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.
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
by PATRICK BATY
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 aesthetic front. Lead-based oaint The use of lead paint for lead's sake
has a character of its own. It tends io re- is a pointless exercise. Its employment
tain the marks of the brush to a certain is justified, but only as part of a well-
degree, and develops a grey sheen that is considered restoration proj ect.
almost metallic in appearance. When used Devotees of lead should be aware that
untinted it has a much softer white in a few years time the use of solve nt-
than modern titanium dioxide-based borne paints will itself be seriously
paints, a quality that is noticeable even restricted, as we make way for their water-
when pigmented. With time, the refractive based successors. It will help if by then
index'oTthe oil with which it is mixed we have established certain ground rules
changes, allowing light to penetrate lor repainting historic buildings. Let
beyoid the surfacel On" exterioi surfaces, us understand all the problems involved:
a lead-based paint will begin to chalk lead is bul one of them.
after a couple of years, a feature that is Photograph: Dauid Giles.
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