the 1880s. He loved the rich primary colors common to Medieval windows. The Willet studio exists today, directed by a third generation Willet. William Willet' s fine art is to be found in Florida. Others, also drawn to the Gothic approach in the Boston area where Harry Goodhue, Wilbur Burnham, Joseph Reynolds and Charles Connick. In New York were Henry Wynd Young and J. Gordon 'Guthrie. Connick in close affiliation with the architect Henry Cram, promoted the Gothic ideal in window design and was the most influential and revered window artist of this century. Examples of the work of Burnham and Young are to be found in Florida. By the 1920s, various modern styles influenced windows produced in both Europe and America and are to be seen in Florida. The windows in Olds Hall-Good Samaritan, in Volusia County, are good examples of a popular decorative/landscape approach. EXAMPLES OF ORNAMENTAL THEMES I ,. ,,w.„,,,_,,.....„- . '.'""W17.77 , 4,01t4k , . ,, .w�.3e,.ve....s_«:y :tu ,ei •rwxay . .tt. - d j Itt,,,..1 '•31: Ittix i,,,,,,lb t;L: �� *4: - Tly Es. �� £ y� w,0ssawnt i jox.om .aeea .-+,�a ar Ornamental is the most common theme for windows. This simple design with a friendly message is over a church's front door. x rf- gyp., _ i'.>,-t- ,,-. V,, ',-:;-,--, G This design is composed of a geometric "`� k -- (diamond) center made with cathedral _ , glass. Scrolling elements on the top ,, and bottom are made with opalescent *' A glass. Rippled cathedral glass and :Apo 4-4 circular rondels are included. , y A )+. -Da 4 4 L O. �® .s .' A 1 r,.,, M® '9' t v ..„ , ,. s __ :411, 4 9.,, ,. n,:.-,. . A ff-f; 00 ,,, r„„,. It. .,,,i i y EXAMPLES OF FIGURAL THEMES 1 .. ....... . M „.. $ : rK , -,,,, ,..,, ;- : „.„_,..,,, ,, .3 „„,,,,.,.....„,, ..., .,..,..4 0,r,`\---,-1,1 4 Classically styled, monumental, figural t�/' l tsii,74.. Ii. 1 1,,y it F1ax.f€ window, commemorates a notable Floridian, , � W1,;,er,. Francis Eppes, who helped found St. John's ;w y .-F Church, Tallahassee, and Cathedral of St. f ,u y .. -. Luke, Orlando. 0 c. PLNLIV Nli ;� rmoloi:l I atVLs ld!I'I ei riblit,„,„.„...J This painted glass window effectivelyi.,...-(..46,potir.-i.... filip -J emulates Renaissance styled oil painting. Fr iz" '&_t:11 `"t ,, i .�� t.' e„ , f. , 1 ;41:64 S" "C -z Yam; X.. .w F b ., R4 F- - Y [pt ) -"4a x73 ate n"s'5 " s:Tw,r -"ski fF ' �+� �r.. . rye m ,„ 8i, ��:��[ Hen ft ' M tH M A s, '.F ,,=......1,_,1:6171, i wa c am•,-;" - " 'Y - �73 # �� ' s•.► G,^-:ids K Zt'f��„�,`' s a / E• r ! z��' ii i�4;1' • i'". -'"5•••';, 'f:'''f' ''' -''''''''3,0:;;;',, ,r1';'''';:-Z,1- '''''' zi.;;;;f-'4::.-='',; ri„,,,,,, „„,,,.,,„ t, ....„. ..., . . ;..,.. , i". ' - k"7''' .,'APPL ‘,, - 1 i':,!,-,4:::.•:,:-.1-Ap-,-;,45 , 1,-,:;;;:i"."--.-",- 1.riv,4 .01eir,,,,,V1 : -e'--:::,,,',':,::;-k,Si -AF:L. `,-.1b--...›1:,.. '..-`, -- .-----.kik.„ t • ,f ,,s,-,,,, ,,, , ':„ : i j ''am'' ` dd. �'• . �L oC Y �jj «H 6" r „ 3. L� t C a�4.� p LA sa'bGw l�� "��-.0 a�41.r-ar.s6 -WVZ,` «, .#'`hr•s'r2. k:4 �' .,�,y EXAMPLES OF SYMBOLIC THEMES i Symbolic themes of "knowledge" in , '� ‘ :f • a university auditorium, and the .. Cuban crest and flag in a community club, contribute to the function of the building. #29-1. !—!_. . . . 0, '�^ J c' `' LL - -a "�. �— t" �_ .—y S`- y ' -*k3 '. -l z -, f F _AL'�,. per`' Pam .'"y �[; ' � ah x ' -' t`c ,.#..,. '".e 4`• bv;c 4...r J9r4__yY ` Y s 4 it''',:'- - z . � -; _ 14 F... :� s ..,„� �� M Y ae j r s _' 4 . , ,i4di... t. - 111 i, i si. k. EDWARD COLEGATE, .., 141 (Of the late firm of H. E. Sharp&Colegate), !y,, ' „. stained : Glass JJ/mdows, :�. 7_ FOR CHURCHES AND DWELLINGS. CHURCH DECORATIONS, MEMORIAL TABLETS Furniture and S.S.Banners, and Ecclesiastical Brasses -.�G . AM �J _ -5 ART WORKS: No. S GANSEVOORT STREET, Near r3th Sr. and Eighth Ave., I/ RESIDENCE: NEW Y O R K. !�0. iKA 66o GREENE AVENUE, BROOKLYN. MEMORIAL WINDOWS A SPECIALTY. "/ �� ,, (t ., 1893 Advertisement. Colgate window in St.Peter's,Fernandina Beach. ' I j I ki ..: . ' :Vi _ ---;•1 au, ii tror I .-:: it; 4 k 0-( Featured Artists: i •. . "_F .`b. 1 lid EDWARD COLGATE -Designer, businessman. New York City. Began working with Henry Sharp in the 1870s. Influenced by English design trends. Successor to Sharp's firm. By 1890s incorporating American opalescent glass into his windows, and by 1900, designing in the opalescent medium. Firm name Colgate Art Glass Company. Founding member of the Ornamental Glass Manufacturers (Stained Glass Association of America). Disappeared from membership roles in the 19teens. WILBUR HERBERT BURNHAM- 1887-1974. Designer, businessman. Boston. One of the nation's most acclaimed Gothic Revival studios in the 20th century. He studied at the Massachusetts School of Art from 1904 till 1908. His career in glass began as a designer in Harry Goodhur's studio. He worked with Horace Phipps and became partner in Phipps's, Ball and Burnham Studio in 1920. In 1922 he left to study windows in Europe, and began his own studio in Boston. His creations are represented in the Cathdral of St. John the Divine,the Washington Cathedral, and St. Paul's in Key West. JACOBY STUDIOS (JACOBY ART GLASS COMPANY) - 1896-1972. St. Louis. Traditional large studio organization with management/sales, artists, craftsmen. G.A. , Spies received financial backing from Herman Jacoby. Firm did opalescent designs,but by the 1920s did more traditional painted designs,many in the Munich Style. Early partner, Fred Oppliger, became founding member of the Ornamental Glass Manufacturers, its Executive Secretary, and magazine editor. Mr. Cook, trained at the Art Institute of Chicago,was an adept artist and painter of Munich Style windows. In 1940s,Englishman James Blackford joined the firm as designer and painter of fine Gothic windows. PRESERVATION PRINCIPLES & TECHNIQUES New SGAA Standards and Guidelines PRINCIPLES * Retain the Historic Material MEND BROKEN GLASS - copper foil method, silicon, epoxy Retain stable lead matrix Retain support system * Use least invasive treatment * Treatments should be reversible * Document conditions and treatments TECHNIQUES * Color slide and black and white photography * Rubbings and line diagrams * Cleaning * Straightening bulges * Loose paint * Lead replacement issue * Protective glazing issue • TABLE OF CONTENTS Spring 1993 STAINED GLASS FEATURES 1% HARRY CIARKE AND HIS GENEVA WINDOW. by Mary Clerkin Higgins—a t prominent Irish artist's controversial window for The League of Nations under- y '1 goes consen'anon for a Miami,Florida museum. r 4' 1." S. 26 LOOK INTO IT—a dramatic set of new windows fora California library bears close scrutiny from several angles. 1 c. 30 INTERRUPTED WATERFALL—a New York artist's contemporary,painterly y► window flows from a Chinese painting manual. - �`R=• 32 THE STRUCTURE OF STAINED GLASS WINDOWS:BARS by Arthur.): Femenella—Do stained glass windows really need those unsightly bracing bars? T , Discover how to tell,and how to determine the number of bars necessary and where to place them.This article is the first in a continuing series about window ' 42 PRESERVATION GUIDELINES:DOCUMENTING STAINED GLASS WINDOWS by Bob Jones and WallerMarder—identifying and fixing the problem is only part of the preservationists'job,documenting conditions and proce- CO\"L:I:—(detail) The Geneva Window,' dures is also a keycomponent.Here's how,and some forms to help. (1930) was Harry Clarke's last, and P highly controversial work before hip-65 VIOJ•T FT IP.DUC—dtc thittl ittstalltueut In die serlahzauon or a classic nine- death. Commissioned by the Irish gov- 1 ernment to be a gift to The League of teenth century treatise about light,color and the dominion of stained glass. Nations, the window contains scenes , from Irish literature, was censored and never made it to Switzerland. See story DEPARTMENTS beginning on page 17. 4 President's Message 6 New Products EDITORLAL AND ADMINISTRATIVE OFFICES 6 SW 2nd St Suite#7 Lee's Summit MO 64063 12 Notes and News (800)438-9581 (816)524-9313 10 Forum (816)524-9405(Fax) RICHARD L.HOOVER,Managing Editor 45 Book Reviews KATHERINE E.SANDERS,Business Manager 52 Stained Glass Mart �. TERRYW.KING,Graphic Designer VIRGINL-C.RAGUIN,Historical Consultant 60 Perspective on Business:"Keeping Track,"Mark E.Battersby LELAND A.COOK,Photographic Consultant WILLIAM W.JUDSON,Controller 68 Advertiser's Index PAUL BLANEY,Chin.,Publications Committee • HELENE WEIS,Associate Editor 70 Membership Directory 778 South Fifth St. Philadelphia PA 19147 (215)247-5721 77 Sources of Supply ARTHURJ.FEMENELL4,Contributing Editor 122 Clinton St (Restoration) Hoboken,NJ 07030 I' (201)795-1103 ANNOUNCEMENTS PUBLISHER 5 SGAA Summer Conference,June,1993—Pasadena, California Stained Glass Association of America • P.O.Box 22642 40 INIRA Award Jeff G.Smith j Kansas City,\IO 64113 (816)333-6690/(800)888-7422(SGAA) 53 AGSA Trade Show—Orlando,Florida 1 1 i Preservation Guidelines Documenting Stained Glass Windows bv Bob Jones and WalterMarder©1992 .YKi 5Y—�`—�yy r ,y3v v, r�. 4 - .ply. L z SR r , 4 s rr ; n w .-. 1 r - _ ..-., am - s c sr ..- . i 4 ta "t F .s;. .s'"- ' - n _ - .c ' a ; -. .:4'' _. -- • .-.4-4,P =k:7"'_",:;_-'A-,_:t: 'tt..,1.' '.Z.; - 1 --;iy-;-.--t--' .;-)4'Zt.1-i ' _ 3 r ' ►° ' ' DETAIL—of a window that t' „1 +?� � -_ �.y^a; ;.= ., ' underwent restoration in the :_ipli - •"_�' _ " Advent Glass Works,Inc. woik- - r ' rooms. The window was designed by Maitland Armstrong c. 1910, �r,yy> z '/4 and is located in Trinity Parish, 1 Episcopal Church, St.Augustine, �r Florida. • Introduction for the unfolding chapters of this his- America prior to the Gothic Revival, Leaded windows have been made in tory to be Ivri.tten.The opportunity to which developed in England then this country since Colonial times but document the windows as they move exported to the United States.Improve- U.S. works considered to be high art through conservation shops is the best ments in the production of quality col- date from roughly 150 years ago. hope to see the insides, the engineer- ored glass and the use of lead lines to Brothers William and John Bolton ing and spirit of America's window define figures were significant Gothic executed the first large U.S. installa- heritage. Revival contributions to the trade. tion of figural windows in the Gothic Many American windows 100 years The art of colored glass window con- revival style. Begun in 1844, the win- old, or older, have reached an age struction developed in the shadow of dows are in St. Ann and the Holy where they will need in-shop restora- European design until a uniquely Trinity Church, Brooklyn, New York. tion treatments. The procedures the American contribution. Opalescent A smaller group of fine windows, windows will undergo should stabilize glass used in windows,was introduced designed b,•architect Richard Upjohn, them for another 100 years or more, by John La Farge in the late 1870s and were built during the same period and but the documentation that can be given broad,popular exposure by the • are behind the altar of Trinity Church gathered, even in the next 20 years, business acumen of Louis C. Tiffany. • on Wall Street, also in New York City. could well serve historians of America's Opalescent glass is usually white and The history of stained glass in America window art and culture for centuries often mixed with other colors.It tends t, is a story barely told. The need for to come. to be opaque,but variations in density 't gathering data on the subject is essen- The art of stained and leaded glass ' give the impression of shadows and I tial because empirical data is the basis did not receive much attention in light.Innovations made by Americans I 42 STAINED GLASS,SPRING 1993 • • • • • in the areas of new types of glass,win- windows became a creative challenge Treatment Report and Treatment Report. low engineering and aesthetic in its own right.A system for diagram- These reports constitute four distinct approaches,were a true revolution in ing windows presented in this article areas of information, but in common this ancient art form and the era is provides a way to record this multi-lay- practice, several of these reports are often referred to as the Opalescent ered'American'style window. often combined. Period, and the windows, 'American' Documenting treatments per- The frequent practice in business is style windows. formed on stained glass windows is to identify the item needing work By the second decade of the twenti- essential to preserve the significance (Examination Report), state what the eth century Americans were again and credible history of the windows. problem is with the item (Condition • promoting a new Gothic Revival.This Every treatment, regardless of how Report), propose what should be done • • new revival was championed by the respectful and conservative, in some to remedy the problem (Proposed fine examples of Charles Connick of way alters the window gradually, caus- Treatment Report) and state how much Boston and William Willet of ing the integrity of the original to it will cost. This multi-page letter is Madelphia. Even earlier, at the turn become questionable. Documentation usually referred to as a'bid.' Once the he century, Chicago architects is intended to identify and record the work is done,a letter is written stating Louis Sullivan and Frank Lloyd Wright window's condition and precisely what treatments were actually carried designed windows for their buildings record any treatments performed. out, (Treatment Report). using modern design approaches that Documentation informs later conser- When caring for windows of artistic incorporated opalescent glass. vators about the materials they are or historic significance,more informa- For every person who is recognized dealing with and allows for an edu- tion should be contained in these ' in the history books,hundreds of prac- cated judgement about what is origi- reports than is usually given by most • titioners,in every major city across the nal fabric and what has been altered. business agreements. This article will country, contributed creatively to the In April, 1992,Advent Glass Works, detail the recommended information trade and served the public's needs. Inc. of Ft. White, Florida restored an and suggest reporting procedures that • The history of stained glass in America American made window that was in will avoid most descriptive writing, is one of art, technology and trade good condition except that its ventila- record more information and save • practices,and is extremely rich for this tor had been removed from under the time. This article also defines recom- 220 year old nation. window, and the window's support mended formats for'the reports to One of the most curious innova- went with it. In a very short time, the encourage their long term retention tions Americans made to stained glass window settled, causing the glass to and utility. was 'plating' or layering two or more separate from the leads. Made by The four reports are made up of pieces of glass on top of each other. Maitland Armstrong & Company of three forms of information: 1) textural Plating enabled colors to be blended New York City, c. 1913, the window is (written and numerical), 2) photo- or enhanced and various effects to be located in Trinity Episcopal Church, graphs and 3) diagrams. Photographs . created that were not available in a sin- St. Augustine, Florida. Like many are an essential part of the documen- gle piece of glass.This technique made American windows, this one was tation package. the windows heavier and posed strut- plated with four layers of glass in some Photographs are objective records tural difficulties,but it was recognized places. This multi-layered window of the window and serve as primary a large piece of glass over an illustrates well the potential use of dia- sources of information, regardless of nblage of smaller pieces provided grams recommended in this article. the subjective viewpoints and under- some additional support. In the same Documentation of any artistic or his- standing of the person making the way that art and design is a creative torically significant artifact consists of report.Window diagrams are line draw- process, the custom engineering and several reports.They are an Examination ings of the lead network of a window. . assemblage needed for most plated Report, Condition Report, Proposed Once a diagram is drawn by tracing the 43 Pint Your x ..., ::." !.::;.r:.b..1..i•. 1 World With _: , , ,, ,A. __ Reusche -� _ , .. r ,,. • . .,-. ... . Colors• • • - - y..„--r-........„ ..,..._:-.:: . .•-k_ _,. . , ... : 't i— 7----.- .. --,.',--.-'---.. - , '..4i a r r ,r r J E, Ix 4 i. 1 , /41/ iiiIiiiii% , i -,,/.... ..,:,.: i /7 . . „ .,, _. _ .-_._,.__i For Professional Results, "-�Ilrfitli r ,: /./ . .„„ , , i..7.„.,,,,,,,,,,,..,„3 -- it 1 11, ? -` Use Reusche Fine Quality ' ° !_ 1 • 1 . 1 ' 1 c Glass3 Paints;Stains .f I' ; _ d and Accessories. ..��. 1 _= - FOR MORE INFORMATION I t t CONTACT ONE OF OUR ' f z DISTRIBUTORS: i` �~ U.S.DISTRIBUTORS INTERNAT L DISTRIBUTORS r. S.A.Bendheim Co.Inc. Australian Stained ji . '- ate 61 Willer Street Glass Supplies --- Passaic,NJ 07055 39 Pyrmont St. JL1 f JoLvE-K—shop foreman at Advent Glass (('ori;s, Inc.,Ft. I ltite Florida (201)471-1733 Pyrmont,NSW 2009 (201)471-3475(fax) Australia is shown performing restorative procedures on a-Maitland Armstrong win- Fenton Glass Studio 61-2-660-7424 dow from Tinily Parish,Episcopal Church, St.Augustine,Florida. 4001 San Leandro St.#8 61-1-660-8888(tax) Oakland,CA 94601 Artisans Du Vitrail (510)533-5515 1017 3 em Avenue fax same as above Limoilou,G1L 2X3 lead Itnes from a photograph,multiple A `fill-in-the-blanks' Examination Ed Hays Ouevec,Canatla copies can be made on a photocopier. Form is shown in this article. Photo- 1620 Frontenac Rd. (418)648.0969 P P P Naperville,IL60540 (418)648-6100(fax) Notations and symbols can be added graphs of the whole window and (808)323-5668 in IL Artistic Glass quickly to such diagrams, eliminatingdetails are used for visual recognition. (800)323-5668 2112 Dundas St W � (708)416-0448(fax) Toronto MER 1W9 the need for most written description These pictures should contain enough Hudson Glass Ontario Canada 219 North Division St. (416)531-4881 of conditions and treatments. detail to determine if any portion of Peekskill,NY 10566 (416)531-4695(fax) (914)737-2124 in NY Seined Glass Supplies L:sing diagrams, the locations of the window has been re-installed (800)431-2964 Unit 5,Brunel Way conditions and treatments are clear improperly or if any glass has been (914)4447(tax) Thornbury Industrial Estates McGill Warehouse Bristol BS122UR England and quickly understood, and it is an subsdnned.A diagram of the floor plan 7521 Woodman Ave. 0454-419975 easy technique for recording and corn- of the building housing the window(s) Van Nuys,CA 91401 A.T.V. (818)786-7837 50018 Scanaicci municaung large amounts of informa- is used to locate a specific window and Via Charts 77n 14 tion in a compact form. portion of window. The information Florence.Italy 55-39-55-731-0531 provided in this Examination Report is 55.39-731-0530(tax) The Reports Outlined Creative Glass MHS AG h intended to assist the work of the own Geerenstrasse.Kindhausen Examination Report: This report is ers and persons responsible for main- 8604 Volketswil.Switzerland 41-1-946-1222 intended to identify the window. It is taming the window, art and historical 41-1-946-1231(fax) recommended that the report consist researchers, and the craftsmen who Reusche & Co. of the following: are hired to work on the window. i of T.W.S., Inc. •The Examination Form Condition Report: This report is 2-6 •Lister dye.,Newark,NJ 07105 • Photographs intended to describe the general con • 201-589-20-10,201-589-047S (fax) • Diagram of building floor plan to dition of the window, as a whole; the locate the windows- individual materials in particular,and Circle 56 on Reader Service Card 44 STAINED GLASS,SPRING 1993 continued on page55 if may : 4 'r.. ? r7r , .. .is 5 . w ` 1' .mot r ,• �� \•S . ‘ •7 s _ ..may „ _ ip r. T:A '1 4{/' C !+ I r jkoir_. R lAI t Y tr /?t, {S'" rz.,�-.. 'r7 — .1..71. ,,L-7,... .4:7.:..7.....7.t.a .! „:..„4:,_.. _ for. _—. .. ,- , .., ,-,;-,:1-v. ,,,...,. . _ k... . itNt-,;4'' .7:ri. ..:,:••::,:':-•.‘:.:-': :-'ikat.--1: '''.....P... -'--..`'''-- V r• :". .f-• '. '7,71-16-47. -al:: % it: t ' NI ),,S....e 1,i -,3••-,._••- .- - • •1 -0- ;I /.1-, 4-N,• ' , A'; i k, ;; '''.' '*. i t - mot" i i•Q• 1 ,. film .: ,. j fK '.3? ,ac ., r • eff• t, Tark: ..,a.—.F:, r i "` .�� _ r-.r me •:-. £x-�•a ''.:jai: -.r...i.*.7r..-r:1. continued from page 44 identify problems that should be reme- topographic quality. Detail pictures what was clone to the window.It is rec • - -ed. The report is usually an exten- should be taken of every area of con- ommended that the report consist of: . n of the Examination Report and is cern.Window diagrams are effective to • Coded List of Treatments and sometimes called The Examination and quickly record areas of sagging, bro- Materials Condition Report. Both the identifying ken tie-wires, broken glass. damaged •Photographs information and description of the metals, unstable glass painting and •Diagram(s) condition defines the before-treat- areas of corrosion or deposits. It may A `decision statement' is usually ment window. This combination of be desirable to use different diagrams added to explain why procedures or • Examination and Condition reports was to illustrate the different materials;for treatments were performed or materi • - used by Advent Glass Works, Inc.The instance, separate diagrams for the als used. This statement can be of use report should consist of the following: metals and for glass conditions.To the to later craftsmen. Photographs may •Condition Form experienced eve of a craftsman, this help explain treatments performed. • •Photographs notated diagram can give a holistic Photographs should be taken after •Diagrams image of the window's weakened engi- treatments. In conjunction with the t On the Condition Form presented in neering. examination and condition photo- this article, notes should be made Proposed Treatment Report: The graphs,these pictures provide abefore- regarding the condition of the win- report is intended to state all treat- and-after view. A window diagram is dows' frame, reinforcing bars, lead. ments and materials that will or may used to record where the various t-eat- and solder matrix, glass and its'treat- be used.Leaded windows are complex ments were performed. ments and previous repairs.Any scien- structures and every action to con- tific testing done to determine the serve them cannot be anticipated. The Three Forms of ' nature of deposits, corrosion or other Therefore, most studios usually give Information Outlined questionable conditions should be basic guidelines about the procedures Textural Information:This article rec- stated specifically.All conditions listed they use,and just as importantly,proce- ommends thorough documentation should be coded in some manner. dures that should not be used. Once using a method that cuts down on , • Photographs of the whole window and the work is completed the Proposed descriptive writing and the time it :moils are necessary. Black and white Treatment Report is of little interest, takes. By using fill-in-the-blank forms, I= tographs are particularly good except to the window's owner and his- most of writing is eliminated, and is because they record nuances of the torians. A copy of the work contract largely reduced to brief listings of con material's surface. This can be quite will usually suffice for inclusion with ditions, treatments and the `decision revealing in the case of platted win- the documentation. statement' when appropriate. The doors,where the surface has a distinct Treatment Report:The report states codes are used to notate the window . 55 1 1 i I CO\)ITIO\ E12O T IAGAV WI\)OW 5, 3 BROKEN GLASS, GLASS DESCRIPTIONS, LOCATIONS OF THE TIE WIRES CL/BLUE SKY BLUE CL/OP•}L/PINK/BLUE OPA IIIPirl / TRANS- ec.... L } I SAINT , 418 BpuE PAINT , %44411, -ii11\\l m1-i...... � 4jç� I. I r ,' IFAiN �� ZS I IiL ' H i II k 1 It1 LAI id i I i i i Ii?HlI ,‘„,,,I, I , \ lIIIIT)B I I/BiB I B* �/ `l ' i�i! VIIIIdhol 1ST LAYER 2ND LAYER 3RD LAYER 4TH LAYER INTERIOR PURP/ ONE EXTERIOR PURPLE/ CL CL PIECE CL HAMMER diagrams. The Examination Farm (see stained glass window's conceptual ori- matrix of the window. Such a drawing p. 58) provided in this article outlines gin, function and identity are embod- can usually be made in only a few min- information useful to persons from ied in color. Color transparencies utes by tracing over a photograph with different disciplines,yet is not exhaus- should be taken of the complete win- a architect's pen on a clear mylar tive in any particular field. Specialists dow and details, inside and out, both sheet or tracing paper. The accuracy are encouraged to develop their own, before and after treatments.Black and and completeness of this drawing more detailed forms. white prints should be taken also, should be checked by examining the The Condition Report (see p. 59) is because they record the surface detail actual window or a rubbing of the win- based largely on the experienced of the window's materials, often in dow. (A rubbing, made by placing a judgement of the person doing the greater clarity than color. Black and large paper over the window and gen- report. Scientific analysis and testing white prints are essential to record tly rubbing it with a scrap of lead or of materials are infrequently conditions before and after treatment. graphite makes an exact pattern of the employed, but when performed, they All prints and slides should be marked lead matrix.) This ink diagram is then should be recorded here. with the subject, location, direction, reproduced in multiples on a photo- Photographic Information: Unlike photographer and date. The same copier.Areas of detail can be enlarged other forms of architectural docu- information as given in the H.A.B.S. on the copier. mentation, color images, not black Photographic Standards. These diagrams are an easy way to and white,are central to recording the Diagram Information:The window represent the multi-level or `plated' stained glass window as an artifact.A diagram is a line drawing of the lead windows that American makers pro- 56 STAINED GLASS,SPRING 1993 't duced in such quantity during the large format camera. The large nega- rubbed pattern. Such patterns are `Opalescent Era.' Each level of glass tive records a very detailed image.For usually kept rolled up,which damages has its own diagram. When repre- general purposes, pictures will be even the best of papers, and the over- sented side by side the plated engi- taken with a manually set 35mm film sized format means they are not kept :: neering can be viewed with this camera. Film will probably need to be with the documentation file, which multi-image diagram. sent to a custom lab and you must discourages their long term retention. Codes relating to the conditions of specify that the prints should be on The archival supplies described, the window and treatments can be fiber based paper stock and developed paper, photograph storage and file quickly noted on diagrams thus elimi- for archival maximum permanence. folders,are readily purchased through nating the need to write out what con- With reasonable care, such prints will various mail order houses, many of dition or treatment was given to what last more than 100 years. which have toll-free phone numbers. material and where. A treatment Color photographs should be slides, Call and request a catalogue. . report might include a diagram of not prints. The most permanent are Increasingly, new technologies are treatments to the glass and another dye transfer; they are also expensive, being used to generate, store and dis- 'l diagram for metals. so for most uses,Kodachrome ASA 25 play information. The use of video Floor plan diagrams show where and ASA 64 are rated the most stable cameras to document objects,printed ", within a building a window is located, for storage and occasional use. They material and voice descriptions,as well and insure that each panel is returned should be good for more than 50 years. as increased digital recording onto to its proper place. Each window and Slides should be kept in archival compact disc, suggest a future with each separate panel within a window is quality, polyethylene, binder pages. many innovations.The known perma- numbered or coded. For the windows Black and white prints should be nence of the record formats recom- f Trinity Episcopal, numbering mounted on permanent paper with mended in this article exceed these egan from the left of the front door. stick-on, acid free corners. Prints new approaches to documentation.Q With buildings of several stories,num- should be mounted to only one side of Additional Reading ber all of each level in its turn. a page,so they do not touch each other Ashurst,John,Nicola Ashurst and Jill • and stick together during storage. Kerr.Practical Building Conservation, Permanence of Documentation Format:All these elements of the Vol.5, "Wood,Glass and Resins," Every 100 to 150 years,architectural document fit into a letter-size, perma- London:Gower Technical Press, 1988. leaded windows usually need to be nent, buffered file folder. The conve- Conservation and Restoration of Stained taken down for in-shop treatments. nience of this size encourages the Glass:An Owner's Guide,The Census of Documentation of the last treatment retention of the document. Stained Glass Windows in America, should be available when this work A full sized`rubbing' of the window n.p., 1988. takes place. To encourage the long is a convenient place to make nota- Historic A merican Buildings Survey, • term retention of these documents it dons and leave work instructions.The Historian's Procedures Manual.National is recommended that 1) the document accuracy of size is important when re Park Service,U.S.Department of the materials be of a quality to last and,2) assembly of the window is needed. Interior, icWeing[on,DC:National 1983. that they be in a format that encour- This rubbing pattern is often kept as N Park Service,,ewton,Roy and Sandra Davisson, ages their being kept. . part of the documentation.This infor- Conservation of Glass.London: • • Paper Quality:The paper on which mation would be better transferred to Butterworths, 1989. the forms, diagrams and reports are letter size diagrams. "Photographic Specifications,"Historic made should be a permanent,alkaline Another recording method that American Buildings Survey,Historic buffered stock.Such paper stored in a retains accuracy of the rubbing and American Engineering Record. `_ permanent, buffered file folder and shop notes is to make black and white Washington,DC:National Park used occasionally should last several photographs of the pattern; multiple Service,U.S.Department of the hundred years. pictures in the case of tall windows. Interior, 1989. "Repair&Restoration,"S.G.A.A.Reference Photographic Quality:Black and white These black and white images printed and Technical Manual,Chapter`�0,2nd otographs are essential because 8"x 10"to fit into the letter size file.If edition.Lee's Summit,AIO:The y have the greatest expected per- needed,these pictures can be enlarged Stained Glass Association of America, manence. When possible, and cer- to the recorded dimensions should it 1991. tainly if the future of the window or be necessary.There would be intrinsic "Written Documentation,"A.I.C.Ninth building is in doubt, black and white historic value to the original artist's Annual Meeting,Philadelphia,PA., photographs should be taken with a shop pattern if it existed, but not this May 29, 1981. 57 I' `Po k STAINED GLASS WINDOW EXAMINATION .i Window Title&Number: • Recorded By: Date: Address: Phone: City: State: Zip: Photo Documentation(Film brand &ASA): SITE INFORMATION Building Name: Address: City: State: Zip: Contact Person: Address: City: State: Zip: Date of Construction: Date(s)of Alterations: Architect(s): Number of Windows in Building: (Repeated on floor plan diagram) WINDOW INFORMATION Date Created/Installed: Artist/Studio: Address: City: State: Zip: Window's Subject/Theme: Inscriptions: l: TECHNICAL INFORMATION 1 Dimensions: Protective Glazing: Y N Assembly: ❑ Lead ❑ Plating Glass Antique/Cathedral Dalle Types in%: Opalescent Bevel • ❑ Epoxy ❑ Other Jewels Painted (Dalle De Verre I=stallation: ❑ Internal ❑ External Framing: ❑ Wood ❑ Metal ❑ Stone Height, Floor to Bottom of Window: . • Previous Treatement: Y N If Yes,Who: Date: 58 STAINED GLASS,SPRING 1993 E. CONDITION REPORT • Subject/Project Title: Date of Examination:_ Date of Report Report By: • COMMENTS: (Including degree of damage and urgency of treatments) FRAMING: REBARS AND TIES: LEAD, SOLDER AND GLAZING: GLASS AND GLASS TREATMENTS: • sl , PREVIOUS REPAIRS: ANALYSIS AND TESTING: 59 •P r e c ive Glazing for Stained Glass Windows myth from fact have not been Inspired Partnerships, a not-for-profit organization based in present prior to this study. it is Chicago, IL, received a $34,320 grant from the National the intention of this study by Preservation Center in October 1994 to investigate the virtues and Inspired Partnerships to frame liabilities of various protective glazing installations over stained the debate about protective glaz- glass. The study was conducted over an 18-month period from ing, dispel many of the miscon- October 1994 to April 1996 and addresses energy, security,-sound ceptions regarding its usage and and light transmission and aesthetic and conservation issues sur- to recommend appropriate rounding the use of protective glazing. Although some aspects of installation methods when pro- this research are applicable to all protective glazing, the study con- tective glazing is required. centrated on the virtues and problems associated with installations over stained glass in houses of worship. Churches and temples have Inspired Partnerships has specific energy, maintenance and security concerns which tend to been documenting protective be unique to their function, management and operation. glazing installations since 1991. • Inspired Partnerships has found "Protective glazing" (PG) is defined as a secondary layer of sheet that some installations surveyed glass or plastic on the exterior of a stained glass window. PG is also appear to cause no harm to the described as "storm," "double," "outer" and "secondary" glazing, stained glass, while others and these terms are used interchangeably throughout the study. appear to cause serious harm. "Stained glass," for the purpose of this study, pertains to all types of Basic factors such as the age of leaded glass. In addition to research, the study included: 1) a stained the installation, window orienta- glass studio survey; 2) a field survey of 100 protective glazing instal- tion, installation details. humidi- lations in four different U.S. regions; 3) in situ. testing of two pro- n and lighting measurements were recorded during field tective glazing installations; 4) an energy model of an intermittent- J ly heated building, and 5) the alteration of 10 protective glazing inspections to develop baseline b data. However,because of weath- installations. er and installation variables, Many stained ;lass studios and window contractors these efforts were too limited to endorse the use of protective glazing in their trade liter- establish clear patterns and accurate information.'While ature, while manufacturers of laminated or tempered most of the members of the stained glass industry agree glass and of acrylics or polvcarbonates promote the that protective glazing should be vented in some man- advantages of their products.Yet. protective glazing may ner. it seems that venting is rarely present in the field. be causing serious damage to manv stained glass win- dows across the country by increasing condensation and The intended audience of Inspired Partnership's heat buildup in the air space and by preventing mainte_ final report—primarily owners of historic churches. syn- nance, agogues. mausoleums and civic buildings in America— are the target of numerous claims which encourage pro- - The information presented in this article comes tective glazing.Vandalism.street noise.energy losses and directly from a recent study of protective glazing as used unusual deterioration circumstances all play a role in its by the stained glass industry. This study, conducted bv use. yet data is unavailable to make an educated Judge- Chicago-based Inspired Partnerships and funded by the meat for the proper specification or application of pro- National Preservation Center. a division of the National tective glazing. Also, protective glazing is often improp- Parks Service, represents one of the first scientific exam- e'rly installed. thus threatening America's stained glass inations of the effects of protective glazing on stained treasures. glass in America. The research presented in Inspired Partnerships' There are conflicting opinions among stained glass study may affect stained glass stewards' spending on pro- contractors as to the merits. potential problems and tective glazing and may contribute to the elimination of proper installation of protective glazing. While theories the practice of installing protective glazing when remora- and opinions abound. Amer an studies to develop and Lion would be more appropriate. Most importantly. it is . perform scientific field surveys and tests to separate hoped that a published record hacked by hard facts nrav • 186 STAINED GLASS, FALL 1996 . Iconvince owners to protect stained work concerning medieval stained nahme vegan die Korrosion an glass properly for future genera- glass, has held biannual seminars zuertvollen Glasmalerieien, Technische dons. This study indicates that the since its inception in 1952. In 1962,a Universiteit Eindhoven (December continued practice of installing committee within the CVMA was 6. 1994), is the most extensive improperly ventilated protective formed to conduct research on resource on protective glazing to glazing is creating a myriad of materials and techniques used in date. Unfortunately, as a disserta- preservation problems, with the medieval stained and painted glass, don, only a very limited edition has result being the potential loss of and CO establish principles and been published in German. many historic stained glass windows. guidelines for conservation and However, parts of this dissertation restoration of these [stained glass] were translated for Inspired PROTECTIVE GLAZING endangered works of art. Partnerships co aid in the present PROJECT SCOPE study. This book provides an excel- Although the CVMA initially lent summary of conservation work In order to accom lish the to- consisted of mostly art historians, at various European cathedrals but is P P membership now includes conserves- generally limited to medieval stained ject goal of promoting higher indus- tors, restorers and scientists. Some try standards for the proper use and glassproblems. conservation as related to mois- tly ago, a CVMA newsletter stated ture proble installation of protective glazing, the that "protective glazing is the most project committee developed a list effective instrument of conservation Nearly all European research of claims to address the myths, facts [of stained glass] known at present." has concentrated on moisture-relat- and hearsay surrounding protective glazing. The committee also level- ed conservation issues and has gen- Much of this research during erally surmised that "isothermal" (a oped the following project objec- the 1970s and 1980s can be attrib- system which inhibits the conduc- tives: uted to Roy G. Newton, who wrote don of heat from the exterior sur- The Deterioration and Conservation of face to the interior surface) protec- 1. Perform an international lit- Stained Glass: A Critical Biography tive glazing installations are the only erature search on protective (1989) which remains among the way to protect medieval stained glass tt glazing over stained glass. . most important sources on lass con- applica- - - 2. Provide an historical overview � P afrom deterioration. Such servation CO this day. It is important dons are fundamentally and eco-of the development of protective to note that the CVMA and its glazing in America. nomically impractical for the vast research are concerned only with majority of post-industrial stained 3. Inspect and evaluate a cross medieval stained and painted glass. section of protective glazing glass in America. same question is whether these same installations in America. circumstances apply to stained glass British stained glass expert Roy 4. Create protective glazing manufactured and painted since the --G. Newton was among the first to models addressing energy per- Industrial Revolution. rejuvenate the century-old concerns formance and interspace condi- over protective glazing in a CVMA dons. When the Corpus Vitrearum was P Prepare manuscripts to ub- � Newsletter in April 1975. Lawrence 5. Pre PP formed in Europe in 1952, some Lee followed suit and included a lish for professional preserva- U.S. museums were interested, as brief mention of protective glazing don and lay audiences. medieval stained glass is found in and its associated problems in his 6. Disseminate the stud Y most—if not all—of the more promi- book entitled Stained Glass (Crown through the building, preserva- nent American museums. For obvi- Publishers, New York) in 1976. Lee don and religious networks. ous reasons, academic art historians noted that"experts recommend that 7. Identify additional research involved in teaching medieval art, for important windows, protective and testing to be undertaken. architecture and literature were also plain glass should be inserted into interested in research carried out by the window openings with the pre- RESULTS OF INTERNATIONAL the CVMA. A subsequent survey of cious ancient glass remounted a lit- LITERATURE SEARCH medieval stained glass in the United de vvay inside." This book generally States and the formation of a group refers to medieval glass. Protective glazing research in involved in the survey,The Census of Nevertheless, Lee discusses conden- Stained Glass Windows in America, salon and aesthetic concerns as well the United States cannot be dis- wasthe vehicle by which European as isothermal installations. This was cussed in context without having a firm understanding of subsequent research findings about protective the first time protective glazing glazing became more widely known. problems were mentioned in a U.S. twentieth-century research in 0 Europe, spearheaded by the Corpus publication. Vitrearum Medii Aevi (CVMA). The Stefan Oidtmann's recently pub- . CVMA, an international research lished dissertation, Die Srhut.ver- organization dedicated to scientific glasung—eine wirksame Schut-mass- Continued on Page 226 187 may actually destroy the glass." It is significant that lead- a J ��ze ed, laminated and tempered glass with venting was &ism encouraged while acrylics and polycarbonates without venting were discouraged. TABLETOP DISPLAY FRAME Stained Glass Magazine, Glass Art, Old House Journal, for the Glass Art Industry Traditional Building, The Clergy Journal and several not-for- Di allttraa profit preservation newsletters such as Common Bond, - '•' ' i '` •STAINED - Inspired and Amazing Space have printed articles since the - '4;- •;RFD mid 1980s detailing the hazards of protective glazing. �- • r►d ••ROLLED These articles were backed by personal experience and — •DECALS - P - •ETCHED observations but lacked American research data to con- •B •Etc. _ _ - •Etc. tradict unsubstantiated claims made by protective glaz- - ing manufacturers and installers. •Tabletop,desktop,window sill,etc. Display Glass Art anywhere The SGAA Reference & Technical Manual: A • Eliminate restrictions of hanging frames • Glass Art is accentuated-it appears Comprehensive Guide to Stained Glass, First Edition had an • to"float"in frame article (reprinted from Stained Glass, Summer 1982) by •Change Glass Art display easily. Viggo B.A. Rambusch, in which he stated that "protec- •The Pendelette'h is handcrafted in USA fiveglass or acrylicplastic is veryimportant... care of solid natural wood&metal rails. p •Standard sizes&custom pricing available. should be taken in selecting the framing system... note Choice of 8 types of wood,3 groove that plastic is not flat but is rather wavy... weep holes or widths,&black or brass metal rails. other venting systems [are necessary] for the air pocket Write or FAX toll free for color brochure. 1-800-303-3980 between the stained glass and the protective element" Workshop/office (423)397-1391 Several articles with references to protective glazing were --. • reprinted for the 1992 Manual However, even the most '. SLACKCR K comprehensive book (785 pages) on stained glass in ""' '"`' America contains contradicting statements on protective — `\ 136D Lake Front Drive•Dandridge.TN 37725 1 •- glazing installations pertaining to venting the air space. important Nevertheless, it includes several points Circle 84 on Reader Service Card regarding protective glazing: continued from Page 187 1. It is not a substitute for repair, restoration or An article in Stained Glass Quarterly (Winter maintenance. 1983/84) discussed venting protective glazing to the - 2. The airspace should be vented'to allow for any • interior but is restricted to museum settings. This and condensate to evaporate, to equalize air pies- subsequent issues discussed how protective glazing sure and to minimize the temperature gradient might be damaging to stained glass windows. 3.Ventilation methods are discussed.. 4. If plastic glazing is used, adequate provision Julie Sloan boldly asked "Protective Glazing: Is It must be made fog' significant expansion/con- Necessary?" in her February 1987 article in Professional traction. Stained Glass. Many important observations were pre- sented in this review; however, the only research Ms. Copyrighted in 1993. Conservation of Stained Glass in Sloan cited was The Deterioration and Conservation Of America: A Alan nal for Studios and Caretakers. by Julie L. Stained Glass: A Critical Biography. While the C\',\M was Sloan. was not printed until January 1995. Much of the not mentioned specif)calh•, most of the infin-mation text is taken from previous articles by the author in cited came from their research findings. Professional Stained Glass and other publications. while the entire last chapter is dedicated to protective glazing. In 1988, The Census for Stained Glass Windows in America published a booklet entitled Conservation rand The Stained Glass Association of America's Restoration of Stained Glass: An Owner's Guide. Geared Restoration and Repair Committee recently published toward the caretakers of our nation's stained glass—min- Standards and Guidelines Jar the Presetvatwii of I•listrn'ir '• isters. church custodians and church lay couunittees— .Siniued Glass Windows (copyright February 1(.495). In ref- the booklet contained a short discussion on prulecti\•e c•rclIc'e• to prote•etiye• glazing. this resource summarizes: glazing. "Protective glazing systems. when correctly • T' talied. may greatly increase the longevit\ of historic -t ailed. 1'ronu>tion Of protective glazing to save money i and may decrease the overall energy requirement due to energy conservation is not correct: the the buildings. When incorrectly installed. protective I. of.American windows fabricated after glazing may detract from the aesthetic beauty of the win- I 8311 do not need protective glazing. dows and the building and may set up conditions which 2. Exceptions are windows containing fragile paint. 226 STAINED GLASS. FALL 1996 i i • windows composed of large.very thin pieces of gl ass and some plat- KEYLII'E INTERNATIONAL ed windows with irregular exterior plating that may encourage the MIT GLASS CORPORATION infiltration of water between the plates. Manufacturer of Decorative grass • 3. Primay purpose of protective glazing is to protect the window from vandalism and severe weather conditions. 4.The interspace must be vented with screens. preferably to the exte- ,t rior at the extreme bottom and top of the protective glazing, to i encourage the movement of air through the interspace. ; --_L In recent years, the voices of numerous stained glass and preservation professionals have begun to congeal into a solid message that protective - glazing is not a substitute for restoration and, when improperly installed, can detract from the building's aesthetics and accelerate deterioration. PROMOTION AND USE OF PROTECTIVE GLAZING Protective glazing for stained glass has been used in America since the _ i late nineteenth century: however, it did not become popular until after World War Two, when it began filling the void caused by a waning stained I, ,•'' glass industry. The civil rights demonstrations of the 1960s and the energy \,, " ).'s, crisis of the 1970s acted as a catalyst, and protective glazing evolved into a multi-million dollar indust7. . f •-( • . _ .. / 1. The ever-changing face of religion (fewer active members),architecture 1 1 1. (less complex designs),art (less ornamentation) and economy (less money) ,•'— ; since the 1960s has resulted in greater competition for fewer stained glass j" . installations. In order to stay in business, many stained glass studios and other win- dow contractors have fully endorsed the use of protective glazing by stating - - that the only economical method of halting water seepage in an old window / /� is to install permanent protective glazing.The installation of protective /glaz- ing has become a lucrative aspect of the glazing industry across the country. - 1 Stained glass studio literature collected since the 1960s reveals that most stu- ( • Ir. dios used at least some of the following reasons to promote protective glaz- i r;' ing to consumers: t'- 1.vandalism 5. conservation 1 2. security . 6. weather damage . 3. energy savings 7. sound barrier 4. comfort 8. less maintenance is required INTRODUCING THE KEYLINE The results of this study show that claims of saving 50% on energy bills ENTRY-DOOR SERIESTM or quadrupling the life of stained glass by using protective glazing are Create a welcoming aura of beauty and unfounded. No reliable studies substantiate such claims, including this one. light with the Keyiine Entry-Door This study encourages professional presentation of what storm windows can SeriesTM. This new family of 3/16" thick • and cannot do for stained glass. clusters provides the finishing touches of elegance and sophistication to the world Most studios have mentioned protective glazing in advertisements and of transom and sidelight environments. company brochures over the past several decades,which provided an oppor- Keyline'also manufactures industry- tuniry to review how protective glazing is represented in company literature. standard straight-line bevels and hand- The following sampling provides an array of promotional methods: beveled BC Series" clusters, high in quality and unbeatable in price. A contracting hid (not putblic information) from one stained glass stu- Ca[[for catalog: dio lists the following advantages of using Lexan' as protective glazing: 2 Toll-free I-R88-539-546/ "retluce heating costs, reduce cooling costs, protect wooden millwork and eliminate Fax 401 Main Street80 \ j �� /28! need for continual repainting protect valuable windowsfrom vandalism... can. �w West Warwick RI 02893 USA quadruple your stained glass window life expectancy and save your congregation money every day." Circle 87 on Reader Service Card . 777 T States. Civil unrest throughout the South and large I "1 �±ii Cork .& Felt northern cities motivated a number of congregations to 1 Glass Polisher cover their stained glass windows with protective glazing in fear of vandalism. One church in Savannah,Georgia,reported that the :' ..--i Li. all-white congregation had protective glazing installed .I I • during the early 1960s in direct response to verbal • . - L'= threats of destruction for their segregated philosophy.A \" Detroit church installed protective glazing in response ::v„.77 . !"" to bullet holes in their stained glass during the 1967 ., riots. Fear over vandalism and theft—whether justified *Adjustable Sponge Bench to or not—remains a powerful motivator for protective Minimize Splash glazing, especially in inner-city neighborhoods. *Ball Bearings,Sealed&Greased for Life The 1973 oil embargo greatly increased the cost of *Removable Tank for Easy Wheel Changes fuel oil, convincing many churches to add secondary *1/2 hp Hy-Torque Motor. glazing to conserve energy. In the January/February Unit comes with 16"x 3"cork and 16"x 3" 1976 issue of Your Church magazine, a total of 338 per- felt wheels installed,dressed and tested sons responded to the property-management survey. for balance at the factory.Wheels turn at slow 280 rpm to minimize polish powder The survey asked whether the church had protective loss.Rim speed of 1,200 sfm creates the glass over the stained glass. Of the 70% who answered friction necessary for a brilliant finish.Unit the question, 41% said their churches either had some is fully assembled with belt guard.1/2 hp • motor,instructions and guarantee.Size form of protective glazing or they were thinking about 32"L x 30"W x 24"H.Ship.wt.90 lbs. adding it. , • No.5016—Cork&Felt Polisher • Oa FREE CATALOGUE (909)793-6636 Engineering Corp. - Field surveys by Inspired Partnerships estimate that c - SINCE 668 P.O.Box35 715 W.Conon Ave. •. 90% of the stained glass-in Northeast., Midwest, and - - Reeancs.CA92373 Rocky Mountain churches are covered With protective r Circle 46 on Reader Service Card glazing and that 70% of the stained glass in Southeast, Southern and West Coast churches have protective glaz- Bovard Studio's (Fairfield, 1A) 1991 newsletter pro- vides a comprehensive view of protective glazing: ing. "Benefits of protective glazing are energy conservation, protec- t lion...from vandalism, protection of stained glass leading andPerhaps even more important than the fear of van- t frames from deterioration caused 61 weathering, hailstones anddalism or the concern over fuel bills is the financial pollution. But beware, improperlyvented protective glazing Caninability of many congregations to fund stained glass create more damage than vandals throwing rocks.... If con.den- restoration. The enormous popularity of stained glass in swim? and humidity are not alleviated by proper air circulation, America between the Civil War and World War 1 resulted the leading and metal frame deteriorate to the point where sh ur in countless large stained glass installations now between f tural integrity of the window is lost. Protective glazing alone is 80 and 130 years old. It is important to note that the life ' not a restoration technique or an alternative to proper mainte- span of most leaded glass windows falls into this time r nailer of stained glass." span. Many dwindling congregations housed in large. old churches are faced with the reality of expensive ` Rohlf s Stained and Leaded Glass, Inc. (Mt.Vernon. restoration costs and choose to defer the expense of t m'lir or NYr) printed a brochure which states " ear float, safety or restoration, instead taking the protective glazing alter- tempered eyed glass should be used for protective glrr;lazing.. ,4native over restoration. 1 poh•carbonate should only be used in arras ff severe vandalism. due to yellowing.pasting and not allowing the wood In breathe'." Regardless of the aesthetic or conservation impact on stained glass, protective glazing stops leaks and drafts \ David Wixon &Associates (Glen Ellyn. IL) printed a through deteriorated stained glass and postpones the r newsletter entitled "Stained Glass Technical Advisory" inevitable restoration cost for someone else. t that reads "DANGIJR ALERT'"and contains three pages Procrastination has been the decision of thousands of ` dedicated to the problems associated with improper l congregations across the country.and today vast major- t installed double glazing. 1 in•of U.S. churches with stained glass have some type of protective g. In recent \'Cars. a greater sense of CONSUMER DE\RND FOR stewardship. increasing professional criticism of protec- I r PROTECTIVE GLAZING the glazing and a growing "restoration- market is I prompting the question. 1)o we teed protective glazing... or A series of events in the 1960s and early I 970s great- do uu•wally need u'sluratiun? ly intensified the use of protective glazing in the United \ 228 STAINED GLASS, FALL 1996 ' ASince 1906 Churches Synagogues • IIII J. SUSSMAN, INC. Mausoleums Chapels U I 109-10 180th Street • Jamaica, New York 11433 Memorial Buildings Tel: 718-297-0228 Fax: 718-297-3090 AMERICA'S FINEST CUSTOM MADE WINDOWS . , , (El 4IW4 V - V ,,- % .2 11 / PROJECT-IN PROJECT-OUT CENTER-PIVOTED CASEMENT � r� , I_I Ventilators and Casements J. Sussman, Inc. is the oldest and largest sup lier of Custom Made Windows and Special Aluminum Extrusions for the Stained and Leaded Glass Trade.p /�► iiiI _ iii With the industry's largest selection of specialized ,■� I_I church window systems (thermal and non-thermal break) we can supply you with the product you need \-/ 1111 , I at the price you want. Our over 90 years of experience is your guarantee of fine quality,fast Single, Double and Triple Glazed Windows service and competitive pricing. Thermally and Non-Thermally Broken Call, Write or Fax for Further Information. - WINDOWS • SKYLIGHTS • • WALKWAYS • SUNROOMS • GLASS and METAL BENDING: Circle 33 on Reader Service Card matic regions of the U.S.was performed to establish a repre- in the Midwest (cold/wet), and Savannah-Charleston in the sentative pool of examples.Three primary aspects were eval- South (hot/wet). uated in the field survey: Each area provided valuable insight on protective-glaz- 1 1. condensation ing installations and collectively gave a strong national per- 2. heat build-up spective on the protective-glazing industry, which is 3.aesthetics summarized below. In addition, five of the nine members of the Advisory Committee have considerable professional Ten protective glazing installations in Chicago were experience in the Northeast and Mid Atlantic areas as well, removed, modified or replaced to determine the effect of including Boston, New York City, Philadelphia and protective glazing over time, to determine changes that Washington,D.C. occur when unvented protective glazing is vented or removed altogether and to experiment with various installa- The Committee developed the following criteria for don methods.These"case studies"were evaluated further for selecting protective-glazing installations in the field: deterioration, light and sound transmission and installation methods in collaboration with professional contractors and • stained glass studios in Chicago. 1.Variety of window settings (wood, masonry,steel) SUMMARY OF 100 INSTALLATIONS 2. Variety of stained glass (painted glass, plated win- dows) Inspired Partnerships performed a field survey of 100 3. Variety of protective glazing (acrylics, polycarbon- protective-glazing installations from March 1995 to March ates.glass) 41996.The Committee suggested four regional areas to be sur- Variety of aesthetics (good, bad, mediocre) veved based on their climate, concentration of protective- glazing Variety of installations (vented, unvented,fixed) glazing installations and potential for minimizing travel costs. These sites consisted of: Portland-Tacoma-Seattle in the Northwest (temperate/wet); Tucson-EI Paso- AIbuquerque Phoenix (hot/dry) in the Southwest; Chicago The Committee also established the methodology to use during the field survey of the 100 protective glazing installa- 231 sATTLER, S dons using a surveyform developed bybonates (31%);acrylics (14%),tempered Committee member ArthurJ.Femenella: glass (3%), laminated glass (1%) and fiberglass (1%). Therefore, as a group, STAINED 1. Surface temperature of glass& plastic products accounted for approxi- _ . lead (when feasible) mately 70% of the windows surveyed. f. k.� GLASS 2. Outside and inside ambient tern- The age of the installation was also ' STUDIO LTD. perature recorded when known. 3. Outside and inside ambient •• humidity FIELD SURVEY OVERVIEW • Our new studio offers: ' 4. Relative humidity in air space . (when feasible) GROUP A, PACIFIC NORTHWEST (SURVEYED Contemporary stained glass in 5.Description of installation and IN APRIL 1995): i collaboration with artists, general conditions designers and architects. 6.Expanded visual There are fewer pre-W.W.II churches inspection/comments on con- in the Northwest compared to other Variations of 200 antique glass densation areas in the country,and (perhaps due to colors in stock. 7. Date and time measurements limited sunshine) there are compara- i were taken tively few stained glass installations. Etching,firing (6'x4'), 8. Orientation of window i painting,sandblasting. 9.Document and photograph all This area took several weeks to sur- t installations vey since sunshine was sparse, yet neces- Restoration also available in all • 10.Note weather conditions sary to test for heat buildup and surface traditional &historical temperature of the stained glass. One of . stained glass. . An effort was made to select protec- the oldest protective glazing installations tive-glazing installations at random, found in the Northwest was located at the Ask for a free estimate which was a necessity due to limited RR#1,Pleasantville,N.S.BOR 1G0 Congregation Beth Israel synagogue and Canada PH(902) 6881156 (Fax 1475) travel costs in every region but Chicago. appears original to the 1927 construc- G0ermanvrPH 49-8195-326(Fax 8420) Most installations were selected on a first-. don.Despite the mild Northwest climate, i seen basis, while trying to adhere to the most of the stained glass is covered with Circle 60 on Reader Service Card selection criteria developed by the protective glazing. Due to predominately Committee. The 25 installations in mild temperatures,ventilators are found Q>>ality Bronze Bases Chicago. however, were essentially hand- on only 25%of the stained glass windows, picked from the thousands of available so protective glazing has less impact on installations based on the selection trite- church ventilation than in mangy' other ria. regions in the U.S. None of the churches surveyed had air-conditioning. In terms of window orientation, the .1VtiP4Ki survey was concentrated on the east The most obvious problem with pro- % 3 4 . (31%),south (40%) and west (27%) win- tective glazing in the Northwest was the li . ;� dows, since north windows are not creation of an interspace which traps affected by solar gain in the Continental moisture in a very damp climate. 1 • ' 12.S. Among the windows sun'eyed, 40% Evidence of moisture was readily appar- are a simple rectangular or round arch ent on 80% of the installations, and over • window, while 60% are gothic arch or 20% of the frames had some degree of , . rose windows with tracery. corrosion or rot. '�: r` , �'`4 • Window height from the ground was GROUP , ~`� g GRULI B, SOUTHWEST (SURVEYED IN JUNE t : recorded. since improved security is 1995): often cited to warrant protective glazing: • 60 styles of bronze Tiffany '• 9_>/C• are within five feet of the ground. installations were reproduction bases available. Protective-glazing NOW AT EVEN LOWER PRICES! • 30% are between five and ten feet above difficult to find in the Southwest: doing Request our color Photo Pack. . ground and 48 i are_more than ten feet so required an 500- mile trek through ((�� above ground (up to 4(1 feet). Arizona. New Mexico and southern pZ,t,*LC=E v Colorado. The extremely dry climate Lamp Bases Tilt' exact type of Protective-glazing revealed fewer problems with condo nsa- 7600Metcalf.OverlandPark,Ks662(k material was recorded when it could be lion. When present. Condensation Call 800-473-4527 Fax 913-381-4413 ;, determined; otherwise it was simply seemed to be related to air-conditioning At Affordable Prices grouped into plastics (235( ) or glass or evaporators known as "swamp cool- .. _.. 4 (27%). The breakdown of protective- ers." Circle 37 on Reader Service Card glazing materials employed is: polycar- 232 STAINED GLASS. FALL 1996 The Southwest churches generally ieeof,,,44\ had lower roofs with wider overhangs that shaded the side walls and stained glass from direct sunlight. However, the - 1-800-428-6693 • Intense sunlight on exposed windows, (770) 760-9404 particularly plastic materials with high (10 .0 � coefficients of expansion/contraction, Fax: (770) 760-9032 was consistently causing the failure of Buy Direct From The Manufacturer perimeter sealants. Despite the blister- ing daily temperatures, which often METALS,INC. exceeded 90°F during the field survey, Your wholesale supply house few of the windows surveyed had defor- mation problems. We specialize in manufacturing GROUP C. CHIC.AGO AREA (SURVEYED Restoration Grades of Lead Came to order. BETWEEN MARCH 1995 AND MARCH 1996): ... Call for prices on: • There are literally thousands of • Lead Came . protective-glazing installations in the ,.• 1 Chicago area,yielding the greatest sari- . • Zinc Came ety of installations to select from. /ii1;; • 4 Restoration Grades Chicago's high crime and vandalism 7 " 7 rate is approximately the third worst in • '�" of Lead Availablegp/EINt . the United States. This fact, coupled :y/// • Antique Lead Came ito,"04-4-` with brutal winter weather, has encour- • High Heart Leads aged the vast majority (over 90%) of churches to cover their stained glass /<>>i:.;>j • Colonial Leads with protective glazing. Most of the .,::/' • Hollow Heart Leads stained glass in Chicago was installed • during the late nineteenth and early ^ ' ': '' • Galvanized Steel Rebar twentieth centuries and is between 80 d • Copper Foil and 100 years old. Protective-glazing ;. ` :1 • DHD Flux installations also tend to be older in the /'�. " '1 • Custom Chicago area than the other three areas ""°°` `• '' Dies Available surveyed,with installations dating back to the early twentieth century. Q��141"7 is The condition of stained glass in Now available! 60440 i Chicago.whether covered by protective Solder specifically glazing or not, is also worse than the formulated by wR lte Wf other three regions surveyed. DHD Metals! Demographic shifts and suburban �iJ flight have left many inner-city �"a churches in disrepair with very limited resources. Expensive stained glass Circle 35 on Reader Service Card repair is often near the bottom of their Surprisingly, several of the churches opposed to wind or rain from the storm building priorities. It is for that reason without protective glazing suffered no itself. that in Chicago,more than in any other stained glass damage from Hurricane region surveyed. protective glazing is Hugo in 1989. Other windows covered All but one of the Southeast o often seen as a stopgap measure to post- with protective glazing actually had the churches were air-conditioned, and pone restoration. entire window (including the frame) most of the air-conditioning systems blown out of the window opening. were on during the field survey. GROUP D, SOUTHEAST (SURVEYED IN DULY Combined with high relative humidity 1995) Exposed stained glass is very resis- (which averaged between 50% and cant to wind pressure but is vulnerable 60%), the air-conditioned interiors Charleston,SC,and Savannah, GA, to flying objects. The vast majority of were causing the worst condensation were selected for their concentration of stained glass damage resulting from problems seen anywhere. historic churches, strong preservation Hurricane Hugo was caused by flying movement, good church documenta- roofing and siding materials, branches tion and vulnerability to hurricanes, or debris hurled into the windows as :)53 CONCLUSION r4 f', In terms of their condition,over half of the installations (both glass and plastic) z r: 4, `•z: appeared "dirty." Usually the dirt was found on the inside surface of the protective glazing.Nearly all of the plastic installations are discolored,scratched or hazed,and r• -_ � . - f. , church members are displeased with their appearance. About 15% are too discol- `- ored to see the stained glass at all. The few (5%) of the plastic installations that are not discolored,scratched or hazed are less than two years old. - Approximately half of the installations are set into a sub-frame, typically alu- minum, which clashed with the building's historic materials and aesthetics.Another 23% prevent the window ventilators from operating. G Ironically,although responses to the questionnaire signify that most studios vent their protective-glazing installations, only 4% of those surveyed in the field were At Franklin Art Glass you intentionally vented. Another 19% have self-vented over time due to deteriorated get the colors you want— sealants or broken glazing. The depth of the air space varies greatly and is usually cut to the size you need. contingent upon the window frame and ease of installation; over 75% are set more Your orders are carefully than 1"from the stained glass. filled and are shipped promptly. Condensation is unquestionably a problem with protective-glazing installations, as evidence of condensation was found in nearly 70% of the windows,while 10% of Telephone Toll Free 1-800-848-7683 the windows were too obscured to see at all.As expected,the Southwest installations, FAX ORDERS:614-221.5223 where the average relative humidity is below 20%,generally had little or no evidence of condensation. Glass temperatures, measured in direct sunlight, were always 11 Franklin Art Glass higher than ambient indoor or outdoor temperatures, averaging between 18°F and Ipm 222 E.Sycamo-e St. 21°F higher. The temperatures varied, depending on the color of the glass. wind Fi - Columbus,OH 43206 speed and how long the window had been exposed to direct sunlight at the time of Supplier ef Quality Stained Class Supplies Since 2924 l� a testing. Circle 92 on Reader Service Card = The Story of Stained Glass . THE STORY OFT� /� .A STAINED GLSS This illustrated, 24-page booklet is loaded with help- ful information on the nature, the history, the techniques .. .',.,: and the terminology of stained glass. 3 11: • - -i.,i Its clear, concise text and popular illustrations make qi'. i. it a much-appreciated gift to stained glass lovers and "` ` .#t. clients alike. :_,.; The low cost of this handy and informative booklet, 1 which includes a glossary and bibliography, makes it a *: ;. �__ real value for anyone working in stained Glass. Order a La � '�� ,= Y; supply today for only $2 per copy. ~ Order from: Yfiy. Kathy Murdock, Executive Secretary qqThe, lice Stained Glass Association of America ° a� *. • PO Box 22642 =' ,� . 1\1 O Kansas City, MO 64133 • .r-- �� 7 4 2 2 r°binhcdto The burned Glz,.....cuuomor �' `•r 1-800-888-S G A A 1 ,'c`�t J`�``` (816) 361 -9173 (fax) 234 ST.-\I\im GLASS. F.-vl.l- 1996 Despite recorded heat and con- The protective glazing often tlensation problems, the stained prevents proper window mainte- glass and glass paints were in good nance; approximately one-third of —P condition overall, while the leading, the windows surveyed required /)f bracing and frames of the windows repairs to the metal or wood frames. G V v�(i were deteriorating. However,a num- which were not accessible due to the ber of these windows have been protective glazing. Hardwood repaired or braced (many in situ.) over the past 20 years. These condi- The research results attained by Framing Stock Lions seem to correlate with the Inspired Partnerships and summit- quality of the window's construc- rized in this article are incorporated Enhance and protect your Lion. High-quality windows by rep- in a final study for the National Glass Art with the beauty utable American studios and Preservation Center. This study and rich color of exotic imported windows (primarily includes: the history. development, hardwoods. English and German) were in better use and promotion of protective • Purple Heart,Paduk,Rosewood, condition than generic windows. glazing; its prevalence in America; Zebrawood,Wenge and more. Their superior condition can he its advantages and disadvantages: • Domestic hardwoods also available generally attributed to better brac- data and photos of' the 100 installa- • Laminations or solid wood ing, leading and design. Low-end dons inspected during the field stir- • Unfinished on 6 foot lengths generic windows with thin (X"), fiat vey; detailed case studies of ten • 1 IX"and 2"widths,3"channel lead cames were deforming the protective-glazing installations; final • Many attractive profiles worst. analysis and general specifications for protective-glazing installations • • • • • Although their internal condi- and supplemental materials. The tion is unknown, none of the plated intent of this study is to develop a Write or fax for information: windows revealed any serious deteri- publishable manuscript from the Summit Stained Glass oration on the surface. Neverthe- study for professional, preservation • 657 SW 2nd Street less, the waterproofing cement was and lay audiences after peer review. _ Lee's Summit, MO 64063 - missing in areas on 40% of the win- Tel: (816) 525-0037 doves and had completely failed on This is the first of a series of articles P designed to present Inspired Partnerships' Fax: (816) 525-1736 another 22%—regardless of their findings to the stained glass community.This �,L series will continue with a more in-depth look quality. Moreover, the perimeter at protective glazing's history,impact on archi- sealants had partially or totally failed lecture, effects on energy conservation and Circle 94 on Reader Service Card impact on restoration of historic stainea glass. on half of the protective-glazing installations. Inspired Partnerships first assembled a Protective Glazing Advisory Committee that included the following people: Rolf Achilles,Art&Industrial Historian (Chicago, IL);ArthurJ.Femenella, Stained Glass Consultant with Femenella& Associates (Annandale, NJ); Dr. Mark Gilberg, Research Scientist with the National Preservation Center of the National Parks Service; (Natchitoches, LA), Thomas Harboe, Director of Preservation with McClier (Chicago, IL); Barbara Krueger, Stained Glass Artist and Historian (Hartland, MI); Richard Pieper, Restoration Consultant (New York, NY); Andrew Rudin, Energy Consultant (Melrose Park, PA); Dr. Wayne Simon, P.E. (Evergreen, CO); and Neal A. Vogel, Director of Technical Services with Inspired Partnerships (Chicago, IL). Several Committee members served as authors and editors of the final report as well. Susan Reilly, P.E. of EnerModal Engineering, Inc., was also commissioned by the National Preservation Center to report on the energy value of protective glazing over stained glass. Many other people provided assistance for this study • but are far too numerous to mention. However, those who deserve special recognition include: Susanna Aulbach, German Translator; Matthew Bellocchio, Roche Organ Company; Chris Botti and Mike Smoucha, Botti Studio of Architectural Arts;Janice H. Chadbourne, Curator of Fine Arts, Boston Public Library; Richard Cieminski,Jon-Lee Art Glass; Marit Eisenbeis and Charles Kiefer, Inspired Partnerships; Betty Kirpatrick, Hermosa Mountain Studio; Gabriel Mayer of Franz Mayer'sche Hofkunstanstalt, Munich, Germany; Virginia Raguin, Holy Cross College;Jack and David Sussman.J. Sussman, Inc.; Susan Tunick, Friends of Terra Cotta; Theodore Von Gerichten; Kirk D. Weaver, Pittsburgh Stained Glass; and David Wixon, Wixon &Associates. Inspired Partnerships would also like to thank the numerous stained glass studios who provided assistance by completing questionnaires and reporting past experiences with protec- tive glazing. ?35 Roofing for Historic Buildings (Part A) Roofing Types: Here is a backgrounder on the type.., Page 1 of 4 suppler •arclenn. tt~bards r ; Ottes In This Section >How-to library I Rehab guidelines I Weekly tips I How houses work I Energy conservation I Searc this section the OLD OUSE W ideas,advice Et community for old-house enthusiasts Section Sponsor: Ali 4' a grh: $ l.� •L£ik t r 1 l s i s E',i m.. r§. s a s Architectural historian Rachel Carley offers a richly detailed guide �; • ,: to 500 years of American home design! List Price$23.00 'Your Price $19.49 Search The HOME -t How-To —t Roofing And Gutters —t Historic Roof Old House Web: Overview Find: Roofing for Historic Buildings (Part A) In our Roofing Types: Here is a backgrounder on the Suppliers' types of historic roofing used in America. Guide Articles The Database Woodworking. Book Store The Old House Web Superstore r Antique Shops Previous Page * Next Page , GO! You can also search: Clay Tile: Old-Style The Boards Box Nails House Plans European settlers used clay tile for roofing as early as the mid- 17th century; many pantiles (S-curved tiles), as well as flat ▪ 4▪ ` Awards roofing tiles, were used in Jamestown, Virginia. In some cities �r such as New York and Boston, clay was popularly used as a s precaution against such fire as those that engulfed London in �; � `r� 1666 and scorched Boston in 1679. Authentic Stickley Tiles roofs found in the mid-18th century Moravian settlements Mission in Pennsylvania closely resembled those found in Germany. ,� Hardware r Typically, the tiles were 14- 15 long, 6 -7 wide with a curved . butt. A lug on the back allowed the tiles to hang on the lathing without nails or pegs. The tile surface was usually scored with finger marks to promote drainage. In the Southwest, the tile 1 I roofs of the Spanish missionaries (mission tiles)were first ll ; t manufactured (ca. 1780) at the Mission San Antonio de Padua Wrought Nails in California. These semicircular tiles were made by molding Extras: clay over sections of logs, and they were generally 22" long and • The old house tapered in width. garden. • Design tips Theplain or flat rectangular tiles most commonlyused from the &ideas. 9 • Finance 17th through the beginning of the 19th century measured about section. 10" by 6"and had two holes at one end for a nail or peg • Find a fastener. Sometimes mortar was applied between the courses contractor. to secure the tiles in a heavy wind. • Your local weather. In the mid-19th century, tile roofs were often replaced by sheet- • Free metal roofs, which were lighter and easier to install and classifieds. maintain. However, by the turn of the century, the Romanesque • House plans. Revival and Mission style buildings created a new demand and • Preferred popularity for this picturesque roofing material. listings showcase. Slate: http://www.oldhouseweb.com/stories/Detailed/187.shtml 1/28/2002 • Roofmg for Historic Buildings (Part A) Roofmg Types: Here is a backgrounder on the type.., Page 2 of 4 Our Newsletter: Another practice settlers brought to the New World was slate Click here to sign roofing. Evidence of roofing slates have been found also among up for our free the ruins of mid-17th century Jamestown. But because of the newsletter! cost and the time required to obtain the material, which was mostly imported from Wales, the use of slate was initially Mail it: limited. • Send this page to a friend (or Even in Philadelphia (the second largest city in the English- yourself, reminde as a speaking world at the time of the Revolution)slates were so reminder ...) p 9 rare that"The Slate Roof House"distinctly referred to William Penn's home built late in the 1600s. Sources of native slate How helpful was were known to exist along the eastern seaboard from Maine to this story? Virginia, but difficulties in inland transportation limited its availability to the cities, and contributed to its expense. Welsh r Excellent slate continued to be imported until the development of canals C Okay and railroads in the mid-19th century made American slate more accessible and economical. Needs Work Submit Slate was popular for its durability, fireproof qualities, and aesthetic potential. Because slate was available in different colors (red, green, purple, and blue-gray), it was an effective material for decorative patterns on many 19th century roofs (Gothic and Mansard styles). Slate continued to be used well into the 20th century, notably on many Tudor revival style buildings of the 1920s. Shingles: Wood shingles were popular throughout the country in all periods of building history. The size and shape of the shingles as well as the detailing of the shingle roof differed according to regional craft practices. People within particular regions developed preferences for the local species of wood that most suited their purposes. In New England and the Delaware Valley, white pine was frequently used: in the South, cypress and oak; in the far west, red cedar or redwood. Sometimes a protective coating was applied to increase the durability of the shingle such as a mixture of brick dust and fish oil, or a paint made of red iron oxide and linseed oil. Commonly in urban areas, wooden roofs were replaced with more fire resistant materials, but in rural areas this was not a major concern. On many Victorian country houses, the practice of wood shingling survived the technological advances of metal roofing in the 19th century, and near the turn of the century enjoyed a full revival in its namesake, the Shingle Style. Colonial revival and the Bungalow styles in the 20th century assured wood shingles a place as one of the most fashionable, domestic roofing materials. Metal: Metal roofing in America is principally a 19th-century phenomenon. Before then the only metals commonly used were lead and copper. For example, a lead roof covered "Rosewell," one of the grandest mansions in 18th century Virginia. But more often, lead was used for protective flashing. Lead, as well as copper, covered roof surfaces where wood, tile, or slate http://www.oldhouseweb.com/stories/Detailed/187.shtml 1/28/2002 . Roofing for Historic Buildings (Part A) Roofing Types: Here is a backgrounder on the type.., Page 3 of 4 shingles were inappropriate because of the roofs pitch or shape. Copper with standing seams covered some of the more notable early American roofs including that of Christ Church (1727- 1744) in Philadelphia. Flat-seamed copper was used on many domes and cupolas. The copper sheets were imported from England until the end of the 18th century when facilities for rolling sheet metal were developed in America. Sheet iron was first known to have been manufactured here by the Revolutionary War financier, Robert Morris, who had a rolling mill near Trenton, New Jersey. At his mill Morris produced the roof of his own Philadelphia mansion, which he started in 1794. The architect Benjamin H. Latrobe used sheet iron to replace the roof on Princeton's"Nassau Hall,"which had been gutted by fire in 1802. The method for corrugating iron was originally patented in England in 1829. Corrugating stiffened the sheets, and allowed greater span over a lighter framework, as well as reduced installation time and labor. In 1834 the American architect William Strickland proposed corrugated iron to cover his design for the market place in Philadelphia. Galvanizing with zinc to protect the base metal from rust was developed in France in 1837. By the 1850s the material was used on post offices and customhouses, as well as on train sheds and factories. In 1857 one of the first metal roofs in the South was installed on the U.S. Mint in New Orleans. The Mint was thereby" fireproofed"with a 20-gauge galvanized, corrugated iron roof on iron trusses. Tin-plate iron, commonly called "tin roofing,"was used extensively in Canada in the 18th century, but it was not as common in the United States until later. Thomas Jefferson was an early advocate of tin roofing, and he installed a standing- seam tin roof on "Monticello" (ca. 1770 -1802). The Arch Street Meetinghouse (1804) in Philadelphia had tin shingles laid in a herringbone pattern on a"piazza" roof. However, once rolling mills were established in this country, the low cost, light weight, and low maintenance of tin plate made it the most common roofing material. Embossed tin shingles, whose surfaces created interesting patterns, were popular throughout the country in the late 19th century. Tin roofs were kept well-painted, usually red; or, as the architect A. J. Davis suggested, in a color to imitate the green patina of copper. Terne plate differed from tin plate in that the iron was dipped in an alloy of lead and tin, giving it a duller finish. Historic, as well as modern, documentation often confuses the two, so much that it is difficult to determine how often actual "terne"was used. Zinc came into use in the 1820s, at the same time tin plate was becoming popular. Although a less expensive substitute for lead, its advantages were controversial, and it was never widely used in this country. http://www.oldhouseweb.com/stories/Detailed/187.shtml 1/28/2002 Roofmg for Historic Buildings (Part A) Roofing Types: Here is a backgrounder on the type.., Page 4 of 4 Other Materials: Asphalt shingles and roll roofing were used in the 1890s. Many roofs of asbestos, aluminum, stainless steel, galvanized steel, and lead-coated copper may soon have historic values as well. Awareness of these and other traditions of roofing materials their detailing will contribute to more sensitive preservation treatments. HOME I suppliers I products I the boards I the store I classifieds I how-to I design I features I finance I gardening I SEARCH THE SITE I CONTACT US I ADVERTISING INFO I Privacy Statement Copyright 1998-2002,The Old House WebTM. All RightsReserved. http://www.oldhouseweb.com/stories/Detailed/187.shtml 1/28/2002 ` •. Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto...r Page 1 of 19 r= �'*Attires In This Section » Section opener I The old-house garden I Design ideas I Finance I Inspiration I Tours of historic places the ,, U . . . ideas,advice&community for old-house enthusiasts, E WE Sponsors: r GUIDE. Click here fora �$ full list. . Products 84 Suppliers , Search The HOME —* Design Old House Web: Find: Architectural Character: Identifying the I_ Visual Aspects of Historic Buildings in our: Use this story to identifying the visual aspects of Guie Suppliers' historic huildings as an aid to preserving their C` Articles character. Database C Book Store The Old House Web C` Antique Shops Lee H. Nelson, FAIA GO! Three-Step Process to Identify A Building's Visual Character You can also Conclusion I The Architectural Character Checklist/Questionnaire search: The Boards House Plans The Secretary of the Interior's "Standards for Historic Preservation Awards: Projects" embody two important goals: 1) the preservation of historic materials and, 2) the preservation of a building's r***—**N\ distinguishing character. Every old building is unique, with its own identity and its own distinctive character. Character refers to all .o- those visual aspects and physical features that comprise the � s appearance of every historic building. Character-defining elements include the overall shape of the building, its materials, L li_. p 9, ff= craftsmanship, decorative details, interior spaces and features, as well as the various aspects of its site and environment. il The purpose of this Brief is to help the owner or the architect A r I`j identify those features or elements that give the building its visual Extras: character and that should be taken into account in order to preserve them to the maximum extent possible. • The old house garden. • Design tips There are different ways of understanding old buildings. They can &ideas. be seen as examples of specific building types, which are usually • Finance related to a building's function, such as schools, courthouses or section. churches. Buildings can be studied as examples of using specific • Find a materials such as concrete, wood, steel, or limestone. They can contractor. also be considered as examples of an historical period, which is • Your local often related to a specific architectural style, such as Gothic Revival weather. P Y • Free farmhouses, one-story bungalows, or Art Deco apartment classifieds. buildings. http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto...r Page 2 of 19 • • Preferred ' listings There are many other facets of an historic building besides its showcase. functional type, its materials or construction or style that contribute r' ti= ird to its historic qualities or significance. Some of these qualities are 1 14: �.- Our Newsletter: feelings conveyed by the sense of time and place or in buildings j Click here to sign associated with events or people. A complete understanding of any l : up for our free property may require documentary research about its style, newsletter! construction, function, its furnishings or contents; knowledge about the original builder, owners, and later occupants; and knowledge Mail it: about the evolutionary history of the building. Even though • Send this page buildings may be of historic, rather than architectural significance, to a friend (or it is their tangible elements that embody its significance for yourself, as a association with specific events orpersons and it is those tangible Yu reminder...) P 9 elements both on the exterior and interior that should be preserved. How helpful was I this story? Therefore, the approach taken in this Brief is limited to identifying C Excellent those visual and tangible aspects of the historic building. While this C Okay may aid in the planning process for carrying out any ongoing or new use or restoration of the building, this approach is not a C Needs Work substitute for developing an understanding about the significance of an historic building and the district in which it is located. I t Submit If the various materials, features and spaces that give a building its y visual character are not recognized and preserved, then essential aspects of its character may be damaged in the process of change. DomaiA building's character can be irreversibly damaged or changed in are pen a ro pe manyways, for example, by �p inappropriate repointing of the allbusiness brickwork, by removal of a distinctive side porch, by changes to the porsonai pro window sash, by changes to the setting around the building, by traria groups, changes to the major room arrangements, by the introduction of an atrium, by painting previously unpainted woodwork, etc. did{tO , for a Cofpi A Three-Step Process to Identify A web Building's Visual Character Internet Planner This Brief outlines a three-step approach that can be used by anyone to identify those materials, features and spaces that contribute to the visual character of a building. This approach involves first examining the building from afar to understand its overall setting and architectural context; then moving up very close to appreciate its materials and the craftsmanship and surface finishes evident in these materials; and then going into and through the building to perceive those spaces, rooms and details that comprise its interior visual character. Step 1: Identify the Overall Visual Aspects Identifying the overall visual character of a building is nothing more than looking at its distinguishing physical aspects without focusing on its details. The major contributors to a building's overall character are embodied in the general aspects of its setting; the shape of the building; its roof and roof features, such as chimneys http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto..' Page 3 of 19 • or cupolas; the various projections on the building, such as porches or bay windows; the recesses or voids in a building, such as open galleries, arcades, or recessed balconies; the openings for windows and doorways; and finally the various exterior materials that contribute to the building's character. Step one involves looking at the building from a distance to understand the character of its site and setting, and it involves walking around the building where that is possible. Some buildings will have one or more sides that are more important than the others because they are more highly visible. This does not mean that the rear of the building is of no value whatever but it simply means that it is less important to the overall character. On the other hand, the rear may have an interesting back porch or offer a private garden space or some other aspect that may contribute to the visual character. Such a general approach to looking at the building and site will provide a better understanding of its overall character without having to resort to an infinitely long checklist of its possible features and details. Regardless of whether a building is complicated or relatively plain, it is these broad categories that contribute to an understanding of the overall character rather than the specifics of architectural features such as moldings and their profiles. Step 2: Identify the Visual Character at Close Range Step two involves looking at the building at close range or arm's length, where it is possible to see all the surface qualities of the materials, such as their color and texture, or surface evidence of craftsmanship or age. In some instances, the visual character is the result of the juxtaposition of materials that are contrastingly different in their color and texture. The surface qualities of the materials may be important because they impart the very sense of craftsmanship and age that distinguishes historic buildings from other buildings. Furthermore, many of these close up qualities can be easily damaged or obscured by work that affects those surfaces. Examples of this could include painting previously unpainted masonry, rotary disk sanding of smooth wood siding to remove paint, abrasive cleaning of tooled stonework, or repointing reddish mortar joints with gray portland cement. There is an almost infinite variety of surface materials, textures and finishes that are part of a building's character which are fragile and easily lost. Step 3: Identify the Visual Character of the Interior Spaces, Features and Finishes Perceiving the character of interior spaces can be somewhat more difficult than dealing with the exterior. In part, this is because so much of the exterior can be seen at one time and it is possible to grasp its essential character rather quickly. To understand the interior character, it is necessary to move through the spaces one at a time. While it is not difficult to perceive the character of one http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 •. Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto..z Page 4 of 19 • individual room, it becomes more difficult to deal with spaces that are interconnected and interrelated. Sometimes, as in office buildings, it is the vestibules or lobbies or corridors that are important to the interior character of the building. With other groups of buildings the visual qualities of the interior are related to the plan of the building, as in a church with its axial plan creating a narrow tunnel-like space which obviously has a different character than an open space like a sports pavilion. Thus the shape of the space may be an essential part of its character. With some buildings it is possible to perceive that there is a visual linkage in a sequence of spaces, as in a hotel, from the lobby to the grand staircase to the ballroom. Closing off the openings between those spaces would change the character from visually linked spaces to a series of closed spaces. For example, in a house that has a front and back parlor linked with an open archway, the two rooms are perceived together, and this visual relationship is part of the character of the building. To close off the open archway would change the character of such a residence. The importance of interior features and finishes to the character of the building should not be overlooked. In relatively simple rooms, the primary visual aspects may be in features such as fireplace mantels, lighting fixtures or wooden floors. In some rooms, the absolute plainness is the character-defining aspect of the interior. So-called secondary spaces also may be important in their own way, from the standpoint of history or because of the family activities that occurred in those rooms. Such secondary spaces, while perhaps historically significant, are not usually perceived as important to the visual character of the building. Thus we do not take them into account in the visual understanding of the building. Conclusion Using this three-step approach, it is possible to conduct a walk through and identify all those elements and features that help define the visual character of the building. In most cases, there are a number of aspects about the exterior and interior that are important to the character of an historic building. The visual emphasis of this brief will make it possible to ascertain those things that should be preserved because their loss or alteration would diminish or destroy aspects of the historic character whether on the outside, or on the inside of the building. [figure] Overall Visual Character: Shape The shape of a building can be an important aspect of its overall visual character. The building illustrated here, for example, has a distinctive horizontal boxlike shape with the middle portion of the box projecting up an extra story. This building has other visual aspects that help define its overall character, including the pattern of vertical bands of windows, the decorative horizontal bands which separate the base of the building from the upper floors, the dark http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 :- '. Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto.., Page 5 of 19 brown color of the brick, the large arched entranceway, and the castle -like tower behind the building. [figure] Overall Visual Character: Openings Window and door openings can be important to the overall visual character of historic buildings. This view shows only part of a much larger building, but the windows clearly help define its character, partly because of their shape and rhythm: the upper floor windows are grouped in a 4,3,4,1,4 rhythm, and the lower floor windows are arranged in a regular 1,1,1,... rhythm. The individual windows are tall, narrow and arched, and they are accented by the different colored arched heads, which are connected where there are multiple windows so that the color contrast is a part of its character. If additional windows were inserted in the gap of the upper floors, the character would be much changed, as it would if the window heads were painted to match the color of the brick walls. [figure] Overall Visual Character: Shape It should not be assumed that only large or unusual buildings have a shape that is distinctive or identifiable. The front wall of this modest commercial building has a simple three-part shape that is the controlling aspect of its overall visual character. It consists of a large center bay with a two story opening that combines the storefront and the windows above. The upward projecting parapet and the decorative stonework also relate to and emphasize its shape. The flanking narrow bays enframe the side windows and the small iron balconies, and the main entrance doorway into the store. Any changes to the center portion of this three-part shape, could drastically affect the visual character of this building. [figure] Overall Visual Character: Openings The opening illustrated here dominates the visual character of this building because of its size, shape, location, materials, and craftsmanship. Because of its relation to the generous staircase, this opening places a strong emphasis on the principal entry to the building. Enclosing this arcade-like entry with glass, for example, would materially and visually change the character of the building. [figure] Overall Visual Character: Roof and Related Features This building has a number of character-defining aspects which http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 •.Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto..1 Page 6 of 19 • include the windows and the decorative stonework, but certainly the roof and its related features are visually important to its overall visual character. The roof is not only highly visible, it has elaborate stone dormers, and it also has decorative metalwork and slatework. The red and black slates of differing sizes and shapes are laid in patterns that extend around the roof of this large and freestanding building. Any changes to this patterned slatework, or to the other roofing details would damage the visual character of the building. [figure] Overall Visual Character: Roof and Related Features On this building, the most important visual aspects of its character are the roof and its related features such as the dormers and chimneys. The roof is important to the visual character because its steepness makes it highly visible, and its prominence is reinforced by the patterned tinwork, the six dormers and the two chimneys. Changes to the roof or its features, such as removal or alterations to the dormers, for example, would certainly change the character of this building. This does not discount the importance of its other aspects, such as the porch, the windows, the brickwork, or its setting; but the roof is clearly crucial to understanding the overall visual character of this building as seen from a distance. [figure] Overall Visual Character: Projections A projecting porch or balcony can be very important to the overall visual character of almost any building and to the district in which is located. Despite the size of this building (3-1/2 stories), and its distinctive roofline profile, and despite the importance of the very large window openings, the lacy wraparound iron balcony is singularly important to the visual character of this building. It would seriously affect the character to remove the balcony, to enclose it, or to replace it with a balcony lacking the same degree of detail of the original material. [figure] Overall Visual Character: Projections Since these are row houses, any evaluation of their visual exterior character is necessarily limited to the front and rear walls; and while there are a number of things competing for attention in the front, it is the half round projecting bays with their conical roofs that contribute most prominently to the visual character. Their removal would be a devastating loss to the overall character, but even if preserved, the character could be easily damaged by changes to their color (as seen in the left bay which has been painted a dark color), or changes to their windows, or changes to their tile roofs. Though these houses have other fine features that http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 • . Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto..r Page 7 of 19 • contribute to the visual character and are worthy of preservation, these half round bays demonstrate the importance of projecting features on an already rich and complex facade. Because of the repetitive nature of these projecting bays on adjacent row houses, along with the buildings' size, scale, openings, and materials, they also contribute to the overall visual character of the streetscape in the historic district. Any evaluation of the visual character of such a building should take into account the context of this building within the district. [figure] Overall Visual Character: Projections Many buildings have projecting features such as porches, bay windows, or overhanging roofs, that help define their overall visual character. This projecting porch because of its size and shape, and because it copies the pitch and material of the main roof, is an important contributor to the visual character of this simple farmhouse. The removal or alteration of this porch would drastically alter the character of this building. If the porch were enclosed with wood or glass, or if gingerbread brackets were added to the porch columns, if the tin roof was replaced with asphalt, or if the porch railing was opened to admit a center stairway, the overall visual character could be seriously damaged. Although this projecting porch is an important feature, almost any other change to this house, such as changes to the window pattern, or changes to the main roof, or changes to the setting, would also change its visual character. figure] Overall Visual Character: Trim If one were to analyze the overall shape or form of this building, it would be seen that it is a gable-roofed house with dormers and a wraparound porch. It is similar to many other houses of the period. It is the wooden trim on the eaves and around the porch that gives this building its own identify and its special visual character. Although such wooden trim is vulnerable to the elements, and must be kept painted to prevent deterioration; the loss of this trim would seriously damage the overall visual character of this building, and its loss would obliterate much of the closeup visual character so dependent upon craftsmanship for the moldings, carvings, and the see-through jigsaw work. [figure] Overall Visual Character: Setting In the process of identifying the overall visual character, the aspect of setting should not be overlooked. Obviously, the setting of urban row houses differs from that of a mansion with a designed http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 • .Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto..r Page 8 of 19 landscape. However, there are many instances where the relationship between the building and its place on the streetscape, or its place in the rural environment, in other words its setting, may be an important contributor to its overall character. In this instance, the corner tower and the arched entryway are important contributors to the visual character of the building itself, but there is also a relationship between the building and the two converging streets that is also an important aspect of this historic building. The curb, sidewalk, fence, and the yard interrelate with each other to establish a setting that is essential to the overall visual character of the historic property. Removing these elements or replacing them with a driveway or parking court would destroy an important visual aspect. [figure] Overall Visual Character: Setting Even architecturally modest buildings frequently will have a setting that contributes to their overall character. In this very urban district, setbacks are the exception, so that the small front yard is something of a luxury, and it is important to the overall character because of its design and materials, which include the iron fence along the sidewalk, the curved walk leading to the porch, and the various plantings. In a district where parking spaces are in great demand, such front yards are sometimes converted to off-street parking, but in this instance, that would essentially destroy its setting and would drastically change the visual character of this historic property. [figure] Overall Visual Character: Setting Among the various visual aspects relating to the setting of an historic property are such site features as gardens, walks, fences, etc. This can include their design and materials. There is a dramatic difference in the visual character between these two fence constructions--one utilizing found materials with no particular regard to their uniformity of size or placement, and the other being a product of the machine age utilizing cast iron components assembled into a pattern of precision and regularity. If the corral fence were to be repaired or replaced with lumberyard materials its character would be dramatically compromised. The rhythm and regularity of the cast iron fence is so important to its visual character that its character could be altered by accidental damage or vandalism, if some of the fence top spikes were broken off thus interrupting the rhythm or pattern. [figure] Arm's Length Visual Character: Materials http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 • .Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this sto..r Page 9 of 19 At arm's length, the visual character is most often determined by the surface qualities of the materials and craftsmanship; and while these aspects are often inextricably related, the original choice of materials often plays the dominant role in establishing the close range character because of the color, texture, or shape of the materials. In this instance, the variety and arrangement of the materials is important in defining the visual character, starting with the large pieces of broken stone which form the projecting base for the building walls, then changing to a wall of roughly rectangular stones which vary in size, color, and texture, all with accentuated, projecting beads of mortar, then there is a rather precise and narrow band of cut and dressed stones with minimal mortar joints, and finally, the main building walls are composed of bricks, rather uniform in color, with fairly generous mortar joints. It is the juxtaposition and variety of these materials (and of course, the craftsmanship) that is very important to the visual character. Changing the raised mortar joints, for example, would drastically alter the character at arm's length. [figure] Arm's Length Visual Character: Craft Details There are many instances where craft details dominate the arm's length visual character. As seen here, the craft details are especially noticeable because the stones are all of a uniform color, and they are all squared off, but their surfaces were worked with differing tools and techniques to create a great variety of textures, resulting in a tour-de-force of craft details. This texture is very important at close range. It was a deliberately contrived surface that is an important contributor to the visual character of this building. [figure] Arm's Length Visual Character: Craft Details The arm's length visual character of this building is a combination of the materials and the craft details. Most of the exterior walls of this building consist of early 20th century Roman brick, precisely made, unusually long bricks, in varying shades of yellow-brown, with a noticeable surface spotting of dark iron pyrites. While this brick is an important contributor to the visual character, the related craft details are perhaps more important, and they consist of: unusually precise coursing of the bricks, almost as though they were laid up using a surveyor's level; a row of recessed bricks every ninth course, creating a shadow pattern on the wall; deeply recessed mortar joints, creating a secondary pattern of shadows; and a toothed effect where the bricks overlap each other at the corner of the building. The cumulative effect of this artisanry is important to the arm's length visual character, and it is evident that it would be difficult to match if it were damaged, and the effect http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 , Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 10 of 19 could be easily damaged through insensitive treatments such as painting the brickwork or by careless repointing. [figure] Arm's Length Visual Character: Craft Details On some buildings, there are subtle aspects of visual character that cannot be perceived from a distance. This is especially true of certain craft details that can be seen only at close range. On this building, it is easily understood that the narrow, unpainted, and weathered clapboards are an important aspect of its overall visual character; but at close range there are a number of subtle but very important craft details that contribute to the handmade quality of this building, and which clearly differentiate it from a building with machine sawn clapboards. The clapboards seen here were split by hand and the bottom edges were not dressed, so that the boards vary in width and thickness, and thus they give a very uneven shadow pattern. Because they were split from oak that is unpainted, there are occasional wavy rays in the wood that stand against the grain. Also noticeable is the fact that the boards are of relatively short lengths, and that they have feather-edge ends that overlap each other, a detail that is very different from butted joints. The occasional large nail heads and the differential silver-gray weathering add to the random quality of the clapboards. All of these qualities contribute to the arm's length visual character. [figure] Arm's Length Visual Character: Craft Details While hand-split clapboards are distinctive visual elements in their own way, machine-sawn and painted wood siding is equally important to the overall visual character in most other instances. At arm's length, however, the machine sawn siding may not be so distinctive; but there might be other details that add visual character to the wooden building, such as the details of wooden trim and louvered shutters around the windows (as seen here), or similar surface textures on other buildings, such as the saw marks on wall shingles, the joints in leaded glass, decorative tinwork on a rain conductor box, the rough surface of pebble-dash stuccowork, or the pebbly surface of exposed aggregate concrete. Such surfaces can only be seen at arm's length and they add to the visual character of a historic building. [figure] Interior Visual Character: Individually Important Spaces In assessing the interior visual character of any historic building, it is necessary to ask whether there are spaces that are important to http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 • ,Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 11 of 19 the character of this particular building, whether the building is architecturally rich or modest, or even if it is a simple or utilitarian structure. The character of the individually important space which is illustrated here is a combination of its size, the twin curving staircases, the massive columns and curving vaulted ceilings, in addition to the quality of the materials in the floor and in the stairs. If the ceiling were to be lowered to provide space for heating ducts, or if the stairways were to be enclosed for code reasons, the shape and character of this space would be damaged, even if there was no permanent physical damage. Such changes can easily destroy the visual character of an individually important interior space. Thus, it is important that the visual aspects of a building's interior character be recognized before planning any changes or alterations. [figure] Interior Visual Character: Related Spaces Many buildings have interior spaces that are visually or physically related so that, as you move through them, they are perceived not as separate spaces, but as a sequence of related spaces that are important in defining the interior character of the building. The example which is illustrated here consists of three spaces that are visually linked to each other. The first of these spaces is the vestibule which is of a generous size and unusual in its own right, but more important, it visually relates to the second space which is the main stairhall. The hallway is the circulation artery for the building, and leads both horizontally and vertically to other rooms and spaces, but to the open and inviting stairway. The stairway is the third part of this sequence of related spaces, and it provides continuing access to the upper floors. These related spaces are very important in defining the interior character of this building. Almost any change to these spaces, such as installing doors between the vestibule and the hallway, or enclosing the stair would seriously impact their character and the way that character is perceived. [figure] Interior Visual Character: Interior Features Interior features are three-dimensional building elements or architectural details that are an integral part of the building as opposed to furniture. Interior features are often important in defining the character of an individual room or space. In some http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 12 of 19 instances, an interior feature, like a large and ornamental open stairway may dominate the visual character of an entire building. In other instances, a modest iron stairway (like the one illustrated here) may be an important interior feature, and its preservation would be crucial to preserving the interior character of the building. Such features can also include the obvious things like fireplace mantles, plaster ceiling medallions, or paneling, but they also extend to features like hardware, lighting fixtures, bank tellers cages, decorative elevator doors, etc. [figure] Interior Visual Character: Interior Features Modern heating or cooling devices usually add little to the interior character of a building; but historically, radiators, for instance, may have contributed to the interior character by virtue of their size or shape, or because of their specially designed bases, piping, and decorative grillage or enclosures Sometimes they were painted with several colors to highlight their integral, cast-in details. In more recent times, it has been common to over paint and conceal such distinctive aspects of earlier heating and plumbing devices, so that we seldom have the opportunity to realize how important they can be in defining the character of interior rooms and spaces. For that reason, it is important to identify their characterdefining potential, and consider their preservation, retention, or restoration. [figure] Interior Visual Character: Surface Materials and Finishes When identifying the visual character of historic interior spaces one should not overlook the importance of those materials and finishes that comprise the surfaces of walls, floors and ceilings. The surfaces may have evidence of either handcraft or machine made products that are important contributors to the visual character, including patterned or inlaid designs in the wood flooring, decorative painting practices such ac stenciling, imitation marble or wood grain, wallpapering, tinwork, tile floors, etc. The example illustrated here involves a combination of real marble at the base of the column, imitation marble patterns on the plaster surface of the column (a practice called scagliola), and a tile floor surface that uses small mosaic tiles arranged to form geometric designs in several different colors. While such decorative materials and finishes may be important in defining the interior visual character of this particular building, it should be remembered that in much more modest buildings, the plainness of surface materials and finishes may be an essential aspect of their historic character. [figure] Fragility of A Building's Visual Character http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 13 of 19 Some aspects of a building's visual character are fragile and are easily lost. This is true of brickwork, for example, which can be irreversibly damaged with inappropriate cleaning techniques or by insensitive repointing practices. At least two factors are important contributors to the visual character of brickwork, namely the brick itself and the craftsmanship. Between these, there are many more aspects worth noting, such as color range of bricks, size and shape variations, texture, bonding patterns, together with the many variable qualities of the mortar joints, such as color, width of joint and tooling. These qualities could be easily damaged by painting the brick, by raking out the joint with power tools, or repointing with a joint that is too wide. As seen here during the process of repointing, the visual character of this front wall is being dramatically changed from a wall where the bricks predominate, to a wall that is visually dominated by the mortar joints. # # # # The Architectural Character Checklist/Questionnaire Lee H. Nelson, FAIA National Park Service This checklist can be taken to the building and used to identify those aspects that give the building and setting its essential visual qualities and character. This checklist consists of a series of questions that are designed to help in identifying those things that contribute to a building's character. The use of this checklist involves the threestep process of looking for: 1) the overall visual aspects, 2) the visual character at close range, and 3) the visual character of interior spaces, features and finishes. Because this is a process to identify architectural character, it does not address those intangible qualities that give a property or building or its contents its historic significance, instead this checklist is organized on the assumption that historic significance is embodied in those tangible aspects that include the building's setting, its form and fabric. STEP ONE 1. Shape What is there about the form or shape of the building that gives the building its identity? Is the shape distinctive in relation to the neighboring buildings? Is it simply a low, squat box, or is it a tall, narrow building with a corner tower? Is the shape highly consistent with its neighbors? Is the shape so complicated because of wings, or ells, or differences in height, that its complexity is important to its character? Conversely, is the shape so simple or plain that adding a feature like a porch would change that character? Does http://www.oldhouseweb.com/stories/Detailed/263.shliul 1/28/2002 • Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 14 of 19 the shape convey its historic function as in smoke stacks or silos? Notes on the Shape or Form of the Building: 2. Roof and Roof Features Does the roof shape or its steep (or shallow) slope contribute to the building's character? Does the fact that the roof is highly visible (or not visible at all) contribute to the architectural identity of the building? Are certain roof features important to the profile of the building against the sky or its background, such as cupolas, multiple chimneys, dormers, cresting, or weather vanes? Are the roofing materials or their colors or their patterns (such as patterned slates) more noticeable than the shape or slope of the roof? Notes on the Roof and Roof Features: 3. Openings Is there a rhythm or pattern to the arrangement of windows or other openings in the walls; like the rhythm of windows in a factory building, or a threepart window in the front bay of a house; or is there a noticeable relationship between the width of the window openings and the wall space between the window openings? Are there distinctive openings, like a large arched entranceway, or decorative window lintels that accentuate the importance the window openings, or unusually shaped windows, or patterned window sash, like small panes of glass in the windows or doors, that are important to the character? Is the plainness of the window openings such that adding shutters or gingerbread trim would radically change its character? Is there a hierarchy of facades that make the front windows more important than the side windows? What about those walls where the absence of windows establishes its own character? Notes on the Openings: 4. Projections http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 • Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 15 of 19 Are there parts of the building that are characterdefining because they project from the walls of the building like porches, cornices, bay windows, or balconies? Are there turrets, or widely overhanging eaves, projecting pediments or chimneys? Notes on the Projections: 5. Trim and Secondary Features Does the trim around the windows or doors contribute to the character of the building? Is there other trim on the walls or around the projections that, because of its decoration or color or patterning contributes to the character of the building? Are there secondary features such as shutters, decorative gables, railings, or exterior wall panels? Notes on the Trim and Secondary Features: 6. Materials Do the materials or combination of materials contribute to the overall character of the building as seen from a distance because of their color or patterning, such as broken faced stone, scalloped wall shingling, rounded rock foundation walls, boards and battens, or textured stucco? Notes on the Materials 7. Setting What are the aspects of the setting that are important to the visual character? For example, is the alignment of buildings along a city street and their relationship to the sidewalk the essential aspect of its setting? Or, conversely, is the essential character dependent upon the tree plantings and out buildings which surround the farmhouse? Is the front yard important to the setting of the modest house? Is the specific site important to the setting such as being on a hilltop, along a river, or, is the building placed on the site in such a way to enhance its setting? Is there a special relationship to the adjoining streets and other buildings? Is there a view? Is there http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 • Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 16 of 19 fencing, planting, terracing, walkways or any other landscape aspects that contribute to the setting? Notes on the Setting: STEP TWO 8. Materials at Close Range Are there one or more materials that have an inherent texture that contributes to the close range character, such as stucco, exposed aggregate concrete, or brick textured with vertical grooves? Or materials with inherent colors such as smooth orange colored brick with dark spots of iron pyrites, or prominently veined stone, or green serpentine stone? Are there combinations of materials, used in juxtaposition, such as several different kinds of stone, combinations of stone and brick, dressed stones for window lintels used in conjunction with rough stones for the wall? Has the choice of materials or the combinations of materials contributed to the character? Notes on the Materials at Close Range: 9. Craft Details Is there high quality brickwork with narrow mortar joints? Is there hand tooled or patterned stonework? Do the walls exhibit carefully struck vertical mortar joints and recessed horizontal joints? Is the wall shinglework laid up in patterns or does it retain evidence of the circular saw marks or can the grain of the wood be seen through the semitransparent stain? Are there hand split or handdressed clapboards, or machine smooth beveled siding, or wood rusticated to look like stone, or Art Deco zigzag designs executed in stucco? Almost any evidence of craft details, whether handmade or machinemade, will contribute to the character of a building because it is a manifestation of the materials, of the times in which the work was done, and of the tools and processes that were used. It further reflects the effects of time, of maintenance (and/or neglect) that the building has received over the years. All of these aspects are a part of the surface qualities that are seen only at close range. Notes on the Craft Details: http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 17 of 19 STEP THREE 10. Individual Spaces Are there individual rooms or spaces that are important to this building because of their size, height, proportion, configuration, or function, like the center hallway in a house, or the bank lobby, or the school auditorium, or the ballroom in a hotel, or a courtroom in a county courthouse? Notes on the Individual Spaces. 11. Related Spaces and Sequences of Spaces Are there adjoining rooms that are visually and physically related with large doorways or open archways so that they are perceived as related rooms as opposed to separate rooms? Is there an important sequence of spaces that are related to each other, such as the sequence from the entry way to the lobby to the stairway and to the upper balcony as in a theatre; or the sequence in a residence from the entry vestibule to the hallway to the front parlor, and on through the sliding doors to the back parlor; or the sequence in an office building from the entry vestibule to the lobby to the bank of elevators? Notes on the Related Spaces and Sequences of Spaces: 12. Interior Features Are there interior features that help define the character of the building, such as fireplace mantels, stairways and balustrades, arched openings, interior shutters, inglenooks, cornices, ceiling medallions, light fixtures, balconies, doors, windows, hardware, wainscoting, panelling, trim, church pews, courtroom bars, teller cages, waiting room benches? Notes on the Interior Features: http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 18 of 19 13. Surface Finishes and Materials Are there surface finishes and materials that can affect the design, the color or the texture of the interior? Are there materials and finishes or craft practices that contribute to the interior character, such as wooden parquet floors, checkerboard marble floors, pressed metal ceilings, fine hardwoods, grained doors or marbleized surfaces, or polychrome painted surfaces, or stenciling, or wallpaper that is important to the historic character? Are there surface finishes and materials that, because of their plainness, are imparting the essential character of the interior such as hard or bright, shiny wall surfaces of plaster or glass or metal? Notes on the Surface Finishes and Materials: 14. Exposed Structure Are there spaces where the exposed structural elements define the interior character such as the exposed posts, beams, and trusses in a church or train shed or factory? Are there rooms with decorative ceiling beams (nonstructural) in bungalows, or exposed vigas in adobe buildings? Notes on the Exposed Structure: # # # # This concludes the threestep process of identifying the visual aspects of historic buildings and is intended as an aid in preserving their character and other distinguishing qualities. It is not intended as a means of understanding the significance of historical properties or districts, nor of the events or people associated with them. That can only be done through other kinds of research and investigation. This Preservation Brief was originally developed as a slide talk/methodology in 1982 to discuss the use of the Secretary of the Interior's Standards for Rehabilitation in relation to preserving historic character; and it was amplified and modified in succeeding years to help guide preservation decision making, initially for maintenance personnel in the National Park Service. A number of people contributed to the evolution of the ideas presented here. Special thanks go to Emogene Bevitt and Gary Hume, primarily for the many and frequent discussions relating to this approach in its evolutionary stages; to Mark Fram, Ontario Heritage Foundation, http://www.oldhouseweb.com/stories/Detailed/263.shtml 1/28/2002 Architectural Character: Identifying the Visual Aspects of Historic Buildings Use this st..r Page 19 of 19 Toronto, for suggesting several additions to the Checklist; and more recently, to my coworkers, both in Washington and in our regional offices, especially Ward Jandl, Sara Blumenthal, Charles Fisher, Sharon Park, AIA, Jean Travers, Camille Martone, Susan Dynes, Michael Auer, Anne Grimmer, Kay Weeks, Betsy Chittenden, Patrick Andrus, Carol Shull, Hugh Miller, FAIA, Jerry Rogers, Paul Alley, David Look, AIA, Margaret Pepin-Donat, Bonnie Halda, Keith Everett, Thomas Keohan, the Preservation Services Division, MidAtlantic Region, and several reviewers in state preservation offices, especially Ann Haaker, Illinois; and Stan Graves, AIA, Texas; for providing very critical and constructive review of the manuscript. Washington, D.C. September, 1988 This publication has been prepared pursuant to the National Historic Preservation Act of 1966, as amended, which directs the Secretary of the Interior to develop and make available information concerning historic properties. Technical Preservation Services (TPS), Heritage Preservation Services Division, National Park Service prepares standards, guidelines, and other educational materials on responsible historic preservation treatments for a broad public. Sponsored Links: • Instant Heat! Replace your conventional water heater with the SETS Electronic Tankless Water Heater and never run out of hot water again! • The Remodeling Web: The largest search engine for the remodeling industry. HOME I products&suppliers I the boards I the store I house plans I classifieds I how-to I design I features I finance I gardening I SEARCH THE SITE I CONTACT US I ADVERTISING INFO I Privacy Statement Copyright 1998-2002,The Old House WebTM. 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