Caplinger House: An Italianate Country Homes in Henry County

C APLINGER HOUSE An Italianate Country Home in Henry County

Alexa Jane King Final Project HP 613: Historic Structural Systems & Building Materials Professor R. Travis Rose November 24, 2020

“Without a doubt, we’re glad we moved to the third and final Caplinger House of New Castle, Kentucky. [...] None of us know the future, but we’re definitely enjoying the present at our Civil War-era home here in New Castle. Every week we’re working on one more project either within our home’s walls or outside them.”

-Corey & Harriet Beatty

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T able of Contents Introduction

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Assessment

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Roofing System

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Limestone Foundation

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Masonry Brick

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Historic Windows

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Historic Millwork

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Interior Walls

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Historic Doorknobs

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Historic Floors

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Cast-Iron Fireplaces 48

Conclusion 47

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Appendix A 51 Floor Plans

Appendix B 52 Cornice Brackets

Appendix C 53 Stair Treads

Appendix D 54 C.B. Evans & Co.

55 Image Citations Endnotes

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Bibliography

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Introduction

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n June 15th, 1799, the Kentucky General Assembly established Henry County as the 31st county of Kentucky. Henry County is named in honor

of Patrick Henry, one of the Founding Fathers of the United States.1 New Castle is the county seat due to its central location and its hub for commerce. James and Thomas Pearce were the first settlers of New Castle in the early 1790s. Historically, the Pearce brothers are known for their resilience and entrepreneurship, which led to New Castle’s commercial district’s initiation.2 On August 4th, 2016, the U.S. Department of the Interior authorized to list New Castle’s Commercial Historic District on the National Register of Historic Places.

This district has twenty-nine significant buildings, constructed from 1790 to 1978.

New Castle residents have put much effort into restoring the architectural integrity of the buildings. The Pearce family built the three oldest buildings, which are log cabins, but two of the structures now have weatherboard siding. Most of the historic structures in New Castle are Italianate commercial buildings.3 English architects conceived Italianate architecture as a response to the Picturesque movement, and this architectural style became popular in America from the 1850s to 1880s.4 Another historic building next to the Historic Commercial District is the Caplinger House. James Nelson Caplinger built this modest Italianate home in 1863 for his family. James Nelson Caplinger (1828-1896) was the son of William D. Caplinger5 and Malinda Davis Caplinger,6 who were married in Henry County in 1827.7 Mr. Caplinger was a skilled carpenter and studied pharmaceutical business at a local institution in Henry County. He married Amanthis Wand in 1858; they had six children: William, J.T., Anna, May, Emma, and Lucy.

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Mr. Caplinger assisted with the construction of local buildings in New Castle, such as the Courthouse, and two homes in New Castle for two of his daughters (similar designs as the Caplinger House).8 Mr. Caplinger died on March 18th, 1896, and people knew him as a “prominent and influential” resident of Henry County.9 The heirs sold the Caplinger House outside of the family in 1911. From 1911 to 1997, there were approximately six different owners. The Henry County Historical Society purchased the building on May 19th, 1997, to serve as the Henry County History Center.10 The Caplinger House was confirmed structurally sound, but required significant renovation due to extensive water damage. With much support and funding, the Henry County Historical Society restored the structure.11 In 2017, Corey and Harriet Beatty purchased the Caplinger House.

Assessment

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o the left, the Historic Preservation Assessment table outlines the conditions of the materials and artifacts evaluated during the site visit

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HISTORIC PRESERVATION CONDITIONS ASSESSMENT

Site: Caplinger House Date: November 14th Time: Noon - 3 PM Material Types

Material

Placement

Condition

Architectural ceramics

Bricks

Exterior Walls

Cracking, Spalling, + Flaking

Cementitious

Lime Mortar

Exterior/Interior Brickwork

Eroding. Missing Joints, + Cracking

Concrete

Porch Landing

Cracking

Window Panes

Historic Windows

Good; Need restoration

Porcelain

Historic Doorknobs

Good; Routine Maintenance

Copper

Roofing System

Good, but the design of gutter system may be causing water seep over edge.

Cast Brass

Door Hardware

Good condition; Routine maintenance

Modern Synthetic

Drywall

Walls

Subflorescence, Peeling, Blistering, Salt Buildup

Paints + Coatings

Faux finish

Cast Iron Fireplace

Well Preserved; Minor Dings; Routine Maintenance

Paint

Exterior Brickwork

Peeling, Flaking, + Blistering

Limestone

Foundation

Crumbling

Glass

Metals

Stone

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Roofing System

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talianate roofs are typically low-pitched with asymmetrical surfaces. Metal roofing systems are a great option for Italianate roofs because metal is more

watertight than tiles or slate, due to overlapped seams known as standing seams or flat-lock seams.12 Interestingly, the machine that creates standing seams for copper sheets was invented around the time of the Civil War.13 Based on copper’s availability during the 18th and 19th century, copper as a roof cladding was used only on buildings of significance, such as the United States Capitol14 and the New York City Hall.15 Great Britain was the leading importer of copper to the Americas until the late 19th century. Once the U.S. domestic copper mines and mills opened, factories began manufacturing copper flashings, gutters, and downspouts for homeowners.16 The original Caplinger House roof was not copper, but possibly tin-plated iron

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shingles. In the 1860s, iron was readily available, affordable, and iron building materials were in high demand.17 Tin-plated iron shingles for roofing were 10” by 14” until the 1870s, when technological advancements allowed manufacturers to produce larger sheets.18 Tin-plated iron roofs do not develop a protective coating like copper.

Homeowners would have their roofs painted to prevent rusting, and often, the paint resembled the green patina of copper.19 When Henry County Historical Society purchased the home, they restored the Caplinger House’s main roof with a standing-seam copper roof with an integrated gutter system.20 Copper is a superior roofing material that is resistant to corrosion and has antimicrobial qualities. As hinted, copper develops a natural green patina that shields the copper from the atmosphere’s corrosive effects. Moreover, this ductile metal is resistant to thermal movement during hot and cold cycles, which decreases the chances for a copper roof to creep.21 The other two roof systems are flat roofs with a slight slope which covers the porch and the sunroom. The sunroom’s roofing system consists of synthetic asphalt shingles 11

that are in good condition. Asphalt shingles can last approximately twenty years if routinely monitored.22 Eventually, replacing the asphalt shingles with a copper roof or shingles is an in-kind material for an Italianate structure.

The porch’s copper shingle roof has three signs of potential deterioration. The first observation is the buildup of leaves and dirt, which is preventing water from draining into the downspout. The porch’s integrated gutters are shallow, so water and grime can easily seep over the gutters’ edge, and potentially affect other building areas. Cleaning the gutters every year will prevent leaves and debris from stalling water. If standing water is present during freezing weather, it could form into ice, causing extensive damage to the entire gutter system. Also, locating all the downspouts and making sure rainwater moves away from the building will protect other building systems.23 Another observation is the yellowish-green patches of tiny particles of degraded leaves adhering to the copper. To scrub these tiny particles off, gently use water or a certified copper roof cleaner. Adding a leaf screen to the gutters will make leaf removal an easier task. The last observation is concerning the seams of the copper shingles.

These seams are not entirely deteriorated, but re-caulking will prevent water from getting underneath and causing decay. Caulking can quickly decline, so inspecting the roof’s condition while cleaning the gutters is an efficient conservation routine.

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Limestone Foundation

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he substrate beneath the Caplinger home is exclusively limestone bedrock, which explains why the house’s foundation is limestone. Knowing the

chemical components of masonry helps Architectural Conservators detect the potential causes of deterioration. It is also beneficial to understand the geology of the area, which may contribute to a greater understanding of the building materials, such as limestone. The limestone in Henry County is a biogenic sedimentary rock formed primarily from calcite, which is soluble when exposed to acids.

This mineral derived from organic particles from decomposed marine life, calcium carbonate shells, and other organic byproducts.24 During the Ordovician period, 10

approximately 400-550 million years ago, Henry County was once a shallow tropical sea inhabited by marine invertebrates.25 The energy of the shallow Ordovician sea formed the organic particles into carbonate sediment layers. Over time, due to the lithification process, the carbonate minerals formed limestone.26 The foundation of the Caplinger home is a combination of massive limestone blocks and limestone field rock. Currently, the Caplinger House’s limestone foundation needs restoration because the foundation is crumbling due to dampness. Crumbling is a deterioration mechanism caused by carbonic acid. Carbonic acid is a weak acid found in surface waters and is created when rainwater reacts with atmospheric carbon dioxide.

If acidic water leaks through the limestone foundation’s cracked mortar joints, it will slowly dissolve the limestone due to increased carbon dioxide exposure.27,28 As a result, the limestone foundation should be re-pointed and coated with a limewash. When re-pointing limestone, the replacement mortar should be lime-based, not cement-based. Lime mortar can remove CO2 and allow the remaining limestone to self-heal by reverting limestone to its calcite solid state!29 Below is an example of a 15

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re-pointing method, completed by professional contractors, known as the top-down, bottom-up method: • Before beginning the re-pointing process, have all necessary hand tools such as a water mister, masonry hammer, pointed trowel, soft bristle brush, and a drywall hawk.

• First, spray down the foundation wall to minimize the dust.

• Starting from the top of the wall and working downward, remove at least 2” of any loose debris, plants, inappropriate cement-based mortar or caulking, and damaged lime mortar from the masonry wall.

• When raking, be sure not to damage sound mortar.

• Use the soft bristle brush to remove dust and debris.

• Follow the manufacturer’s directions regarding the appropriate mixture for the lime-based mortar, and then apply it starting from the bottom and work up against gravity.

• Use the mortar hawk to apply the mortar into the gaps. The mortar joints must be flush with the stones.

• Once the re-pointing is complete, allow it to “set” for approximately an hour Next lightly spray down the joints, and then use the brush to gently press down along the edges. This tactic prevents the joints from cracking and ensures that the joints’ edges are closed.30,31 Once the foundation is re-pointed with lime-based mortar, the next step is to paint the foundation with limewash. Limewash will protect the weak mortar joints and keep the limestone rock within an equilibrium state. The formula is straightforward because the mixture contains only 20% hydrated lime and 80% water. The consistency of limewash must resemble a milk-like consistency, which will deter the coating from cracking as it dries. Aesthetically, the limewash application can be as thin or as thick to achieve either a translucent or full coverage effect. Use a soft or medium bristle brush or a spray apparatus to apply the limewash. If using the spray-on method, filter the limewash through a screen to ensure that the liquid does not clog the sprayer.

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It is beneficial for a limestone foundation to have a fresh coat at least once a year.32 Another benefit to limewash, besides strengthening the foundation, is it covers existing blemishes such as paint splatters; since applying chemical paint removal is not recommended because limestone is acid soluble.

Another tactic to eliminating the presents of dampness is to install a perforated drain. This remedy also prevents soil fluctuation and tree roots from applying pressure onto the foundation. To install the perforated drain, dig a trench down to the base of the foundation. Cover the drain with gravel, and add decorative rock, such as river pebbles to the top layer.33 Lastly, plant secretion or green stains is acidic and will deteriorated limestone, lightly use a neutral or mild alkaline cleaner to remove from the foundation.34 Restoring the limestone foundation can help prevent further masonry deterioration. For example, the Caplinger House has an area of the exterior brick masonry walls that has shifted inward, due to settlement differentiation. There is no specific explanation to why settlement differentiation occurs. The following forces of nature may have caused this phenomenon, such as ground movement, crumbling foundation, or tree roots.35 Not to say that a tree is the cause of this defect, but there is a tree within proximity of this exterior wall. Removing tree roots can further protect 18

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the foundation. Excavating the trench for the perforated drain could reveal if this tree is the cause.

Also, removing the crawl space vents from the foundation walls will help decrease dampness. A recent study found that crawl space vents actually cause more harm than good. For instance, the vent openings attract insects, rodents, mold, moisture, condensation, and high humidity levels. These intruders can harm the materials in the interior. Closing the crawl space vents will expand the longevity of the foundation, protect the interiors, and improve indoor air quality. An additional benefit is the reduction of heating and cooling expenses and warmer floors during the winter months.36 Limestone and lime-mortar are vapor permeable, which will naturally filter air. Before officially closing the crawl space vents, check the local building code.

The basement has a few sealed crawl space vents already. Interestingly, the original wrought-iron vent is still intact and looks to be in good condition.

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Masonry Brick

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he Caplinger house is a load-bearing brick home with a lime-based mortar.

The brick walls are arranged in a “common bond” pattern and are three-

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wythes thick. Historic bricks tend to be underfired, causing the bricks to be soft, porous, and crumble when overly saturated by water.37 The origin of the bricks of the Caplinger house is unknown. The Beattys found bricks in the backyard and a few had the letters N.U.W. - debossed on the surface. It was common for brickmakers to have their initials pressed into the brick, which helps architectural conservators trace the bricks’ origin.The 1860 U.S. Census reveals 203 brickmakers in Kentucky; however, it is quite challenging to locate the brickmakers and brickyards.38 Another historic masonry home in New Castle, built a few decades before the Caplinger House, had its bricks fired in situ.39 It is possible James Caplinger had a kiln on-site to fire the bricks. The bricks of the Caplinger House are irregular in form, suggesting the use of wooden molds.40

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Historically mortar joints were lime-based and flush with the masonry walls.41 If constructed correctly, mortar joints serve as the sacrificial material instead of brick.

Calcium carbonates in lime mortars are hygroscopic, which migrates water to the mortar joints.42 Lime mortar properties make it an ideal sacrificial binding material because it is flexible and softer than brick. It is easier to repair mortar joints than replacing brick. It was the advancement of modern bricks and cement mortars that inspired contractors to use other joint styles. Coating historic bricks with paint helps consolidate the material and provides a defense against the elements.43 When evaluating the exterior walls, several brick and paint failures were detected, such as the eroded mortar joints, spalling bricks, misguided repairs, blistering and flaking of masonry paint, coating discoloration, and structural cracking.44 The erosion of mortar joints and the spalling of bricks are common symptoms caused by water penetration through defective mortar joints. Water can either evaporate beneath the 21

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masonry wall (subflorescence) or evaporate once it reaches the surface of the masonry wall (efflorescence). When the water evaporates, soluble salts are left behind, and a white haze appears, which is more of a cosmetic defect than physical. Removing efflorescence is done by brushing off the haze from the wall. However, crystallized soluble salt deposits within the masonry wall system can expand and buildup pressure within the masonry brick and joints, causing the mortar joints to erode and the brick to spall.45 Furthermore, the previous repairs to the masonry could be weakening the exterior walls. It seems that the contractors repaired some of the mortar joints with foam insulation sealant instead of lime mortar. The sealant seems non-paintable because these mortar joints are a much lighter shade of red. Also, it appears the boarders of these masonry units are more eroded when compared to the other bricks with lime mortar.

The diagonal cracks in the masonry walls are another defect. There are a few scenarios that cause brick to crack. One possible cause is the differential settlement of the foundation. Alternatively, another cause is the freezing and thawing of water molecules in the masonry wall, causing bricks and mortar to shift and gradually break away from each other. Due to historic masonry and mortar’s hygroscopic characteristics, it is essential not to use cement-based mortars or other insubordinate fillers. Cement-based mortars will not allow the structure to dispel water and vapor, which will cause the structure to erode quickly. Also, cement is inflexible and stronger than historic brick; if there is movement, it causes the brick to crack. Another benefit of lime mortar is its flexibility; when ice or salt crystals in mortar expand and contract, the movement will not damage surrounding bricks. 46 Based on the symptoms, the Caplinger house’s current coating is also contributing to the decay of the masonry units. The masonry paint is blistering and flaking, suggesting that the coating is not vapor and water permeable. There is no record of the specific coating used on the exterior. If the coating is not vapor and water permeable, moisture 22

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will remain trapped between the coating and brick, causing the water vapor buildup. This water vapor will cause the paint to expand and blister. Another painting defect is the dark spots on the masonry walls, which are more than likely residue from the water-repellent coating that has darkened over time. As mentioned before, it is common to coat masonry with a limewash coating to protect the soft brick from the elements, to strengthen the brick, but also white limewash coatings can blend in with natural occurring efflorescence.

Overall, the best method to remedy all deterioration issues is to restore the Caplinger house’s entire exterior. The first step is to remove the current coating system using an alkaline paint remover, following a neutralizing acidic wash, and then rinse with water.48 Next, remove all defective mortar and re-point the entire structure with lime mortar; but check that all masonry brick is sound before re-pointing. If a brick is too damp, it may need to be replaced. Once the lime mortar has cured, apply the limewash coating. Below is a sample of a limewash formula: 1-part hydraulic lime (i.e., Riverton H.H.) 2-part water ½ part pigment (must be compatible with lime) ¼ part Rhoplex AC33 (10%)49 To conclude, it is best to consult an Architectural Conservator requiring repairs to prevent further damage to the historic masonry.

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Historic Windows

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efore going into detail regarding the conditions of the Caplinger’s historic windows, it helps to first explain how conservators classify

window repairs, and share some background information about mid-19th century windows. To begin, Architectural Conservators categorize window repairs based on three groups - repair class I, repair class II, or repair class III. Repair class I only requires routine maintenance such as minor paint removal, minor repairs, weatherstripping, and perhaps re-glazing when needed. The second category, repair glass II, recommends remedies to stabilize minor cases of deterioration. Lastly, repair class III refers to severe cases of decay. Historic windows that fall under this category need more than one new part, or a the window needs to be replaced.50 Ideally, restoring historic windows is highly recommended. Not only are the fenestrations original, but it is more sustainable to repair a historic window versus substituting with a window made of synthetic materials. Historic windows have a longer life expectancy than synthetic windows prone to fail within a decade or two. Since historic windows commonly are single pane, adding storm windows will enhance energy efficiency, and as a bonus, preserve the windows.51 Regarding the Caplinger home, the Italianate style accentuates the verticality of the architectural elements by elongating the windows. The recessed fenestrations are either crowned with a limestone lintel or a segmented arch. All of the windows are double-hung and range from one-over-one, two-over-two, or four-over-four muntin configurations. To point out, not all the windows are original. During the previous major renovation, majority of the historic windows were removed. Two of the replacement windows are shorter, which do not coincide with the architectural style. To add, the new bricks added to fill in the openings look different; using inkind bricks will blend in with the surrounding materials.

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Aesthetically, the surviving historic windows have four-over-four window muntin configurations, but technically are one-over-one. This observation was determined during the assessment of one of the historic windows that had a missing muntin on the lower sash. These muntins operate as a trompe l’oeil known as simulated-divided lites.52 It was not until the mid-19th century, when manufactures could fabricate a single sheet of glass to fit a whole window sash. Prior to the 17th century, glass was hard to produce, so it was an expensive building material.53 When glass became available and affordable, the size of the glass panes, or lites, were small - so multiple lites were needed to construct a window. Muntins are the structural framing grids within a window sash that holds the individual glass panes - known as true dividedlites. Muntins in true divided-lite systems are thicker to provide structural support, and cast shadows that create visual depth. Another noteworthy visual effect is the reflective luster of the lites. Knowing these visual effects provides some insight to why simulated divided-lites were, and still are, installed on monolithic sashes.54 As mentioned, the historic window in image 32, has a missing muntin and the exposed interior muntin is damp with wet rot. To add, the current coating needs re-painted because the surface underneath is rough due to buildup. Also, there are paint splatters on the glass. The overall condition of this window is categorized as repair class II, and would benefit if restored. The following is a theorized treatment plan:55 • Remove the window for the masonry wall and cover the opening with a protective layer such as a thick plastic sheet or O.S.B. wood.

• Remove all the damaged paint and putty buildup by lightly sanding the surfaces with a fine-grit sandpaper. To remove the paint on the glass, create a non-toxic mixture by boiling equal parts of white vinegar and water.

Carefully dip a rag in the mixture and slowly rub the affected area.

• Allow the window to air-dry outside, but it must be protected from external elements.

• Apply fungicide to the decayed areas. Fungicide is extremely toxic, so be sure 26

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to read and follow the manufacturers’ directions.

• Replace the missing muntin with one that matches the others.

• Next, waterproof the wood by applying a coat of boiled linseed oil. Once the first coat of linseed oil is applied, repeat this set about every 24 hours, for about two or three times. Be sure the coatings are thoroughly dried before proceeding.

• Insert wood putty into any cracks and holes to seal from water or moisture.

The putty should blend into the slope of the wooden surface. It is okay to apply putty, while the linseed oil is curing, but allow the linseed oil at least 45 days to cure. During the curing process of linseed oil, the protective skin of the putty will form.

• The next phase is to paint. Since the linseed oil and wood putty are oil-based, the paint used must be oil-based. An oil-based paint with a gloss finish is 37

durable and easy to clean. To prevent premature damage to the paint, allow considerable amount of time for the paint to dry and cure.

• Before re-installing the window, apply weatherstripping where needed to prevent air and water infiltration.58 Furthermore, the other historic windows would benefit if re-treated and weatherproofed.

Another design feature to share is the surviving iron hardware from the historic shutter system - the holdbacks and pintle hinges. These iron hardware have excessive paint buildup and are slowly corroding. Due to the historic significance of these iron hardware, these signs of decay should be remedied. The paint should be removed by hand using a wire brush or other hand scrapping tools. Before coating a corrosion-inhibiting primer - dry, wipe, and brush off any loose particles – and prime immediately to prevent the reformation of rust.59 Moreover, the current shutters are merely aesthetic and screwed into the masonry walls. From a conservator’s point of view, restoring the shutter system to its original purpose will enhance the building’s historical integrity. Overall, the window systems are structurally sound, but require treatment to ensure longevity.

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Historic Millwork

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his section briefly discusses exterior and interior millwork that exemplifies Italianate architecture. The first of the historic millwork to review is the

original frieze and brackets of the front porch. The frieze’s fretwork illustrates a geometrical and quatrefoil pattern; while the milled brackets are variations of the Victorian scroll motif. The surface of the frieze and the brackets have a rough exfoliating texture, possibly caused by salt damage. The paint does not appear to be failing, so it is possible that these decorative wooden elements were not sanded prior to painting. To remedy this flaw, the paint and buildup will need to be removed using a fine-grit sandpaper. Once stripped and sanded down, coat the wooden elements with a layer of boiled linseed every 24 hours - approximately two to three times.

Let the millwork cure for about a month before coating with an oil-based paint.60 Another flaw of the porch’s millwork was caused by carpenter bees. On the bottom of the frieze, the wood bees drilled a few holes.61 The homeowners are trying 40

a passive and non-toxic approach by hanging up wood bee traps and brown bags. The brown bags are meant to resemble a wasp nest to scare off the bees. Interestingly, another tactic to deter bird and insects from invading the porch is to paint the ceiling pale blue. The pale blue ceiling tricks the pests into thinking it is the sky.

Another observation to mention, this building is missing its decorative cornice brackets that would be located under the roof eaves, which is a prominent Italianate feature. A photograph of the Caplinger House in the 1970s shows the brackets; plus, the sister properties built by Caplinger have cornice brackets.62 Prior to the ownership of the Beattys, the brackets must have been removed. Additionally, when inspecting underneath the roof eaves, the areas where the brackets once where are discolored. Brackets help with reducing the stress of the overhanging eaves from the masonry wall. It could be possible that some of the masonry cracks were caused 31

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by removing the brackets. It is suggested, in order to restore the integrity of the original architectural features, is to install new cornice brackets.

Lastly, an interior millwork feature found along the beautiful winding Victorian stairs in the front hall are the decorative scroll brackets. These wooden brackets are adhered to the surface of the stair stringer. The brackets located along the curve are cut into sections because the wood is not bendable. In image 43, there is a section of the bracket that is missing. Ideally, only the missing section is re-made and placed on the wall instead of removing the original millwork. To add, the elegant stair components such as the turned newel post, balusters, and stair rails are original to the home and resemble rich mahogany. The original Victorian staircase featured an ornate stair tread rug. Prior to the Beattys, several of the stair treads were badly scraped. To cover the damaged wood and to revive this the Victorian staircase, can be achieved by installing an anti-slip tread rug.

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Interior Walls

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o reiterate, the Caplinger house experienced extensive water damage prior to the ownership of the Henry County Historical Society. The contractors

scraped the original wall plaster and wallpaper and replaced the historic wall system with gypsum drywall. The Beattys have small samples of the original wallpaper, which is neat. Companies like Bradbury & Bradbury Art Wallpapers and Adelphi Paper Hangings can recreate and reproduce old wallpapers, if a sample is in good condition and shows the pattern repeat. If the samples do not provide enough information, these companies can find examples or may have a sample of the same or similar wallpaper. These companies can either traditionally silkscreen print the Victorian wallpapers, or digitally recreate them at a lower cost.63,64 Most of the interior walls are in good condition, except for one area of the home. The sunroom and the laundry room share a wall that is showing symptoms of subflorescence. The side of the wall in the sunroom is masonry, and the paint is flaking. The masonry wall in the laundry room is covered with drywall. The drywall has a layer of primer and a gray topcoat that is peeling and blistering. The rough texture of these defected areas appears to be a buildup of soluble salts that are trapped behind the primer. As mentioned before, blistering is caused when water vapor is trapped behind the painting system. The most important thing to do before repairing these walls is to find the source of the water leakage.

The reason why water and moisture infiltration should be quickly addressed is due to rising dampness. Rising dampness is caused by capillary action, which occurs when porous materials such as a limestone foundation and historic soft brick are saturated with moisture. The capillaries of the masonry allow moisture to travel upward as it evaporates. This phenomenon can expose uncontaminated materials to moisture, which can lead to masonry damage.65 It is a possibility that these bricks 34

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were severely oversaturated by water during the previous renovation, but were not replaced before additional layers of the wall finishes were installed. Also, the coatings on both sides may be non-vapor permeable.

Once the water source is resolved, the next phase is to remove the drywall and the paints to examine the condition of the bricks. There may be a few bricks that will need to be replaced. Once the bricks are examined, clean the bricks with an alkaline cleaner.

Next, instead of finishing the walls with drywall, install a beautiful and historic lime plaster finish. The formula of traditional lime plaster walls only contain lime, sand, and water. Lime plaster is ideal for historic interior masonry walls because it is breathable and moves with the masonry.66 After sufficient time is given to allow the lime plaster walls to dry and cure, apply a pigmented (Victorian color) limewash onto the walls.

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Historic Doorknobs

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he Caplinger house has a diverse collection of beautiful Victorian doorknobs. The doorknob collection designs consist of ornamental cast

brass and a variety of porcelain knobs. These knobs became feverishly popular due to the Aesthetic Movement, and today, collectors seek out original Victorian doorknobs and hardware.67 As an interior design student, it was such a pleasure to experience these doorknobs firsthand.

This Victorian main entrance includes the original door and two sidelights. The front door is painted a light gray and the assemblage includes a large glass lite and two chamfered panels. In the in-between space of the glass lite and chambers panels is a historic Victorian doorbell. This antique ornate brass twist doorbell has a charming ring sound. The front entry’s knob hardware is a mortise lock with a painted metal escutcheon and brass floral knob. A lace curtain is hung on the interior side of the door to provide privacy.

Found throughout the interiors are the white, black, and brown marbleized porcelain doorknobs; these knobs are double glazed and secured to cast-iron shanks.

Porcelain knobs were fashionable in wealthy rural houses around the time of the 1860s.68 The brown marbleized porcelain knob resembles polished wood due to the intricate swirls. This polished wood porcelain knob became popular due to a company known as Bennington Pottery, who patented the design in 1841.69 Furthermore, the black rimmed porcelain knob has a geometric brass face and escutcheon.

To preserve the doorknobs, use the mildest cleaning method. Using a soft fiber bristle brush, gently scrub the surface and crevices with a mixture of filtered or deionized water and mild soap detergent, and then dry with a soft cloth. If the brass does not have a clear lacquer coat, apply pure beeswax to serve as a protective coat.71 38

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Historic Floors

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he Caplinger House has poplar hardwood floors that feature different stains and paints from room to room. These poplar boards vary in

widths and include a mixture of sapwoods and heartwoods or boards that have a combination of both. Poplar evenly shrinks during the drying and curing process, and once seasoned, this wood experiences minimal expansion and contraction and is resistant to cupping, due to its closed pores. Poplar is considered a non-durable wood; however, old-growth poplar is more durable.72 Based on the construction year of the Caplinger House, it is likely that the hardwood floors are old-growth.

Poplar woods have an assortment of colors. Heartwoods range from light cream to yellowish-brown with streaks of various greens, blues, and purples; while sapwoods are light cream to light yellow with green streaks. Because poplar is a lighter wood with uniformly dispersed closed-pores and a smooth texture- it makes for an excellent wood for paints and stains.73 As poplar naturally ages, its color darkens due to ultraviolet light and air oxidation. Furthermore, poplar is considerably soft for being a hardwood tree, which means its surface is prone to dings and dents.74 These signs of use and age are characteristics that give historic poplar floors its charm.

Historically, Victorian interiors had aesthetic guidelines that specified the proper flooring finishes for each room. After contemplating the decorum of Victorian floors and poplar characteristics, it is clear the poplar is a native wood that is suitable flooring material for Victorian interiors. Poplar is versatile because it can imitate superior hardwoods such as oak, black walnut, maple, and mahogany.

If a Victorian home had superior hardwood flooring, then the flooring would only have a clear varnish coat. However, according to Victorian-style standards, poplar is 40

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not a precious wood, so it can also be painted. For example, it was tasteful to have wooden plank floors with various precious wood species arranged in an alternating pattern to create a warm tonal variation. However, middle-class homeowners could not afford precious woods, so instead, they would grain and stain woods, like pine and poplar, to appear as so.75 Also, a Victorian room would not be complete without a venetian area rug that laid upon the narrow and warm poplar planks. It was also vogue to paint wooden floors in hallways or less frequented areas of the home Indian red in the 1860s.76 When inspecting the interior poplar floors, there were only a few noticeable blemishes such as grime, wood discoloration, and gouges. The current owners painted some of the floors a crimson red to align with the historic interior integrity of the mid-19th century. The only downside to painted wood floors is that dirt can easily adhere to the coating. The best way to preserve these painted poplar floors is a strict and consistent maintenance routine, which is as follows: • At least once a week - vacuum the floors at low suction, and gently dust with a dry mop, but be careful not to snag the wood to prevent splintering.

• Spot clean when necessary with a wrung-out sponge or sponge mop and tepid water.

56

• Thoroughly wash the painted floors twice a year with diluted Murphy’s oil soap cleaner and tepid distilled or deionized water.

• To remove heavy grime, add two to four drops of ammonia to a gallon of warm water and hand wash the floor with a wrung-out cotton cloth.77,78 For finished floors, the best cleaning methods are: • Vacuum the floors at low suction, and gently dust with a dry mop at least once a week.

• Spot clean areas as needed; but wash twice a year, with a mixture of diluted Murphy’s oil soap cleaner, two to four drops of household ammonia in a gallon of tepid distilled or deionized water.

43

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• Polished the floors with Butcher’s wax (white diamond paste wax) with a clean cotton cloth once every two years or as needed.79 Regardless of the wood is painted or finished, water can harm wood flooring, so make sure the sponge, cloth, or mop is wrung-out before washing. Also, change the mop water often, so only clean water is applied to the floors.

Another flaw found in the flooring system was a gouge in the painted floor of the sunroom. Regarding gouges and gaps repairs for historic floors, unless the repair is a hazard or is not performing, it is unnecessary to correct. Wood typically behaves differently throughout the seasons. The alternative to using synthetic wood sealers or putty is to plug the gouge with cork. Thethe owners placed a wine cork in an open resin knot located in the sunroom. Also, Nicoline is a company that sells cork expansion strips that fill gaps between boards.80 Cork is breathable, non-invasive, water-resistant, supplies thermal insulation, slip-resistant, and compressible – which are all excellent characteristics of cork.81 In a few of the rooms, the poplar wood underneath the rugs are gray. Because sapwoods of poplar are fair colored, this wood is prone to turn gray as it ages.82 Image 56, located in one of the bedrooms, shows the gray sapwood hidden under a venetian rug. In this room, the poplar floor planks surrounding the rug is in good condition. Also, it does make sense that the floor planks are sapwood, which offers an ideal color to stain as to imitate the superior hardwoods’ warm tonal variations.

One might argue that the flooring should be left untouched because the discoloration is not harmful. Plus, the discoloration and the original stain is a part of the historic building’s history. A wood flooring that is older than a hundred years old should be restored and worth saving if there are signs of deterioration.83 If the goal is to restore the flooring, consult an Architectural Conservator or a historic flooring expert. If the floors are going to be restored, make sure that heaving sanding equipment is not used, and routinely maintained the finished floors as mentioned.

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61

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64

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Historic Cast-Iron Fireplaces

T

his home has three original cast iron fireplaces with faux marble finishes.

These faux marble surrounds are in overall good condition, considering

the earlier condition of the structure. The reason for sharing these rare fireplaces is to discuss the historical painting techniques of the faux marble finish - for conservation 65

efforts. It cannot be said for sure, but, interestingly, a Cincinnati company, C.B. Evans & CO., in the mid-19th century made cast iron fireplaces with faux marble finishes that appear to be identical to the ones in the Caplinger House.84 Marbling is a historical faux interior finish that mimics the natural characteristics and luster of marble. To briefly provide historical context, marbling can be traced back to Pompeii and the classical era. The demand for this faux finish declined for half a century during the 18th century, but not for long. Marbling techniques enhance during the mid-19th century, as faux marble painting became more technical as artist decorators perfected painting faux marble to imitate real marble.85 Marble textures are categorized as brecciated, crinoidal, laminated, serpentine,

66

and variegated. Tools required for faux painting include various sized brushes, softening brushes, rags, leathers, and even feathers to create the marble textures and color variations. The painting system for marbling consists of the layering effect of opaque paints and clear coatings compiled of four main layers – primer, ground, surface, and clear finish.86 The paints used for marbling were mixtures made from drying oils such as linseed oil or poppy oil and diluted with turpentine. The binding agents were quick to dry and formed a durable paint film. Traditional varnishes are transparent, but pigments and other materials were added to further imitate certain marbles’ surface textures. Waxes were applied to produce a less glossy appearance of marble with lower reflective values, but have darker and more intense saturated colors.87 47

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Thankfully, these faux painted cast iron fireplaces in the Caplinger House are in good condition besides a few abrasions. To preserve this historic coating system and to protect the historic cast iron, lightly clean with distilled water and non-ionic detergent often to prevent dust adhesion.88 Also, lightly applying wax to the paint coating with a soft cotton cloth, which help the paint stay conditioned and prevent from cracking. If faux-painted finishes need recoated, consult an Architectural Conservator; especially since the paints of the mid-19th century are not used today due to toxins.89

Conclusion

A

s a Henry Countian myself with a growing interest in Historic Preservation, the curiosity to know more about the local history and

historic Architecture + Interiors was unavoidable. I am thankful for Corey and Harriet for giving me the opportunity to study their home as a student. These suggested remedies are only insights not professional advice. To conclude, I have grown fonder of the depth and charm of mid-19th century Italianate architecture and interiors through my research on the Caplinger House.

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69

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A ppendices

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Appendix A

Floor Plans

Image 71 - First Floor - Electrical Plan. Retrieved from Corey + Harriet

Image 72 - Second Floor - Electrical Plan. Retrieved from Corey + Harriet

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Appendix B

Cornice Brackets

Image 73 - Cornice Brackets of Sister Property. Retrieved From Corey Beatty.

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Appendix C Stair Treads

Image 74 - View of Scraped Stair Treads.

November 14, 2020. Photograph.

Image 75 - Stair Treads with Ornate Rug: Main Staircase in the 1990s. November 14, 2020. Photograph.

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Appendix D

C.B. Evans & Co,. AD

“A Practical Journal For Mechanics, Builders, Inventors, Engineers, Architects, With A Record Of Railway Progress.,” Industrial Monthly 1 (1872).

84

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Image Citations Cover Page. Painting of Caplinger. Retrieved by Corey Beatty.

Figure 1. Front Entrance into Caplinger Home. November 14, 2020. Photograph.

Figure 2. Ariel view of the Caplinger Home. Retrieved from Corey Beatty. Photograph.

Figure 3. Patina from Copper Downspout. November 14, 2020. Photograph.

Figure 4. Seeping Water and Leave from Integrated Gutter. November 14, 2020. Photograph.

Figure 5. Caulking of Copper Shingle on Porch Roof. November 14, 2020. Photograph.

Figure 6. Biodegraded Leaves on Porch Roof. November 14, 2020. Photograph.

Figure 7. Shingle Roof of Sunroom with Corroding Metal Flashings. November 14, 2020.

Photograph.

Figure 8. Standstill Water on Porch Roof. November 14, 2020. Photograph.

Figure 9. Clogged Downspout on Porch Roof. November 14, 2020. Photograph.

Figure 10. Front Elevation of Caplinger House. November 14, 2020. Photograph.

Figure 11. Back Perspective of Caplinger House. November 14, 2020. Photograph.

Figure 12. Covered Crawl Space Vent with Preserved Wrought-iron Grille. November 14, 2020.

Photograph.

Figure 13. Patched Masonry Wall in Basement of Possibly Cement Mortar. November 14, 2020.

Photograph.

Figure 14. Damp and Crumbling Limestone Foundation. November 14, 2020. Photograph.

Figure 15. Closed-off Cellar Door with Water Stains. November 14, 2020. Photograph.

Figure 16. Basement view of Limestone Foundation needing Re-pointing. November 14, 2020.

Photograph.

Figure 17. Exterior view of Closed-off Cellar Door. November 14, 2020. Photograph.

Figure 18. Gapping Lime Mortar Joints of the Limestone Foundation. November 14, 2020.

Photograph.

Figure 19. Foundation Shifted Inward. November 14, 2020. Photograph.

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Figure 20. Organic Growth on Limestone Foundation. November 14, 2020. Photograph.

Figure 21. Exterior View of Patched Wall in Basement + Eroding Foundation Mortar Joints.

November 14, 2020. Photograph.

Figure 22. Exposed Crawl Space Vent with Corroding Wrought-Iron Grille. November 14, 2020.

Photograph.

Figure 23. View of a the Second Closed-Off Crawl Space Vent. November 14, 2020. Photograph.

Figure 24. Eroding Mortar Joints filled with Inappropriate Mortar Sealer. November 14, 2020.

Photograph.

Figure 25. Flaking Paint on Exterior Masonry Wall. November 14, 2020. Photograph.

Figure 26. Another Example of Eroding Mortar Joints filled with Inappropriate Mortar Sealer.

November 14, 2020. Photograph.

Figure 27. Paint Blistering due to Water Vapor trapped behind Non-Permeable Paint. November 14, 2020. Photograph.

Figure 28. Exposed Foam Insulation Sealer not Painted Over. November 14, 2020. Photograph.

Figure 29. Diagonal Structural Cracking on Second Level. November 14, 2020. Photograph.

Figure 30. Peeling Paint on Exterior Masonry Wall. November 14, 2020. Photograph.

Figure 31. N.U.W. Bricks found in the Backyard. November 14, 2020. Photograph.

Figure 32. Second Story Historic Window above the Sunroom Roof Missing Muntin. November 14, 2020. Photograph.

Figure 33. Backyard Perspective of Short Window Replacement with Different Bricks Underneath. Retrieved by Corey Beatty.

Figure 34. Side of House Perspective of the Second Short Window Replacement Different Bricks Underneath. Retrieved by Corey Beatty.

Figure 35. Side Perspective of Bay Projections + Paint Residue Stains. November 14, 2020.

Photograph.

Figure 36. Two-over-Two Window Replacement. Retrieved by Corey Beatty.

Figure 37. Faux Windows with Bay Projection. November 14, 2020. Photograph.

Figure 38. Pintle Hinge of Historic Shutter System. November 14, 2020. Photograph.

Figure 39. Corroding Wrought-Iron Hold Back of Historic Shutter System. November 14, 2020.

Photograph.

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Figure 40. View of the Rough Texture of the Porch Frieze Fretwork + Brackets. November 14, 2020. Photograph.

Figure 41. View of Corner Bracket. November 14, 2020. Photograph.

Figure 42. View of Carpenter Bee Trap + Faux Wasp Nest. November 14, 2020. Photograph.

Figure 43. Missing Piece of Scroll Bracket located on Stair Stringer. November 14, 2020.

Photograph.

Figure 44. Main Hall Staircase. November 14, 2020. Photograph.

Figure 45. Mural in Dining Room. November 14, 2020. Photograph.

Figure 46. Paint Peeling Failure in Sunroom. November 14, 2020. Photograph.

Figure 47. Paint Peeling in Laundry Room. November 14, 2020. Photograph.

Figure 48. Paint Blistering in Laundry Room. November 14, 2020. Photograph.

Figure 49. Salvaged Samples of Original Wallpaper. November 14, 2020. Photograph.

Figure 50. Front Doorknob + Escutcheon. November 14, 2020. Photograph.

Figure 51. Victorian Doorbell. November 14, 2020. Photograph.

Figure 52. White Porcelain Knob. November 14, 2020. Photograph.

Figure 53. Front Door. November 14, 2020. Photograph.

Figure 54. Marbleized Brown Porcelain Knob. November 14, 2020. Photograph.

Figure 55. Black Porcelain + Brass. November 14, 2020. Photograph. November 14, 2020.

Photograph.

Figure 56. Hodge Podge Mixture of Poplar Flooring in Kitchen. November 14, 2020.

Photograph.

Figure 57. Aged Poplar under Rug. November 14, 2020. Photograph.

Figure 58. Image of Discoloration of Flooring in the 1990s. Retrieved from Corey and Harriet Beatty.

Figure 59. Venetian rug design. November 14, 2020. Photograph.

Figure 60. View of Transition From One Flooring Design to the Next. November 14, 2020.

Photograph.

Figure 61. Scratch on Living Room Poplar Flooring. November 14, 2020. Photograph.

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Figure 62. Second Floor Landing Area with Painted Red Floors. November 14, 2020.

Photograph.

Figure 63. Cork in Resin Hole located in the Sunroom. November 14, 2020. Photograph.

Figure 64. Living Room Faux Marble Cast Iron Fireplace. November 14, 2020. Photograph.

Figure 65. Up Close View of Cast Iron Fire Screen of the Fireplace. November 14, 2020.

Photograph.

Figure 66. Up Close View of Slight Deterioration of Faux Marble Coating. November 14, 2020.

Photograph.

Figure 67. Faux Marble Cast Iron Fireplace in Master Bedroom. November 14, 2020.

Photograph.

Figure 68. Paint Failure of Metal Floor Plate of Fireplace. November 14, 2020. Photograph.

Figure 69. Persecptive of Living Room. November 14, 2020. Photograph.

Figure 70. Perspective of Dining Room. November 14, 2020. Photograph.

Page 2 Images. Caplinger House + Sunset. Retrieved by Cory Beatty.

Page 3 Image. Mural in Dining Room. Novemeber 14, 2020. Photograph.

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Endnotes Joyce K. Meyer, “The Formation of Henry County,” About Our History (Henry County Historical Society, January 12th, 2012), http://www.history.henrycountyky.com/about.html.

1

“New Castle Commercial Historic District,” National Parks Service (U.S. Department of the Interior, August 2016), https://www.nps.gov/nr/feature/places/pdfs/16000495.pdf.

2

3

“New Castle Commercial Historic District.”

“Italianate Style 1850s,” National Parks Service (U.S. Department of the Interior, August 2019), https://www.nps.gov/articles/italianate-style-architecture.htm.

4

“William D Caplinger,” Family Search, accessed November 2020, https://ancestors. familysearch.org/en/L4NK-YX9/william-d-caplinger-1794-1833.

5

“Malinda Davis Walker,” Find A Grave, accessed November 2020, https://www.findagrave. com/memorial/87178494/malinda-walker.

6

“Henry County Marriages,” Henry County Marriages, accessed November 2020, http://www. kykinfolk.com/henry/Marriages/BurnsD1.htm.

7

Joyce K. Meyer, “The Caplinger House,” Henry County History (Henry County Historical Society, June 2017), https://www.history.henrycountyky.com/caplinger.html.

8

James Nelson Caplinger,” Find A Grave, accessed November 2020, https://www.findagrave. com/memorial/28361217/james-nelson-caplinger.

9

10

Joyce K. Meyer, “The Caplinger House.”

Laurel Harper, “Henry County Museum on Track,” RoundAbout (Kentuckians Publishing Inc., June 1999), http://roundaboutmadison.com/InsidePages/ ArchivedArticles/1999/0699LinkToPast.html.

11

“Roofing for Historic Buildings - Metals,” National Parks Service (U.S. Department of the Interior), accessed November 2020, https://www.nps.gov/tps/education/roofingexhibit/metals2. htm.

12

Margot Gayle, David W. Look, and John G. Waite, “Metals in America’s Historic Buildings,” National Parks Service (U.S. Department of the Interior, 1992), https://www.nps.gov/tps/how-topreserve/preservedocs/metals-historic-buildings.pdf. 22.

13

14

Margot Gayle, David W. Look, and John G. Waite, “Metals in America’s Historic Buildings,” 22.

15

“Roofing for Historic Buildings – Metals.”

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16

“Roofing for Historic Buildings – Metals.”

F. W. Taussig, “The Iron Industry in the United States,” The Quarterly Journal of Economics 14, no. 2 (February 1900): pp. 143-170, https://doi.org/https://www.jstor.org/stable/pdf/1883767. pdf. 144.

17

“Coated Ferrous Metals,” National Parks Service (U.S. Department of the Interior), accessed November, 2020, https://www.nps.gov/tps/education/roofingexhibit/metals.htm.

19 A. J. Downing and Anderson, A., The architecture of country houses: including designs for cottages, farmhouses, and villas, with remarks on interiors, furniture, and the best modes of warming and ventilating, (New York: D. Appleton & Company, 1851).

18

20

Laurel Harper, “Henry County Museum on Track.”

Sarah M. Sweetser, “Preservation Brief 4: Roofing for Historic Buildings,” National Parks Service (U.S. Department of the Interior, February 1978), https://www.nps.gov/TPS/HOW-TOPRESERVE/briefs/4-roofing.htm. 4.

21

Robert Rose, “HP 613 - Modern Synthetics” (YouTube, May 12, 2016), https://www.youtube. com/watch?v=MXrFHhoGCq8.

22

23

Sarah M. Sweetser, “Preservation Brief 4: Roofing for Historic Buildings,” 4.

“Formation of Sedimentary Rocks,” Sedimentary Rocks (Columbia University), accessed November 2020, http://www.columbia.edu/~vjd1/sed_rx.htm.

24

Daniel L. Carey, “Kentucky Landscapes Through Geologic Time,” Kentucky Geological Survey (University of Kentucky ), accessed November 2020, https://kgs.uky.edu/kgsweb/olops/pub/kgs/ mc200_12.pdf.

25

26

“Formation of Sedimentary Rocks.”

Martin E. Weaver, “Restoring Stonework,” In Conserving Buildings: A Manual of Techniques and Materials (New York: Preservation Press, John Wiley & Sons, Inc., 1997), 64.

27

“Precipitation and Solution of Calcium Carbonate,” Geoscience Resources (University of Houston), accessed November 2020, https://uh.edu/~jbutler/kunming/carbonates.html.

28

Kai, “Reviving Lime Mortar: A Stone Foundation’s Best Friend,” 2cycle 2gether, September 10, 2010, https://2cycle2gether.com/2010/09/reviving-lime-mortar/.

29

Tom Silva, “How to Repoint a Stone Foundation” (This Old House, March 26, 2014), https:// www.thisoldhouse.com/foundations/21017303/how-to-repoint-a-stone-foundation.

30

Craig Frew, “Pointing with Lime,” Pointing with Lime (Building Conservation Directory, 2007), https://www.buildingconservation.com/articles/pointing/lime-pointing.htm.

31

60

CAPLINGER HOUSE Peter Mold and Richard Godbey, “Limewash: Compatible Covering for Masonry and Stucco,” Lime (International Building Lime Symposium, 2005), https://www.lime.org/documents/lime_ basics/limewash.pdf.

32

33

Weaver, 244.

Robert C. Mack and Anne Grimmer , “Preservation Brief 1: Assessing Cleaning and WaterRepellent Treatments for Historic Masonry Buildings ,” National Park Service Cultural Resources (U.S. Department of the Interior, November 2000), https://www.nps.gov/tps/how-topreserve/preservedocs/preservation-briefs/01Preserve-Brief-Cleaning.pdf.

34

35

Weaver, 241-44.

Lindsay Brecheisen, “Taking the Vents Out of Vented Crawl Spaces,” Advanced Energy, July 17, 2020, https://www.advancedenergy.org/2017/06/13/taking-the-vents-out-of-vented-crawlspaces/.

36

37

Weaver, 103.

Charles D. Hockensmith, “The Value of Studying Bricks and Brickyards: Some Suggestions from Kentucky.”

38

“For Sale: 316 E Cross Main St, New Castle, KY, 40050 ,” Point2, accessed November, 2020, https://www.point2homes.com/US/Home-For-Sale/KY/New-Castle/316-E-Cross-MainSt/98792100.html.

39

40

Weaver, 100.

41

Craig Frew, “Pointing with Lime.”

Anne E. Grimmer , “Glossary of Historic Masonry Deterioration Problems and Preservation Treatments ,” National Parks Service (U.S. Department of the Interior, 1984), https://www.nps. gov/tps/how-to-preserve/preservedocs/historic-masonry-deterioration.pdf.

42

43

Weaver, 109.

Anne E. Grimmer, “Glossary of Historic Masonry Deterioration Problems and Preservation Treatments.”

44

Sherry N. DeFreece, “The Evaluation of Protective Coatings and Their Effect on Salt Formation on Brick Substrate” (dissertation, University of Pennsylvania, 2002). 31-48.

45

“Benefits of Lime for Buildings,” Lowimpact.org, June 2, 2015, https://www.lowimpact.org/ infoarticle/benefits-of-lime-for-buildings/.

46

Robert C. Mack and Anne Grimmer , “Preservation Brief 1: Assessing Cleaning and WaterRepellent Treatments for Historic Masonry Buildings.”

47

Robert C. Mack and Anne Grimmer , “Preservation Brief 1: Assessing Cleaning and WaterRepellent Treatments for Historic Masonry Buildings.”

48

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Weaver, 160.

John H. Myers, “Preservation Brief 9: The Repair of Historic Wooden Windows,” National Parks Service (U.S. Department of the Interior, 1981), https://www.nps.gov/tps/how-topreserve/briefs/9-wooden-windows.htm.

50

Robert Rose, HP 613 - Conservation Science: Glass, YouTube (University of Kentucky, 2015), https://www.youtube.com/watch?v=RDDUCOKTE04&t=0s&list=PL0R-kLwnrfXuYUWlWN_ LIsHfqGJ5s9ZLl&index=4.

51

Mary Ellen Polson, “Lights Divided, Truly and Otherwise,” (Old House Journal Magazine, May 17, 2018), https://www.oldhouseonline.com/repairs-and-how-to/lights-divided.

52

Kenneth M. Wilson, “ Plate Glass In America: A Brief History,” Journal of Glass Studies 43 (2001): Accessed November, 2020. http://www.jstor.org/stable/24190904. 141-53.

53

54

Mary Ellen Polson, “Lights Divided, Truly and Otherwise.”

55

John H. Myers, “Preservation Brief 9: The Repair of Historic Wooden Windows.”

Sarah Rainwater, “A Non-Toxic Way to Remove Paint from Glass,” Apartment Therapy, March 11, 2020, https://www.apartmenttherapy.com/a-nontoxic-scra-109180.

56

“How to Apply Boiled Linseed Oil Properly - Tips & Techniques,” PaulsDIY, May 24, 2020, http://paulsdiy.solutions/2018/07/19/how-to-apply-boiled-linseed-oil-properly-tips-techniques/.

57

58

John H. Myers, “Preservation Brief 9: The Repair of Historic Wooden Windows.”

John G. Waite, “Preservation Brief 27: The Maintenance and Repair of Architectural Cast Iron,” National Parks Service (U.S. Department of the Interior, October 1991), https://www.nps. gov/tps/how-to-preserve/briefs/27-cast-iron.htm.

59

60

John H. Myers, “Preservation Brief 9: The Repair of Historic Wooden Windows.”

61

Weaver, 28.

62

Appendix A

Mary Ellen Polson, “Reproducing Historic Wallpapers,” May 5, 2020, https://www. oldhouseonline.com/interiors-and-decor/reproducing-historic-wallpapers.

63

64

Weaver, 260-63.

Sharon C. Park, “Preservation Brief 39: Holding the Line: Controlling Unwanted Moisture in Historic Buildings,” National Parks Service (U.S. Department of the Interior, October 1996), https://www.nps.gov/tps/how-to-preserve/briefs/39-control-unwanted-moisture.htm.

65

66

Peter Mold and Richard Godbey, “Limewash: Compatible Covering for Masonry and Stucco.”

67

Allen Joslyn, “Unlocking Victorian Door Hardware” (Old House Journal Magazine, November

62

CAPLINGER HOUSE 19, 2018), https://www.oldhouseonline.com/interiors-and-decor/unlocking-victorian-doorhardware.

Franklin Pierce Hall, “The American Doorknob - Reading Room,” Antique Homes, April 24, 2018, https://www.antiquehomesmagazine.com/reading-room/the-american-doorknob/.

68

69

70

Franklin Pierce Hall, “The American Doorknob - Reading Room.”

Margot Gayle, David W. Look, and John G. Waite, “Metals in America’s Historic Buildings,” 31.

“Cleaning Tarnished Metal Door Handles: Handles4doors” (Handles4Doors), accessed November 2020, https://www.handles4doors.co.uk/advice/cleaning-tarnished-metal.

71

Donovan R. Every and Roger B. Russell, “Wood : Colors and Kinds,” Agricultural Handbook : U.S. Department of Agriculture , no. 101 (October 1956): pp. 1-34, https://doi.org/http://npshistory.com/publications/usfs/handbook-101.pdf. 10.

72

Daniel L. Cassens, “Yellow-Poplar,” Hardwood Lumber and Veneer Series (Purdue University , September 2007), https://www.extension.purdue.edu/extmedia/fnr/fnr-293-w.pdf.

73

74

Daniel L. Cassens, “Yellow-Poplar.”

Dan Cooper, “The History of Wood Flooring” (Old House Journal Magazine, October 22, 2012), https://www.oldhouseonline.com/interiors-and-decor/the-history-of-wood-flooring.

75

A. J. Downing and Anderson, A., The architecture of country houses: including designs for cottages, farmhouses, and villas, with remarks on interiors, furniture, and the best modes of warming and ventilating, 184.

76

“Historic Housekeeping Handbook,” Minnesota Historical Society, 2019, https://www.mnhs. org/preserve/conservation/docs_pdfs/HOUSEKEEPINGMANUAL.pdf. 12-5.

77

Melissa Heaver, “Housekeeping for Historic Homes and House Museums,” Saving Places (National Trust for Historic Preservation , 2000), https://forum.savingplaces.org/HigherLogic/ System/DownloadDocumentFile.ashx?DocumentFileKey=5188036a-cb32-b503-1eee94fdb38212fa.

78

79

“Historic Housekeeping Handbook,” 12-5.

“Cork Expansion Strips,” Amazon.co.uk: DIY & Tools, accessed November 2020, https://www. amazon.co.uk/CORK-EXPANSION-STRIPS/dp/B002A4NYNE. 80

81

Turner, Helen. “Wood+ Cork + Bamboo.” Lecture, October 13, 2020.

82

Daniel L. Cassens, “Yellow-Poplar.”

Jasper Weldon, “Timber Floors” (Building Conservation Directory, 2009), https://www. buildingconservation.com/articles/timberfloor/timberfloor.htm.

83

“A Practical Journal For Mechanics, Builders, Inventors, Engineers, Architects, With A Record Of Railway Progress.,” Industrial Monthly 1 (1872).

84

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Jane Davies and Stacey Francis, “Trompe L’Oeil Marble,” Trompe L’oeil Marble: History and Conservation of 19th-century Marbling (The Building Conservation Directory, 2015), https:// www.buildingconservation.com/articles/marbling/marbling.htm.

85

86

Jane Davies and Stacey Francis, “Trompe L’Oeil Marble.”

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Jane Davies and Stacey Francis, “Trompe L’Oeil Marble.”

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