hypothesize about historic social hierarchies at work as well. These data are critical to our understanding of the conditions under which occupants lived, adding richness and texture to the historical record. Moffit also explains how discontinuities can reveal misconceptions about historic aesthetic schemas when scientific information is absent. Referencing a sample taken from an 18th-century colonial home in Williamsburg, Virginia, Moffit explains that the underlying layers on both hinge and door were initially painted in the same color, in keeping with the aesthetic of their time. However, analysis of a subsequent layer exposed an incongruous black and white schema, indicating a failed attempt at a colonial revival aesthetic. Without proper understanding of the historic record, these samples might lead to false conclusions if obtained through inferior “scratch and match” methods and visual inspection alone. As mentioned in the section discussing sampling techniques, methods of collection have improved considerably over the past few decades, and more reliable scientific protocols have replaced the older “scratch and match” method that Baty considers “pseudo analysis” as results are unreliable and deceiving. Color shift Many factors can cause pigments to fade or "shift" over time, under the influence of the agents of deterioration detailed in the introductory sections above, leading to erroneous conclusions when colors have faded or been otherwise compromised over time. For instance, what may appear to the eye to read as an "olive green" through visual inspection alone but may actually be identified as Prussian blue in the laboratory. Likewise, the accumulation of particulate matter from smoke or fire may accumulate on painted walls or ceilings, and if left untreated, over time, may cast a yellow hue that is mistakenly accepted as part of the intended color scheme. Color shift can pose a problem to the conservator tasked with restoring a structure to its authentic appearance when the altered condition is understood as the intended schema- especially when based on older “scratch and match” assessments described above. Uncorrected, this can lead to a pervasive misreading of the historic record, such as occurs when we mistakenly perceive an historic schema to be muted, or intentionally ‘restrained’ when in actuality, it has only oxidized. Moffit reports that many visitors to historic Williamsburg are surprised to encounter the bright and vibrant hues that we now understand to be historically correct. Authenticity and historic color palettes While some might suggest that flawed restorations are equally worthy