But why pink? Unpacking Preservation and Painting of Historic Houses
In 2023, our historic Edwards-Barton-Aquilino House received a much-needed facelift, which included restoration work and a fresh coat of paint on the building’s facade. In the wake of this upgrade, the community had some questions about the building's unique shade of pale pink. Why, in the face of modern trends and preferences, and over many decades and layers of paint, has the Barton house remained this color? To unravel this mystery, we delved into the rich tapestry of history, preservation philosophy, and the evolving nature of aesthetics with our Restoration & Preservation Manager, Corbet Walser.
Q: Why can’t we repaint our historic houses any color we like during the restoration process?
CW: The Edwards-Barton-Aquilino House has enjoyed its place on the Landmarks Preservation Committee's registry of historic buildings since 2001. This designation brings with it a set of stringent limitations that safeguard the form and appearance of the house, especially its exterior. Any alterations undergo a meticulous process of review and approval, with elective changes primarily approved for safety, accessibility, or long-term preservation. This legalistic justification underscores the commitment to maintaining the historical integrity of this venerable structure.
Q: Is there anything else beyond historic landmark requirements that plays into the decision to keep the house pink?
CW: Beyond legal requirements, Historic Richmond Town (HRT) subscribes to a broader preservation philosophy akin to that of the Landmarks Preservation Committee. This philosophy draws from the metaphysical tradition, which historically divided physical attributes into "primary" and "secondary" qualities. While primary qualities like shape and size are easily measured, secondary qualities, including color, were considered subjective and transient, existing in the minds of observers. While contemporary science has bridged this gap, the primary/secondary distinction still resonates with a universal human intuition.
Q: What is the importance of the pink color in the context of the Edwards-Barton-Aquilino House?
CW: While paint is a component often replaced in routine maintenance, its color is integral to the building's identity. In a world where homeowners can easily change their house's color palette, HRT treats its buildings as documents, preserving the historical "text" embedded in each structure. The pink hue of the Barton House, dating back to its construction in 1869, reflects not only aesthetic choices but also technological and economic conditions of the time.
During the Victorian era, when the Barton House was built, the color palette for homes primarily consisted of earth tones derived from mineral sources. The advent of new pigments in the late 19th century marked a period of vibrant color, but the Barton House retained its brown-on-pink scheme, capturing a snapshot of the past. Unlike the colorful Victorian Revival homes of the 1960s, the Barton House's color is authentic to the 19th-century period it represents.
Q: What do you think the original owners of the house would think about the fresh coat of paint?
CW: Preserving the pink facade isn't just about maintaining an aesthetically pleasing appearance; it's a commitment to honoring the vision of the original builders and owners. The color choice, like the frame construction or window placement, reflects the cultural and technological milieu of its time. HRT considers it a duty to safeguard this vision with minimal alteration, allowing future generations to appreciate and connect with the historical roots embedded in the pink exterior of the Edwards-Barton-Aquilino House. In a world where change is constant, the Edwards-Barton-Aquilino House stands proudly as a testament to the enduring beauty of the past, preserved for the enjoyment and education of generations to come.
Thanks to the Historic House Trust who awarded us a grant to secure paint through a partnership with Benjamin Moore, which is helping us keep the paint as close to the original color as possible. Thanks is due also to the John & Patricia Klingenstein Fund for their support to complete this project with professionalism and expert care.