Antique and Historic Fountain Renovation and Restoration

Historic fountain restoration and renovation is a professional endeavor that seeks to preserve, conserve, revive, and protect fountains and water features, and associated ornamental objects, landscapes or other artifacts of historic significance. Thru history we have seen the design and construction of fountains and water features move in two diametrically opposed directions. From the aesthetic side fountain have become much more simple and have far less architectural and artistic features, alternately we have seen fountains develop as objects of spectacle thru the use of technology and the application of advanced systems, engineering, and components. Architectural fountain conservation describes the process through which the material, historical, and design integrity of a fountain is prolonged through carefully planned interventions. The individual engaged in this pursuit is known as an architectural fountain conservator. The decisions of when and how to engage in an restoration intervention are critical to the ultimate conservation of the object. Ultimately, the decision is value based: a combination of artistic, contextual, and informational values is normally considered. In some cases, a decision to not intervene may be the most appropriate choice. Fountain conservation deals with issues of prolonging the life and integrity of architectural fountains character and integrity, such as form and style, and/or its constituent materials, such as stone, brick, glass, metal, concrete, and systems . In this sense, the term refers to the professional use of a combination of science, art, craft, and technology as a preservation tool, and is allied with its parent fields, of historic environment conservation and art conservation.

Mechanical and Electrical Renovation and Historic Restoration. Historic fountains have had been equipped with a multitude of systems to supply, filter, animate, light, and provide drainage. The most challenging aspect of historic fountain restoration is renovation of mechanical system since they are often buried within the structure of the vessel and ornamental features. These systems can be made of brass, copper, bronze, lead, terracotta, plastic, and steel piping and conduit. Because fountains are harsh environment for almost any material they tend to be the major week point in the longevity of a fountains operational life span. This coupled with the fact that there are very few fountain experts word wide and even fewer who actually install what they design leads to fountains that can fail to operate properly within a very short time of being commissioned. This in conjunction with the virtual nonexistence of expert fountain service providers further complicates the issues with regards to the long term operation and maintenance of these features. For clarity we will divide the systems within a typical fountain into several categories and then address the issues associated with each.
1. Supply systems- These are defined as the system supplying water to the fountain or water feature. These can include public fresh water systems, well supply systems, and captured water systems, and natural sources such as ponds, streams, springs, ect. These systems help the fountain overcome water loss that can occur from wind, splash, evaporation, displacement, or leaks. Many older fountains supply systems were once thru systems meaning the water went into the fountain thru the supply pipes and after going thru the features, sprays, nozzles, and spouts, ended up in the vessel which then drained to a waste line or back into the same source the water came from. Today these are rare with the advent of sophisticated animation went thru and sanitation systems. In may cases these systems are replaced with up to date systems.
2. Animation system- This refers to the movement of water thru spouts, sprays, streams, waterfalls, mists, jets, ect.. This is the part of a fountain that the viewer generally perceives as the fountain. Historically these features emulated from stone or bronze sculptures and ornaments to form the spouts and sprays we associate with older antique fountains. Over time as the casting and machining of brass developed fountains became less about the ornament and more about the waters spray height and size. Larger and larger displays were a sign of mans ability to rule the natural elements and where therefore symbolic of power, status, and wealth Animation systems have now evolved into extremely complex systems run by computerized show controls that can create stunning spectacles. The animation system is considered the to be the piping, valves, nozzles, pumps, and associated fittings.
3. Sanitation systems- Early fountains were typically both a supply system and animation system and because the supply waters we thru once no sanitation was needed or provided. With the advent of concern about water quality, public health, water conservation, and the demand to put fountains were a large continuous water supply is not available, sanitation systems have become a required element of nearly every fountain system. The parts of this system may include circulation pumps, filters, chlorinators and chlorine generators, skimmers, and pH control.
4. Electrical system- This refers to the lighting, various sensors, timers, animation controls, pump power supplies, automated valves, bonding grids, and electrical panels. Virtually all fountains built or renovated in the last 50 nears have some type of electrical supply. Because the national electrical code changes every few years it is important that electrical safety issues are addressed regularly especially during a renovation.
5. The Vessel or Containment- This refers to the structure that holds the water that runs thru the plumbing systems and in most cases creates the pool we associate with a fountain. These pools are generally topped with what is known as a coping which is a decorative divider between the water and the surrounding space. Many new fountains are considerably different from the typical pool style fountain in that the stored water is hidden in a storage reservoir, and the water animation system shoots water up thru what might seam like solid paving. In this case the water flows to a drain system then flows into the storage tank. There are also many floating fountains that sit inside of existing bodies of water. Generally these fountains are the most inexpensive fountains to create a big effect for a modest investment. Containments can be made of earth with a lining system, fiberglass, structural concrete, stainless steel, glass, plastic, or masonry. In most renovation projects we find that the vessel has some type of structural or waterproofing issue that causes it to leak. These repairs can require the complete removal and replacement, of the vessel or simply the application of a membranes or sealers. Virtually every fountain is different so each project presents new problems that must be thoroughly thought thru and addressed.
6. Finishes and Architectural Elements- The most famous antique and historically significant fountains where heavily ornamented and covered with involved finish materials. As fountains have become more about animation and less about the fine arts of mosaics, stone carving, and sculpture, fewer and fewer fountains are being constructed with fine finishes. This is one of the most important reasons for the restoration of these pieces of fine art due to the fact that they are becoming so rare and cost prohibitive to recreate. So few people are capable or recreating these pieces of fine art that they are virtually irreplaceable. Because of this we take the conservation of these finishes and elements so seriously. Below is an outline of the more basic conservation concerns and guidelines for fountain finishes and architectural elements.

Carved Stone and Masonry Conservation Stone is found in many forms within fountains- it can be sculptural, architectural, ornamental or simply functional. It can usually be thought of as any piece of stone which is cut in three dimensions to form a regular or irregular shape. For the purposes of this guidance note, carved stone does not include masonry such as moldings although many of the characteristics of care and conservation are applicable to both. In a fountain situation, carved stone can be found in embellishments such as coping surrounds, or as spouts, plinths, statuary, containments and veneers. There is also a wealth of garden ornament which, because of its location can be particularly prone to decay in the same way fountain element are. The extent and range of carvings is matched by the variety of stones from which they are made. Limestone, granite, marble and sandstone are the principal materials but within each of these categories, there is a substantial variation both in appearance and behavior. Stone conservators have a wide range of knowledge about stone and related materials and can help by identifying the type of stone and recommending storage, protection or treatment options accordingly.

Carved stone is often delicate and is thus more susceptible to decay than bulk masonry. Consequently it also requires more care and attention. Observation and vigilance are the most crucial initial steps as, more often than not, early recognition of decay (through whatever mechanism) can help to prevent serious or even terminal damage. Whether a carving deteriorates or not depends on a number of factors including the type of stone, its location and its maintenance. Although stone is generally considered to be a hard material, it is subject to a number of decay mechanisms:
Environmental decay
This is usually - but not always - found on external stonework. It is caused by weather erosion, the effect of pollutants, salt crystallization, biodeterioration, the use of oxidizers and sanitation chemicals, and by repeated wetting/drying cycles. For obvious reasons, it is not easy to control and harder to reverse, but stone that is kept in a damp or exposed environment may be particularly susceptible. The most important thing you can do is to identify, be aware of and monitor any carved stone - often it is part of a larger construction and thus is not as immediately visible or accessible as a stand-alone object. Once identified, simple checks can be made to see if it is cracked or showing signs of decay or damage. Remember, decay is usually a slow cumulative process, so regular inspection is an invaluable tool.

• A stone conservator can carry out an initial survey for you and give you advice on an appropriate inspection and maintenance regime. Mechanical decay This can be due to poor quality stone, expansion of fixing cramps, bedding planes in the wrong direction or settlement. In most cases, a poor quality stone will crumble on all faces and lose its shape whereas a stone which shears in one direction is likely to be suffering from decay along its bedding plane. Physical damage caused by the corrosion and expansion of iron cramps used to secure the carving is very common, particularly with monuments and other items exposed to a damp environment. These problems are usually manifested by a crack appearing in the stone. This type of decay can - depending on the location of the stone - present a safety hazard from sections of stone breaking off and falling to the ground.

-Stone conservators have the skills and access to appropriate materials to carry out repairs and consolidation of stone in situ or in the workshop. Great care should be taken when moving stone, as the carved areas will be delicate. In many cases, however, because of the location or bulk of the stone, it will not easily possible to prevent the degradation and on site repair will need to be carried out.

• Do seek a conservator's advice on assessing the risk in moving a large stone object - most stone conservators are experienced in moving heavy items safely and they may also be able to suggest alternative means of treatment or protection from poor conditions. Applied decay This is most commonly brought about by inappropriate repair and vandalism. For all types of stone, the use of a hard repair medium such as cement can be detrimental and lead to accelerated decay of the original; this is often found as a powdering of the stone adjacent to the repair. Vandalism and graffiti are increasingly prevalent causes of damage brought about by social problems, lack of lighting and insufficient protection.

-It is best to seek advice about pointing, repair or fixing materials before using these yourself. Stone conservators are trained to use both traditional materials (e.g. lime) and the latest modern synthetics. They are also able to remove most graffiti or advise you on how to do this yourself. "Dirt" and cleaning Surface dirt on a stone is not usually a problem except from an aesthetic view. Many carved stones suffer from the accumulation of a black crust on the sheltered undersides of the carving; this may lead to decay in the future but can be completely stable and protective. It can even help the definition of the carving by accentuating the shadows. Moss and lichen grow readily on stone and do not usually cause decay except through water retention and the subsequent action of frost. Such growths can contribute to the patina of the object. The surfaces of carved stones should therefore not be regularly cleaned, as the action of cleaning can cause accelerated deterioration (especially to sandstones) or re-soiling by opening the pores of the stone. Any cleaning should be carried out using gentle means such as bristle brushes and water but not aggressive detergents; a stone conservator can advise you on how to do this and whether specialist intervention is needed. Consulting a conservator The decay of stone is a complex area to which prescriptive rules do not apply. It is therefore important to get specialist advice. This need not be too detailed but a conservator with experience in stone conservation will be able to:

• Identify the type of stone " Ascertain what decay mechanism is going on and why it has happened.

-Recommend and carry out preventive and remedial works as necessary " Provide advice on future care, protection, replication and maintenance The materials and processes used at each of these stages will depend on the type of stone and the context - it is important that they are compatible and correct for each individual situation. Such work should be carried out using the skill and experience of a conservator. Brass and Bronze Statuary and fixture Preservation Historical brass and bronze fountain elements can be maintained for years of use and enjoyment provided that some basic care and attention is given to its preservation. Identifying Brass and Bronze Brass and bronze are alloys of copper. (Two or more metals are combined to form an alloy. Alloys generally have a different appearance or working properties from their component metals.) Brass is an alloy of about 70% copper with about 30% zinc. It may be cast into solid shapes, rolled into thin sheets, spun into vessel shapes or drawn into piping. Many decorative fountains contain brass. In its natural state it is typically light yellow-gold in appearance. Historic cast bronze is usually 90% copper, 6% tin and 4% zinc. It has been widely used since antiquity for weapons, sculpture and decorative objects. Bronzes are traditionally patinated and usually appear anywhere from light green to dark brown. Patinas are sometimes described as any controlled corrosion that imparts an aesthetically pleasing color and/or texture to the artifact. Patinas may be applied with chemicals or may have accumulated over time naturally; in either case, owners should be aware of the potential value of these finishes. (The confusing part may come in differentiating pale green patina from potentially harmful corrosion; this will be addressed below). A third category of artifact that should be included in any discussion of brass and bronze, is "bronzed" and plated finishes. Sometimes called "French Bronze" in the Nineteenth century, paint or varnish containing bronze pigments were applied to cast iron or soft white metal. These painted finishes may develop copper oxidation, but should not be polished. Another method of bronzing involved applying a very thin copper plating to a metal surface; this kind of finish does not hold up to polishing either. Colored lacquers were sometimes applied to scientific instruments, and should be considered as carefully as you would an original patina on a bronze artifact. Please consult a conservation professional before attempting to conserve these unique artifacts. Causes of Damage Corrosion, poor handling and inappropriate storage are the major causes of damage to metal artifacts. Copper alloys are relatively stable, corrosion-resistant materials if they are properly cared for. Active or "problem" corrosion causes a loss of metal from the object, and is most closely associated with an inappropriate storage or a display environment which is heavily polluted, or subjected to evaporating salt water. Mishandling, however, can result in serious loss of value if denting, breakage, bending or cracking occurs. Salts, oils and moisture can cause corrosion to develop, "staining" copper alloys, so if you handle metal artifacts with bare hands you risk damaging them. Corrosion SAFE CORROSION - Uncoated copper alloy artifacts that have been kept clean and dry will usually develop stable surfaces. Stable surfaces may appear reddish, black to brown, or green to blue. The brownish and black colors may result from natural, nondestructive oxidation of the copper, which is sometimes misnamed "tarnish". Thick crusts may accumulate, but dense corrosion that does not progress may actually protect the object if it is left intact. Purposely applied, "patinas", which may be any variety of colors, usually act as a protection to the metal. PROBLEM CORROSION - If you notice the development of small spots of light green powder that grow rapidly, your artifact is suffering from what is commonly called "bronze disease" and indicates active corrosion. As mentioned above, green surfaces are often seen but may not be cause for alarm if the corrosion layer is continuous and does not flake off easily. Bright or 'waxy" whitish-green powder forming in small areas on the surface, or in cavities on the metal surface, indicates advanced active corrosion. If left in its current state, this type of corrosion can cause a significant amount of damage to historic copper alloys, as it causes pitting of the surface and a continuous loss of metal. This condition is sometimes noticed when green powder falls from an undisturbed object. It is caused by the presence of salts in the air, or by deposits left behind from inappropriate cleaning or handling and progresses when the air is humid. High levels of ammonia pollution in the air will cause bluish deposits of corrosion. In rare cases, "patinas" contain corrosive ingredients that may contribute to corrosion. Corrosion will progress on copper alloys in the presence of high Relative Humidity (RH), normally above 70%. As for most metals, the critical RH may be LOWER in polluted atmospheres (like Metro-Detroit). Dust and grime left to accumulate on metal artifacts will actually hold moisture to the surface, and may induce corrosion even where the humidity is not that high. Varnished or lacquer brass and bronze can usually withstand corrosion as long as the coating is not broken. Where there are losses in the coating, corrosion will progress, usually seen as dark streaking where unprotected areas have oxidized. Abrasion and Denting Objects with thin walls or fine ornamental detailing may be damaged by rough handling. Raised areas and handles are especially susceptible to denting and joint failure. (See Handling, below). If historic brassware is being used in the home, their owners should accept a certain amount of wear and tear from handling and more frequent cleaning and polishing. Repairs to valuable metal artifacts, which may involve braising or raising and reshaping dents, should be done by a qualified metal smith familiar with historical techniques or by an art conservator. Caring for Brass and Bronze Since artifacts made in part or entirely from copper alloys are so varied, it is not possible to cover all aspects of treatment in this document. Your first line of defense is to provide a good storage environment. Handling Most metal artifacts should not be handled with bare hands. Salts and oils from your skin can etch into uncoated metals and may even cause permanent damage. Fingerprints are often discernible as darkened disfiguring marks on uncoated copper. Handle your valuable collection with gloves. Soft cotton gloves or any clean glove or rag may be employed for this purpose. Lift objects from their center of gravity. Avoid lifting objects by lip, limbs, handles, spouts or other extended areas; the metal may have developed unseen weaknesses over time and may bend or break unexpectedly. Cleaning and Polishing If you choose to attempt cleaning your brass or bronze artifacts, and you are sure of the surface appearance you wish to achieve, some of the following suggestions may help: Cleaning - Stable or painted surfaces should be kept dust free. Vacuum-clean all stable artifacts regularly, using the nozzle attachment with a brush. A bristle brush or a toothbrush may help to raise dust from crevices. Sometimes surface grime can be removed satisfactorily with soap and water. We recommend a plain soap such as "Triton X-100" or "Vulpex"; both are conservation approved, in a 3% solution in water. Any wet cleaning should employ deionized or distilled water only, and rinsing is a very important step. If the dirt that you want to remove is very greasy, "Vulpex" may be used in mineral spirits, in a 3% solution; rinse with straight mineral spirits. It is especially important to remove old polish residues, which appear usually as dark green, gray or white deposits in cracks. Calcareous (lime or hard water) deposits may respond to a 10 % solution of regular "Calgon" (sodium hexametaphosphate) in distilled or deionized water. Allow the solution to soak into the crust and then remove by scrubbing with stiff brushes. Then rinse thoroughly in distilled water. Corrosion removal - Very heavily corroded objects, like those unearthed or found in water, artifacts with original painted surfaces or those damaged by salts may require the assistance of a trained conservator. By attempting to remove thick corrosion with steel wool or other scrapers, you may end up scratching or abrading the metal surface. Polishing - Some, but not all, brass was traditionally polished to a bright finish, and altering original surfaces may reduce the historical value of an object. As mentioned above, some dark, stable surfaces may be considered "patinas". Collectors should be aware of any special finishes, especially lacquers and patinas, which may determine the correct color the metal should be, the degree to which it should be cleaned and/or the degree to which it should be polished. If you come across any special coating after you have cleaned off the simple dirt, you may wish to consult with a conservator before proceeding. If you wish to return a brass or bronze object to its original, polished appearance, it is usually possible with a fair amount of elbow grease and a good polishing compound. Old lacquers must be removed prior to polishing. If the lacquer is original and in fairly good shape, you may consider investing in a professional treatment to preserve it. Lacquer removal is best done with acetone, preferably by immersion. Acetone is a volatile solvent that should never be used in a poorly ventilated area. (Please consult the manufacturer or Material Safety Data Sheet for complete safety requirements.) Polishing with a mild abrasive is the only safe cleaning method conservators can recommend for most historic metal artifacts. Copper and its alloys are relatively soft metals. Commercially available "dips" may contain undesirable components such as hydrochloric or sulfuric acid, which act too quickly and remove more metal than simple polishing does. Conservators do resort to special dips in certain extreme cases, but for most darkened brass, this method is too aggressive. Some commercial paste polishes are quite abrasive and may scratch your fine metalwork. Light polishing may be carried out using jeweler's cloth containing rouge (i.e. "Birk Cloth", "Hagerty Glove"). A museum-proven, safe polishing method is as follows: POLISHING METHOD 1-For most polishing we use fine calcium carbonate, CHALK, ("whiting") worked into a slurry or runny paste with equal amounts of ethanol (denatured alcohol, ethyl alcohol) and distilled water. The paste is rubbed across the surface working a small area at a time, with cotton balls or clean cotton rags. Detailed areas may be polished with Q-tips in the paste or with cotton wadding on the end of a sharpened bamboo skewer. Depending on the design of your object, it may not be desirable to over clean every crevice, as this decreases the overall contrast of the detailing. It is important to remove all residual polish with distilled water. Drying may be accelerated by adding ethanol to the rinse water, or by giving the object a final wipe with ethanol. POLISHING METHOD 2- Some artifacts may not respond to the special treatment outlined above because the oxidation layers are too thick. For an admittedly more abrasive method, we recommend "Autosol" for general purpose polishing. Test for the degree of polish you wish to achieve on a small inconspicuous part of the object. Buff on the polish with a clean rag. The surface must be rinsed with mineral spirits after polishing to remove any polish residues. This polish can be recommended because it contains less ammonia than most other commercial brands. Ammonia can cause long term damage to valuable copper alloy objects. COATING Polishing exposes fresh, reactive metal to the atmosphere and, therefore, to further oxidation. You may wish to coat objects that will not be used. We apply a lacquer coating to valuable silver and brass for their protection. This also mitigates the need for frequent polishing, which inevitably wears away the metal surface if done frequently. Lacquering- Lacquering involves the use of solvents such as acetone or tri-chloroethane to clean the metal properly. On large areas of metal, a spray-applied lacquer achieves the most even and durable finish. Spray lacquering is a task best left to qualified individuals with the training and equipment necessary to do a good job. Poorly applied lacquers can actually cause more severe corrosion if small areas are left exposed. If there are small areas or pieces of an artifact that need to be coated, you may achieve satisfactory results by brushing on a lacquer. We recommend "Incralac" lacquer, which is formulated for use on copper and copper alloys. It is soluble in the solvents xylene and toluene and must be used in a well-ventilated area. (Please request a Material Safety Data Sheet and instructions when you order this product). The metal must first be scrupulously clean, and you should always wear gloves to handle the artifact after it has been polished. Just prior to applying the lacquer, the artifact should be given a final degreasing with acetone. Lacquer gives a shiny luster to the metal. Waxing- For most collectible brass and bronze artifacts, the best coating we can generally recommend is wax. Wax provides a relatively flexible coating that is easily applied and that can be renewed. It can be used on top of original patinas and lacquers that you do not wish to disturb, as long as they are cleaned first. The Henry Ford uses "Renaissance" wax, or other "microcrystalline" waxes in most cases, because it is inert and will not yellow over time. It is applied to a degreased surface with a clean cloth, and buffed out with a rag or bristle brushes (shoe polish brushes are great for this purpose). For better adhesion, you may wish to dilute the wax in mineral spirits or lacquer thinner. Brush the wax on, let the solvent evaporate and then buff with a rag or soft-shoe polishing brush. An alternative on objects made entirely of metal is to gently and briefly heat the degreased surface with a hair dryer before applying the wax. (Do not try this if heat-sensitive materials such as wood and ivory are nearby.) Again, wax is not an appropriate coating for all metal surfaces, especially where it is impossible to cover the whole object, or where the slightly glossy finish would be inappropriate.