All the foregoing specimens are native in their conception of design. They approximate closely to the Jacobean carved panel with its narrow range of subjects, and have a relationship to Stuart needlework with its royal symbolism. Later came the Dutch influence, most marked in its effect upon the shape, height, and character of these firebacks. This became especially noticeable in the eighteenth century, and in the illustrations (p. [303]) of two wooden patterns from which the firebacks were made at Ashburnham, Sussex, this is clearly shown. The designs are ornate and represent either some scriptural or mythological subject. The woodcarving is of a style strongly under Dutch influence, and the tall proportions suggest gravestones (indeed, in Sussex there are headstones made of iron, with pictures and inscriptions).
The mode of casting these iron firebacks in sand and the employment of wooden patterns to form the mould into which the molten metal was to run is familiar to any foundry in casting iron. In regard to the early examples with the twisted cable rim, it is conjectured that pieces of twisted rope were actually laid on the wet sand to produce this pattern—that is, before the use of carved wooden patterns such as are illustrated. In regard to the bolder "cable twist" pattern, it is believed this was produced by impression of pieces of rope stiffened with glue, and twisted around iron rods.
SUSSEX IRON FIREBACK. FIRST HALF OF SIXTEENTH CENTURY.
Rope-like border impressed on sand mould. The field impressed with repetitions from a single fleur-de-lys stamp.
SUSSEX IRON FIREBACK.
The Royal Oak Design, commemorative of the Restoration. Late Seventeenth Century. Moulded edge and carved in one piece from a single pattern.
(In the collection of Charles Dawson, Esq., F.S.A., Lewes.)