Windows and Doors

Up until the eighteenth century, doors were usually quite plain and made from vertical oak planks nailed to horizontal ledges. Panelled doors, in which thin panels are set into a framework of rails and stiles were used initially for internal doors, with surviving examples from the seventeenth century. By the eighteenth century, the use of panelled doors was more widespread, initially with two panels, though four and six panels were commonplace in the nineteenth century. Overlights or more decorative fanlights were a feature of the Georgian classical tradition which dominated from the late eighteenth century through to the mid-nineteenth century at least. With it also came the use of decorative door cases, influenced by classicism. In rural building, old traditions died hard, and plank doors in simple frames remained in widespread use.

The introduction of affordable glazing in the sixteenth century was associated with the widespread use of mullioned windows, which were usually glazed using diamond-shaped or rectangular glass quarries. The quarries were held together by lead cames (glazing strips) in timber or iron casements, which were fixed between the stone or timber mullions. These windows were horizontally proportioned, but from the eighteenth century higher ceilings and the introduction of the sash window encouraged windows that were set vertically. The influence of classicism across Wales, encouraged by architects such as John Nash and then promoted by pattern books, helped to ensure a wide take-up of this new style.

In traditional rural housing, horizontal proportions continued to be used into the nineteenth century, associated with the use of casement windows and, sometimes, with horizontal sliding sash windows. The sashes slide sideways in grooves at the top and bottom of the frame. In Wales, they are sometimes used in the smaller openings on the upper floors of Georgian buildings, but more commonly as replacements for earlier casement windows.

In early vertically sliding sash windows the upper sash is fixed. The lower sash is able to slide upwards and is held open by wedges or pegs inserted into holes in the lining of the window. This design continued to be used for reasons of economy, but variations of the double-hung sash, where both sashes are able to slide open, quickly became the norm. The sashes are hung on cords or chains attached to lead or cast-iron weights. These counterbalance the weight of the sashes to hold them in the open or closed position. In higher status houses, instead of curtains, sash windows often had panelled timber shutters that folded back into shutter boxes to the sides of the window. Sadly, despite the practicality and elegance of this design, many of these have subsequently been removed.

Georgian windows were small paned and the mouldings became finer and more delicate as time went on. After about 1840 larger sheets of cylinder glass and then plate glass were more readily available, resulting in sash windows with fewer panes. Because the glass was heavier the sash frame needed additional support, and small horns were applied below the joint on each side of the sash. Variations in the pattern of glazing include the use of margin lights and a tripartite division of the main frame.

Towards the end of the nineteenth century, the availability of coloured glass for use in domestic architecture led to a major revival in leaded lights. Flowing shapes and colourful designs based on natural forms are typical of the Art Nouveau style and many examples survive in fanlights, windows and door panels in Llandrindod Wells.

Metal windows are of considerable historic interest and should be repaired, rather than replaced. Wrought-iron, side-hung casements supported on iron pins, known as ‘gudgeon pins’ or ‘pintles,’ were used in domestic architecture from the sixteenth century. They were glazed with leaded lights and often had curved wrought-iron casement stays or hooks to hold the window open. By the end of the eighteenth century, cast-iron casements were commonly used throughout Wales in industrial and agricultural buildings, churches and cottages.

Later, hot-rolled steel windows, which are often replaced without a second thought, played a vital part in the bold designs of Art Deco and Modernist buildings of the 1930s to 1950s. Sadly, in Wales relatively few buildings of this date survive with their original detailing. Instead of being side-hung, cast-iron and steel windows sometimes open by pivoting around the central vertical point or are hinged at the bottom, with the window opening inwards.

What to look for: 

Missing putty and broken panes

Suggested action: 

Replace missing putty immediately. If necessary, replace broken panes with matching glass.

Cracks in the corners of historic glass are not usually a problem, but replace missing putty at the earliest opportunity to prevent water getting into the timber.

Use linseed oil putty to replace missing or old putty. Take care when removing old putty from unbroken panes as it will have dried out, becoming extremely hard. Soften it using a solvent paint stripper before attempting to remove it.

To replace a broken pane, carefully remove the broken glass and putty, using a chisel or putty knife. Clean out the rebate before priming the timber. When the primer is dry, knead a ball of linseed oil putty until it is smooth, shape it into a thin strip and press this around the edge of the opening. Bed the new pane of glass onto the putty. The glass should be of the same type and thickness as the original and very slightly smaller than the size of the opening. Fix the pane in place using glazing nails, known as ‘sprigs’. Press more putty into the joint between the glass and frame and smooth it into a bevel with a putty knife, dipping the knife in water occasionally to prevent it from sticking. Remove excess putty from the inner face of the window and remove any smudges from the glass. Leave the putty for at least a week before painting.

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What to look for: 

Missing or defective mortar between the window frame and wall

Suggested action: 

After ruling out any underlying structural problem, fill gaps between the frame and wall using lime mortar.

To fill gaps of up to 1” (25mm) wide between the window frame and the wall, clean out any loose material, brush the dust away and lightly mist with water to dampen the void. Pack the gap tightly with lime mortar mixed with a course aggregate, leaving the mix ½ to ¾” (10-15mm) back from the outer face of the window frame. Leave the mortar for at least a day until it begins to stiffen and tightly fill the recess with lime mortar containing a fine grade sand. Finish flush with the frame, taking care not to smear mortar on the wall.

Seek advice on appropriate mortar mixes from your supplier.

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What to look for: 

Distorted window frame

Suggested action: 

If the distortion is recent, consult a structural engineer and, if necessary, stabilize the wall. Adjust rather than replace the window.

Window frames can become badly distorted as a result of settlement of the walling around the window or failure of the lintel. The distortion is often most apparent at the window head. As with all signs of possible structural movement, consult a structural engineer and, if needed, take measures to stabilize the wall.

Distortion of the frame can be a significant problem with double hung sash windows as it can prevent them from closing properly. Rather than replacing the window, once the wall has been stabilized a joiner will usually be able to adjust the sashes to fit better through piecing in additional sections of timber.

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What to look for: 

Open joints

Suggested action: 

Repair joints, fill cracks with wood filler and redecorate to prevent water getting into the timber.

Sometimes the joints of casements or sash windows open up, particularly at the lower corners. An ‘L’-shaped non-ferrous bracket may be screwed on as a temporary repair. Fill any cracks with a wood filler suitable for exterior use and redecorate with a good-quality oil-based paint.

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What to look for: 

Sticking casement windows 

Suggested action: 

Check if the window has been painted shut, and release it if necessary. Repair or replace loose or worn hinges.

If the window has been painted shut, release it by cutting around the edge of it on both sides as necessary with a sharp blade.

Loose or worn hinges can also cause side-hung casements to drop and catch on the frame, making them difficult or impossible to open. Check whether the hinge screws are loose or missing and replace if necessary. If the frame is split behind the hinge, remove the casement and hinge, and glue the split back together using a waterproof wood adhesive. When the glue is dry, refix the hinge and casement. If the hinges are worn, swap them over or replace them, preferably with matching hinges.

If the casement is sticking because it is swollen, plane or sand down the area where it catches, taking care not to remove too much material. Redecorate immediately to protect the exposed wood.

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What to look for: 

Sticking sash window

Suggested action: 

If the problem is slight, rub candle wax along the running surfaces. If sashes have been painted or screwed shut, release them, taking care to make sure the upper sash does not fall.

There are several reasons why sashes can stick, but if the problem is only slight, rubbing candle wax along the running surfaces will often help.

Not all sash windows are double hung. In some, the upper or side sashes were never intended to open.

If the window is designed to open, but it will not budge, check whether the sashes have been painted or screwed shut. Release painted sashes by cutting around the edge of them with a sharp blade. Insert a wide paint scraper into the gap between the sash and the stop bead. Repeat on both sides of the window if necessary and push the sashes from side to side to break the seal.

When releasing the upper sash, take extra care; if the sash cords are broken, the window may drop down suddenly. Make sure that the weight of the sash is properly supported before breaking the seal. Replace broken sash cords.

Check whether the pulley wheel has seized up, remove any paint that may be causing it to stick and apply a spray lubricant.

Misalignment of one of the stop beads can also cause a sash to stick by holding it too tightly against the parting bead. To overcome this, prise the stop bead loose using a flat bladed tool and renail it in the correct position.

Signs of wear on the sashes indicate that they are twisted, causing them to stick. Remove the sash by following the guidance on replacing broken sash cords. Plane or sand down the worn areas, but do not remove too much material. Redecorate immediately to protect the bare wood.

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What to look for: 

Draughty or rattling sash windows 

Suggested action: 

Fit draft-proofing to reduce draughts and rattling. Consider secondary glazing to improve thermal performance.

Wear and tear of the side pieces of the sash, known as ‘stiles,’ can cause the sash to move too freely in the frame. There are a number of easy to fit proprietary draft-proofing products that can significantly improve the thermal performance of sash windows and stop them rattling.

With very loose sashes, an experienced joiner will usually be able to piece in extra strips of wood to remedy this problem.

If sashes tend to slide up or down of their own accord the weights may be too heavy or light to counterbalance the weight of the sash. Replace the weights or add extra weights as necessary. The weights of upper sashes are usually a little heavier than the sashes themselves, whereas the lower ones are a little lighter. To access the weights, follow the guidance on replacing broken sash cords.

Where the design of the window surround permits, secondary glazing may be an appropriate way of further improving energy conservation. Take care, however, not to damage shutter boxes or timber-lined reveals and architraves.

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What to look for: 

Broken sash cords

Suggested action: 

Remove sashes from their frame and replace broken sash cords. Check pulley wheels and lubricate if necessary.

Broken sash cords are relatively easy to replace using very basic tools, but it does involve removing the sashes from the frame.

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What to look for: 

Shutters difficult or impossible to open

Suggested action: 

Check if shutters are painted shut, releasing them if necessary. Repair or replace loose or worn hinges.

Internal folding shutters were commonly used in Georgian and Victorian buildings instead of curtains. The shutters are made of hinged timber panels, which fold back neatly into shutter boxes in the reveals. When the shutters are closed against the windows they are held in place by metal bars. There are often four shutters per window, two to each side.

If the shutters will not open at all, they may be painted shut. Cut around the edge of them with a sharp blade and if necessary, carefully insert a wide paint scraper into the gap between the shutter and frame to release them.

If the shutters open with difficulty, check whether the hinge screws are loose or missing and replace if necessary. If the hinges are worn, swap them over or replace them, preferably with matching hinges.

If the problem is due to distortion of the shutters, plane or sand the worn areas, taking care not to remove more wood than is necessary. Redecorate with a high-quality oil-based paint.

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What to look for: 

Missing or flaking paint 

Suggested action: 

Carry out any repairs necessary before redecorating the windows. Windows should be redecorated on a 3 to 4 yearly cycle

Pre-eighteenth century joinery was usually made of oak, but after this date most joinery, including windows, was usually made of imported pine. Pine was almost invariably painted to protect it, and although it is currently fashionable, paint should never be stripped to expose the timber.

Paint naturally weathers and windows should be redecorated every 3 or 4 years to ensure that the timber is well protected. Extensive or premature deterioration of paint may indicate high moisture levels in the timber. Check the condition of the walls adjacent to the windows and take measures to eliminate any source of damp before redecorating.

When redecorating it is rarely necessary to completely strip the paint from windows. Indeed, the successive layers provide an important record of the changing colour schemes. Be aware that the existing paint finish may contain lead, which was used widely up until a few years ago. Burning it off will release toxic fumes, as well as possibly damaging historic glass. Similarly, rubbing it down with sandpaper will create harmful dust. Lead paint can be removed with a chemical paint stripper, but it is probably best not to disturb it.

Never strip paint by immersing windows in baths of caustic soda as this can damage the timber and weaken the joints.

After removing loose paint and carrying out any repairs necessary, rub down the surface with sandpaper or a wet abrasive paper if the existing paint is thought to contain lead. Wash the surface with sugar soap, rinse off and leave to dry thoroughly. Apply primer to any areas of bare wood and decorate using a good quality oil-based paint in accordance with the manufacturer’s instructions.

Take care not to paint over draft strips, pulley wheels and sash cords and chains. Leave casement windows slightly open and move freshly painted sash windows as they dry to prevent them from sticking to the frames.

What to look for: 

Loose glass; missing putty or beads

Suggested action: 

Secure loose quarries with leaded light cement or, for small areas, linseed oil putty. Replace missing putty or beads.

Leaded lights are given a waterproof seal by squeezing a special putty, known as ‘leaded light cement,’ between the lead and glass. However, this cement can become brittle and fall out, causing the glass panes, known as ‘quarries’ to become loose, allowing water to penetrate.

Loose quarries can be secured by using proprietary leaded light cement or for small areas, linseed oil putty mixed with a small amount of black grate polish. Squeeze some of the filler into the gap between the glass and lead came on both sides of the window, taking care not to apply too much pressure, which could distort the window. Remove any excess filler using a small pointed wooden tool. The sort of tool used for clay modelling that can readily be bought from a craft shop is ideal. Brush the joints thoroughly with a nailbrush before polishing the glass to remove any smears. Darken the lead if desired using black grate polish.

Leaded lights are fixed into the rebate of timber windows using sprigs and linseed oil putty. To give added strength in doors they are usually fixed using timber beads nailed to the surround. Replace missing putty or beads as necessary.

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What to look for: 

Buckled leaded lights, damaged or corroded lead cames or broken glass

Suggested action: 

Any serious repairs are likely to require the removal of the panel. Contact a professional stained glass artist.

Minor distortion of a leaded light is not usually a problem, provided that it remains weathertight and there are no other signs of deterioration. If a light has buckled, glass has broken, or the lead cames are showing signs of corrosion, contact a professional stained glass artist with conservation experience for advice.

As lead is such a malleable material, larger panels are often attached to iron saddle bars to provide extra stiffening. These are fixed into the frame and copper wires are soldered to the lead cames and twisted around the bars. If necessary, saddle bars can be installed at the same time that other repairs are undertaken.

What to look for: 

Rust and flaking paint; ill-fitting or decayed iron or steel casements

Suggested action: 

Redecorate metal windows on a 3 to 4 yearly cycle, but more frequently if corrosion is found. In cases of severe corrosion seek advice from an experienced blacksmith.

Iron and steel windows are subject to corrosion. Remove rust and loose paint using a wire brush or wet abrasive paper if the existing paint is thought to contain lead. Roughen the surface of sound paint. Wash to remove dirt and grease, and allow to dry thoroughly before redecorating the window using a good quality oil-based paint system. Keep the hinges free from rust and well lubricated.

If the weather is not suitable for redecoration, apply a coat of raw linseed oil to protect any bare metal.

The use of non-traditional coatings that bond chemically with the iron should be avoided as they are susceptible to chipping and cannot be removed or over-painted using more traditional paint systems.

If the window is severely rusted or the casement is distorted and badly fitting, seek advice from an experienced blacksmith.

What to look for: 

Driving rain getting in under the door.

Suggested action: 

Screw a weatherboard onto the bottom of the outer face of the door.

A weatherboard is a triangular piece of wood with a groove cut into the bottom edge of it. It catches water, encouraging it to drip clear of the door. Ready-made weatherboards can be bought from most builders’ merchants and cut to size.

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What to look for: 

Draughty or rattling doors

Suggested action: 

Fit draught excluders to loose doors to stop them rattling and to improve energy conservation.

A variety of proprietary draught excluders are available that can be easily trimmed to size and fitted. With the door closed, measure the widest gap that needs to be filled and select an appropriate product.

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What to look for: 

Sticking doors 

Suggested action: 

Repair or replace loose or worn hinges. Check for paint build up or swollen timber and remedy if found.

Doors can stick for a number of reasons. Check whether the hinges are loose causing the door to drop slightly. Renew the screws if necessary. If the hinges are worn swapping them over may help. Use matching hinges if replacement is necessary.

If the door will not close properly, it may simply be due to the build up of paint layers, which should be removed. Alternatively, if the door sticks only in damp weather, moisture may be getting into the timber causing it to swell. You may need to remove the door to do this, but plane the edge where it is sticking and redecorate the bare timber as soon as possible. Be sure to prime the bare timber before painting with a high-quality oil-based paint.

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What to look for: 

Fanlights — Broken glass; flaking or weathered paint.

Suggested action: 

Replace broken panes in timber or cast-iron fanlights. Employ a stained glass artist to repair damaged leaded lights. Redecorate fanlights every 3 to 4 years.

The fixed glazed panel above a main entrance door is called a ‘fanlight’. Fanlights were first introduced in the eighteenth century and are very common in Georgian and Victorian buildings. They are semicircular or rectangular in shape. They are often extremely ornamental and are nearly always associated with decorative doorcases. The Victorians often glazed their fanlights with leaded lights incorporating the house name or number.

Unlike other windows, timber or cast-iron fanlights are glazed from the inside, so repairs can easily be carried out. When replacing a broken pane avoid damaging the structure by softening hard putty using a chemical paint stripper before removing it with a chisel or putty knife. Knead a ball of linseed oil putty until it is smooth, shape it into a thin strip and press this around the edge of the opening. Bed the new pane of glass onto the putty. The glass should be of the same type and thickness as the original and very slightly smaller than the size of the opening. For timber fanlights, fix the pane in place using glazing nails, known as ‘sprigs’. Press more putty into the joint between the glass and frame and smooth it into a bevel with a putty knife, dipping the knife in water occasionally to prevent it from sticking. Remove excess putty from the outer face of the window and remove any smudges from the glass. Leave the putty for at least a week before painting.

Redecorate timber and cast-iron fanlights every 3 to 4 years to protect the glazing bars. Use a high-quality oil-based paint.

If a leaded light is damaged, repairs should be entrusted to a stained glass artist with conservation experience.

The modern style of ready-made door incorporating a fanlight in the upper part looks completely wrong in an old building as there is no historic precedent for this detail.

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What to look for: 

Minor decay, missing or flaking paint

Suggested action: 

Carry out any necessary repairs, refix loose mouldings and fill cracks and gaps before redecorating. Redecorate on a 3 to 4 yearly cycle.

Paint naturally weathers, and external doors and doorcases should be redecorated every 3 or 4 years to ensure that the timber is well protected. Extensive or premature deterioration of paint may indicate high moisture levels in the timber. Check the condition of any lead over the canopy or doorcase for leaks and ensure that walls adjacent to the door are dry. Also, check that water can drain away freely from the base of the doorcase and adjust the ground level if necessary. Take measures to eliminate any source of damp before redecorating.

When redecorating doors it is rarely necessary to completely strip the paint. Indeed, the successive layers provide an important record of the changing colour schemes. Be aware that the existing paint finish may contain lead, which was used widely up until a few years ago. Burning it off will release toxic fumes. Similarly, rubbing it down with sandpaper will create harmful dust. Lead paint can be removed with a chemical paint stripper, but it is probably best not to disturb it.

Never strip doors by immersing them in baths of caustic soda as this can damage the timber, weaken the joints and cause the doors to warp.

If the paint is removed, treat the exposed timber with a wood preservative. Remove small areas of wet rot and fill with a two-pack system filler. Nail any loose mouldings back into place and fill any cracks.

After ruling out any underlying structural problems, fill gaps of up to 1” (25mm) wide between the doorcase and wall using lime mortar. Clean out any loose material, brush the dust away and lightly mist with water to dampen the void. Pack the gap tightly with lime mortar mixed with a course aggregate, leaving the mix ½ to ¾” (10-15mm) back from the outer face of the window frame. Leave the mortar for at least a day until it begins to stiffen and tightly fill the recess with lime mortar containing a fine grade sand. Finish flush with the frame, taking care not to smear mortar on the wall. Seek advice on appropriate mortar mixes from your supplier.

After carrying out any repairs necessary, remove any remaining loose paint and rub down the surface with sandpaper or a wet abrasive paper if the existing paint is thought to contain lead. Wash the surface with sugar soap, rinse off and leave to dry thoroughly. Apply primer to any areas of exposed bare wood and decorate using a good-quality oil-based paint in accordance with the manufacturer’s instructions.

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What to look for: 

Warped, decayed or damaged doors or doorcases.

Suggested action:

If doors or doorcases are badly warped, decayed or damaged, consult an experienced joiner.

Doors and doorcases make a significant contribution to the character of a historic building and every effort should be made to preserve these features. If a door is badly warped, decayed or damaged, always consult a joiner to obtain advice about options for repair rather than replacement.