The mantel itself took the form of a complete entablature above the fireplace opening, supported by pilasters at each side, the pilasters usually being carried up through the entablature by projections in architrave, frieze and cornice respectively, and the cymatium of the cornice forming the mantel shelf. The classic orders supplied much of the[179] ornamental detail with which these mantels were embellished, and the work gave full scope to the genius of English and American wood-carvers, of whom there were many of marked ability in America.
The thriving condition of the ship-building industry in the colonies was instrumental in attracting and developing skilled wood-carvers. Many of them became apt students of architecture and proficient in executing hand-tooled enriched moldings and other ornament for mantels and chimney pieces. Not content with the conventional detail of the classic orders, they varied it considerably to suit their purposes, using familiar motives in new ways, securing classic effects with detail of their own conception, and at times departing far from all precedent. For the most part their achievements displayed that good taste and restraint combined with a novelty and an ingenuity which have given our best Colonial architecture its principal charm and distinction.
Numerous examples of this sort of hand-carved mantels are to be found in Philadelphia, but none elicits greater admiration than those in two rooms at Upsala which are shown by accompanying illustrations. Enriched with a wealth of intricate, fine-scale hand-tooling of daintiness and precision, they indicate the influence of Adam design and detail, although quite unlike the typical Adam mantel. They form an especially interesting study[180] for comparison because of the marked similarity of the general scheme in all three and the difference in effect resulting from variations in detail.
The simplest of the three is a mantel for an iron hob grate with dark marble facings outlined by simple moldings. Familiar fluted pilasters support a mantel board entablature of rare beauty. Beneath a conventional cymatium and corona, with projections above the pilasters and central panel of the frieze, is a nicely worked dentil course,—a band of vertical flutes with a drilled tooth in the upper half of each alternate flute. The pilaster projections of the frieze are fluted in dots and dashes arranged in vertical lines, while a similar treatment of the central panel is so arranged that a pattern suggesting four festoons and five straight hanging garlands is produced. The upper fascia is enriched with groups of five vertical flutes in alternation with an incised conventionalized flower.
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| Plate LXXXII.—Congress Hall, Sixth and Chestnut Streets.Completed in 1790; Congress Hall from Independence Square. | |
Resembling the foregoing, but more elaborate, is the mantel in the parlor with its richer moldings and intricate carving. An astragal with the customary bead and reel separates the cymatium and the corona, while a drilled rope supplies the bed molding above the dentil course. The latter consists of a continuous pattern of vertical and shorter horizontal flutes, the alternate vertical half spaces above and below the cross line of the H being cut out flat and deeper. The pilaster projections of[181] the frieze, the central panel and the pilasters at each side of the fireplace opening supporting the entablature are vertical fluted in short sections which break joints like running bond in brickwork. In both the pilaster projections and the central panel the carving has been done in such a manner as to leave four-sided decorative figures with segmental sides in slender outline flush with the surface. The upper fascia of the architrave is adorned by shallow drillings suggesting tiny festoons and straight hanging garlands with a conventionalized flower above each festoon. A cavetto molding, enriched with a bead and reel astragal and another drilled rope torus, outlines the dark marble facings about the fireplace opening. Handsome brass andirons, fender and fire set, together with the large gilt-framed mirror above, combine with the mantel to make this one of the most beautiful fireplaces in Philadelphia.
The third example in another room at Upsala is virtually the same as the mantel just described, except for the greater elaboration of the pilasters, pilaster projections of the frieze and central panel. Apart from these three features, the only essential differences are a dentil course in the cornice like that of the first Upsala mantel described and a vertical fluted belt in the capital of the pilasters and associated moldings. In the pilaster projections of the frieze there are flush outline ornaments taking the form of a shield, while other graceful[182] outline patterns running through the flutings adorn the upper half of the pilasters proper. The lower half is fluted in the short running bond sections. The central panel of the frieze retains and elaborates the motive of festoons and straight hanging garlands, the space above the festoons in this instance being left flush except for an incised conventionalized flower design in each of the three sections.
Rarely are three mantels of such attractive design, good proportion, distinctive detail and dainty appearance to be found in a single house. Seldom are three mantels to be found which are so similar and yet so different. They present an eloquent illustration of the infinite possibilities of minor variation in architectural design.
The same influences were at work elsewhere, however, and two other mantels shown by accompanying illustrations, one in a house at Third and DeLancy streets and another in the Rex house, Mount Airy, show numerous variations of similar motives. In both, vertical flutings are depended upon chiefly for decoration, ornamental patterns being formed by flush sections where the cutting of the flutes is interrupted. In both instances the original fireplace opening has been partially closed up, in one case for a Franklin stove, and in the other for a hob grate, both for burning coal.