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New introduction to the 2002 edition of

The Art of the Plasterer

With a new introduction by Tim Ratcliffe and Jeff Orton

George Bankart was an architect inspired by the Arts and Craft movement, who believed that there should be no division between architects and craftsmen. Rather like Ernest Gimson, who became skilled in a number of crafts, he learned how to plaster and became particularly skilled in handworked decorative plaster.

George Bankart wrote The Art of the Plasterer in 1908. This was a real attempt to understand the historical development of the craft. It remains practically based, but gives an artistic interpretation of the way materials were used in response to stylistic changes. His love of the material and its aesthetic characteristics comes through very clearly. It has to be said, however, that Bankart has very strong views on the development of plasterwork and is pretty dismissive of everything that happened after the beginning of the eighteenth century!

The book seems to have been reasonably successful, as B.T. Batsford, the publisher, re-issued it a few years later (presumably before the First World War as it is not dated). At the end of the preface to the second edition there is a note, which states ‘In re-issuing the book, the opportunity has been taken of correcting and explaining a few points which appeared to some to be obscure.’ The tone of the preface does suggest that Bankart believed any failure to understand his text lay with the reader.

Later in the 1920s he jointly produced Modern Plasterwork Construction (1926) and Modern Plasterwork Design (1927), with G. Edward Bankart. Both were published by the Architectural Press, in a portfolio form, and consist mainly of drawings. Also in 1927, he revised William Millar’s classic book, Plastering – Plain and Decorative, which was re-published as the fourth edition. The revised edition is significantly different from the first. He added new chapters of his own and took out large portions of the original that he thought to be out-dated. His removal of the section on Gothic Plasterwork, for example, seems to confirm his disdain for nineteenth-century decorative plaster. The fourth edition does, however, combine Millar’s very practically based description of the mechanics of plastering with Bankart’s passion for the artistic potential of the material.

Reading The Art of the Plasterer gives us a good insight into the ideas and ideals that Arts and Crafts designers were seeking to follow. Bankart’s dislike of Robert Adam’s work, for example, stems from his desire to use materials honestly rather than copying historic styles. The fact that he describes the work of Adam and all his contemporaries in just three and a half pages of text, and refers to Joseph Rose as Joseph Rolfe, demonstrates a notable lack of enthusiasm for the neo-classical period. Whilst one can take issue with these sorts of views, they do demonstrate a clear and vigorously applied philosophy.

Another authoritative publication on the history of plasterwork from around this period is Margaret Jourdain’s English Decorative Plasterwork of the Renaissance (1926). The aim or purpose of ‘Bankart’, in contrast to ‘Jourdain’, was to explore how materials and methods were used and developed, rather than just to catalogue the historical development of decorative plasterwork. One of the benefits of The Art of the Plasterer is that, in addition to the wonderful black and white photographs, there are hundreds of drawings of ceilings and the profiles of mouldings. George Bankart clearly spent a lot of time studying and researching the subject from the top of a ladder.

Although The Art of the Plasterer gives a good overview of the history of plasterwork, which concurs with current knowledge, the reader should be aware that there are dates and points of detail, which have been shown to be incorrect by later research. If one just wants a book on the stylistic development of plasterwork, there are later books, which give a more developed description of the subject (e.g. Lawrence A. Turner’s book from 1927 and Geoffrey Beard’s 1975 book, both entitled Decorative Plasterwork in Great Britain). In contrast with other historical books, this is written by someone with ‘hands on’ knowledge of plaster, who wants to pass on his enthusiasm for the material. Bankart is not an academic, and wouldn’t want to be thought of as one.

He often refers to ‘stucco’ in this book and seems to use the term to describe lime putty and marble dust mixes. The word, which is Italian in origin, actually means plasterwork of a fine nature, either internal or external. It is also worth noting that when he refers to ‘plaster’, he is usually referring to gypsum, which is the most commonly accepted understanding.

There are interesting references in chapter two, from a number of different sources, including Vitruvius, to materials added to stucco. We are told that ancient stuccos sometimes contained fig juice, curdled milk, blood or beer, to make them harder. There is also an interesting reference to lime putty being purposely exposed to the frost to improve its qualities. George Bankart is keen, however, to emphasise that the two most important things to make a successful lime stucco are time and care. He is convinced that ancient stuccos were superior because of the length of time the lime putty was matured and because of the time dedicated to chopping and beating it.

Chapter six is of interest because of its explanation and illustrations of parge-work, or pargetting as we would know it. This chapter still stands as an excellent historical description and record of the subject.

This book has been written by a man who, like Millar, cared passionately about the craft of plastering. His lament over the decline of creative skills in plasterwork seems somewhat prophetic in the light of the continuing general de-skilling of the plastering trade. His enthusiasm, however, is infectious and inspires us to believe that the recent rediscovery of hand modelling skills (to reinstate fire damaged plaster) could lead to a true revival of the art of the plasterer.

Tim Ratcliffe (Architect) BA DipArch RIBA

Tim Ratcliffe is a sole practitioner working on historic buildings in and around the Midlands and North Wales. He previously worked for Donald Insall Associates, and Rodney Melville and Partners. In 1987 he was awarded a travelling scholarship by the Society for the Protection of Ancient Buildings (SPAB) and has also worked as a labourer for a number of specialist plastering and conservation contractors. He sits on the Technical Panel of the SPAB.

Jeff Orton (Plasterer) CRP APC MPCG

Jeff Orton served a full plastering apprenticeship from 1963–1968 with a traditional family firm, and gained a distinction in the Advanced Craft City and Guilds Examination. He is registered with the Worshipful Company of Plasterers (CRP) and is also an Associate of the Worshipful Company of Plaisterers, who now publish a directory of skilled plasterer's. In 1981 he attended the San Servolo Architectural Conservation Course for Craftsmen in Venice. Since 1987 he has worked for Trumpers Ltd, repairing and reinstating plasterwork in historic buildings for private clients as well as The National Trust and English Heritage.

Tim Ratcliffe and Jeff Orton are both members of the Plasterers’ Craft Guild and the Building Limes Forum. They give lectures and demonstrations together on traditional plastering techniques. The Plasterers’ Craft Guild was established, 50 years ago, to pursue the ideal of craft excellence within the plastering trade; through education and the ongoing development of skills in the industry. The Building Limes Forum was formed in 1992 to encourage the development of expertise and understanding in the use of lime in building.