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CHIMNEYPIECE , the See also:term given to the projecting See also:hood which in See also:medieval times was built over a fireplace to catch the See also:smoke, and at a later date to the decorative framework, often carried up to the See also:ceiling. " Chimneypiece " or " mantelpiece " is now the See also:general term for the jambs, mantelshelf and See also:external accessories of a fireplace. For many centuries the chimneypiece was the most ornamental and most See also:artistic feature of a See also:room, but as fireplaces have become smaller, and See also:modern methods of See also:heating have been introduced, its artistic as well as its See also:practical significance has grown less.
Up to the 12th See also:century rooms were warmed entirely by a See also:hypocaust, or with braziers, or by fires on the See also:hearth, the smoke finding its way up to a See also:lantern in the roof. The earliest chimneypiece known is that in the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King's See also:House at See also:Southampton, with See also:Norman shafts in the See also:joints carrying a segmental See also:arch, which is attributed to the first See also:half of the 12th century. At a later date, in consequence of the greater width of the fireplace, See also:flat or segmental See also:arches were thrown across and constructed with voussoirs, sometimes joggled, the thrust of the arch being resisted by bars of See also:iron at the back. In domestic See also:work of the 14th century the chimneypiece was greatly increased in See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order to allow of the members of the See also:family sitting on either See also:side of the See also:fire on the hearth, and in these cases See also:great beams of See also:timber were employed to carry the hood; in such cases the fireplace was so
deeply recessed as to become externally an important architectural feature, as at Haddon See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
Hall. The largest chimneypiece existing is in the great hall of the Palais See also:des Comtes at See also:Poitiers, which is nearly 30 ft. wide, having two intermediate supports to carry the hood; the See also:- STONE
- STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
- STONE, CHARLES POMEROY (1824-1887)
- STONE, EDWARD JAMES (1831-1897)
- STONE, FRANK (1800-1859)
- STONE, GEORGE (1708—1764)
- STONE, LUCY [BLACKWELL] (1818-1893)
- STONE, MARCUS (184o— )
- STONE, NICHOLAS (1586-1647)
stone flues are carried up between the See also:tracery of an immense window above. In the See also:early See also:Renaissance See also:style, the chimneypiece of the Palais de See also:Justice at See also:Bruges is a magnificent example; the upper portion, carved in See also:oak, extends the whole width of the room, with statues of nearly See also:life See also:size of See also:Charles V. and others of the royal family of See also:Spain. The most prolific modern designer of chimneypieces was J. B. See also:Piranesi, who in 1765 published a large See also:series, on which at a later date the See also:Empire style in See also:France was based. In France the finest work of the early Renaissance See also:period is to be found in the See also:chimney-pieces, which are of See also:infinite variety of See also:design.
The See also:English chimneypieces of the early 17th century, when the purer See also:Italian style was introduced by Imgo See also:- JONES
- JONES, ALFRED GILPIN (1824-1906)
- JONES, EBENEZER (182o-186o)
- JONES, ERNEST CHARLES (1819-1869)
- JONES, HENRY (1831-1899)
- JONES, HENRY ARTHUR (1851- )
- JONES, INIGO (1573-1651)
- JONES, JOHN (c. 1800-1882)
- JONES, MICHAEL (d. 1649)
- JONES, OWEN (1741-1814)
- JONES, OWEN (1809-1874)
- JONES, RICHARD (179o-1855)
- JONES, SIR ALFRED LEWIS (1845-1909)
- JONES, SIR WILLIAM (1746-1794)
- JONES, THOMAS RUPERT (1819– )
- JONES, WILLIAM (1726-1800)
Jones, were extremelyy See also:simple in design, sometimes consisting only of the See also:ordinary mantel-piece, with classic architraves and shelf, the upper See also:part of the chimney See also:breast being panelled like the See also:rest of the room. In the latter part of the century the classic See also:architrave was abandoned in favour of a much bolder and more effective moulding, as in the chimneypieces at See also:Hampton See also:Court, and the shelf was omitted.
In the 18th century the architects returned to the Inigo Jones classic type, but influenced by the See also:French work of See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XIV. and XV. Figure See also:sculpture, generally represented by graceful figures on each side, which assisted to carry the shelf, was introduced, and the See also:overmantel See also:developed into an elaborate See also:frame for the family portrait over the chimneypiece. Towards the See also:close of the 18th century the designs of the See also:brothers See also:Adam superseded all others, and a century later they came again into See also:fashion. The Adam mantels are in See also:wood enriched with See also:ornament, See also:cast in moulds, sometimes copied from the carved wood decoration of old times. (R. P.
End of Article: CHIMNEYPIECE
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