ABSTRACT
It is a truism to say that the fireplace was the centre of the home, and as such was a prime candidate for development and adaptation in relation to style changes. Early in the century the fireplace was often a very simple affair. A little later architecturally influenced pieces were introduced with some carved ornament, but by the mid-century chimneypieces were often disguised with fabric decorations on mantel shelves, with curtains, etc. Later, revival forms encouraged more sculptural work and in the aesthetic interior large overmantels were essential for display purposes. By the end of the century, Arts and Crafts ideas were being assimilated into the designs. John Cash writing in 1904 noted that
It is no longer a cast-iron thing with blocks of marble to back it up, but a unity of materials welded into one intention by skilful manipulation, a charming combination of wood, metals, tiles or marble properly selected and fittingly used. What could be better than some of the arrangements of wrought iron, copper and tiles which have been recently produced, some quite simple, without ornament, depending entirely for their effect on direct constructional lines, unrelieved in any way except perhaps by a slightly curved hood, or some other departure from severe regularity. 1
The range of fireplaces and chimney pieces was vast, but the materials used mainly included marble, often white, imitation marble or scagliola, enamelled slate, cast iron or wood in numerous formats.