the wallpaper completely from the walls of the Ballroom, clean it, re-line it and then re-hang it back on the walls on a strong new support. Before the wallpaper could be removed, the small cut out birds, butterflies and bunches of bamboo leaves, (supplied by the Chinese workshop to be pasted over the seams in the paper in order not to break the flow of the panorama) were carefully removed and set aside for treatment. The seams themselves were then opened up and the wallpaper taken down in manageable sections. From there it was transported to the conservation studio in Lincolnshire where it could be treated properly. In the meantime, the walls were prepared to receive the wallpaper using the latest wallpaper conservation techniques pioneered by Mark Sandiford with colleagues in Holland. The old canvas lining was substituted with a modern, longer lasting and more stable polyester material. Stretched and tacked over the walls as the canvas was before, this method combined traditional hanging techniques with the advantage of a more beneficial modern material. The polyester was then covered with layers of hand made Oriental paper, in a complex system of linings, similar to those used in Japanese scroll mounting. By BillyBurges adapting this tried and tested mounting technique, the best possible support system was offered for the Chinese wallpaper, taking into account the wallpaper's dual role as oriental work of art, and as a functioning wallcovering. Studio work on the wallpaper involved removing the old degraded linings, which in many areas had become extremely loose. Following this, the wallpaper was gently washed to remove more dirt, and soluble degradation products. Often a rarity with Chinese wallpaper, this paper had fortunately never been touched since it was first hung in the Ballroom. It was not uncommon for expensive, quality wallpapers such as this to be sold and moved to different houses. Worse still, many have often been zealously restored and overpainted, particularly when their subtly shaded backgrounds have become dirty. As the Woburn paper was completely intact in this respect, it was possible to wash out a considerable amount of brown discoloration to reveal much lighter colour, closer to the original brilliant white background, hidden by layers of dirt. Furthermore, as the treatment progressed, the original background sheen returned. This had originally David Morton outlines the career of a notable 19th century architect and interior designer. Occasionally when I am giving advice to a client, it is necessary to carry out detailed research into a particular architect or building type. My recent article on workhouses stemmed from this and I find it one of the most enjoyable parts of my work. The most interesting architect I have looked at recently is "the most Gothic of Gothicists" William Burges. Born of moderately wealthy parents, 'Billy' Burges had no need to earn a living. He was therefore free to pick and choose his clients and could freely indulge his taste for medieval, flamboyant high Gothic style in both art 34 and architecture. Indeed, many of his designs were never built, being too expensive or too eccentric even for wealthy clients who were willing to indulge his tastes. His first major commission for a cathedral at Lille in 1856 was one of this number. Unlike many Victorian architects, his overall output was small. He was only in practice for about 18 years, dying at the age of 54, and as both artist and architect he was at his best when given free reign (and purse!) to design churches or country houses as total concepts inside and out. There is clear evidence in his major commissions been achieved using a wash of powdered mica over the white background colour and giving the whole a shimmering lustre suggestive of smooth white satin. Once washed, the paper was relined in its traditional Oriental manner with hand made sheets of mulberry paper, to provide a strong and compatible support to the fragile historic wallpaper. Again, the choice of appropriate, quality materials is of paramount importance in ensuring the longevity of the wallpaper. With the help of carefully recorded documentation and photographs, the wallpaper could be rehung on the walls in exactly the same positions as before. Finishing touches included the careful patching and in-painting of small missing areas and the application of the cleaned cut-out bamboo leaves from over the seams. This large conservation project has not only resulted in the improvement of the aesthetic appearance of the wallpaper, but has also provided reassurances that the utmost has been done to ensure the life of the wallpaper has been prolonged as far as possible. It now remains a beautiful example of Chinese decorative art, still in its original location, for the appreciation of generations to come. SirTitus that he gave his personal attention to every aspect of these designs and it is for the originality, intricacy and inventiveness of his exquisite interior detailing that he is most noted. Churches St Mary's Church on Lord Ripon's Studley estate in North Yorkshire is Burges at his best. Completed in 1878, it is attractively situated above the mid18th century water gardens of the Studley estate and located to form the visual stop to an avenue of trees at the other end of which, two miles away, one can see Ripon Cathedral. St Mary's Context60 December1998
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