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Over the past century, the powerful but mythical image of knights in shining armour, with bright polished swords to match, has dominated our view of what ironwork looked like: that of a polished greyish-white metal. This impression is gained not only from descriptions and illustrations in many books but is also obvious from even a casual walk around museum collections specializing in high status ironwork (such as the Royal Armouries in Leeds). But a close examination of much of this ironwork is likely to reveal that this was not its original appearance. Many poorly preserved patinated surfaces have been mistakenly removed by restorers and conservators wishing to improve the appearance of the objects in their care, not realizing they were altering the appearance by removing surviving traces of the original surface. However, it is possible to work out what much early iron or steelwork was originally intended to look like even if very little of the original surfaces survive. This can be done by the study of a combination of things: actual surviving traces, related decorative features (such as inlays), early descriptions, pictures, and even the use of inhomogeneous metal for certain objects or the making of composite ferrous artifacts. From this we can start to find out that much ironwork was actually intended to be either one or more colors, mostly in the range black (hence blacksmith) or dark grey to brown or blue, sometimes with one color intended to show up in contrast to another, or to a decorative feature such as an inlay. The probability that induced patination on iron surfaces was also intended to serve as a protective film is also indicated by some written sources. These issues need to be examined to promote a much better understanding of this little understood aspect of early ferrous metalwork, both to find out how and why it was intended to look originally and avoid bad decisions on how it should be cared for and displayed.
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