CHIMNEYPIECE, the term given to the projecting hood which in medieval times was built over a fireplace to catch the smoke, and at a later date to the decorative framework, often carried up to the ceiling. “Chimneypiece” or “mantelpiece” is now the general term for the jambs, mantelshelf and external accessories of a fireplace. For many centuries the chimneypiece was the most ornamental and most artistic feature of a room, but as fireplaces have become smaller, and modern methods of heating have been introduced, its artistic as well as its practical significance has grown less.
Up to the 12th century rooms were warmed entirely by a hypocaust, or with braziers, or by fires on the hearth, the smoke finding its way up to a lantern in the roof. The earliest chimneypiece known is that in the King’s House at Southampton, with Norman shafts in the joints carrying a segmental arch, which is attributed to the first half of the 12th century. At a later date, in consequence of the greater width of the fireplace, flat or segmental arches were thrown across and constructed with voussoirs, sometimes joggled, the thrust of the arch being resisted by bars of iron at the back. In domestic work of the 14th century the chimneypiece was greatly increased in order to allow of the members of the family sitting on either side of the fire on the hearth, and in these cases great beams of timber were employed to carry the hood; in such cases the fireplace was so deeply recessed as to become externally an important architectural feature, as at Haddon Hall. The largest chimneypiece existing is in the great hall of the Palais des Comtes at Poitiers, which is nearly 30 ft. wide, having two intermediate supports to carry the hood; the stone flues are carried up between the tracery of an immense window above. In the early Renaissance style, the chimneypiece of the Palais de Justice at Bruges is a magnificent example; the upper portion, carved in oak, extends the whole width of the room, with statues of nearly life size of Charles V. and others of the royal family of Spain. The most prolific modern designer of chimneypieces was J.B. Piranesi, who in 1765 published a large series, on which at a later date the Empire style in France was based. In France the finest work of the early Renaissance period is to be found in the chimneypieces, which are of infinite variety of design.
The English chimneypieces of the early 17th century, when the purer Italian style was introduced by Inigo Jones, were extremely simple in design, sometimes consisting only of the ordinary mantelpiece, with classic architraves and shelf, the upper part of the chimney breast being panelled like the rest of the room. In the latter part of the century the classic architrave was abandoned in favour of a much bolder and more effective moulding, as in the chimneypieces at Hampton Court, and the shelf was omitted.
In the 18th century the architects returned to the Inigo Jones classic type, but influenced by the French work of Louis XIV. and XV. Figure sculpture, generally represented by graceful figures on each side, which assisted to carry the shelf, was introduced, and the overmantel developed into an elaborate frame for the family portrait over the chimneypiece. Towards the close of the 18th century the designs of the brothers Adam superseded all others, and a century later they came again into fashion. The Adam mantels are in wood enriched with ornament, cast in moulds, sometimes copied from the carved wood decoration of old times.
(R. P. S.)
CHIMPANZEE (Chimpanzi), the vernacular name of the highest species of the man-like apes, forming the typical representatives of the genus Anthropopithecus. Chimpanzees, of which there appear to be at least two species, range through the tropical forest-zone of Africa from the west coast to Uganda. The typical A. troglodytes has been long known to European science, Dr Tyson, a celebrated surgeon and anatomist of his time, having dissected a young individual, and described it, as a pigmy or Homo sylvestris, in a book published in 1699. Of this baby chimpanzee the skeleton may be seen in the Natural History branch of the British Museum alongside the volume in which it is described. It was not, however, till 1788 that the chimpanzee received what is now recognized as a scientific name, having been christened in that year Simia troglodytes by the naturalist Johann Friedrich Gmelin. In his classification it was included in the same genus as the orang-utan; and it has recently been suggested that the name Simia pertains of right to the chimpanzee rather than to the orang-utan. Between the typical West African chimpanzee and the gorilla (q.v.) there is no difficulty in drawing a distinction; the difficulty comes in when we have to deal with the aberrant races, or species, of chimpanzee, some of which are so gorilla-like that it is by no means easy to determine to which group they really pertain. In height the adult male chimpanzee of the typical form does not exceed 5 ft., and the colour of the hair is a full black, while the skin, especially that of the face, is light-coloured; the ears are remarkably large and prominent, and the hands reach only a short distance below the knees. The head is rounded and short, without prominent beetling ridges above the eyes, or a strong crest along the middle line of the back of the skull; and the tusks of the old males are of no very great length and prominence. Moreover, there is no very marked difference in the size of the two sexes. Gentleness and docility are specially characteristic of the species, even when full-grown; while in the native state its habits are thoroughly arboreal.
In central Africa the chimpanzees assume more or less marked gorilla-like traits. The first of these aberrant types is Schweinfurth’s chimpanzee (Anthropopithecus troglodytes schweinfurthi), which inhabits the Niam-Niam country, and, although evidently belonging to the same species as the typical race, exhibits certain gorilla-like features. These traits are still more developed in the bald chimpanzee (A. tschego) of Loango, the Gabun, and other regions of French Congo, which takes its English name from the sparse covering of hair on the head. The most gorilla-like of all the races is, however, the kulu-kamba chimpanzee (A. kulu-kamba) of du Chaillu, which inhabits central Africa. The celebrated ape “Mafuka,” which lived in the Dresden zoological gardens during 1875, and came from Loango, was apparently a member of this species, although it was at one time regarded as a hybrid between a chimpanzee and a gorilla. These gorilla-like traits were still more pronounced in “Johanna,” a female chimpanzee living in Barnum & Bailey’s show in 1899, which has been described and figured by Dr A. Keith. The heavy ridges over the brow, originally supposed to be distinctive of the gorilla, are particularly well marked in “Johanna,” and they would doubtless be still more noticeable in the male of the same race, which seems to be undoubtedly du Chaillu’s kulu-kamba. Still the large size and prominence of the ears proclaim that both “Mafuka” and “Johanna” were chimpanzees and not gorillas. A gorilla-like feature in “Johanna” is, however, the presence of large folds at the sides (ala) of the nostrils, which are absent in the typical chimpanzee, but in the gorilla extend down to the upper lip. Chimpanzees exhibit great docility in confinement, where, however, they seldom survive for any great length of time. They likewise display a much higher degree of intelligence than any of the other man-like apes. (See [Primates].)
(R. L.*)