Issue 40 winter 23 web - Flipbook - Page 82
The King’s Room and Chapel (Gallery 3) received similar
treatments, although far fewer repairs were needed, and
in the case of the Chapel, no access could be afforded
above.
Stone
Our team has also been engaged on site in carrying out
stonework replacements, along with repointing flint, brick
and discovering long hidden re-used decorative features.
As always with a project such as this, our first task was to
look around the building to find evidence of original
pointing that could be matched in colour and texture.
Given the number of building phases and restorations the
museum has undergone this was no mean feat, but working with the architect we were able to agree a pleasing
choice of repair mix for the brick and flint elements, and
create a neutral tone to match the varying colours of the
window dressings
Our stone repairs began as some straightforward stone
indents to window surrounds but very swiftly turned into
a targeted programme of full replacements. As we started
cutting out stone, we found large ferrous and copper pins
from previous repairs schemes, along with heavy use of
cement. The ferrous dowels are responsible for a high
proportion of the cracking and failure of the stone to the
windows, along with moisture damage. Copper pins do
not corrode in the same way as ferrous materials, and
whilst the ferrous dowels are usually set in lead to protect
them from moisture, in this case many of them were set
in a very hard cement. It’s not known what repairs have
taken place to the building, although a significant repair
scheme must have taken place in the early 1950’s given
by the dating of glazing panes, and the use of buff oolitic
limestone in place of Chilmark may well have been done
at a time when the availability of the greener sandy
limestone was limited.
The Bay window to the museum frontage has taken much
of our attention, and the fragmented Chilmark stone
needed to be carefully removed, along with the window
glazing, all whilst propping to ensure the entire frontage
of the room did not collapse. Working on a publicly
accessible site, albeit cordoned off from visitors, meant
the use of machinery to cut out stone could only be
carried out under certain conditions. We needed to weigh
up the risk of dust-producing powered tools, however,
against the vibration to the building that hammer and
chisel could create. For stonemasons familiar with the
material, Chilmark has bands within it that are both
incredibly hard, and incredibly soft, making it somewhat
challenging and frustrating to work.
Opposite top, Abbots Chamber ceiling
Middle, condition sketch of Abbot’s Chamber
Bottom, the Bay window to the front entrance to the museum
(the King’s Room is behind the upper window)
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Conservation & Heritage Journal
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