Historic Paint Colors (1820-1920)

GENERAL NOTES

Paint serves two purposes, aesthetic enhancement and protection against deterioration. All wood surfaces exposed to the weather were and must be painted. Transparent stains and varnishes are not permitted for use on historic buildings.

False "graining" was often applied to doors, but, in these cases, the wood imitated was usually figured oak, rosewood or maple. The practice of applying a clear finish to bare wood with the expectation that this will adequately imitate "graining" is prohibited. Graining should be done by skilled craftsmen.

A common mistake is made when strap hinges are painted a color different from the shutters to which they are attached. Shutters and all attached hardware shall be painted the same color. The pintle that is attached to the door frame should be painted the same as the frame. A few exceptions to this rule may exist or be allowed under special conditions.

One of the most exciting aspects of renovation/restoration is the choice and placement of exterior paint colors. These colors and their placement should parallel the different tastes associated with the period of a particular building. Basically, there are four major color phases for buildings from 1820 to 1920 in the Vieux Carré: c.1820-1840, c.1840-1870, c.1870-1900, and c.1900-1920. In general, these four periods have fairly definable colors and placements of colors - from the early use of pastels and white, then in the Victorian period a darkening and broadening of not only color ranges but color placements and, finally, a return to pastels and white after 1900. The fascination with rich colors and emphasis on architectural details begins in the 1840's and increases toward the end of the century. After 1900, one finds a gradual return to the pastels and white of the Colonial period, there being no coincidence that this period is often called Colonial Revival.

For instance, a building in 1820 might be painted light yellow with Paris green shutters and light gray trim; a stuccoed building in 1850 might be painted a brick red color with scored, simulated stone joints, with medium range green shutters, false-grained doors, cream cornice and trim; a building in 1890 might be painted rich olives,beige trim colors emphasizing decorative elements, with shutters and sash a deep brown or rust; and finally, a 1920 building might be painted white with green shutters. This, as any generalization, should be applied with care.

Sandblasting is prohibited. Sanding wooden surfaces with an electric sander to remove old paint should be accomplished with great care. The rotary sander may leave unsightly circular markings on the surface. Power sanding may permanently damage delicate moldings and applied decoration. Chemical stripping (no dipping) or the use of a heat gun should be considered first before any power sanding is used. (Note:Removal of the old layers of paint removes any documentation of various color schemes used on the historic building.)

The dipping of architectural elements such as shutters and doors to remove old paint is strictly prohibited as it causes irreversible damage to the element through uneven shrinkage of individual parts and the disintegration of internal glue.

The following list of colors are recommended as historically accurate. Scientific documentation and restoration of original paint colors is also recommended and encouraged. Other paint palettes shall be reviewed on a case-by-case basis.

Building colors tended to be light earth colors and pastels; architectural features were restrained, and colors reflected this restraint. Trim tended to be the lightest (white/gray/cream), shutters a gray or light to medium range green. Brick buildings were often painted brick color with pencilled joints.

Buildings: pastels and white; bricks were often painted brick colors with pencilled joints, especially c. 1830.

Shutters: predominantly Paris green (a mid-range blue green, the approximate color of oxidized copper), medium range greens, some blue-green, gray, gray-violet and gray-brown ranges.

Trim and Cornices: white and off white (gray/cream).

French Doors: gray/cream and oak wood color (grained).

Foundation and Chimney: same as or darker than building in earth tones.

Ironwork: Black or painted and beeswaxed.

Compared to the earlier period, there is a broadening and deepening of colors and more delineation of details by color. Ironwork and trim have their own range of colors giving rise to more expression of individual tastes. This expression took the form of scoring stucco, delineation of panels in doors and imitation of fine stones.

Buildings: deep reds, mauves, browns, grays, puce and other masonry and stone-like colors, including simulated marble and granite facades. Wood frame buildings have a wider range of colors including blues and greens.

Shutters: medium range greens and blue-greens (paris green), some browns and grays.

Trim and Cornice: creams, grays and white

Doors: Painted, simulated wood graining (oak or mahogany) or trim colors. Panels may be painted differently than stiles and rails.

Ironwork: green, black, red or brown. Ironwork should contrast in shade or hue with background.

Downspouts: green or building color.

Chimneys and Foundation: same as building or darker or stone color.

Colors become muted if not somewhat darker, and painting follows architectural elements. Those elements are more diverse and intricate and are emphasized with alternating colors.

Buildings: browns, olives, blues, ochres, grays and other rich warm colors.

Shutters: Paris green and other mid-range greens, and same color as building usually in a darker range.

Sash: same range as shutters; can be an accent, often deep red.

Trim (brackets, quoins, frames, etc.): usually divided into two colors contrasting with building or repeating building colors in different shades.

Ironwork, Foundations, Chimneys and Cornice: contrasting or deeper color than adjacent architectural features.

This period sees a gradual return to pastels and white by the 1920's. Colors tended to lighten up, including white with green shutters.

Buildings: pastels, grays, tans and white.

Shutters: mostly medium to dark range of green.

Trim: same as building, white, cream or gray.

Doors: trim color or stained and varnished.

Color can enhance or mutilate form and detail. Careful color selection and coordination are essential to the architectural integrity of a building. Garish color schemes are inappropriate to the character of the Vieux Carré. Colors shall be toned-down hues that harmonize with each other and unify architectural features. Colors may highlight important features, not unimportant ones, and should not fragment facade elements or create a spotty effect.

Darker shades generally can emphasize small areas, and light colors can intensify large areas. Dark colors can also reduce the legibility of details because they reduce the intensity of shades and shadows.

An enlivened design should not be achieved with vivid colors but with carefully coordinated, muted tones.