17TH AND 20TH CENTURY DECORATION AT THE EAGLE, CAMBRIDGE photographs of the upstairs paintings, which turn out to be one of several layers and interpretation by Adrian Gibson and Philip Aitkens. The famous RAF bar ceiling has been repaired from above, and is now more clearly visible following the removal of a layer of nicotine-stained varnish. The contractor pulled down one panel of the ceiling in the back bar (the room with the paintings), which turned out to be in reed. I insisted it must be reinstated on a 'like for like' basis, and I knew we were winning when the agent acting for the college said, unprompted, that the new ceiling in the middle bar should also be done in reed. John Preston describes the conservation of two different historical surface finishes in the same building of fing and blinding and four by two', the foreman and his team managed to insert a new section of plate with minimal damage to the paintings, and the College and its tenant Greene King eventually agreed on a basis for funding the conservation of the paintings. I'm sure it helped that on the newly revealed clunch fireplace in the upstairs painted room we found the words 'John Hope Ben Coll 1670' very neatly inscribed: Corpus Christi was also known as Bene't College! The upstairs paintings, which are in the landlord's bedroom, have been conserved and protected: those along the back wall are protected by plasterboard, while jib doors in the end wall allow the paintings to be seen by special arrangement. The downstairs paintings, which are in a very busy bar area, are protected by glass with ventilation gaps above. There is a risk of deterioration over time but my feeling was and is that is better for these paintings to be seen: they are not of such outstanding quality that their survival has to be the first consideration; their survival until now is a matter of luck, but it is better for them to be seen and appreciated. A display on the only new wall in this part of the building includes plans of the building, One final note: we had our difficulties both in the negotiations and in some stages during the work, particularly because the College bursar would not employ an architect:: the final outcome owes much to an excellent (traditional) foreman, whose magic ingredients were 'lime, sand, and bullshit'! John Preston is Comervation Officer with Cambridge City Council. FARROW&BALL Britainsonly paint manufacturer to offer a completerangeof traditionalpaints DEAD FLATOIL 57 National Trust colours in a linseed oil rich resin. LEAD PAINT Dowmtairs painting conserved behind glass with ventilation at top. 2 Formulations. A traditional flake white, linseed oil and pure turpentine only recipe, and a 100% flake white linseed oil rich alkyd resin formulation. NIMBUS CONSERVATIONLIMITED Conservators of Stone, Marble & Wallpaintings and Suppliers of Trass - A pozzolanic additive for lime mortars, renders, plastic repairs, sheltercoats and grouting. WADBURY BARN, MELLS, FROME SOMERSET BAI I 3PA Tel: 0373 812545 Fax: 0373 813337 CONTEXT 40 DISTEMPER Both a soft distemper and an oil bound distemper strengthened with casein. LIMEWASH Traditionally slaked lime putty ready for dilution. Factory strong water stainers available. All your conservationand restorationpaint requirementsmet directfrom thefactory UDDENS TRADING ESTATE WIMBORNE DORSET BH21 7NL Tel: 0202 876141 Fax: 0202 873793 17
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