Comper work restoration - walls.

Damp had caused some of the Comper wall decoration to get into a very sorry state. Coupled with the accumulation of years of dirt and grime this meant that something had to be done.

This phase saw an extensive restoration programme involving cleaning, restoration and reproduction which took about 6 weeks during which the Church resembled a cross between a building site and an artist's studio!

Now the work is finished this area of the church is back to something like its original splendour with pictures 6 to 11 showing just how worth while the work has been.

Picture 1

Before the work started the damage to the wall decoration could clearly be seen to the right of St Wilfrid's statue. The area below the candle was particularly damaged. The degree of grime could also be seen to the left of the statue just above the door into the vestry.

Picture 2

The restoration has been such an extensive undertaking that the entire High Altar area behind the Screen has been taken over for the duration!

Picture 3

Looking the other way was no better. Dust sheets, scaffold towers, ladders and even temporary lighting were everywhere.

Picture 4

The arch around the window has been meticulously cleaned, the paint has been retouched or reproduced, gold re-applied and then the entire area given a "wash" to blend the newly restored areas into the original Comper work.

The arch, being made of stone with a slight texture, was the hardest area to clean effectively and the Restoration team had to resort to using small brushes to get into the texture.

Picture 5

The plastered area in the reveal was smooth and so was much easier to clean. Unfortunately the lower area was very badly damaged and so has had to be almost fully reproduced.

To make sure it is as exact a copy as possible the Restorers take a tracing of the original before any cleaning is done. This tracing is then used to copy a pencil outline onto the cleaned and restored white background.

In this picture the gray swirl pattern has been completed and work is starting on the green scroll work.

It's also interesting to see how a simple cleaning improves things. Compare the arch on the left of this picture to the same area in Picture 1. Who says Spring cleaning isn't worth it!

Picture 6

After many hours of work the fully restored window can now be seen in all its glory.

Picture 7

Who says the Victorians didn't "do" colour? The actual colours (and yes they are an accurate reproduction) are much more vibrant than can be shown by mere photographs.

Picture 8

It's not just coloured paint either. The gold leaf widely used by Comper throughout his work in the church complements the bold colours perfectly.

Picture 9

Gold leaf doesn't just work with bright colours. The dark green background and a green detail which is so dark that its almost black, emphasise the "sparkle" of the gold leaf.

Picture 10

The damage to the white panels to either side of the window was in places so bad that almost nothing was left. This meant that everything had to be reproduced and blended in to match the original work.

Picture 11

As Eric would say to Ernie, "you can't see the join"?

Well on a photograph you can't! If you look carefully at this panel in church though, you can maybe see that the join is just below the black candle holder.

Comper work restoration - roof.

Time, dirt and general wear and tear had all made the roof and High Altar Tester appear something more than a little drab. This phase of the restoration program has made a vast difference to the "feel" of the Church and has given some idea of the effect to be had once the rest of the Comper work is restored - roll on Project Comper!

The only problem is what was required to complete the works, scaffolding, plastic sheeting and ladders took over the entire area. The restorers have even had to work laying down in places, shades of the Sistine Chapel and Michelangelo perhaps?

Picture 1

A general view showing the general state of the roof and Tester.

If you look to the right of the front corner of the Tester there is a small area which has been test cleaned. This really shows the level of grime!

Picture 2

St Wilfrid might be in hiding but, if you look very carefully there is a High Altar in there somewhere!

Liberal use of plastic sheeting protects everything from accidental damage while ladders provide access to the platform erected as a temporary work floor.

Picture 3

A view not seen very often, the roof from close up.

The black "table" running across the bottom of the picture (with some of the restorer's equipment on) is one of the roof beams. Under the paper roll is a mortise which suggests at one time there was a vertical beam supporting the roof!

Picture 4

Cleaned and resplendent in its new coat of paint this is a detail of the Cornice, somewhere above the usual home of St Wilfrid.

The silver at the bottom is just the tape used to hold the plastic sheeting in place.

Picture 5

How's this for a difference then? Starting at the top is the old colour. Below that is a cleaned and stripped area and finally the "finished" colour.

Amazing what a few years does to such vibrant colours.

Picture 6

Ever wondered what the view from the top of the Screen is like? Wonder no more, here it is.

More importantly, look at the wall above the arch, it used to be white! If one was to scrape away the layers of paint, the bottom (and original?) layer is a shade of orange! Who said the Victorians weren't colourful?

Comper work restoration - High Altar.

OK so not just the High Altar, but everything else round and above it has either been cleaned, touched up or just given a good dusting. No that doesn't mean Father John has had his feather duster out - the specialists have once again moved in.

Picture 1

Yes the scaffolding is back!

Buried deep under the scaffold towers, dust sheets and builders lights is the Altar stripped of its finery. And yes it is stone.

Picture 2

The Tester has now been cleaned and shines in its golden splendour, though the strong lighting does heighten the effect.

Picture 3

Most of the original work was intact despite the passing years but there has had to be a little touching up.

This involves very small brushes, a crick in the neck, tired arms and endless patience.

Picture 4

The end result though can only be described as splendid.