In the Victorian era, the immensely ornate fireplace surrounds and over-mantels were constructed from stone, slate, marble or wood. However, the high costs of labour and materials needed to reproduce something similar today would mean that only the wealthiest people would be able to afford them. Modern materials have been developed to reproduce copies of original mouldings at relatively low cost:

Glass Reinforced Polyester (GRP): is a durable, lightweight man-made material, also used in car bodies. GRP can take a considerable amount of stress, and, as a plastic, it can be moulded into any shape. Sometimes, a mould itself is made from GRP.

Polyurethane Foam (PU): Two chemicals are mixed by machine and injected into a flexible rubber mould, where they react together and expand to fill the mould. PU meets class 4 fire retardant standards, meaning that it is suitable for use in all types of building.

Fibrous Plaster is similar to plaster of Paris. This is mixed with water and laid into a mould, onto which strips of Hessian or timber lathes are laid, to give it strength. Alternative layers of plaster and strengtheners build up the mould until the back is finished flush with plaster. Incidentally, fibrous plaster has been in use for two centuries and many reproduction Victorian fireplaces are constructed today using both natural and modern materials. Fibrous plaster is also used for decorative canopies, corbels and mouldings.

As mentioned previously, the Victorian era saw the advent of the cast iron fireplace, and JIG fireworks are the manufacturers of truly outstanding reproduction cast iron fires. Victorianfires.co.uk stock a wide selection of JIG Victorian reproduction cast iron fireplaces, with combinations, inserts and surrounds all available.

The Victorian age was influenced by many styles from previous eras, and so there are many Victorian reproduction fireplaces to choose from. Reproduction Victorian fireplace tiles and decorative tile panels are also widely available.

There were many Victorian potteries, especially in Staffordshire, and these employed cheap labour to decorate tiles, using a variety of methods. A plain glaze was created using white lead, flint, china stone and china clay, and these were ground together to form the glaze. Added metal oxides gave different colours, whilst a clear glaze was applied over any coloured decoration to enhance the design.

With regards to hand-painted tiles, artists painted directly onto them. Designs were often placed on the tile and ‘copied and pricked’ through a piece of paper. The pattern was then transferred to the tile by ‘pouncing’ through the holes with charcoal.

The most common method of decorating Victorian tiles, transfer printing, was invented by two Liverpool printers, Sadler and Green. An engraved copper plate was covered in ink and tissue paper was then pressed onto the plate. This was then placed onto the tile and the pattern transferred, ready for the artist to colour in.

Tiled Victorian fireplaces achieved maximum popularity between the years of 1880 and 1901, with tile sliders being introduced for cast iron fireplaces from 1860 onwards. These 6-inch tiles featured at either side of a fireplace opening and served a purely decorative function. Gradually, ceramic tiles were used to decorate the centre chimneypiece and fully tiled fireplaces also began to make an appearance.

The famous designer William de Morgan (1839-1917) was a founding member of the Arts and Crafts Movement. This movement was against the mass-produced goods so prevalent in the Victorian era and sought to re-establish the link between work and creator. William de Morgan created his own ceramic tile patterns, experimenting with glazes and finding ways to recreate the intense blues and greens as used in Majolica ware. The movement advocated the richly detailed Gothic style, and de Morgan’s work reflected this. Tiles often depicted medieval scenes, with intricate and colourful designs.

The late Victorian age brought a mixture of styles. In direct contrast to the Georgian, Elizabethan and Jacobean periods, the Victorian era shunned uniformity and had an exuberance that appealed to all. It was customary to decorate mantels with plush velvet pelmets; over-mantels had many shelves and brackets and sometimes the whole mantelpiece was backed with a mirror – plate glass became very popular around this time. The late Victorians particularly loved Jacobean architecture, with its rich profusion of Renaissance and medieval motifs.

The Victorian architect William Burges revelled in the middle ages and he had the privilege of designing the amazing fireplace in the medieval great hall at Cardiff Castle. The stone over-mantle represents Cardiff Castle itself and the Earl of Gloucester is shown riding out to war through the castle gates, to a fanfare of trumpets from the battlements above. The scene was colourfully painted in natural colours.

The degree of ornament on a Victorian fireplace mantel related directly to social class and the social importance of a room. In working-class homes the fireplace was plain, but the over-mantle was very ornamental and made of wood, which was stained or painted.

The industrious middle classes were able to mass-produce designs that would have only been previously available to the wealthy, and thus they had grand fireplaces in the drawing and dining rooms – fireplaces featured in other rooms too, such as bedrooms, but these were on a much smaller scale. The wealthy were lucky enough to be able to choose any elaborate designs that appealed to them.

Marble became too expensive towards the end of the 19^th century, so painted pine and mahogany, slate and cast iron were used for the majority of Victorian fireplace mantels.

All types of original Victorian fireplaces are available for sale, including cast iron models for the living room and bedroom, arched and tiled inserts, combination fireplaces, Gothic arches and timber, marble, slate, stone and cast iron mantels. Usually, these fireplaces are fully restored ready for use, but you can buy them more cheaply in their original state at salvage yards if you are prepared to restore them yourself. Some retailers also offer fireplaces that may be restored to order.

Reclaimed Victorian fireplaces are obviously much more expensive than reproduction fireplaces, but to some they are worth every penny. Such fireplaces bring priceless history and character into the home, and best of all, most reclaimed Victorian fireplaces are converted to take natural and LPG gas as well as solid fuel, meaning that you get the history without the hassle!

Buying a reclaimed fireplace has other advantages too – most on sale are ready to be taken away – no waiting for weeks for the delivery! Stock also changes on a frequent basis, particularly in larger showrooms or reclamation yards.

Reclaimed Victorian fireplaces are very expensive, so make sure that you choose a reputable salvage yard or dealer, preferably one that is associated with respectable bodies such as The Guild of Master Craftsmen or The English Heritage Association.

•    There is a wide range of Victorian electric fires to suit every taste and budget, and these can be matched with any traditional Victorian fireplace insert and mantel – either original or reproduction. Complete electric Victorian suites are also available.

•    All electric Victorian fires are powered by an efficient 2Kw heater; enough to provide heating throughout the spring and autumn months without the need for central heating. Most come with handy variable heat settings.

•    Many electric Victorian fires sit behind a traditional fret and are covered with real coal, giving a realistic natural look and warmth. Technology has ensured that electric fires now look as realistic as coal fires: sometimes, people cannot tell the difference! A distinct advantage of having an electric fire is that, because the warmth is generated by heater, you can enjoy the cosy, soothing glow of a ‘real’ fire at any time without the heat, simply by the flick of a switch!

•   Electric fires are extremely simple to install – they simply plug into a standard plug socket. They are also relatively cheap to use, especially if the fire is mainly used on ‘flame only’.

•    In our environmentally conscious world, electric heating is the ideal solution. Electric heating produces no smoke, fumes or odours, is economical and 100% efficient.

•    Best of all, an electric Victorian fireplace allows those who only have electric power to their homes to experience the traditional ambience, comfort and warmth of a coal fire.

The Victorian cast iron fireplace was available in a wide range of styles, influenced by previous eras. Popular styles included the Greek, the neo-Gothic and the Elizabethan, and by Queen Victoria’s reign many complicated and elaborate designs of fireplace were available.

Since Inigo Jones’s day, fireplaces had been rectangular, but in the Victorian era arched cast iron fireplaces became popular. Iron founders also designed new cast-iron chimneypieces that combined the grate and surround into one unit. All this choice led to the term the battle of the styles.

The Victorian cast iron fire-grate was relatively small, with ample heat being generated by the radiation from the polished metal. Victorian cast iron surrounds ranged from the small and delicate to the grandly ornate with imposing over-mantles. Craftsmanship in all cast iron pieces was of an extremely high standard, and the smaller surrounds were often used as attractive in-fills for mantels.

There is no doubt that cast iron fireplaces were very popular in the 19th century, and they are still very much in demand today: this is closely associated with nostalgia and the Victorian ideals of a closely-knit family life.

Due to the large selection of styles and sizes available, there is a cast iron fireplace to suit every room. Specialist fireplace retailers sell original Victorian cast iron fires and surrounds, and these come cleaned, polished and restored to their former glory. Excellent reproduction Victorian fireplaces are also available.