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Abstract
During the reign of James VI (1567-1625) and for about a generation after there was a flourishing of creative activity in Scotland. This period of ‘renaissance’ has left us with a unique collection of painted ceilings, mainly timber of ‘beam and board’ construction, found throughout the country. This paper will briefly describe the background to their existence, the types of building in which they are found, their construction and iconography together with the materials used to create them. It will go onto explore the traditional conservation methods used by Historic Scotland in their care, through the exploration of two case studies. Many of the original timber ceilings were actually preserved unintentionally by being concealed beneath later plaster ceilings. Indeed, occasionally new discoveries are still being made. I shall also include as part of this paper the Stirling Head Project which is a collection of carved oak roundels, also dating from the Scottish renaissance period, being commissioned by King James V during the 16th century. These carvings were originally mounted on the ceiling of The King’s Presence Chamber at Stirling Castle. The roundels were originally polychromed however now only very little painted evidence remains. The conservation department has been undertaking an in depth condition study of the ‘Heads’ and carrying out remedial conservation treatment where necessary. A major project to replicate each head, using traditional carving skills, is currently being undertaken by a professional wood carver. Introduction At this current time of political renaissance north of the border it would seem fitting to be talking about a previous period of Renaissance in Scotland. This paper will provide a brief outline of the genre of Scottish Renaissance painted decoration and some of the approaches which have been used in its conservation throughout the past century. The paper has been divided into two parts. Part I will explore two examples of painted ceiling decoration at Crathes Castle and Huntingtower Castle and their respective conservation. Part II will focus on an examination of a collection of carved oak roundels, known as the Stirling Heads. The Renaissance fashion for decorative painting arose at the time of Protestant iconoclasm. Artists no longer having patronage from the church sought new secular outlets for their traditional skills. This period of flourish within the decorative arts, particularly ceiling painting, is generally accepted as stretching between 1550-1650. It is the sheer quantity of such painting and the social range for whom it was executed for that make this collection unique. To be seen in context it should be considered as part of a wider development in Scottish culture that includes the architectural revival of the late 16th and early 17th centuries. The decoration also forms part of a Europe wide tradition, with particular connections to the Scandinavia countries. Indeed, together with styles and ideas, much trading of timber took place between the Baltic regions and Scotland around this period. There are approximately 75 known surviving examples of painted ceilings (in whole or part) in Scotland. 9 being under the care of Historic Scotland (HS), the remaining are cared for by the National Trust for Scotland or are in private ownership. The following ceilings are under the care of HS: Newark Castle, Port Glasgow; Skelmorlie Aisle, Largs; Abbey Strand, Canongate; Edinburgh Castle, Queen Mary’s Room; Holyrood Palace, Queen Mary’s Outer Chamber, Queen Mary’s Bedroom; Aberdour Castle; St Mary’s, Grandtully; Huntingtower Castle, nr Perth; Innerpeffray Chapel, nr Crieff. Substantial clusters are concentrated in Aberdeenshire, Edinburgh and Fife, in general there being more decoration in the east of the country than west. This is probably related to the ease of access with trading routes to the continent. Interestingly the decoration can be found in a wide variety of different kinds of buildings ranging from Royal Palaces, Castles, Merchant Houses and private chapels. This tradition was to be supplanted in the second quarter of the 17th century by the arrival of plasterers from England, bringing their own form of ceiling enrichment with them. Strap work plaster ceilings became more fashionable (eg. Cragievar, Aberdeenshire) and with this tradition of plasterwork replacing tempera painting, colour gave way to whitewash. The influence of the renaissance tradition did not however end here and can be seen in future periods of decoration, such as in the North Aisle of the unique Phoebe Traquair mural scheme at Mansfield Place Church, Edinburgh. Part I – Scottish Renaissance Painted Ceilings Construction and Iconography of Ceilings The type of painted ceilings found in Scotland fall broadly into two kinds: the board and beam ceiling (see Figure 2) and the barrel vaulted ceiling (see Figure 3). The Board and Beam The most common type is the open board and beam ceiling. The support beams are usually painted on all three sides and between them are the undersides of the floorboards of the room above. The kind of decoration found on these ceilings is somewhat dictated by the structure of the long narrow compartments created by the beams. Designs within the board area generally tend to be repeating geometric patterns, fruit and flowers, grotesques, Celtic designs, arabesque design, and scrollwork. The beams often display writing, religious texts, or a more decorative design. In general, oak is selected for the beams and either pine or oak for the boards. Ceilings of the Scottish Renaissance genre were also popular forms of decoration in France, Germany and Scandinavia. Not surprising when the timber used in the construction of joists and floorboards came from the Baltic. The Barrel Vault The second type of ceiling, the barrel vault consists of a series of closely fitted boards (tongue and groove jointed) suspended from the ceiling to create a continuous surface on which to paint. In order to create a manageable space the ceiling was usually divided into smaller compartments through the use of false architecture, such as imitation coffering, elaborate strapwork with cartouches. The coved ceiling design is also found (see Figure 4), the design layout was treated in a similar manner as the barrel vault. Religious imagery, historical scenes and heraldry were all subject matter for the wider areas of these more open ceilings, in many cases covering the walls too. Much of the imagery found in the decoration can be traced to engravings and prints from emblem books. Dr. Bath’s study ‘Renaissance Decorative Painting in Scotland’ concentrates on this connection.
Figure 1. Location of Scottish Renaissance painted decoration.
Figure 2. Construction type of beam and board ceilings. Figure 3. Detail of painted timber barrel vaulted ceiling, Skelmorlie Aisle, Largs. Figure 4. Coved ceiling construction, The Painted Gallery, Provost Skene house, Aberdeen. The artists There were no Painter-Stainer Guilds in Scotland, as there were in England, and the painters belonged to the same guild as the Wrights and Masons. Most of the work was done by local craftsmen established in Edinburgh and other towns. Contemporary records include only two outsiders, both from England. Occasionally, it is possible to glean from payment accounts the artist responsible for a particular decoration or scheme although this is quite rare. For example, records state that Valentine Jenkin carried out the work in The Chapel Royal, Stirling Castle 1628-9, also Falkland Palace and Kinneil House (Duke of Hamilton). It is also known that John Anderson (fl. 1599-1649) carried out work at Falkland Palace and Edinburgh Castle in preparation for King James’s return to Scotland in 1617. Only two known ceilings bear signatures of the artist, which are: Delgaty Castle, Aberdeenshire where the initials ‘JM’ have been taken to be those of John Melville (or Mellin) who worked in Aberdeen, and at Skelmorlie Aisle where ‘J Stalker fecit 1638’ is inscribed in one of the compartments, generally accepted to be the James Stalker who was registered to John Sawers in Edinburgh in 1632. Painting Technique A water based glue tempera technique was the preferred medium for this type of painting. Artists usually worked on site painting overhead. Work began by preparing the timber surfaces with a white chalk ground. Often no attempt was made to fill in any rough discrepancies in the timber. The design was outlined onto this in black and afterwards filled in with colour. The black outlining remained as an integral part of the design. In many cases the white ground often formed the background colour. According to Schomberg Scott, [1] ‘the drawing of the outline and the infilling of colour were not necessarily done by the same hand’. Coloured grounds (black and red) have been found at three sites. Pigments were suspended in a glue based size. Natural pigments were used including lamp black, chalk, lead or iron-oxide for red, copper verdigris for green and a crushed azurite for blue. The decoration did not receive a protective covering by the original artists, their intention was to achieve an entirely matt surface finish. Oil in place of tempera has been found as the paint medium at Skelmorlie Aisle, Largs and more recently identified at Provost Skene House, Aberdeen, although it is normally reserved for external use. Case Study I - Crathes Castle, Aberdeenshire Crathes Castle in Aberdeenshire is owned by the National Trust for Scotland (NTS). Crathes is an appropriate starting point as it was as a result of problems encountered in the conservation of the painted ceilings at Crathes back in the 1950s that Historic Scotland’s Conservation Centre was established by the Trust. Crathes was the home of the Burnett family for over 300 years. There are four painted distemper beam and board ceilings in the castle; The Nine Noble’s room; The Green Lady’s Room; the Muses’ Room (Figure 5) and The Stair Chamber, with small areas surviving elsewhere. The paintings are signed 1599 in the chamber of the Nine Muses. Lath and plaster ceilings covered over the original timber ceilings until 1877 when they were removed. The Stair Chamber decoration was not revealed until the 1960s. The 19th Century The first attempt at ‘restoration’ of the ceilings was made in the Victorian era. Contemporary documentation mentions only that the painted ceilings were ‘carefully restored’. Chemical analysis of paint samples carried out by The National Gallery (research staff) in 1958 to some extent proved that all the paintings had been extensively repainted at that time. The range of colours visible would also not have been available to the Renaissance painter in the1600s. Paint analysis confirmed that the modern pigments were found distributed across all the ceilings. There was also found to be a consistency in the technique and palette used. This would suggest that the work was carried out throughout the ceilings by the same person or group of people. It was noted with interest that although Cadmium yellow, the earliest cadmium pigment was found extensively used in the restoration that the corresponding red pigment (introduced commercially in 1910) was not found. Since the application of this 19th century paint layer there has been a continual problem with flaking and proceeding interventions have focused on the consolidation of this unstable layer. 1950s/60s Since 1954 a succession of experts from Britain and abroad surveyed the ceilings and provided much useful information from a variety of technical backgrounds. This advice together with the study of previous techniques and trials undertaken on various other contemporary timber boards provided the then Trust restorer, Ian Hodkinson, with the necessary knowledge and techniques to proceed with a sympathetic conservation of the ceilings. The true extent of the repaint was not fully discovered until the 1960s restoration campaign. The policy adopted in the 1963 ‘restoration’ was to reveal and respect the original work. The work over all the ceilings took place over a 7 year period. During this campaign small areas of entirely original work on the ceilings, and fragments of plaster friezes on the walls were revealed behind lath and plaster. The date of this lath and plaster is uncertain, it could be either from the original covering of the decoration in the early 19th century and retained by the restorers of 1877 or from that later restoration. This lath and plaster was completely decorated with stencil decoration during the 1877 restoration in a manner thought to be ‘in harmony’ with the original decoration by the Victorians. Despite the enthusiasm of the Victorians it was found that, in general, large areas of original paintwork survived untouched. It has also been established that although colour changes were made the Victorian ‘restorer’ or ‘repainter’ had faithfully followed the original pictorial design. The conservation campaign continued into the 1970s/1980s with treatment concentrating on the ongoing problem of flaking paint. 1970s/1980s Deterioration was noticed in 1974 and ‘dealt with’ then. I can only assume due to lack of documentation that gelatine adhesive was again used here. A similar deterioration was found again in the 1980s and by the mid 1980s a decision had been taken to further investigate the causes of paint-work deterioration. In 1984 the Stenhouse Conservation Centre worked over the three main ceilings and stabilised the flaking areas (Figures 6 and 7). The cause of the deterioration was attributable to atmospheric changes in the temperature and relative humidity of the rooms. The minute expansion and contraction of the timber beams and floor boards upon which the distemper paint-work is applied had caused the bond between the paint ground and the timber substrate to weaken. 1991/92 A further conservation campaign took place in the early 1990s when Rab Snowden was senior conservator. Over the past three to four decades The National Trust for Scotland had attempted to consolidate the paintwork with the assistance of Historic Scotland through their ongoing programme of monitoring and conservation. From this study a number of issues which affected the stability of the paint layers were identified over the years. Paint - The internal decay of paint layer and its poor adhesion to the substrate and earlier paint layers. Environmental Conditions - The environmental stability of the air volume within the rooms is affected by: - Visitor numbers (breathing); - Season (open windows, wet visitors, doors); - Building fabric moisture levels (the castle has thick external walls covered with a cement based harl which is thought to entrap moisture); - Heating regime within the castle. Attempts were made in 1995 to have analysis of the paint layers undertaken to determine whether the Victorian layer is casein based; the composition of the original 17th century decoration together with the effects of the three decades of consolidation. The continual use of gelatine as a consolidant was questioned. It was suggested that other consolidants be tested. Before this could take place, it was thought necessary to confirm the paint media of the original and the overpaint (Victorian). As far as records state no results were actually obtained. The use of gelatine impregnation, a material which does not alter the refractive index (or visual appearance) of the original and is not an alien material, being already present in the original paint, was considered. However, the adhesive may not be penetrating the paint strata sufficiently and even if it does, it is extremely susceptible to changes in RH because it is hygroscopic. It is brittle at low RH and softens at a very high RH so relies on good environmental conditions being maintained. This, allied with considerable vibration from people feet on the floor above, will quickly cause it to fail. By 1997 HS stated that they were “unable to carry out priority works to the areas of flaking paint for the foreseeable future.” The Trust was advised to source out suitable survey companies and conservators. In 1998 HS re-established links with the NTS and consolidation work was rescheduled to be undertaken as a ‘repayment service’ by HS conservators. 2002 onwards A condition report done by Fiona Allardyce, HS senior conservator, in July 1998 stated that urgent treatment was necessary. In 2002 a programme of work was scheduled to be undertaken by the joint Historic Scotland: National Trust for Scotland intern in Structural Paintings, Gillian Cook. At this time it was agreed that gelatine and isinglass should be used as the preferred consolidants rather than experimenting with modern synthetic materials. Gillian’s programme included - Photograph the boards and beams of about half of the ceiling in the Nine Nobles room; - Plot on the photographs all the damage and losses, and any other useful information; - Write a condition report or survey on the boards and beams plotted; - Carry out emergency consolidation to those bays that have been photographed, plotted and covered as time permits. It was decided that rather than pass the project onto the next HS/NTS intern, that Gillian continue with the work at on the ceilings and future interns would act as assistants. A 2004 report documents the treatment of the Muses Room following the same procedure as that used in the other two rooms (Nine Nobles and Green Lady). This is the final document on the most recent treatment programme. In summary the consolidants used for treatment at Crathes did not change between 1960s and 2004. Despite various attempts to reassess the consolidation adhesive, gelatine continued to be used. Whether, in practice, this was due to time and financial restraints is not clear.
Figure 5. Detail of the painted beam and board ceiling, the Muses room, Crathes Castle.
Figure 6. Conservators at work fixing ceiling boards. Figure 7. Details of flaking paint. Figure 8. The construction of the ceiling. Image during conservation treatment. Figure 9. The Hall, Huntingtower Castle, Perthshire, during discovery of the painted ceiling and walls, 1913. Figure 10. During conservation treatment, applying Heat Seal adhesive, 2002. Case Study II - Huntingtower Castle, Perthshire The painted ceiling at Huntingtower castle has been included as it is an instance where although more traditional methods were used at the outset, there was a move away from them during the 1900s and this change has directly influenced the choice of consolidant for the most recent conservation treatment. Huntingtower Castle is a Historic Scotland Property in Care situated on the outskirts of Perth, Central Scotland. The Castle was built by the Ruthven family in the 15th century. Originally consisting of two towers, these were joined around the 17th century to form a single manor home. The painted ceiling, found in the east tower, is regarded as one of the earliest of the Scottish Renaissance period dating from circa 1540. It is a beam and board construction divided into four bays by five principal beams. Each bay consists of alternate boards and minor beams (Figure 8). The boards are painted with a Celtic knotwork design in black and white. The beams are painted with bold arabesque works, grotesques and animal images. Conservation History The ceiling and wall decoration was discovered behind panelling and late (18th c.) plasterwork in 1913 (Figure 8). Three programmes of conservation treatment have taken place, the first in 1914, again in 1933 and most recently in 2002. In 1914 the boards were taken down and treated for beetle damage. A canvas backing was glued to the reverse as reinforcement and oak boards were screwed to the back. The paintwork was consolidated, by spraying, with gelatine and alcohol. The 1933 conservation involved again treatment of beetle infestation with Heppells Insecticide. Contemporary records documented that surfaces were coated with white shellac dissolved in methylated spirits and surfaces were brushed with a thin creamy liquid wax composed of benzole and a proportion of sun clarified linseed oil. 2002 Conservation The purpose of the 2002 conservation was to consolidate the powdery and flaking paint on the ceiling beams and boards, re-adhering any vulnerable paint back onto the wood substrate. Traditionally, leaf gelatine has been used as an adhesive on these distemper/size based paintings, however the presence of wax and other coatings prevented the adoption of this approach. In order to establish the most successful method of consolidation several trials were carried out on the ceiling. Consolidation Trials 1. Regeneration of the existing wax layer using infrared lamps. 2. Application of warm 50% solution of Heat Seal 375 gel dissolved in white spirit. 3. Application of warm 70% solution of Heat Seal 375 gel dissolved in white spirit. The 50% Heat Seal solution was selected as it provided a good bond and penetrated the paint layer better than the stronger solution. Regeneration was not successful due to the insufficient amount of wax on the surface and the fragility of the paint flakes (we are also working against gravity here). The following procedure was used over the entire ceiling: 1. The warm Heat Seal solution was brushed through Eltoline tissue onto the paint surface. 2. The adhesive was left for 24 hours to allow the carrier solvents to evaporate. 3. The area was then heat-sealed with a warm spatula iron to secure the paint back onto the substrate. 4. The tissue was then removed with white spirit using cotton wool swabs. 5. The process was repeated in areas where necessary (see Figure 10). The outcome of the treatment was successful and having revisited the property recently (2007) the paintwork remains in good condition. It must be stressed that the Heat Seal adhesive was only used on account that the traditional, more sympathetic, adhesive could not work effectively. The heat seal operates in a similar way to the previous wax consolidant so it was in-keeping with that material. The inherent materials of the painting and possible future treatments had already been permanently altered prior to the 2002 treatment. Pigment analysis A number of samples were taken for identification from each colour present. Calcium carbonate was found as the ground pigment. Lamp black, red and yellow iron oxides and verdigris were found in the paint layer. There are several differences in comparing the two cases of Crathes and Huntingtower which influenced the conservation approach taken: - There has never been any wax applied to the ceilings at Crathes; - There are two schemes of painted decoration at Crathes and only one at Huntingtower. Part II - Stirling Head Project Background The ‘Stirling Heads’ are a unique series of ornamental carved oak roundels that originally decorated the ceiling of the Kings Presence Chamber at Stirling Castle. The ‘Heads’ were also created under the same period of Renaissance flourish that Crathes and Huntingtower form part of. Although now seen more as a collection of individual artefacts they originally comprised a complete polychrome ceiling. The ‘Heads’ were commissioned by James V in the 1540s being carved in the Renaissance style. James was greatly influenced by the European court and the close links between Scotland and France led to the introduction of French craftsmen with their own ideas and mannerisms reflecting those of contemporary France. The Heads survived on the ceiling until it collapsed around 1777. The roof was pulled down and the heads dispersed among a variety of individuals. A number made their way to the Stirling jail. Presently thirty five roundels are in the care of Historic Scotland Conservation Centre (HSCC), a further three being owned by the National Museum of Scotland. It is thought that between a third and a quarter of the total number of heads have disappeared without record. In 2009 the heads are scheduled to return to Stirling Castle on the completion of a major refurbishment project. Each roundel will be displayed in a custom made environmental case. A study of the extant Heads suggested that stylistically the work could be divided into two main groups. The first group are high relief and better finish (1-4, 6, 9-11,16). The quality of the second group (22-38) varies considerably and few reach the standard of the first group. It is thought that at least two carvers worked upon the Heads however the lack of building accounts from the Palace of Stirling makes it difficult to identify these men with any certainty. Several craftsmen were however known to have been employed by the Royal Works. Two Scots are mentioned, John Drummond, Master-carpenter to James V and Mary Queen of Scots, and Robert Robertson, carver who was appointed ‘principale ourseare and maister of all werkis concernyng his craft and utheris within the castell of Striveling’. The third name is French, Andrew Mansioun, who is thought to have been a member of a group of French craftsmen that were sent to Scotland at the time of James V’s second marriage. Mansioun is more likely, than either of the two Scots, to have been a master of the Renaissance style so characteristic of the Stirling Heads. Iconography of the Heads The majority of the heads are human busts set within a circular frame. It has been assumed (since the 18th c.) that the heads depict either portraits of the Scottish Royal family and other members of the court of James V. A second group comprises mythological and historical figures or are merely picturesque. No. 7 may be a representation of Apollo. Although the roundels are referred to as the Stirling ‘Heads’ a number actually depict full length figures, such as, No 33, Samson and the Lion. Unfortunately the original arrangement of ‘Heads’ on the ceiling is not known. Certain heads may have been grouped together or positioned in particular places according to the direction in which they face or whether they are part of a pair or not. This remains an unresolved mystery. Documentation of the Heads During the time the roundels have been under the care of HSCC (since 1990s), conservators have taken the opportunity to undertake an extensive and thorough documentation of each head. This has made it possible to build up a comprehensive understanding of their construction and their material history. This survey has recorded both photographically and on computer generated illustrations; the previous treatments, current condition, construction technique and remedial treatment carried out. Treatment was limited to essential stabilising of friable delaminating timber; removing old adhesive residues from the reverse. The following techniques were used during examination - Natural light with illuminated magnifier; - Ultra Violet examination; - Infra Red examination; - Scanning Electron Microscope (SEM) and polarised light analysis of pigments; - Raking Light. Each head is constructed of three planks glued side by side with a forth glued on top of the central one (see Figure 12). The planks are butt jointed together with what appears to be a strong animal glue. The line of the 2 ply join is clearly indicated on the documentation and is remarkably tight in many of the pieces showing a great craft skill. Many of the heads are now composites of several heads joined together. Archaeological evidence, such as the type and positioning of fixings, is also mapped out. This helps to indicate how the heads were originally attached to the ceiling, a comprehensive study of the original beams in the castle may show comparative fixing holes. All splits and cracks are measured and mapped. These can be used as a reference point to monitor any movement or deterioration, particularly when the heads are moved to a new location and exposed to new environmental conditions. Infra-red: Examination of the rear of Head 29 using IR light highlighted a sketch in a carbon based material. The longer IR wavelength has also proved useful in clarifying certain details that are not so apparent in normal reflected light. Ultra-violet: UV examination made it possible to see various surface applications not visible in normal reflected light such as various types of adhesive, stains and surface finishes. Raking light: This technique, again used very much in easel painting conservation, was used to examine the reverse of the roundels, highlighting the original saw marks, various numbering systems, carpenters marks. It may not be possible to say conclusively that these marks are deliberate, although their acknowledgement and consideration are important for the interpretation of the heads. Dendrochronology Study An independent dendrochronology study was undertaken between 1995 and 2005 by AOC Archaeology Group. The purpose of the study was to built a comprehensive and coherent dendrochronological history of the timber used throughout Stirling Castle, including that used to make the Heads. A small amount of native grown oak was used in the earliest episodes of building, thereafter work was carried out with imported timber oak boards from Poland. Radially split boards were used for the Stirling Heads. 24 boards from 10 Heads were sampled, 19 being successfully dated. It was discovered that the trees used to make them were Baltic oak being felled towards the middle of the 16th century (1539). From this it is assumed that the Heads were commissioned as part of the major building programme of 1539. Analysis of Pigments A number of minute paint samples were taken from several of the Heads and sent away for instrumental analysis of the paint and ground layers. Both the Scanning Electron Microscopy and Polarising Light Microscopy were used for analysis. At a glance the roundels appear unpainted. The extent of original paint is minimal only being found within such areas as the crevices in the hair and facial features. Nevertheless, several pigments have been positively identified. On all the heads that have been sampled to date, a mix of carbon black and indigo to make a dark blue has been found. Two tones of blue are often observed indicating tonality or pattern in the painting (see Figure 13). Vermillion has been found around the mouth and in the flesh colour of various sitters. SEM analysis has established that the ground is lead white. Media analysis (GCMS) determined that the pigments are bound in oil. All of the pigments found to date were available for use in the 1540s, with the exception of those found in any non-original overpaint. An orange overpaint has been found on several of the heads. This contains barytes and therefore post dates 1782. A unique project to replicate each original head is currently being undertaken by a skilled wood-carver, John Donaldson. Each Head is being expertly carved from one solid disc of oak. These ‘new’ Heads will be mounted on the ceiling in the King’s Presence Chamber where the originals were first displayed. It is also proposed to paint the replica Heads, based on the evidence found on the originals. Personally I believe that although evidence has been found to establish that the heads were originally polychrome the original remains are so scant there is not sufficient evidence to accurately determine how each head was actually painted. Although it would be possible to undertake a hypothetical reconstruction with the information we now have in conjunction with reference to contemporary artefacts I feel it would be unethical to paint the replica heads. Furthermore, the carver has gone to much trouble in sourcing the timber and has achieved a very high quality finish on his pieces. However it should be remembered that these artefacts would have originally been polychromed and are now not presented in the way they would have been intended when created.
Figure 11. John Donaldson in the process of carving.
Figure 12. Example of Stirling Head documentation. Figure 13. Paint cross-section from hat showing use of two tones of blue. Figure 14. Conjectural restoration of the King’s Presence Chamber, Stirling Castle, in the time of James V. Conclusion I hope this paper has helped to dispel the myth that Scotland was sometimes thought to be a dour place during the 16th century. Despite the loss of many of our uniquely decorated ceilings throughout the centuries a substantial collection survives that still requires continual care. This paper has provided a brief history, using representative examples, of the conservation traditions practised within Historic Scotland over the past 50 years by numerous conservators. At this juncture HSCC is in the process of reviewing certain procedures. A fellowship programme looking at methods and materials used in facing and consolidation techniques will help conservators to understand what the most appropriate approach to treatment may be and whether it is necessary to change the traditional methods. Bibliography [1] M. Bath, Renaissance Decorative Painting in Scotland, National Museums of Scotland Publishing, 2003 [2] M.R. Apted, Painted Ceilings of Scotland 1550-1650, Her Majesty’s Stationery Office, 1966 [3] Historic Scotland Conservation Centre, various unpublished conservation reports. About the author
Ailsa Murray
Paintings Conservator Contact: Ailsa.Murray@scotland.gsi.gov.uk Historic Scotland Conservation Centre 7 South Gyle Crescent, Edinburgh, EH12 9EB Ailsa Murray has a BA (Hons) degree in Fine Art (Drawing and Painting) from Gray’s School of Art, Aberdeen and an MA (with distinction) in Conservation of Fine Art (Easel Painting) from the University of Northumbria at Newcastle in 1998. She worked with Madeleine Katkov, wall paintings conservator, with whom she was introduced to the field of structural ceiling painting while working on the conservation of the timber ceilings of the Bodleian Library, Oxford. In 1999 she returned to Scotland to undertake a joint Historic Scotland/National Trust for Scotland internship in the conservation of structural paintings. Currently she works as a full-time Paintings Conservator at Historic Scotland’s Conservation Centre, Edinburgh. She recently completed a two-year secondment from Historic Scotland on the conservation of the Phoebe Anna Traquair murals in Edinburgh.
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