DOI Page / Citation link:
https://doi.org/10.11588/diglit.1398#0098
PLATE 131.
A CHIMNEY-PIECE,
BY I. E. HOOLE, SHEFFIELD.
/^VNE of the leading manufactories of stove-grates and fenders, for which Sheffield is famous,
belongs to Mr. Hoole, by whose family the old Greenlane works were established in the
year 1795. From among the many fine examples forwarded by him to the Exhibition, we have
selected a bronze gilt fireplace, excellently designed, in the Italian style, by Mr. Alfred Stevens,
who is well known for his great power as a designer and painter, and to whose vigorous pencil
the Commissioners have intrusted the drawing of the diploma for honourable mention in the
International Exhibition of 1862. The ornaments on the mantel-shelf were contributed by
the Ooalbrookdale Company.
Mr. Alderman Hoole obtained the first council medal at the great Exhibition in 1851, and
the medaille d'homeur at Paris in 1855. The Society of Arts has also awarded him a medal
for his numerous and excellent works. Having acted as Chairman of Class 31, he was unable
to accept a medal in the present Exhibition. There are one hundred and sixty workmen employed
on these works in the manufacture of stove-grates, fenders, and fire-irons, chiefly for the iron-
mongers of London and our principal cities. Mr. Hoole, besides availing himself of such unusual
ability as that of Mr. Stevens, employs several good artists on his establishment, who have
received their education in the Government Schools of Art.
We may here remark, that the Sheffield school of design is now one of the most flourishing
in the kingdom. At the first meeting, which was called in 1841, to consider its establishment,
there were only three gentlemen present: viz., Dr. Harwood, Mr. H. P. Parker, and Haydon,
the painter, who was then on a visit at Sheffield, and who made a humorous sketch, now
preserved in the Institution, on which he wrote, " Public meeting at Sheffield to establish a
school of design, Oct. 13, 1841. Symptoms of great enthusiasm.—B. R. Haydon." Its present
flourishing state is due, in a great measure, to the energy and ability of the head master,
Mr. Young Mitchell.
Fireplaces have in former ages always formed a constituent part of the general architectural
design of a building, as in the Romanesque and Gothic styles. They were frequently bracketed
out externally from the wall, and were richly decorated; they were sometimes double, and
even treble. A magnificent example of triple fireplaces is preserved intact in the great hall
of the Palais de Justice, Poitiers, built early in the 15th century. During this and the succeeding
century, including the rise of the Renaissance style, the chimney-pieces were most richly ornamented
with sculpture and colour, and consisted of architectural designs reaching up to the roof. Such
are the grand examples of Bruges and Oourtrai, in Belgium, and a great number of those in
the Elizabethan mansions of our own country. Up to the middle of the 18th century the
chimney-piece in great mansions was thus architecturally treated, and a large number of excellent
designs for such have been published by Serlio, Delorme, Berain, P. Collot, Dieterlin, Du Cerceau,
Le Pautre, Piranesi, &c. Amongst the finest examples of this class are those of the palace
of Fontainebleau, of the Salle du Bal, by Rondelet, and the salles de St. Louis and the " Gardes,"
and several in the ducal palace at Venice. In the 19th century the fireplace dwindled down
to its present insignificance. The mantel-shelf is a remnant of the old mantel-piece over the
fireplace, furnished with pegs, on which, even to within the present time, the postilions in France
and Italy hung their wet cloaks. In some of the old Roman palaces mantel-pieces remain, and
are still applied to their original purpose. Fireplaces are now made so low and open, that the
commonest prudence requires the use of a high fender, instead of the shallow and useless bar
which is now in fashion.
A CHIMNEY-PIECE,
BY I. E. HOOLE, SHEFFIELD.
/^VNE of the leading manufactories of stove-grates and fenders, for which Sheffield is famous,
belongs to Mr. Hoole, by whose family the old Greenlane works were established in the
year 1795. From among the many fine examples forwarded by him to the Exhibition, we have
selected a bronze gilt fireplace, excellently designed, in the Italian style, by Mr. Alfred Stevens,
who is well known for his great power as a designer and painter, and to whose vigorous pencil
the Commissioners have intrusted the drawing of the diploma for honourable mention in the
International Exhibition of 1862. The ornaments on the mantel-shelf were contributed by
the Ooalbrookdale Company.
Mr. Alderman Hoole obtained the first council medal at the great Exhibition in 1851, and
the medaille d'homeur at Paris in 1855. The Society of Arts has also awarded him a medal
for his numerous and excellent works. Having acted as Chairman of Class 31, he was unable
to accept a medal in the present Exhibition. There are one hundred and sixty workmen employed
on these works in the manufacture of stove-grates, fenders, and fire-irons, chiefly for the iron-
mongers of London and our principal cities. Mr. Hoole, besides availing himself of such unusual
ability as that of Mr. Stevens, employs several good artists on his establishment, who have
received their education in the Government Schools of Art.
We may here remark, that the Sheffield school of design is now one of the most flourishing
in the kingdom. At the first meeting, which was called in 1841, to consider its establishment,
there were only three gentlemen present: viz., Dr. Harwood, Mr. H. P. Parker, and Haydon,
the painter, who was then on a visit at Sheffield, and who made a humorous sketch, now
preserved in the Institution, on which he wrote, " Public meeting at Sheffield to establish a
school of design, Oct. 13, 1841. Symptoms of great enthusiasm.—B. R. Haydon." Its present
flourishing state is due, in a great measure, to the energy and ability of the head master,
Mr. Young Mitchell.
Fireplaces have in former ages always formed a constituent part of the general architectural
design of a building, as in the Romanesque and Gothic styles. They were frequently bracketed
out externally from the wall, and were richly decorated; they were sometimes double, and
even treble. A magnificent example of triple fireplaces is preserved intact in the great hall
of the Palais de Justice, Poitiers, built early in the 15th century. During this and the succeeding
century, including the rise of the Renaissance style, the chimney-pieces were most richly ornamented
with sculpture and colour, and consisted of architectural designs reaching up to the roof. Such
are the grand examples of Bruges and Oourtrai, in Belgium, and a great number of those in
the Elizabethan mansions of our own country. Up to the middle of the 18th century the
chimney-piece in great mansions was thus architecturally treated, and a large number of excellent
designs for such have been published by Serlio, Delorme, Berain, P. Collot, Dieterlin, Du Cerceau,
Le Pautre, Piranesi, &c. Amongst the finest examples of this class are those of the palace
of Fontainebleau, of the Salle du Bal, by Rondelet, and the salles de St. Louis and the " Gardes,"
and several in the ducal palace at Venice. In the 19th century the fireplace dwindled down
to its present insignificance. The mantel-shelf is a remnant of the old mantel-piece over the
fireplace, furnished with pegs, on which, even to within the present time, the postilions in France
and Italy hung their wet cloaks. In some of the old Roman palaces mantel-pieces remain, and
are still applied to their original purpose. Fireplaces are now made so low and open, that the
commonest prudence requires the use of a high fender, instead of the shallow and useless bar
which is now in fashion.