StudioPatina
Saint Charles Street, New Orleans THE ROUND TABLE CLUB
EXTERIOR
Following a preliminary paint analysis performed by Dorothy Krotzer, Building Conservation Associates, and the Preservation Technology class at Tulane University, Studio Patina finished their analysis on the exterior elements as well as three interior rooms. Microscopic paint analysis was preformed on seven samples to determine the original colors, matched to a commercial paint, and provided to the Club in a graphic report complete with swatches.
The goal was to bring the Queen Anne building back to the original color scheme. The main body of the house (finished, below) shows a warm yellow and cold grey trim with darker grey windows. This would have been typical at the end of the 19th century - darker trim remained an influence in New Orleans long after the East Coast schemes changed to white trim - an influence brought to America by Scottish designers James and Robert Adam who had been influenced by discoveries at Pompeii in 1762.
It is important to note for historic color accuracy that blue porch ceilings are NOT typical in New Orleans until the late 20th century. Not one paint analysis performed on porch ceilings by Studio Patina in New Orleans reveals the use of blue - it was an application common in New England to keep away bees and insects but never in New Orleans. It would have been particularly avoided on grand houses uptown like this one since it connotated a more rural, farm house feel which they likely wanted to avoid. The ubiquitous use of it today demonstrates how tricky architectural color can be since usually a building is painted every 7 years thus hiding the previous schemes. A fad catches on, someone posts a blog about it, everyone thinks its correct... The color layers shown in the porch ceiling chromacronology (upper right above) are common - grey, tan, white.
Following the Civil War, house styles become less regional (like Queen Anne) and colors become commercialized for the first time since the invention of the paint can, rail transportation, and synthetic pigments all converge within a few decades. This changes the colorscape of America forever.
One of the first color cards (above) by Sherwin Williams (1890's) offers possible schemes and placement similar to the original choices by the Round Table Club.
INTERIOR
Studio Patina was later hired to consult on the remodel of an interior room (not shown to retain privacy). The double room had a fireplace with crackle-glaze tiles seen upper left and 10' ceilings with high base boards and picture rail molding about 2' from the ceiling providing a logical gradation of color placement from floor to ceiling. A paint analysis informed a starting point - an original tan found in a chip from the first floor (upper middle).
Wallpaper was also applied - English designer William Morris' Willow (1874) and Brer Rabbit (1880). Morris was inspired to design the pattern after reading the folk tale Uncle Remus - a tale that originated about 30 miles up river from the Round Table Club at Laura Plantation. The cabin at Laura where Uncle Remus himself told the story is pictured upper right.
Studio Patina extra - the above chromacronology comes from the entry hall - with the plaster substrate at the bottom followed by five strong reds and then tans and whites. To have such bold color on the interior of a house - especially the entrance - shows the confidence returning at the end of Reconstruction.
This sample later inspired the color scheme for the entire interior 10 years later - about 15 rooms.
In memory of Ellis Joubert.