colour was used at all). Common design elements include the decorative ribbing known as tracery, heraldic emblems such as coats of arms or mythical beasts (including dragons), and ecclesiastical motifs such as pointed arches or ogee arches. One of the most common design elements is called “cusping”—the addition of a decorative projection or relief carving of heads (of people or animals), gargoyles, or perhaps animals or plants. These would usually be placed either in the centre of the mantel, or on either side of the fireplacRevival Gothic fireplaces were designed very differently to other types of Gothic furniture. While furniture pieces were made according to specific patterns, Gothic fireplaces were often designed “de novo”. The reason for this was simply that there were very few suitable Gothic fireplaces to copy designs from—in the medieval era, fireplaces were much larger than they became in the nineteenth century, and were often constructed of different materials. When nineteenth century craftsmen created Gothic revival fireplaces, more often than not they would simply transpose Gothic designs onto a more modern fireplace shape. This might perhaps be why the Gothic revival period produced so many different styles of fireplace.

Gothic fireplaces were often painstakingly hand-carved, sometimes in a “free-form” manner. This intricate carving is particularly common to wooden fireplaces of this period, most likely because wood lends itself much more easily to such detailed work. These wood carvings mimic the intricacy of Gothic architectural elements, with repeating patterns, delicate tracery work, and certain repeated design elements such as pointed arches and quatrefoils (ornamental flowers with four lobes). Some wooden fireplaces of the era were also carved with coats of arms, which were usually placed in the centre of the mantel.

Gothic fireplaces constructed of stone were usually less detailed in terms of decoration, perhaps because carving stone in intricate patters was more difficult than carving wood in this way. Stone carvings tended to be larger and rougher than those carved in wood, usually without tracery and other detailed patterns. Instead, the decoration might be composed of roses, diamond paterae or other patterns. Highly detailed work was usually kept to a minimum in stone fireplaces. Perhaps the spandrel (the area immediately above the arch) or small portions of the jambs might be carved in great detail.

Whatever the style, some details were common to most fireplaces, including certain colours and design elements. Red, blue, and gold were the most commonly used colours (when colour was used at all). Common design elements include the decorative ribbing known as tracery, heraldic emblems such as coats of arms or mythical beasts (including dragons), and ecclesiastical motifs such as pointed arches or ogee arches. One of the most common design elements is called “cusping”—the addition of a decorative projection or relief carving of heads (of people or animals), gargoyles, or perhaps animals or plants. These would usually be placed either in the centre of the mantel, or on either side of the fireplace

en than not they would simply transpose Gothic designs onto a more modern fireplace shape. This might perhaps be why the Gothic revival period produced so many different styles of fireplace.

Gothic fireplaces were often painstakingly hand-carved, sometimes in a “free-form” manner. This intricate carving is particularly common to wooden fireplaces of this period, most likely because wood lends itself much more easily to such detailed work. These wood carvings mimic the intricacy of Gothic architectural elements, with repeating patterns, delicate tracery work, and certain repeated design elements such as pointed arches and quatrefoils (ornamental flowers with four lobes). Some wooden fireplaces of the era were also carved with coats of arms, which were usually placed in the centre of the mantel.

Gothic fireplaces constructed of stone were usually less detailed in terms of decoration, perhaps because carving stone in intricate patters was more difficult than carving wood in this way. Stone carvings tended to be larger and rougher than those carved in wood, usually without tracery and other detailed patterns. Instead, the decoration might be composed of roses, diamond paterae or other patterns. Highly detailed work was usually kept to a minimum in stone fireplaces. Perhaps the spandrel (the area immediately above the arch) or small portions of the jambs might be carved in great detail.

Whatever the style, some details were common to most fireplaces, including certain colours and design elements. Red, blue, and gold were the most commonly used colours (when colour was used at all). Common design elements include the decorative ribbing known as tracery, heraldic emblems such as coats of arms or mythical beasts (including dragons), and ecclesiastical motifs such as pointed arches or ogee arches. One of the most common design elements is called “cusping”—the addition of a decorative projection or relief carving of heads (of people or animals), gargoyles, or perhaps animals or plants. These would usually be placed either in the centre of the mantel, or on either side of the fireplac

ating patterns, delicate tracery work, and certain repeated design elements such as pointed arches and quatrefoils (ornamental flowers with four lobes). Some wooden fireplaces of the era were also carved with coats of arms, which were usually placed in the centre of the mantel.

Gothic fireplaces constructed of stone were usually less detailed in terms of decoration, perhaps because carving stone in intricate patters was more difficult than carving wood in this way. Stone carvings tended to be larger and rougher than those carved in wood, usually without tracery and other detailed patterns. Instead, the decoration might be composed of roses, diamond paterae or other patterns. Highly detailed work was usually kept to a minimum in stone fireplaces. Perhaps the spandrel (the area immediately above the arch) or small portions of the jambs might be carved in great detail.

Whatever the style, some details were common to most fireplaces, including certain colours and design elements. Red, blue, and gold were the most commonly used colours (when colour was used at all). Common design elements include the decorative ribbing known as tracery, heraldic emblems such as coats of arms or mythical beasts (including dragons), and ecclesiastical motifs such as pointed arches or ogee arches. One of the most common design elements is called “cusping”—the addition of a decorative projection or relief carving of heads (of people or animals), gargoyles, or perhaps animals or plants. These would usually be placed either in the centre of the mantel, or on either side of the fireplac

e carved in wood, usually without tracery and other detailed patterns. Instead, the decoration might be composed of roses, diamond paterae or other patterns. Highly detailed work was usually kept to a minimum in stone fireplaces. Perhaps the spandrel (the area immediately above the arch) or small portions of the jambs might be carved in great detail.

Whatever the style, some details were common to most fireplaces, including certain colours and design elements. Red, blue, and gold were the most commonly used colours (when colour was used at all). Common design elements include the decorative ribbing known as tracery, heraldic emblems such as coats of arms or mythical beasts (including dragons), and ecclesiastical motifs such as pointed arches or ogee arches. One of the most common design elements is called “cusping”—the addition of a decorative projection or relief carving of heads (of people or animals), gargoyles, or perhaps animals or plants. These would usually be placed either in the centre of the mantel, or on either side of the fireplac

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