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Thefireplace mantel ormantelpiece, also known as achimneypiece, originated inmedieval times as ahood that projected over afire grate to catch thesmoke. The term has evolved to include the decorative framework around thefireplace, and can include elaborate designs extending to the ceiling.Mantelpiece is now the general term for thejambs, mantel shelf, and external accessories of a fireplace. For many centuries, thechimneypiece was the mostornamental and mostartistic feature of a room, but as fireplaces have become smaller, and modern methods ofheating have been introduced, its artistic as well as its practical significance has lessened.[1]
Where the fireplace continues up the wall with an elaborate construction, as in historic grand buildings, this is known as anovermantel.[2] Mirrors and paintings designed to be hung above a mantel shelf may be called "mantel mirror", "mantel painting" and so on.
Up to the twelfth century, fires were simply made in the middle of a home by ahypocaust, or withbraziers, or by fires on thehearth with smoke vented out through thelantern in the roof.[1] As time went on, the placement of fireplaces moved to the wall, incorporatingchimneys to vent thesmoke. This permitted the design of a very elaborate, rich, architectural focal point for a grand room.
At a later date, in consequence of the greater width of the fireplace, flat or segmental arches were thrown across and constructed witharchivolt, sometimesjoggled, with the thrust of the arch being resisted by bars of iron at the back.[1]
In domestic work of the fourteenth century, the chimneypiece was greatly increased in order to allow of the members of the family sitting on either side of the fire on the hearth, and in these cases great beams oftimber were employed to carry the hood; in such cases the fireplace was so deeply recessed as to become externally an important architectural feature, as atHaddon Hall. The largest chimneypiece existing is in the great hall of thePalais des Comtes atPoitiers, which is nearly 30 feet (9.1 m) wide, having two intermediate supports to carry the hood; the stoneflues are carried up between thetracery of an immense window above.[1]
The history of carved mantels is a fundamental element in the history of western art. Every element of European sculpture can be seen on great mantels. Many of the historically noted sculptors of the past i.e.Augustus St. Gaudens designed and carved magnificent mantels, some of which can be found on display in the world's great museums. Exactly as the facade of a building is distinguished by its design, proportion, and detail so it is with fine mantels. The attention to carved detail is what defines a great mantel.
Up until the 20th century and the invention of mechanized contained heating systems, rooms were heated by an open or central fire. A modern fireplace usually serves as an element to enhance the grandeur of an interior space rather than as a heat source. Today, fireplaces of varying quality, materials and style are available worldwide. The fireplace mantels of today often incorporate the architecture of two or more periods or cultures.
In the earlyRenaissance style, the chimneypiece of thePalais de Justice atBruges is a magnificent example; the upper portion, carved in oak, extends the whole width of the room, with nearly life-size statues ofCharles V and others of the royal family ofSpain. The most prolific modern designer of chimneypieces wasG. B. Piranesi, who in 1765 published a large series, on which at a later date theEmpire style inFrance was based. In France, the finest work of the early Renaissance period is to be found in the chimneypieces, which are of infinite variety of design.[1]
The English chimneypieces of the early seventeenth century, when the purerItalian style was introduced byInigo Jones, were extremely simple in design, sometimes consisting only of the ordinary mantel piece, with classicarchitraves and shelf, the upper part of the chimney breast being paneled like the rest of the room. In the latter part of the century the classic architrave was abandoned in favor of a much bolder and more effectivemolding, as in the chimneypieces atHampton Court, and the shelf was omitted.[1]
In the eighteenth century, the architects returned to the Inigo Jones classic type, but influenced by the French work ofLouis XIV. andXV. Figuresculpture, generally represented by graceful figures on each side, which assisted to carry the shelf, was introduced, and the over-mantel developed into an elaborate frame for the familyportrait over the chimneypiece. Towards the close of the eighteenth century the designs of theAdam Brothers superseded all others, and a century later they came again into fashion. The Adam mantels are in wood enriched with ornament, cast in molds, sometimes copied from the carved wood decoration of old times.[1]
Mantels orfireplace mantels can be the focus of custom interior decoration. A mantel traditionally offers a unique opportunity for the architect/designer to create a personal statement unique to the room they are creating. Historically the mantel defines thearchitectural style of the interior decor, whether it be traditional i.e. Classic,Renaissance,Italian,French,American,Victorian,Gothic etc.
The choice of material for the mantel includes such rich materials asmarble,limestone,granite, orfine woods. Certainly the most luxurious of materials is marble. In the past only the finest of rare colored and white marbles were used. Today many of those fine materials are no longer available, however many other beautiful materials can be found worldwide. The defining element of a great mantel is the design and workmanship.
A mantel offers a unique opportunity in its design for a sculptor/artisan to demonstrate their skill in carving each of the fine decorative elements. Elements such ascapitals,moldings,brackets,figurines,animals,fruits andvegetation are commonly used to decorate a mantel. One might say that a mantel can be an encyclopedia ofsculpture. More than the material, it is the quality of the carving that defines the quality of the mantel piece thus highlighting the magnificence of the room.
One or more of the preceding sentences incorporates text from a publication now in thepublic domain: Spiers, Richard Phené (1911). "Chimneypiece". InChisholm, Hugh (ed.).Encyclopædia Britannica. Vol. 6 (11th ed.). Cambridge University Press. pp. 165–166.
