The Art of Plastering

Trust News Australia, Volume 3 No 1 May 2010, p8

With the advent of modern building technologies many of the traditional plastering methods and skills are disappearing. The secrets of effective decorative plaster work were traditionally handed down through family generations, but because of this and the complexity and artistic nature of the trade, it is not, sadly, a craft of choice in the building practices of modern day Australia.

Traditional methods of plastering have been in limited use since World War II. Since this time, changing methods have resulted in diminished traditional skills. It is now a specialist field which predominantly relies on the 'old' teaching the young. David Hough, owner of DLH Plastering in New South Wales is a passionate advocate of traditional plastering methods in restoration work. From the fourth generation of a family which boasts twenty-seven plasterers, he learnt his skills from his father, Wal, a City and Guild recipient and silver trowel holder from Derbyshire in England.

When undertaking restoration work the heritage plasterer must match the 'new' work to the required period. This does not imply that the 'finish' only is to be matched; it demands that the entire procedure be replicated. For example, if the substrate is a lath and plaster wall (timber studding with timber laths attached and spaced at approximately 5mm apart) then traditional sands and limes must be used in the mix. It is also imperative that the use of correct nailing procedures of laths, even 'hair' distribution and natural catalysts be used. The reason being, that sand and lime mixes allow for movement within the substrate which, in turn substantially reduces the risk of cracking or crazing in the finished work. Applying cement based mixes to this and other substrates not only increases cracking and crazing but also renders the laths un-usable if any further restoration were to be needed in the future. This example highlights only one of the many problems that can arise due to ill-advised use of incorrect materials and procedures.

Traditional lime plastering methods were used by DLH Plastering in the 2006 restoration of the heritage listed Brush Farm at Eastwood, New South Wales and the restoration of the decorative and ornamental corbels under the Juliette balconies on the Dungowan' apartments at South Steyne, Manly, NSW.

David acknowledges that it takes time to do traditional and decorative plaster work in situ and that the materials can be expensive and, at times, difficult to source but claims the longevity of the result more than justifies the effort involved.

Plastering had been used to enhance buildings since the Egyptians used plaster as a surface for colour decorations. An interesting example of an early Egyptian form of lath and plaster work can be seen on the partly damaged sarcophagi in the Cairo museum, the many ceilings and walls with relief ornamentation of hard, fine plaster which remain at Pompeii are also evidence of its extensive use by the Romans. Italian Renaissance artists imitated this work by daubing pigments into plaster to create some..of their timeless masterpieces.

However it wasn't until after the 'great fire' of 1666 decimated the City of London, that Charles II appointed six commissioners to redesign the City. The new plan provided for wider streets and the construction of double brick houses, factories and public dwellings rather than the dangerously flammable wood and pitch construction of the period. The new buildings paved the way for the wide use of decorative and ornamental plasterwork in the UK. Those who visit National Trust buildings in England find much beautiful plaster work to admire ranging from Tudor times to the elegant decorations of Robert and James Adams.

Traditionally, plasterers worked with fine plasters, selected sands, graded limes and natural additives. Horse or cow hair was obtained from the abattoirs and then beaten with sticks by the apprentices to remove the dust and then mixed through the backing coats to add strength prior to applying the plaster finish. However, the formulas for these different mixes often remained a closely guarded 'trade secret' and were key to the silky-smooth eggshell finishes that could be achieved.

Unfortunately, the craftsmen who are able to do this type of work and are capable of giving the correct advice, are becoming increasingly hard to find, forcing some builders to opt for the often cheaper and always inferior alternative. This is often not the fault of the builder; it is more a testament to the fact that the art of traditional decorative and ornamental plastering truly is a dying one.

TOP LEFT: David Hough ruling the quoins on Brush Farm House, Eastwood, NSW. DLH Plastering, P Boddy.
TOP RIGHT: I Finished curved cornice and panel mould. Longueville, NSW. P Boddy.