Layers in Time: A specialist insight into caring for wallpaintings

The wallpaintings in our churches are some of the only surviving visual narratives that bring to life the colours, symbols, and stories that shaped the lives of generations long gone. Yet many are now at risk of being lost forever.  
 
Each wallpainting requires a different approach to conservation, depending on a variety of factors. 
 
The materials used in creating these precious works of art can determine the conservation work required. Did you know, for example, that animal glue used in the preparation of canvases feeds mould growth? Wooden panels, frames and stretchers, often in contact with damp walls, can harbour beetle infestation and bats may roost behind paintings. 
 
Church interiors often provide harsh environments for paintings, typically high humidity, low temperature, lack of ventilation and uncontrolled light. The impact of the environment can therefore be severe. 
 
There are also human factors involved, although the majority of past damage has been accidental, works of art are often affected by heritage crime, either directly or indirectly, when a building become vulnerable to the elements. Accidental damage can occur in any number of ways, from minor damage caused by scaffolding poles to major damage from building-wide fires or flooding. 
 
 In English churches, most wall paintings took the form of murals, painted in tempera onto dry plaster, as opposed to frescoes, which are painted when the plaster is still moist, but rare examples of frescoes and even wall paintings made in oil do exist.  These murals were essential to kindling the faithful imagination of medieval parishioners, most of whom were unable to read.  

The most common colours used in English medieval wall painting, were burnt red and yellow ochre gained from iron oxides, which could produce a range of reds and purples; green, usually a copper salt; blue which was usually a mineral pigment associated with copper (and therefore likely to fade to green or turquoise over time) called azurite, as opposed to the more rare and expensive ultramarine made by grinding up lapis lazuli; as well as charcoal and lime white.  

In August 2025, CCT launched an Annual Appeal: Layers of Time - Protecting our Painted Heritage, to call for vital funds towards the specialist conservation of these unique treasures. You can support this appeal by visiting, visitchurches.org.uk/Appeal, or by calling 0800 206 1463.