A variety of projects have been undertaken this year, both in support of EH's casework and on the paintings in our Historic Properties. The latter work is being done within a programme developed as a result of the audit of the paintings. This audit enabled us to identify the range of the wallpaintings at our sites and to prioritise the need for conservation. We are greatly helped in work on our wall paintings by our contract with the Courtauld Institute of Art. Through this we provide opportunities for practical training for students and identify areas of technical research which will enhance our ability to care for our own paintings and those in churches and other buildings throughout England. We are becoming increasingly aware of the need for careful evaluation of the causes of deterioration; an outstanding case in this respect is the investigation of the important Romanesque wall paintings in St Botolph's Church, Hardham (West Sussex), which have been subjected to many conservation campaigns over the years, but which continue to suffer deterioration. Lottery casework has started to impact on our work programme and may be expected to develop over the coming years.
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The ongoing project at St Leonard's Chapel, Farleigh Hungerford Castle, Somerset has included photographic and graphic documentation, video microscopy, remedial conservation work, and the commissioning of specialist surveys such as photogrammetry and rectified photography (carried out by the EH Survey Branch), moisture distribution surveys (carried out consulting architects), and salt analysis (in progress by postgraduate students in the conservation of wall paintings at the Courtauld Institute). Technical research on the original materials of the wall paintings has been undertaken. An aim is to use the findings in a display for the public which will help to clarify the original appearance of the various schemes. One of the paintings examined in particular detail was the fifteenth-century scheme including a St George and the Dragon and a figure probably of Sir Walter Hungerford, a veteran of Agincourt. Despite previous invasive conservation treatment, analysis has revealed a highly sophisticated use of translucent glazes over gold and silver leaf, a wide range of pigments including orpiment, and oil as a medium.
The important remains of thirteenth-century painted decoration at Cleeve Abbey, Somerset, have undergone various conservation programmes since 1989. In November 1996 work focused on the sacristy, where past investigations had identified the presence of potassium nitrate, a highly soluble salt, which was causing persistent and severe damage to the original decoration. As Cleeve is partially ruined the environment is difficult to control and environmental conditions are extreme, so this salt frequently undergoes crystallisation cycles. A system was therefore devised to reduce the salt content of the paint and plaster, involving repeated poulticing to extract soluble salts. In the Dorter continued deterioration of the north wall plaster was assessed and treated as a short-term measure until this wall can be fully protected from liquid water infiltration. In the Gallery (south range) two areas of medieval graffiti were exposed from beneath perspex coverings, cleaned and stabilised. In the Painted Chamber the areas of delaminating plaster at the apex of the south window and in the south-west corner of the room were consolidated and repaired.