COMMENTNew restrictions on the use of lead paint have intensified argurnents that rnodern paints are

inferior to traditional finishes. But the way paint is used is just as irnportant.

by PATRICK BATYTIROM February 28,anEC directiveI frur banned th'e supply and use of

J- d66613tive paints containing lead,in all but a few circumstances. The banapplies to their use for any purpose otherthan the restoration or maintenanceof Grade I or II* listed buildings, sched-uled ancient monuments or works ofart. It is not the intention of the trC thatartists' colours should be restricted bythe directive.

Lead's toxicity has been a concern forseveral hundred years. Indeed, as far backas 1782, a non-poisonous alternative wasbeing recommended. This latest move willhelp to reduce our exposure to this danger,but do we yet have a satisfactory alterna-tive to lead-based paint? This questionmust be addressed from the practical andthe aesthetic viewpoints.

There is no doubt that the combina-tion of linseed oil and white lead producesa superb paint: a coating with high opac-ity that spreads easilv. dries well and iseitremely durable. One lrequently hearsof its supposedly unique qualities, and theassertion that "modern paints are not asgood as they used to be-". In parlicular,many people would argue that lead paintis the 6estbrotection fo"r exterior surfaces.

Certainlv. in recent vears. exteriorpaintwork has compared unfavourablywith that of the past. However, it should benoted that the liev word is paintwork. notpaint. Mode..r pai.rts a.. trbt only as goodas, but generally better than, traditionalvarieties. It is the way that thev are usedwhich affects their ddrability.

Sixty or so years ago, tradesmen stilltended to serve an apprenticeship, labourwas cheap, and painters spent more timeon surface preparation. Moreover, as theranse of available materials was fairlylimi-ted, recoating would have been inthe same sort of material, therefore elimi-nating the likelihood of incompat-ibitity. Before the Second World War,exterior joinery was generally of a veryhigh quaiity. Nowadafs, sapwood is oftenused, and its structural instability makesit more Drone to decav and moisture-related niovement.

Recent research, particularly in thefield of solvent and water-borne acrvlics.has led to paints being developed espe-ciallv for exterior ioinerv. Similar ad-.ru.ri.r have been "made in the field ofsilicone alkyd finishes for masonry, and anumber of the large London estate officesand local authoriiies, such as Hove Bor-ough Council, are specifying these paintsfor their extensive stucco fagades (aboue).

The story is less straightforward on

the aesthetic front. Lead-based oainthas a character of its own. It tends io re-tain the marks of the brush to a certaindegree, and develops a grey sheen that isalmost metallic in appearance. When useduntinted it has a much softer whitethan modern titanium dioxide-basedpaints, a quality that is noticeable evenwhen pigmented. With time, the refractiveindex'oTthe oil with which it is mixedchanges, allowing light to penetratebeyoid the surfacel On" exterioi surfaces,a lead-based paint will begin to chalkafter a couple of years, a feature that is

responsible for the slow release of leadcompounds into the atmosphere. Theresulting loss of gloss often gives rise tothe notion that traditional exterior paintswere desisned to have a matt finish.

So how important is it that lead paintshould continue in use?

Where authenticitv is reouired inthe redecoration of significani historicbuildings, the use of lead paint is essential;but lead'alone does not constitute anauthentic finish. The unquestioning useof a paint so-labelled is naive. Considera-tion must be given to its actual compositionand to the pigments used to tint it,which ideally should display the samecharacteristics as the early ones, especiallywith regard to their ageing. But how are wegoing to reconcile some of their moretroublesome properties, such as fading,toxicity, limited colour range and lackof availability?

The use of lead paint for lead's sakeis a pointless exercise. Its employmentis justified, but only as part of a well-considered restoration proj ect.

Devotees of lead should be aware thatin a few years time the use of solve nt-borne paints will itself be seriouslyrestricted, as we make way for their water-based successors. It will help if by thenwe have established certain ground ruleslor repainting historic buildings. Letus understand all the problems involved:lead is bul one of them.

Photograph: Dauid Giles.

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