A traditional fireplace is the direct opposite of a contemporary fireplace – it is one that has been in vogue for years, whether continuously or intermittently. The British have always associated the open fire with the comforts of home, and this has been so since Norman times. Traditional fireplaces are synonymous with period fireplaces, and a period fireplace brings a refined and elegant style to any home, whether modern or traditional. Traditional fireplaces are an invaluable part of our heritage, brought about by incredible attention to detail and industrial excellence and for this reason the period fireplace will continue to be in high demand for many years to come. Here is a handy summary of each traditional fireplace style from the 18th, 19th and early 20th centuries.
Palladian: A style of architecture derived from the designs of the Italian architect Andreo Palladio. This style was popular in Britain from 1720, promoted by Inigo Jones as a result of the time he spent in Italy studying architecture. The Palladian style was strongly based on the symmetry and perspective of the Ancient Greek and Roman temples, and thus such fireplaces were better suited to larger homes. However, simple Palladian detailing was developed for the smaller dwellings, which were being built in increasingly large numbers in the eighteenth century. The Rococo decoration was light and fanciful, becoming popular as a reaction against the heavy, formal Palladian style. Other fireplace styles popular around this time were Chinoiserie, a fanciful interest in all things Chinese, and the Gothic, based on an interpretation of the medieval Gothic.
Adam style fireplace
Adam: The fireplace and the room it sat in began to be designed as a complete architectural unit, tied together using colour. The Adam brothers were the greatest interior designers of the 18th century, with their classical decorative style. Common motifs included swags and scrolls, and Adam fireplaces often incorporated small cameos or larger plaques, made by Josiah Wedgwood in his jasperware.
Regency: Came into vogue as the Adam fireplace fell out of favour. This marked a return to simple classical surrounds as introduced by the neo-classical architect Sir John Soane. The fireplace opening became elongated with a lower lintel and jambs and lintels became narrower, with no room for decoration. The primary motif was the Greek Key pattern, and the freestanding fender was introduced, along with the fireguard – these introductions helped to significantly reduce the risk of fire.
Victorian: The era known as ‘the battle of the styles’, due to the huge influence of all previous decorative styles. Arched cast iron grates introduced for the first time, often surrounded by wood, marble or stone surrounds. This was an age of industrial wealth and mass production, so opulence and grandeur were primary factors in fireplace design. The early to mid Victorian period looked back to the Gothic and Elizabethan fireplace styles, with the Gothic being linked to the Victorian ideals of Christianity and truthfulness. The later Victorian age was influenced by a mixture of styles, with opulence being the key. Mantels were dressed with sumptuous velvet pelmets and overmantels incorporated several shelves, often with mirrors. Other popular designs of the later Victorian period include Charles Rennie Mackintosh and a revival of the Adam design.
Edwardian: This era marked the appearance of the ceramic tiled fireplace. The slabbing technique had been introduced, allowing the mass production of a wide range of tile, stone and brick mantels. Many of these took inspiration from past styles, whilst others where made in a more contemporary design, usually for the mass housing built at the end of the First World War. Another exciting invention was the log and coal effect gas fire.
