Restoring a Window with Black Tinted Glazing (Part II)

By Jeffrey Larry

As mentioned in a previous blog entry, the recent replacement of a diamond shaped window pane (Figure 1) from the Cottage’s north elevation raised the issue of whether to use traditional linseed oil putty or a modern putty when setting the glass. The pros and cons of both materials were presented but in order for this issue to be fully considered it is necessary to review the process for preparing and installing both types of window glazing.

The modern putty comes ready to apply directly from the can. The linseed oil putty requires some preparation. (Figures 2, 3, and 4) Remove a small piece from the can and place in the microwave for 10-15 seconds. This will aid in softening the putty. Continue to knead the putty until it is smooth and pliable. If the putty continues to crumble, add a small amount of linseed oil. A paint analysis determined that the original window putty was tinted black. Though it could be done with a powdered colorant, black linseed oil paint was added to tint the putty. A representative from a modern putty company confirmed that the black linseed oil paint could be added to their product to obtain the same results.

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6

After the glass is set on a bed of putty and a glazier’s gun is used to insert pins to hold the glass in place, the putty is applied. (Figures 5, 6)) There are numerous websites dedicated to the process of applying the putty.  The intent of this article is to focus on the putty itself and to compare the preparation and application qualities of modern versus traditional linseed oil putty. A common complaint on many of these sites is that the linseed oil putty is more difficult to apply. On the contrary, the application of the linseed oil putty in this situation was surprisingly easy. Where a modern putty may pull away from the muntin shoulder or be difficult to tool, the linseed oil in the traditional putty seems to have eliminated this problem. In fairness, it does require some trial and error to obtain the right consistency for optimum workability.

To summarize, a modern putty is less expensive, typically available locally, and is ready to use right from the can. Because of chemical additives, it will dry faster than traditional putty but it also dries harder which can cause it to crack over time. The modern putty contains chemical additives which are known carcinogens. The traditional linseed oil putty usually must be ordered on-line, and requires a substantial amount of time to prepare. It is organic, arguably easier to apply and remains flexible.  In keeping with the National Trust for Historic Preservation’s initiatives on sustainability the obvious choice for this site was the traditional linseed oil putty.

Mr. Larry is the Preservation Manager at President Lincoln’s Cottage.

The Pink Parlor

By Erin Carlson Mast

The interpretation in the Cottage is focused on Lincoln’s presidency, of which he spent nearly 14 months living here at the Soldiers’ Home.  The tour does not emphasize decorative arts or furnishings for the sake of aesthetics, and is minimally furnished–in part because very little information exists regarding what the Lincolns had in the Cottage.  Any furnishings present in the Cottage have a specific purpose in supporting the stories of Lincoln’s presidency, particularly as they unfolded in this place. Though the Cottage isn’t fully furnished, the sense of home is a vital part of the interpretation.

Figure 1

Since opening to the public a year and a half ago, President Lincoln’s Cottage has been conducting online visitor evaluations and conducted 3rd party evaluations last summer.  The feedback from visitors suggested that two rooms meant to elude to home were missing the mark.  It occurred to staff that while our preservation philosophy dictated period lighting and floor finishes, period wall finishes were ultimately omitted in the treatment plan in period sympathetic rooms (though period trim was suggested, this was ultimately omitted as well)–they were only included in the treatment plan for period rooms.   The shell of the room (warm period light levels, restored flooring, period wall finishes) would give the sense of home even that room was not filled with furnishings.  The staff revisited the debate about painting or not painting the period sympathetic rooms, and determined that what was ultimately avoided because it might be a distraction was in fact having the opposite effect.  The white, non-period finished walls were creating a cold, neutral environment, (Figure 1) rather than the warm immersive environment that would evoke home without saying the words.  Why not try painting the rooms afterall and see if that in fact improves the visitor experience without detracting from the stories that illuminate Lincoln’s presidency at this place? 

During the restoration and incredible amount of time and resources were dedicated to studying the Cottage, the authentic artifact.  Detailed reports catalog various aspects of the 19th century Cottage that are from Lincoln’s time.

Figure 2

A comprehensive paint and finish analysis conducted by Frank Welsh in 2002 as part of the Cottage restoration plan provided the necessary information on period finishes for the two rooms in question, the Dining Room, and the Parlor.   The Parlor was “Light Pink” and the Dining Room “Light Grey Pink.”   Last weekend President Lincoln’s Cottage staff rolled up their sleeves and painted the Parlor walls.  Based on the paint and finish analysis and with advice from Gail Caskey Winkler of LCA Associates, staff selected Queen Anne Pink (Benjamin Moore HC-60) as the “Light Pink.”  The impact of painting the room, while subtle, was immediately apparent when standing in the room.  Even when photographed on a grey, cloudy day, the difference is apparent in photos (Figure 2).  Suddenly, when you’re in the space, you are reminded that you are in a home, whereas before, it lacked that specific feeling.  A palm leaf fan, mentioned in one of the first-hand accounts of Lincoln told in this room, was also finally added and is visible on the table.

Staff will continue to evaluate how visitors react to the rooms and the stories and topics in those spaces and compare results.

Ms. Mast is the Curator at President Lincoln’s Cottage.

Paint Analysis and Plaster Repair (Part II)

By Jeffrey Larry

The results from the April 3, 2009 paint analysis, conducted by Historic Paint Finishes consultant, Matthew Mosca arrived last month at President Lincoln’s Cottage.  Though an excellent photochronology dating back to the Cottage’s first paint layer was obtained, it did confirm that much more study is needed throughout the house to better understand the finishes present during President Lincoln’s time in residence. As mentioned in the previous blog entry, the paint analysis was performed prior to a plaster repair that could result in the significant loss of original material.  The intent was to obtain a record of paint layers and in the process possibly find evidence of early wall paper and/or decorative painting. Previous sampling in other rooms revealed a trompe l’oeil frieze (Figure 1) and painted panels in the vestibule meant to imitate wainscoting (Figure 2).

Figure 1

Figure 2

The five samples taken from the wall and trim around the first and second floor stairway showed no evidence of wall paper or decorative painting but did offer new possibilities on Lincoln era wall color and fascinating observations on the baseboard faux graining. Because the wall has never received a paint analysis it was painted the same color as the adjacent walls in the hallway (Benjamin Moore HC-83, Grant Beige).  Mosca’s analysis offers the possibility of a mauve brown being present in the early 1860’s.  The faux white-oakgraining that was reproduced on the first floor baseboard during the Cottage restoration is based upon a second generation of graining that was exposed in Lincoln’s time.  Though there is no reproduction faux graining on the second floor, Mosca’s sample from the baseboard at the top of the stairs shows what appears to be a walnutgraining. (Figure 3) This graining was also applied using a different layering system than that of the first floor.

Figure 3

The presentation at President Lincoln’s Cottage focuses on the man and his ideas. The Cottage’s role is to help tell that story, as the context of where Lincoln thought through many of his most important decisions during the Civil War. It was never intended to be a static house museum filled with quarantined relics and rope partitioned rooms. Instead the interpretation is an evolving study of Lincoln’s presidency and an evolving study in how to present that life.  This evolving study of serious thought and contemplation is enhanced through the few pieces of furniture and decorative arts placed in select rooms as well as voices of those who met with Lincoln here portrayed through media.  

The sense of place is crucial to the stories of Lincoln here.  As we learn more about that place, the story may be further enhanced by planning and implementing a comprehensive finishes study of the entire cottage to allow for the selective presentation of thought provoking and appropriate wall and trim finishes. 

You may read Part I of this story here:https://lincolncottage.wordpress.com/2009/04/16/plaster-repair-and-paint-analysis-at-president-lincolns-cottage/

Mr. Larry is the Preservation Manager at President Lincoln’s Cottage.

Restoring a Window with Black-tinted Glazing (Part I)

By Jeffrey Larry

Typically when replacing a piece of glass in a wooden window frame, the glass is placed into the frame on a bedding of window glazing putty and held in place with some type of pin. A putty knife is then used to install glazing putty at an angle between the glass and the edge of the muntin. The standard modern glazing putty is typically a product found in a hardware store that comes in a can or caulk-like tube. There are numerous blogs online that discuss the methods and ease of application of these products. (www.historichomeworks.com)

Window restoration, 2004

During the exterior restoration of President Lincoln’s Cottage in 2004-2005 all of the glass was removed from every window frame. The frames were restored or reconstructed and the glass was reinstalled using a process similar to the one described above. The main difference was the use of a traditional glazing putty. A traditional glazing putty is simply made of linseed oil & a variety of chalks (calcium carbonate). The modern putties are made with different oils and ingredients including known carcinogens Anthophyllite and Crystalline Silica.

A traditional glazing putty is slow drying but will remain flexible to allow for wood movement from temperature fluctuations. This means up to a four week wait time before applying an oil-based primer and top coat. If a linseed oil paint is used, it can be applied immediately after the glazing is installed. A modern glazing putty has additives that speed the drying process which is advantageous if you are looking to paint the glazing quickly. The problem in the long term is that the glazing dries very hard and may eventually crack. Traditional linseed oil glazing is not a product typically found at a local hardware or big box store but it can be found at a few companies online. The glazing used at the Cottage was from Viking Sales, which offers a Swedish brand linseed oil glazing putty along with other natural painting and finishing products.

Recently a small diamond pane on the north elevation of the Cottage was cracked and required replacement.  Upon removing the glass it was a surprise to find that the glazing itself had been tinted black before being re-installed in the 2004-2005 restoration. A review of the Frank Welsh 2002 paint analysis confirmed that the original glazing had been tinted black.

Frank Welsh

The choice to use the traditional linseed oil glazing at President Lincoln’s Cottage over the modern glazing was an obvious one.  The President Lincoln’s Cottage Visitor Education Center recently received LEED Gold Certification for its sustainable restoration, part of the National Trust for Historic Preservation’s broader initiatives on sustainability.  Although the Cottage did not go through the process of LEED certification, the staff is committed to selecting organic, all natural products for both buildings whenever possible, especially when they are historically appropriate and preferable from a preservation perspective.  But it may not be the right choice for everyone. Check back to this blog in a few days when the process of preparing, tinting and applying the traditional glazing is discussed and weighed against the easier to find and use, less expensive, modern glazing.

Mr. Larry is the Preservation Manager at President Lincoln’s Cottage.

Plaster Repair and Paint Analysis at President Lincoln’s Cottage (Part I)

By Jeffrey Larry

Location of damaged plaster in the Cottage

President Lincoln’s Cottage is only one year from completion of an extensive seven year restoration, but the job of preserving this 167 year old building is ongoing. Not long after the restoration was completed small hairline cracks became visible on the wall going up the stairs from the first to second floor and second floor to attic. Eventually the cracks began to connect leading small sections of the finish coat of plaster began to separate from the base coat. The plaster on this wall was originally applied to an interior brick wall.  The concern was that it had begun to separate from the brick due to moisture or structural issues. Fortunately, a small area of the finish coat removed on the second floor wall revealed the base coat of plaster was intact.  The cause of the cracks still had to be determined before making a repair.

Damaged plaster removed for investigation

For several decades in the 20th century, the Cottage had been used as administrative offices for the Soldiers’ Home and was climate controlled year round, which meant limited structural expansion and contraction on the interior. During the restoration,  while existing cracks in the plaster were being repaired, the Cottage was not climate controlled, returning it to the gradual–but extreme–seasonal temperature fluctuations a 19th century house would experience, which may have caused enough movement in the structure to form these additional cracks.  To address this problem all of the loose and cracked plaster finish coat will be removed and the base coat examined to ensure that it is sound.

Whenever original Cottage architectural material is removed or disturbed the process is photographed and documented. Typically the original material is then labeled and stored. Because so much of the original finish coat of the plaster would need to be removed, and the two previous paint analysis projects did not include this wall, it was deemed necessary to conduct a new paint analysis.

Matthew Mosca removes paint sample for analysis

The examination of the paint layers and removal of samples for laboratory analysis took place on April 3, 2009 and marked the return of Matthew Mosca, an Historic Paint Finishes Consultant who had last examined the Cottage 27 years ago. In 1985, Mosca was commissioned as part of a National Park Service Historic Structures Report initiated by the Home to conduct paint analysis on many of the walls and trim of what was then known as Anderson Cottage, with an eye to turning it into a museum.  The Home never proceeded with the preservation and development work.

In 2000, the National Trust for Historic Preservation, a private, non-profit organization, became the steward of the Cottage, finally realizing the preservation and interpretation of this important place.    As part of the restoration, Frank Welsh of Welsh Color & Conservation, Inc was contracted to conduct a more in-depth paint analysis that eventually took nearly 400 samples from the exterior trim, walls and windows as well as interior walls, trim and doors. This paint analysis, along with Mosca’s 1985 survey, has proved to be an invaluable source of information regarding the finishes present during Lincoln’s occupancy of the Cottage. Unfortunately a lack of time and money prevented a more in-depth study of the finish layers, in particular, the evidence found of a painted decorative frieze in many of the rooms and the continued search for fragments of wallpaper.

The final results of Mosca’s latest analysis should be completed by the end of April 2009 and will be followed by the plaster repair.  Check back to this site often for preservation updates on President Lincoln’s Cottage.

Mr. Larry is the Preservation Manager of President Lincoln’s Cottage.

Lincoln Bicentennial Talk at Village Learning Place in Baltimore

Commemorate the bicentennial of the birth of Abraham Lincoln.  Jeffrey, Larry, Preservation Manager at President Lincoln’s Cottage will discuss Lincoln’s life while residing at the Cottage during the summer and fall of 1862-4.  Larry will also discuss the rich architectural history of the Cottage, located on the grounds of the “Soldiers’ Home”  (now known as the Armed Forces Retirement Home) in northwest Washington, D.C.

Program Details:

Wednesday, February 11, 2009, 7:00pm-9:00pm
2521 St. Paul Street
Baltimore, MD 21218

“2nd Wednesdays at the VLP” is a free monthly series of talks, concerts, and special events held in the historic Village Learning Place.  For more information, call 410-235-2210.

President Lincoln’s Cottage Wins Mayor’s Award

The restoration project at President Lincoln’s Cottage received recognition from the Mayor’s office last week. Barbara Campagna, National Trust for Historic Preservation Graham Gund Architect, attended on behalf of the site. Read about it here: http://blogs.nationaltrust.org/preservationnation/?p=1762

2008 Restoration Project of the Year

President Lincoln’s Cottage Robert H. Smith Visitor Education Center was awarded the title “Restoration Project of the Year” by Mid-Atlantic Construction magazine this week. 

Bruce Buckley, managing editor of Mid-Atlantic Construction called this year’s pool the “most competitive” ever with a “record number of entries.” 

Jurors are pulled from architects, engineers, and general contractors active in the local building community.  For more information, see: http://midatlantic.construction.com.

A Look Back at Restoration

By Erin Carlson Mast

A member of the construction management company that oversaw preservation and restoration of the Cottage interior and rehabilitation of the Visitor Education Center recently forwarded us a photo he snapped in the Cottage in March 2007.

This view shows workers removing loose paint in the entry hallway.  In the foreground is the library before 23 layers of paint were removed from the entire ceiling, walls, and doors. A coupon was left to preserve some of the paint in place and reports thoroughly document the paint and finish analysis. Also visible in the photo are the protective floor coverings. These covers protected the 19th century wood flooring from damage during restoration work, after asbestos abatement and prior to refinishing.  

This photo shows workers carefully removing asbestos from inside a ventilated tent in 2006.  Asbestos-laden mastic that was found beneath the 20th century carpet when it was removed in 2006, so abatement was the first work to be done in the next phase of restoration work in the Cottage.  Asbestos abatement is both time-consuming and costly work, not to mention the extreme staining on the wood floors left by the mastic.  However costly and time-consuming, asbestos removal was a necessary and important step toward opening President Lincoln’s Cottage to the public. 

Several, processes were tested to remove mastic stains from the floors in the Cottage while minimizing impact on the wood.  The discolorations were largely removed during refinishing and re-staining, as can be seen in the photo below, from the Grand Opening this past February.

Ms. Mast is Curator at President Lincoln’s Cottage.

Final Installations

By Erin Carlson Mast

With opening only a couple short weeks away, finishing touches are being completed on the interior of President Lincoln’s Cottage.  Yesterday, The Gfroerer Company completed hand-stitched binding and installation of woven cocoa matting in the library and drawing room.

Cocoa matting was selected for the Cottage because it appears on a May 1864 invoice from John Alexander to Mary Lincoln. The invoice indicates that Mary purchased, “460 yards of Goqua [sic] matting” for the Cottage at $345.00. Cocoa matting was more expensive than the more common grass matting, but was also more durable. While the type of woven cocoa matting available to the Lincolns is no longer produced, a type of woven cocoa matting was located and acquired for use in President Lincoln’s Cottage. 

Ms. Erin Mast is the Curator at President Lincoln’s Cottage.