A Comment on the Supposed Benefits of Lead Paint
1
COMMENT New 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 BATY TIROM February 28,anEC directive I frur banned th'e supply and use of J- d66613tive paints containing lead, in all but a few circumstances. The ban applies to their use for any purpose other than the restoration or maintenance of Grade I or II* listed buildings, sched- uled ancient monuments or works of art. It is not the intention of the trC that artists' colours should be restricted by the directive. Lead's toxicity has been a concern for several hundred years. Indeed, as far back as 1782, a non-poisonous alternative was being recommended. This latest move will help to reduce our exposure to this danger, but do we yet have a satisfactory alterna- tive to lead-based paint? This question must be addressed from the practical and the aesthetic viewpoints. There is no doubt that the combina- tion of linseed oil and white lead produces a superb paint: a coating with high opac- ity that spreads easilv. dries well and is eitremely durable. One lrequently hears of its supposedly unique qualities, and the assertion that "modern paints are not as good as they used to be-". In parlicular, many people would argue that lead paint is the 6estbrotection fo"r exterior surfaces. Certainlv. in recent vears. exterior paintwork has compared unfavourably with that of the past. However, it should be noted that the liev word is paintwork. not paint. Mode..r pai.rts a.. trbt only as good as, but generally better than, traditional varieties. It is the way that thev are used which affects their ddrability. Sixty or so years ago, tradesmen still tended to serve an apprenticeship, labour was cheap, and painters spent more time on surface preparation. Moreover, as the ranse of available materials was fairly limi-ted, recoating would have been in the same sort of material, therefore elimi- nating the likelihood of incompat- ibitity. Before the Second World War, exterior joinery was generally of a very high quaiity. Nowadafs, sapwood is often used, and its structural instability makes it more Drone to decav and moisture- related niovement. Recent research, particularly in the field 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 of silicone alkyd finishes for masonry, and a number of the large London estate offices and local authoriiies, such as Hove Bor- ough Council, are specifying these paints for their extensive stucco fagades (aboue). The story is less straightforward on the aesthetic front. Lead-based oaint has a character of its own. It tends io re- tain the marks of the brush to a certain degree, and develops a grey sheen that is almost metallic in appearance. When used untinted it has a much softer white than modern titanium dioxide-based paints, a quality that is noticeable even when pigmented. With time, the refractive index'oTthe oil with which it is mixed changes, allowing light to penetrate beyoid the surfacel On" exterioi surfaces, a lead-based paint will begin to chalk after a couple of years, a feature that is responsible for the slow release of lead compounds into the atmosphere. The resulting loss of gloss often gives rise to the notion that traditional exterior paints were desisned to have a matt finish. So how important is it that lead paint should continue in use? Where authenticitv is reouired in the redecoration of significani historic buildings, the use of lead paint is essential; but lead'alone does not constitute an authentic finish. The unquestioning use of a paint so-labelled is naive. Considera- tion must be given to its actual composition and to the pigments used to tint it, which ideally should display the same characteristics as the early ones, especially with regard to their ageing. But how are we going to reconcile some of their more troublesome properties, such as fading, toxicity, limited colour range and lack of availability? The use of lead paint for lead's sake is a pointless exercise. Its employment is justified, but only as part of a well- considered restoration proj ect. Devotees of lead should be aware that in a few years time the use of solve nt- borne paints will itself be seriously restricted, as we make way for their water- based successors. It will help if by then we have established certain ground rules lor repainting historic buildings. Let us understand all the problems involved: lead is bul one of them. Photograph: Dauid Giles. NEXT WEtrK CounrssroNrNc A PoRTRAIT: A GUIDE TO PICKING'THE RICIjT PAINTER Poro: pxnvIEw oF THE NE1,v sEASoN How sruoytNc BIRD popuLATIoNS HELps TO CHECK THT] COUNTRYSIDE,S HEALTH Klxva or.t rnn'rouRIST TRAcK: e. TRevtttl:R's LeLl MarIuc DoMESTTC LIFn \.voRK IN A CHURCH BUILDING er Stavono,rr,r, PnroRv, Sol,rEnsEt Prcrunnsqun rRAvEL rN Gnoncres BnIt,trN: 'rgr, REv. GIrprN's LANDsclpE wAlERcot-ouRS Wnv penvpns Ix lBrn-cl,i'l-r'unv ENctrNo wllRE TNFLUENcnU sv VIncrr
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This cuts through a number of myths that had developed around traditional, as opposed to modern paint. An article by Patrick Baty on the (then) recent restrictions on the use of lead paint brought about by European legislation. Published by Country Life on April 30th 1992.
Transcript of A Comment on the Supposed Benefits of Lead Paint
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.
NEXT WEtrK
CounrssroNrNc A PoRTRAIT: A GUIDE
TO PICKING'THE RICIjT PAINTER
Poro: pxnvIEw oF THE NE1,v sEASoN
How sruoytNc BIRD popuLATIoNS HELps
TO CHECK THT] COUNTRYSIDE,S HEALTH
Klxva or.t rnn'rouRIST TRAcK:e. TRevtttl:R's LeLl
MarIuc DoMESTTC LIFn \.voRKIN A CHURCH BUILDING
er Stavono,rr,r, PnroRv, Sol,rEnsEt
Prcrunnsqun rRAvEL rN Gnoncres BnIt,trN:'rgr, REv. GIrprN's LANDsclpE wAlERcot-ouRS
Wnv penvpns Ix lBrn-cl,i'l-r'unv ENctrNowllRE TNFLUENcnU sv VIncrr
