MANTELS AND CHIMNEY PIECES
In Colonial times fireplaces were a necessity. They supplied the only
means of heating the house, and much of the cooking was done by them
also. Indeed, the hanging of the crane was regarded as a signal event in
establishing a new home, and often a cast-iron fireback bore the date of
erection of the house and the name or initials of its owner. Each of the
principal rooms had its fireplace and often a large parlor, drawing-room
or library had two fireplaces, usually at opposite ends or sides, though
rarely on the same side, as in the library at Stenton. The hearthstone
was the center of family life, and architects, therefore, very properly
made the mantels and chimney pieces with which they embellished the
fireplace the architectural center of each room,--the gem in a setting
of nicely wrought interior woodwork.
Then came the Franklin stove, throwing more heat out into the room and
less up the chimney. Fireplaces were accordingly bricked up to
accommodate it, a pipe was run into it, and presently the air-tight
stove supplanted Franklin's open grate. Later central heating plants for
hot air, steam and hot water were developed in the basement and
connected by pipes with registers and radiators in the various rooms
above. They gave greater and more even heat, consumed less fuel and were
more easily taken care of than several fires in various parts of the
house. For a time houses were built for the most part without
fireplaces, but gradually a sense of loss began to be generally felt.
These registers and radiators warmed the flesh, but they left the spirit
cold; there was no poetry or sentiment whatever about them.
The outcome was obvious. The central heating plant has of course
remained, but recent years have witnessed the general reopening of
bricked-up fireplaces in old houses large and small, and to-day few new
houses are built without a fireplace in the living room at least. To a
degree it is a luxury, perhaps, though not a very expensive one, yet it
is something for which all able to do so are very glad to pay. Besides,
on chilly spring and autumn days and rainy summer evenings it provides a
cheap and convenient auxiliary heating plant. But an open fire warms
more than the hands and feet; it reaches the heart. Its appeal goes back
to the tribal camp-fire and stirs some primitive instinct in man.
"Hearth and home" are synonymous; there is a whole ritual of domestic
worship which centers around an open fire. A blaze on a hearth is
more than a luxury, more than a comfort; it is an altar fire.
[Illustration: PLATE LXXVIII.--Stairway Landing, Independence Hall;
Palladian Window at Stairway Landing.]
[Illustration: PLATE LXXIX.--Declaration Chamber, Independence Hall.]
And so in building the modern Colonial home we find ourselves ever going
back to study the creations of the master builders of provincial times
in America, when fireplaces meant even more than they do to-day, and
finding in their achievements ideas and inspiration of great beauty and
practical value. The neighborhood of Philadelphia is as rich in its
collection of fine old mantels and chimney pieces as in its splendid
interior woodwork generally. Like the latter they are for the most part
of the early Georgian period, mostly chimney pieces, many without
shelves, and usually somewhat heavy in scale and detail.
As in other important architectural features the development of mantels
and chimney pieces in America followed to a degree the prevailing mode
in the mother country. For many years after the Italian classic orders
were brought to England by Inigo Jones, early in the seventeenth
century, chimney pieces usually consisted merely of a mantel shelf and
classic architraves or bolection moldings about the fireplace opening,
the chimney breast above being paneled like the rest of the room. Toward
the end of that century, and for several decades following, the shelf
was omitted and the paneling on the chimney breast took the form of two
horizontally disposed oblongs, the upper broader than the lower.
Such an arrangement in its simplest form is to be seen in the great hall
at Stenton, where a fireplace is located across one corner. The
elliptical arch of the white pilastered brickwork and the height of the
horizontal architrave above this arch impart a touch of quaint
distinction. One notices with admiration the beautiful brass andirons
and fire set, and with interest the floreated cast-iron fireback.
Going to the other extreme we find in the parlor at Whitby Hall a
magnificently ornate example of the chimney piece without a mantel shelf
which, as in many Colonial houses, has been made the central feature of
one side of the room, symmetrically arranged and architecturally treated
with wood paneling throughout. A heavy cornice with prominent double
denticulated string course or crenelated molding runs entirely around
the room, tying the fireplace end of the room into the general scheme.
The chimney piece projects slightly, lending greater emphasis, and at
each side the wall space is given over to high round-topped double doors
of closets divided into upper and lower parts, beautifully flush-paneled
and hung with quaint iron H hinges. Like those of the other doors and
windows, the casings are of architrave pattern and in the center of the
round arch is a keystone-shaped ornament hand-tooled in wood. The
fireplace opening is faced beautifully with cut black marble brought
from Scotland and outlined with a nicely chiseled ovolo molding in wood
similar to the familiar egg and dart pattern, but incorporating the
richer Lesbian leaf instead of the dart, a closely related reed-like
motive replacing the conventional bead and reel. Two handsomely carved
consoles resting on the fillet of this ovolo molding support the superb
molded panel of the overmantel some three by five feet, in which to this
day not a joint is to be seen. A band of exquisite floreated carving in
high relief fills the long, narrow, horizontal panel between the
consoles. The precision of the tooling in this intricate tracery is
indeed remarkable. Nicely worked but simple parallel moldings with the
favorite Grecian fret sharply delineated between them and Lesbian leaf
ornaments in the square projections at the corners compose a frame of
exceptional grace of detail and proportion. Rarely is an ensemble so
elaborate accompanied by such a marked degree of good taste and
restraint.
In the great chamber on the second floor, which is believed to have been
the boudoir of the mistress of Mount Vernon, there is a very similar,
though even more elaborate, architectural treatment of the fireplace and
of the room. Closets with round-topped doors again occupy the spaces
each side of the fireplace; the cornice surrounding the entire room with
its conspicuous Grecian fret motive again ties the paneled end of the
room into the general scheme, and in this instance the relation is made
closer by the paneled wainscot which is carried about all four walls. In
this wainscot two panel sections under each closet are hung as double
doors opening into small supplementary closets. Owing to the loftiness
of the room, the closet doors have been elaborated by ornate broken
pedimental heads repeating the cornice on a smaller scale, and which are
supported by paneled pilasters and large consoles superbly carved with
an acanthus leaf decoration.
Beautiful as these doorways are in themselves, they are so much heavier
in treatment than the overmantel as to detract from it; they do not
occupy an unobtrusive subordinate position, as do the closet doors of
the parlor at Whitby Hall. Moreover, the trim of each door occupies such
a breadth of wall space that the fireplace and overmantel are narrowed,
the latter taking the form of a vertical rather than a horizontal
oblong. In fact, the dominant lines throughout are here vertical as
contrasted with the dominant horizontal lines at Whitby Hall. The
loftiness and stateliness of the room are thereby emphasized, but the
effect is less restful.
[Illustration: PLATE LXXX.--Judge's Bench, Supreme Court Room,
Independence Hall; Arcade at Opposite End of Court Room.]
[Illustration: PLATE LXXXI.--Banquet Hall, Second Floor, Independence
Hall; Entrance to Banquet Hall.]
In architectural detail the fireplace and overmantel recall that of the
Whitby Hall chimney piece. There are similar black marble facings about
the fireplace opening outlined by a hand-tooled molding, and similar
elaborately carved consoles supporting a handsomely molded panel with
projecting ornamental corners, but in this instance the panel is
surmounted by a highly ornamental top, consisting of a swag or broken
pediment with an exquisitely hand-carved floreated design in high relief
between the volutes which imparts a charming lightness and grace to the
ensemble. Pilaster projections bearing nicely delineated leaf ornaments
above the corners of the overmantel panel tie into corresponding
projections in the cornice and unify the whole construction. Otherwise
the chimney piece differs from that of Whitby Hall chiefly in its
moldings, in which the Lesbian leaf is prominent. The ovolo about the
marble facings of the fireplace bears the conventional bead and reel and
egg and dart motives, the latter having a leaf design in alternation
with the egg. The ogee molding outlining the overmantel panel is
enriched with a larger and a smaller leaf motive in alternation, while
the torus of the inner molding of this panel bears a little
conventionalized flower in alternation with crossed flat fillets.
Altogether more pleasing is the chimney piece in the parlor at Mount
Pleasant. In fact, it is regarded as one of the handsomest chimney
pieces without a mantel shelf in America. Its excellence is due not to
superiority of detail, but to better proportion, the breadth of the
chimney breast being sufficient to make the overmantel panel practically
square. This great fireplace construction for burning four-foot logs
projects into the room some eighteen inches, with wood-paneled sides,
the adjoining walls being plastered. Around it are carried the chaste
Ionic cornice with its prominent dentil course; and the paneled wainscot
below corresponds to the pedestal of the order. In the general
arrangement of the design, this chimney piece follows closely that of
the one above, except that top, sides and bottom of the overmantel panel
frame are alike. As at Whitby Hall the familiar Grecian fret very
acceptably occupies the space between the inner and outer moldings of
this frame and obviates the need of any elaborate carved decoration
above the panel. Contrasting pleasingly with this fret and on opposite
sides of it are a plain molded ovolo outlining the panel and a small
floreated torus supplemented by a molded cymatium within. The pilaster
projections tying the panel treatment to the cornice bear three nicely
tooled vertical flower designs in a row, an unusual conception. An ovolo
of conventional egg and dart motive with the customary bead and reel
astragal outlines the black marble facings of the fireplace opening. The
console ornamentation is strongly reminiscent of that at Whitby Hall.
The mantel shelf proper was far too practical and attractive a feature
of the fireplace to be long abandoned, however. It furnished a
convenient place for clocks, candlesticks, china and other ornaments,
and it appealed to the eye because of the homelike, livable appearance
these articles of decoration gave to the room. About the middle of the
eighteenth century the shelf of former times was reinstated and the
overmantel was developed into a single large and elaborately framed
panel over the chimney breast in which often hung a family portrait, a
gilt-framed mirror or girandole.
Such a chimney piece is to be seen in the parlor at Cliveden, its
fireplace opening partly closed up to convert it for use with the coal
grate shown by the accompanying illustration. In this instance the
carved consoles support the shelf rather than the panel of the
overmantel, which engages neither the shelf nor the cornice with its
prominent double denticulated molding. Otherwise, the chimney piece is
essentially the same in arrangement as that in the parlor at Mount
Pleasant. It has the same pleasing breadth and generally good
proportions, but is severely simple in detail, the conventional ovolo of
egg and dart motive without the astragal which outlines the black marble
fireplace facings being the only enriched molding. As was customary, the
shelf takes the form of a cymatium, and the projections above the
consoles and central panel are characteristic details.
Much like this, though simpler in the absence of any enriched moldings
and having less projection, is the chimney piece on the second floor of
an old Spruce Street house shown by an accompanying illustration. It
has substantially the same overmantel frame and mantel treatment.
Incidentally it furnishes an excellent example of the complete paneling
of one end of a room with the familiar six-panel ordinary inside doors
each side of the fireplace. The architrave casings of the doors with
their horizontal projections over the lintel are in pleasing accord with
the corresponding projections of the overmantel frame and of the facing
of the fireplace opening.
Toward the end of the eighteenth century and for some years thereafter,
mantels with a shelf, but without any overmantel treatment of the
chimney breast, became the rule. The whole construction was usually
projected from twelve to eighteen inches into the room, however, and as
the surbase and skirting or a paneled wainscot and the cornice above was
carried around it, the effect was much like that of a chimney piece,
especially when a large, ornamental framed mantel mirror occupied the
space over the chimney breast.
The mantel itself took the form of a complete entablature above the
fireplace opening, supported by pilasters at each side, the pilasters
usually being carried up through the entablature by projections in
architrave, frieze and cornice respectively, and the cymatium of the
cornice forming the mantel shelf. The classic orders supplied much of
the ornamental detail with which these mantels were embellished, and
the work gave full scope to the genius of English and American
wood-carvers, of whom there were many of marked ability in America.
The thriving condition of the ship-building industry in the colonies was
instrumental in attracting and developing skilled wood-carvers. Many of
them became apt students of architecture and proficient in executing
hand-tooled enriched moldings and other ornament for mantels and chimney
pieces. Not content with the conventional detail of the classic orders,
they varied it considerably to suit their purposes, using familiar
motives in new ways, securing classic effects with detail of their own
conception, and at times departing far from all precedent. For the most
part their achievements displayed that good taste and restraint combined
with a novelty and an ingenuity which have given our best Colonial
architecture its principal charm and distinction.
Numerous examples of this sort of hand-carved mantels are to be found in
Philadelphia, but none elicits greater admiration than those in two
rooms at Upsala which are shown by accompanying illustrations. Enriched
with a wealth of intricate, fine-scale hand-tooling of daintiness and
precision, they indicate the influence of Adam design and detail,
although quite unlike the typical Adam mantel. They form an especially
interesting study for comparison because of the marked similarity of
the general scheme in all three and the difference in effect resulting
from variations in detail.
The simplest of the three is a mantel for an iron hob grate with dark
marble facings outlined by simple moldings. Familiar fluted pilasters
support a mantel board entablature of rare beauty. Beneath a
conventional cymatium and corona, with projections above the pilasters
and central panel of the frieze, is a nicely worked dentil course,--a
band of vertical flutes with a drilled tooth in the upper half of each
alternate flute. The pilaster projections of the frieze are fluted in
dots and dashes arranged in vertical lines, while a similar treatment of
the central panel is so arranged that a pattern suggesting four festoons
and five straight hanging garlands is produced. The upper fascia is
enriched with groups of five vertical flutes in alternation with an
incised conventionalized flower.
[Illustration: PLATE LXXXII.--Congress Hall, Sixth and Chestnut Streets.
Completed in 1790; Congress Hall from Independence Square.]
[Illustration: PLATE LXXXIII.--Stair Hall Details, Congress Hall.]
Resembling the foregoing, but more elaborate, is the mantel in the
parlor with its richer moldings and intricate carving. An astragal with
the customary bead and reel separates the cymatium and the corona, while
a drilled rope supplies the bed molding above the dentil course. The
latter consists of a continuous pattern of vertical and shorter
horizontal flutes, the alternate vertical half spaces above and below
the cross line of the H being cut out flat and deeper. The pilaster
projections of the frieze, the central panel and the pilasters at
each side of the fireplace opening supporting the entablature are
vertical fluted in short sections which break joints like running bond
in brickwork. In both the pilaster projections and the central panel the
carving has been done in such a manner as to leave four-sided decorative
figures with segmental sides in slender outline flush with the surface.
The upper fascia of the architrave is adorned by shallow drillings
suggesting tiny festoons and straight hanging garlands with a
conventionalized flower above each festoon. A cavetto molding, enriched
with a bead and reel astragal and another drilled rope torus, outlines
the dark marble facings about the fireplace opening. Handsome brass
andirons, fender and fire set, together with the large gilt-framed
mirror above, combine with the mantel to make this one of the most
beautiful fireplaces in Philadelphia.
The third example in another room at Upsala is virtually the same as the
mantel just described, except for the greater elaboration of the
pilasters, pilaster projections of the frieze and central panel. Apart
from these three features, the only essential differences are a dentil
course in the cornice like that of the first Upsala mantel described and
a vertical fluted belt in the capital of the pilasters and associated
moldings. In the pilaster projections of the frieze there are flush
outline ornaments taking the form of a shield, while other graceful
outline patterns running through the flutings adorn the upper half of
the pilasters proper. The lower half is fluted in the short running bond
sections. The central panel of the frieze retains and elaborates the
motive of festoons and straight hanging garlands, the space above the
festoons in this instance being left flush except for an incised
conventionalized flower design in each of the three sections.
Rarely are three mantels of such attractive design, good proportion,
distinctive detail and dainty appearance to be found in a single house.
Seldom are three mantels to be found which are so similar and yet so
different. They present an eloquent illustration of the infinite
possibilities of minor variation in architectural design.
The same influences were at work elsewhere, however, and two other
mantels shown by accompanying illustrations, one in a house at Third and
DeLancy streets and another in the Rex house, Mount Airy, show numerous
variations of similar motives. In both, vertical flutings are depended
upon chiefly for decoration, ornamental patterns being formed by flush
sections where the cutting of the flutes is interrupted. In both
instances the original fireplace opening has been partially closed up,
in one case for a Franklin stove, and in the other for a hob grate, both
for burning coal.
The mantel at Number 312 Cypress Street, with its well-proportioned
entablature and paneled pilasters, displays a central panel in the
frieze similar to the foregoing examples, but possesses a more distinct
Adam character in the human figures in composition applied to the
pilaster projections of the frieze, and in the drillings of the upper
fascia of the architrave, simulating festoons. A reeded ovolo and deeply
cut and drilled denticulated member lend sufficient emphasis to the
string course of the cornice.
At Number 729 Walnut Street is to be seen a typically Adam mantel of
exceptional grace and beauty. Instead of the usual pilasters the
entablature is supported by two pairs of slender reeded colonnettes, and
the fireplace opening is framed by moldings in which a torus enriched
with a rope motive is prominent. The shelf or cymatium of the
entablature has round corners and is supported by pilaster projections
above the colonnettes at each end and by a projecting central panel, all
of these projections being vertical fluted in the frieze portion. Both
the central panel and the sunken panels each side of it bear graceful
festoons and straight hanging garlands suspended from flower ornaments,
the central space of both sunken panels being occupied by a small,
sharply delineated medallion in white, suggestive of wedgewood. This
composition work was nicely detailed and is still well preserved. Below,
the upper fascia of the architrave is enriched in accord with the Adam
spirit. Drillings forming festoons with a tiny ornament above alternate
with groups of seven vertical dotted lines. The fireplace opening has
been closed up with stone slabs to inclose a Franklin stove for burning
coal, the effect being much the same as a hob grate. In terms of dainty
grace and chaste simplicity this is one of the best mantels in
Philadelphia.