Artistry as Archaeology: A Passion for Historic Preservation at John Canning & Co.

“Throughout history, whether it be the paint trade or the stone mason’s trade or the carpentry trade, good craftsmen always put their mark on a work.”  

—John Canning, ornamental painter

One of the ultimate steps for an artisan engaged on a preservation venture is leaving their mark. This mark identifies the craftsperson who spent numerous hours investigating the historical past of a constructing, fastidiously selecting which strategies to make use of, and assuredly treating aged surfaces till the construction has regained its authentic character and ornamental particulars. This mark is all the time small and tucked away in a spot the place guests to a restored constructing can not discover it.

Master ornamental painter John Canning’s mark is a small signature, often close to the ceiling of a freshly restored inside. “No one else would ever see it except the tradesman,” he notes. “It’s not meant to be seen.”

The want to depart one’s mark displays a way of accomplishment and achievement in a job effectively executed.

“It’s a matter of pride,” Canning says.

In the early Nineteen Seventies, Canning immigrated together with his household to the United States from Glasgow, Scotland, the place he had accomplished rigorous coaching and training within the utilized ornamental arts as a church decorator. The strategies he discovered and finally mastered by his apprenticeship had already been handed down by a number of generations of tradesmen. “I like to say I have an accumulated experience of one hundred years,” he says.

His data and talent in replicating old-world strategies ready him to immerse himself within the American historic preservation motion. He based his personal ornamental portray firm in 1976, John Canning & Co. (previously John Canning Ornamental Painters and Church Decorators), and through the years has contributed to the preservation of among the United States’ most vital public buildings, together with the Connecticut State Capitol, Grand Central Terminal, the U.S. Treasury Building, and Radio City Music Hall, amongst many others.

Canning has handed his abilities, data, and guiding values to his daughter, Jacqueline Canning Riccio; his son-in-law, David Riccio; and two of his granddaughters, Isabella and Zoe Riccio, who’re all devoted artisans working at John Canning & Co. They assist protect John’s imaginative and prescient and legacy and be sure that on the core of John Canning & Co.’s work is a deep respect for the traditions and craftspeople of the previous and a dedication to faithfully preserving their artistry. The household shared their artistry on the 2025 Smithsonian Folklife Festival as a part of the Next Generation Artisans in the Traditional Building Trades program.

“What is interesting about what we do is telling the story of this country and telling the story of the talented generations who came before us,” Isabella says.

For John and his household, honoring buildings of the previous means ensuring that their historic and visible influence shall be preserved for future generations to study from and admire. They consider that restoration practices ought to be rooted in deep respect and understanding of not solely a constructing’s ornament but additionally the targets and processes of the craftspeople whose work is being restored.

“It’s so important to understand the original methods of execution,” John emphasizes. “It’s important to be able to recognize and respect them, and also the materials… It’s important to understand all of these things before we start to even put our hands on it.”

To fulfill their mission, the work of the craftspeople at John Canning & Co. extends past implementing architectural ornament and finishes. John notes that whereas engaged on historic buildings, “one becomes an amateur historian.” To efficiently emulate the unique craftsmanship, ornamental painters should start every preservation venture by conducting thorough analysis on the constructing they’re restoring.

“It’s like being an archaeologist,” John says, “pulling away layers of paint and discovering the original decoration and the wonderful craftsmanship of the past and then trying to replicate that.”

Zoe echoes her grandfather’s sentiment: “It’s almost like a treasure hunt. You have to search for answers.”

For most of the Cannings’ restoration initiatives, the analysis is difficult by restricted data. Without measurements or a report of authentic colours, they might should work from as little as one black-and-white {photograph}. However, outfitted with a plethora of specialised abilities, instruments, and data, they’re ready to fulfill this problem.

For historic paint restoration initiatives, they have to carry out exposures, which contain fastidiously peeling by paint and dirt, layer by layer, till they attain the broken or hidden decorations that they should refurbish. Once they’ve uncovered the ornamental components, the group examines the samples, utilizing instruments like microscopes to find out the precise sheen and colour of the unique paint.

This scientific investigation is complemented by historic analysis. For a venture restoring the Belmont Chapel in Newport, Rhode Island, Zoe spent a complete day scouring by books within the library trying to find the patterns initially used within the chapel. “It was just so fun,” she says. “And uncovering this history was a very cool thing to do.”

While painstaking and sophisticated, the analysis and evaluation elements of restoration initiatives enable the craftspeople of John Canning & Co. to preserve the work and tales of artisans of the previous.

“This work is demanding, but it is incredibly rewarding to see your work in these beautiful buildings and to know that you had a hand in returning these historic interiors to the original masterpieces that they are,” Jacqueline says.

“People will never know your name,” Isabella displays. “But they will see the work of your hands, and your patience, and your attention to detail.”

Devoted and enthusiastic subsequent technology artisans like Isabella and Zoe Riccio signify a promising future not just for John Canning & Co. but additionally for the sector of historic preservation and restoration. With their dedication to honoring and upholding the craftsmanship and intention behind significant areas, they’re poised to make a strong distinction by making certain the integrity of historic buildings and the tales and meanings they maintain. As lengthy as their ethos and craft traditions proceed to be handed down, the work of the previous will have the ability to communicate for itself for a lot of generations to return.

Peyton Hoffman is a program intern on the Smithsonian Folklife Festival and a rising junior on the University of Notre Dame School of Architecture.

The Next Generation Artisans within the Traditional Building Trades program acquired beneficiant help from the Richard H. Driehaus Foundation, the 1772 Foundation, and the Richard Hampton Jenrette Foundation. Additional help was supplied by the Smithsonian Women’s Committee and the University of Notre Dame School of Architecture. This program acquired Federal help from the American Women’s History Initiative Pool, administered by the Smithsonian American Women’s History Museum. In-kind help was supplied by the National Park Service Historic Preservation Training Center.