Period character guide: Fireplaces

Click on gallery images to view larger picture.

Back in the 1970s someone ‘modernised’ my Victorian house by panelling over many of the features with hardboard. To my delight, when I ripped these coverings away, several original cast-iron fireplaces were revealed. The downside was the layers of gloss paint obscuring their detail but, after hours with paint stripper, I managed to return them to their former glory.

Early fireplaces were ‘inglenooks’ designed to burn large logs. As well as heating the house they were used for cooking and often incorporating bread ovens to the side. These large openings were extremely inefficient and resulted in much of the heat being lost up the chimney.

In more formal interiors the openings were framed by decorative surrounds known as chimney pieces. From the 1720s these were often highly decorated and formed of stone, usually marble or slate, wood or cast iron.

Coal was not commonly used for domestic heating and cooking until the 18th century when cast-iron hob grates were developed specifically to burn it. The biggest revolution in fireplace design came when, in the 1790s, Count Rumford, an American technologist, developed a formula to calculate the optimum dimensions for the fireplace opening in relation to the flue. This dramatically increased their efficiency.

Fireplace technology further improved during the Victorian era, most notably with the introduction of the register grate from about 1850, and until after the Second World War the fireplace remained a focal point for family life.

Family business
Operating from some of the area’s oldest Georgian and Victorian buildings, PJ Wright & Sons Fireplace Restoration at Crystal Palace in south London is a family business established in 1976 which renovates period fireplaces.

Chris Wright, one of the founder’s sons, told me that generally the first job with cast-iron fireplaces is to dip them in a tank of caustic soda to strip off the layers of paint. The company never shot-blasts fireplaces as it can distort the shape and pit the surface, spoiling the finish.

Over the years heat can degrade some of the elements so the next stage is to make repairs and replace missing parts from the impressive stock they hold. Where cast sections are broken, Chris creates a cardboard template and cuts new sections from old cast iron. These are then carefully welded or bolted into place.

All the cast-iron elements are then wire brushed to remove any loose material and produce an even finish. Chris explained that at one time black lead was used to finish the metal but because of the health issues associated with lead this is no longer available and nowadays graphite paste is used. This is mixed with white spirit and painted on with a brush using even strokes. Once it has dried off completely it is buffed with a buffing brush.

Tiles are often an integral part of many of the fireplaces at PJ Wright & Sons and once work on a fireplace is complete either original or reproduction tiles are fitted. Cardboard is used to wedge the tiles in place and then, in the traditional way, plaster of Paris is cast over the back to a thickness of between a quarter and half an inch.

Safety and performance are always the most crucial factors with any fireplace. Any form of combustion may cause carbon monoxide, which can kill and has no smell. For a fire to burn well and take fumes away, the chimney must be working effectively so, before doing anything, get it swept and preferably test it for leaks using smoke pellets. If there are problems it may be necessary to have it lined. As an added precaution I have fitted both carbon monoxide and smoke alarms around my home.

Where fire surrounds need to be removed, never force them off the wall. Generally they are held in place by lugs and screws buried behind the plaster on either side.

In older houses, removing a fireplace may reveal an inglenook that was probably filled in due to its inefficiency and tendency to smoke. Such a discovery is undoubtedly exciting but do think carefully before opening it up. You may be disappointed at what you find and in the process destroy historically interesting features. What is more, making an inglenook work effectively could require considerable work and specialist advice.

If you are lucky enough to have a marble fireplace, rejuvenating it is likely to be somewhat trickier than with cast iron and it is often advisable to consult a specialist company. It may be possible to remove old paint with proprietary strippers but read the instructions carefully and carry out tests on a small inconspicuous area first. Rust stains are particularly hard to deal with as are those left by red wine. Avoid using acid-based products on marble.

It is worth remembering that what may look like marble may in fact be scagliola. A mixture of plaster and other aggregates moulded in the form of polished marble, this is easily damaged.

Buying fireplaces
When choosing a fireplace look for one that matches the period and status of your home; a fireplace that suits a townhouse will not suit a cottage and vice versa. It must also be in proportion to the chimney breast and suit the hierarchy of the room. The grandest fireplaces tended to be in places that visitors would see while the less important rooms had smaller and plainer fireplaces.

If you are buying an original fireplace make sure all the parts look right, fit properly and are free from cracks or other damage. Heat will sometimes cause some elements to deteriorate to a point where they are beyond repair but minor cracks can usually be patched with fireproof cement.

Specialist fireplace shops should advise on repairs and chimney problems and may provide a renovation and installation service. They will generally supply firebacks, grates, smoke pellets and other materials.

Word for word: A fireplaces glossary

• ANDIRONS Sometimes called firedogs they are horizontal iron bars (usually in pairs) onto which logs are laid in the fireplace so that air can pass around to help with burning.
• FIREBACK Made of cast iron it protects the masonry at the back of the fire and also helps throw heat forward. Usually decorated, some were commissioned for a particular house.
• FLUE The passageway within a chimney through which the smoke and gas from the fire pass.
• HOB GRATE Incorporates hob plates on either side of a raised fire basket to enable pots and kettles to be kept hot.
• REGISTER GRATE A cast-iron surround with an arched top and a metal flap or ‘register’ to block off the flue and allow the flow of air to the fire to be adjusted.

Visit Roger Hunt's website at huntwriter.com

WORDS ROGER HUNT PHOTOGRAPHS ROGER HUNT; ACQUISITIONS
Featured in the December 2009 issue of Period Living

Further Contacts:
UK Mortgages from Confused.com
Home Insurance Comparison from Confused.com
Energy Price Comparison from Confused.com