Classic Mouldings Volume 1

Transcription

CLASSIC MOULDINGS INC.
columns
pilasters
mantels
column:
pilaster:
A vertical member, circular in section, and
A flat rectangular classical column fixed
normally with a gentle taper (entasis). In
against a wall, or used to frame a doorway,
classical architecture, it is composed of a
wall area, fireplace, etc.
base, shaft and capital.
column/pilaster
The Classical Style is generally thought to have
its beginnings in the 5th century B.C. We derive
most of the knowledge we now have of classical
Greek structures from the first-century B.C.
Roman architect, engineer and writer Vitruvius,
who maintained that the different profiles of the
members comprising what would become
known as the Classical Orders were simply
named for their place of origin and for the people
who created them; hence, the Dorians, the
Ionians and the Corinthians. The Romans were
brilliant in their use of the older, established and
admired architecture of the Greeks to give
credibility and grandeur to their new, ascendant
empire. Later, the Renaissance authors and
architects Serlio, Vignola and Palladio imposed
“ideal” rules and standardized sets of proportion
to Vitruvius’ descriptions.
The Doric order is the earliest, plainest and most
“masculine” of the classical orders, with a spare,
unornamented capital. The frieze ornament,
located over the architrave and under the cornice
(collectively known as the “entablature”) would
consist of a tri-glyph pattern. This motif is of
disputed origin: some consider it to be evocative
of the wooden strips that were originally used to
disguise the rough-cut ends of ceiling beams;
others, that it is symbolic of the slits cut into the
upper walls of structures used to store corn.
The Tuscan order as introduced by the Romans
resembles the Doric, but features bolder mouldings, and does without any decorative detailing.
The Ionic displays a more feminine countenance
due to the slender, fluted shaft, and the prominent
volutes ornamenting the capital. The Corinthian
is the latest and most ornate of the original
Greek orders, with a fluted column and a capital
elaborately carved with acanthus leaves. The
Composite order is regarded as a variant of
the Corinthian, but appears to be a marriage
between the Ionic and the Corinthian, with the
former’s volutes and egg and dart collar emerging
from the latter’s curling acanthus leaves. The
Composite appeared during the twilight of the
Classical period, and came to prominence only
later, under Roman patronage. Traditionally,
Doric columns are used on the first floor, Ionic
on the second, with Corinthian supporting the
ceiling of the third.
Columns may be used as magnificent punctuation
of the interior scape. They indicate visual and
spatial rhythm, and, when featured appropriately,
lead the viewer to the view.
A very rough rule when choosing the correct
column diameter would be matching the ceiling
height (for example, 9') with a tapering shaft
diameter (8''-10''), or a straight 10'' diameter shaft.
A 10' ceiling height could accommodate a 10''-12''
tapering shaft, or a straight 12'' diameter shaft.
Remember that effective entasis or tapering can
only be achieved when there is adequate height;
therefore, if one only has a distance of 7'-0'',
consideration should be confined to straight
shafts. The final decision of shaft diameter
should also take into account the size of the
room and the flow of pedestrian traffic.
Classic Mouldings’ plaster columns are ornamental only, and may be used to clad actual
structural supports.
i n s t a l l at i o n i n f o r m at i o n
Plaster columns are not intended to be used as structural
supports. Plaster columns may “wrap around” existing
support by ordering column in “halves” and plastering the
seam before attaching column to architrave.
Column should be wedged into place. Fill in any gaps
around architrave and base with Durabond 90™ or equiv-
alent plaster glue compound. Remove wedge, filling in
gap with additional compound.
For your convenience, columns may be ordered to be
picked up or shipped disassembled if exact, finished
height requirements are uncertain. Column may then be
assembled on site.
Corinthian
Ionic
Doric
Tuscan
Composite
maximum
shaft length
diameter
(straight)
diameter
(tapered)
65 1/2"
5 1/4" - 6 1/4"
65 1/2"
5 1/4" - 6 1/4"
72"
9 1/4" - 10 1/2"
86 1/2"
8" - 10"
88"
6" - 8"
92"
8" - 10"
96 3/4"
10" - 12"
105 3/4"
11" - 13"
106 3/4"
11" - 13"
108"
8 1/2" - 10 1/2"
114"
14" - 16"
120"
14" - 16"
128"
14" - 16"
128"
12" - 14"
216"
14" - 16"
any length
4"
any length
6"
any length
8"
any length
10"
any length
12"
any length
14"
any length
16"
any length
18"
smooth fluted
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tuscan column capitals
142
TUSCAN COLUMN CAPITAL
198
18 3/4"l x 18 3/4"w x 8 1/4"h
takes 14" diameter column
TUSCAN COLUMN CAPITAL
13 1/8"l x 13 1/8"w x 6 3/4"h
15"l x 15"w x 6 3/4"h
doric column capitals
180
DORIC COLUMN CAPITAL
181
8 1/2"l x 8 1/2"w x 6 1/2"h
182
8"l x 8"w x 3 1/2"h
takes 5 1/4" diameter column
186
9"l x 9"w x 6 1/4"h
11"l x 11"w x 7 1/2"h
183
14 1/4"l x 14 1/4"w x 8 3/4"h
185
6"l x 6"w x 3 1/2"h
863
17 1/8"l x 17 1/8"w x 9"h
Column
5
ionic column capitals
148
IONIC COLUMN CAPITAL
161
15"l x 15"w x 5 1/2"h
163
9"l x 9"w x 3"h
takes 5 1/4" diameter column
165
20 3/4"l x 20 3/4"w x 5 1/2"h
167
11 1/4"l x 11 1/4"w x 4 1/2"h
6
Column
27 1/2"l x 27 1/2"w x 8 1/2"h
170
13"l x 13"w x 4"h
25"l x 25"w x 8"h
174
176
18 1/2"l x 18 1/2"w x 7"h
corinthian column capitals
145
CORINTHIAN COLUMN CAPITAL
147
16"l x 16"w x 13"h
146
162
14"l x 14"w x 11 1/2"h
8 1/8"l x 8 1/8"w x 12"h
18"l x 18"w x 15"h
13 1/2"l x 13 1/2"w x 10 1/2"h
164
177
9 1/4"l x 9 1/4"w x 8"h
178
23 3/4"l x 23 3/4"w x 20"h
14"l x 14"w x 12 3/4"h
179
27"l x 27"w x 24"h
196
20 1/2"l x 20 1/2"w x 12"h
takes 11" column
862
19 1/2"l x 19 1/2"w x 15 3/4"h
takes 12" diameter
Column
7
single and double ring column bases
149
150
SINGLE RING COLUMN BASE
197
14"l x 14"w x 6 1/8"h
16"l x 16"w x 6 1/2"h
11 3/4"l x 11 3/4"w x 6"h
takes 8” diameter column
156
9 1/2"l x 9 1/2"w x 5"h
20 3/4"l x 20 3/4"w x 7"h
22"l x 22"w x 7 1/4"h
151
152
DOUBLE RING COLUMN BASE
199
16 1/4"l x 16 1/4"w x 7 5/8"h
18"l x 18"w x 7 1/2"h
10 1/4"l x 10 1/4"w x 4 1/2"h
153
6"l x 6"w x 3 1/2"h
12 1/2"l x 12 1/2"w x 8 1/2"h
154
14"l x 14"w x 8 3/4"h
155
17 1/2"l x 17 1/2"w x 9"h
157
23 1/4"l x 23 1/4"w x 13"h
8
Column
864
10 3/8"l x 10 3/8"w x 4 1/2"h
tuscan pilaster capitals
872
TUSCAN PILASTER CAPITAL
873
8 1/4"w x 8 1/8"h x 6 5/8"p
takes 14 1/4" shaft width
874
12"w x 6 1/2"h x 5 1/4"p
takes 8" shaft width
18"w x 7 3/4"h x 4 1/2"p
13 3/4"w x 6 1/8"h x 3 3/4"p
takes 9” shaft width
19 1/4"w x 9"h x 4 1/2"p
876
17 1/2"w x 8 1/8"h x 6 1/2"p
doric pilaster capitals
187
DORIC PILASTER CAPITAL
15 3/8"w x 6"h x 3 1/2"p
188
DORIC PILASTER CAPITAL
12 3/8"w x 6"h x 3 1/2"p
ionic pilaster capitals
143
IONIC PILASTER CAPITAL
25"w x 9 1/2"h x 1 1/2"p
10
Pilasters
144
12 1/4"w x 6 1/2"h x 1 3/4"p
169
7"w x 2 1/2"h x 2"p
ionic pilaster capitals
173
175
10 1/2"w x 4"h x 3 1/2"p
189
184
15"w x 4 1/4"h x 3 1/2"p
190
14 3/4"w x 8 1/2"h x 3 1/2"p
17 1/2"w x 5 1/2"h x 5 3/4"p
12"w x 8 1/2"h x 3 1/2"p
corinthian pilaster capitals
160
CORINTHIAN PILASTER CAPITAL
166
21 1/4"w x 12"h x 5 1/2"p
172
13 1/2"w x 12 3/4"h x 3"p
168
9"w x 8 1/2"h x 1 3/4"p
191
18"w x 16 1/4"h x 7 1/4"p
11"w x 8 1/2"h x 2 1/2"p
192
13"w x 9 7/8"h x 3 3/4"p
Pilasters
11
corinthian pilaster capitals
193
194
16"w x 11 1/4"h x 3 3/4"p
195
15"w x 12 1/4"h x 5"p
11"w x 9"h x 4"p
pilaster bases
158
PILASTER BASE
159
9"w x 10"h x 1 7/8"p
PILASTER BASE
865
9 1/4"w x 9"h x 1 3/4"p
PILASTER BASE
15 5/8"w x 13 1/2"h x 3 1/4"p
12"w x 9"h x 1 1/2"p
866
PILASTER BASE
867
15 1/4"w x 10"h x 5"p
869
PILASTER BASE
11 1/8"w x 12 1/2"h x 3 3/4"p
12
Pilasters
PILASTER BASE
868
12 3/4"w x 6 1/4"h x 5 3/4"p
870
16"w x 6 1/2"h x 3 1/2"p
871
PILASTER BASE
12 1/2"w x 5 3/4"h x 3"p
PILASTER BASE
PILASTER BASE
17 1/4"w x 8"h x 3 5/8"p
18 1/2"w x 7"h x 6 3/4"p
mantel:
the frame surrounding a fireplace
mantel: the frame surrounding a fireplace
The origin of the fireplace as we currently know
it was initiated by Norman architects in order to
solve the problem of heating the massive stone
castles being erected all over England. The central stone hearth fire was not practical in these
multi-storied fortresses, so the wall fireplace was
designed as an important part of the wall structure. The central hearth survived in the majority
of homes as it was cheap to build, heat efficient,
and allowed family and friends to gather around
it from all sides, in addition to serving as the
only cooking fire. By the mid–twelfth century, the
Norman fortress gave way to a lighter Gothic
style. Those affluent enough to buy privacy had
sleeping chambers constructed that were both
comfortable and intimate – and adequately heated
by their own small wall fireplaces.
In early 16th century England, the reign of
Henry VIII brought isolation, both from Rome
and from the sophisticated domestic designs of
the Italian nobility. Timber became scarce as
resources were used to satisfy the burgeoning
shipbuilding industry. Ceilings were introduced,
both to conserve heat and to introduce a second
storey. Brick became popular as a building material, and brick chimneys appeared. Cottages
were still serviced by a single central fireplace
with a chimney, but as more rooms were added,
the fireplace began to be built against an outside
wall. The addition of rooms meant the end of
the central hearth (despite the loss of heat up
the chimney), and reduced social interaction.
Inglenooks were a suitable compromise; great,
deep fireplaces could accommodate utensils
for spit cooking, drying clothes and the smoking
of meat. An oven was often built into the side
of the inglenook fireplace, and sealed with a
large stone. Building laws were introduced to
ensure that chimneys were built only of brick or
stone, with surrounding materials consisting of
noncombustible tiles or plaster.
The latter part of the sixteenth century witnessed the late appearance of Renaissance styling
in Britain. Medieval designs were discontinued,
and the fireplace became a magnificent centerpiece. Flemish, German and Italian ornamental
pattern books appeared, inspiring Elizabethan
and Jacobean decoration: diamond patterns,
strap work, shields, coats-of-arms and floral
emblems were carved in stone and oak. Delicate
classical figures were mixed with Gothic foliage,
combining Renaissance and Gothic styles.
Italian design became even more prominent in
the seventeenth century. Trained architects
appeared, and in following the descriptions by
Vitruvius and Palladio, united the form, composition and proportion of the fireplace with the
whole of the interior. The splendour of Baroque,
ornate Rococo, the sobriety and balance of the
Palladian style and the brilliance of Adam all
made an indelible impact upon the 18th century
fireplace. Coloured marble began to be used, as
were ornamental mirrors. The hob grate for
burning coal became common in the late 18th
century, and was set into the fireplace opening,
with the center coalburning grate being flanked
by metal side plates that provided an area to heat
food and boil a kettle.
Both the 19th century industrial revolution and
the exploding population had an extraordinary
effect upon the fireplace, as there was a surge in
building and an entirely new industrial middle
class to outfit. Design ideas that were heretofore
available only to the very rich were now accessible due to methods of mass production. Towards
the end of the 19th century, marble became too
expensive for the majority of homes, and people
made do with slate, cast iron and painted pine.
These surrounds were marbleized to imitate the
true marble fireplaces of the rich. The average
middle class home might have two fireplaces,
one in the drawing room and one in the
dining room. Overmantel mirrors became quite
common, as plate glass was readily available.
In France, the curvaceous Louis XV and more
austere XVI designs were quite popular, as they
were smaller and suitable for bedrooms.
Fireplaces in general became more diminutive,
with shallower hearths and tiny fire baskets to
support coals. Neo-Gothic, Elizabethan and
naturalistic motifs became decorative elements
only, as their original proportions were sacrificed. People were able to travel widely, and
came back from the Far East and North Africa
with a mélange of design ideas to add to the
pot. Cast iron mantels with complex designs
became increasingly admired. At first, tiles were
used only in the finest homes; after methods of
mass production became commonplace, they
were found flanking firebox openings across the
classes, and helped to visually break up the heavy
ornamentation that was so popular.
The Arts & Crafts movement paved the way for
the modern with its uncluttered, linear look, and
the use of natural materials in a generally less
contrived manner. Art Nouveau created an
international style, and covered every aspect of
interior and exterior design. Some examples of
this consisted of lovely, rather spare shapes inset
with glass and mosaic. Other pieces were loosely
reminiscent of a barely classical form, featuring
prominent caryatids with dramatically flowing
hair. Cooking ranges, boilers and primitive
central heating systems were slowly becoming
more sophisticated, to a point where the affluent
enjoyed Beaux-Arts fireplaces that were freed
from actual function. Their position was ornamental and symbolic; the presence of an Italian
Renaissance chimney piece in the entrance hall,
so large that one could step into it, was mainly an
indication of the stature of one’s host.
ended, and Art Deco gathered adherents, adding to
fireplace designs a stylized shape with equally stylized natural motifs. This dissolved into the rather
bland shapes of the 1930’s. Central heating became
widespread, and fewer fireplaces were built.
Developments to form and function were minimal,
and by 1950, ornament was virtually nonexistent.
The fireplace was constructed of chunky brick, and
eventually usurped altogether by the encompassing,
bluelight embrace of the television set. The idea of
the fireplace was considered to be redundant, and
the TV became the focus of the room.
The 21st century suggests we’ve almost come full
circle with regards to our relationship with the
domestic fireplace. After being close to forgotten,
it has emerged again as a coveted element
in both modern and vintage interiors. Classic
Mouldings looks upon its mantel designs as
celebrations of the hearth. Pull up a chair and
The Edwardian period brought everyone back dream with us. We think there’s something to
to the conventional, but in a simpler manner. suit most everyone; and if you don’t see it, we can
The fireplace became squarer and more func- concoct what ever it is you’d like to see.
tional, and was often fitted with a gas fire. WWI
i n s t a l l at i o n i n f o r m at i o n
Classic cast fireplace mantels come in the sizes indicated in
the product section. The difference between your firebox
opening size and the opening of your chosen mantel may be
bridged with marble, tile, brick, or whatever “filler” suits
your interior. This filler should be in place before attaching
the mantel to the wall surface. The hearth should also be in
place before the mantel is installed. When the site is ready
for the decorative mantel installation, the wall surface is
scored, and the mantel is then glued onto the wall with
Durabond 90TM, or equivalent plaster glue compound.
The bolection mantels (types E, F, H and I) are essentially
large plaster mouldings that are mitred. They are run on a
bench and can therefore be whatever length is required by
the client. The bolection mantels should also be mounted
flush to the wall.
There may be some flexibility in the sizing of the cast
mantels (types A, B, C, D, G, J, K, L, M, N, O, P), but only to
the extent that both the design and proportion of the piece
are not compromised. Please note that any measurements
other than those indicated are considered “custom”. Custom
pieces will be priced according to the specific job.
type a
Classically 19th century-styled
French mantelpiece. Well-defined
central shell motif and delicately
scrolled legs.
43 1/2"h x 55 3/4"w x 13 1/2"p
opening height: 36"
opening width: 37 1/4"
type b
Louis XV style with a deeply carved
central shell surrounded by twining
leaves. Legs are carved with scroll,
leaf and flower design.
44"h x 54"w x 12" p
opening height: 37"
opening width: 37"
type c
Louis XVI Adam style mantel with
deep relief flutes comprising the
frieze. Acanthus leaves featured on
both corner blocks and leg brackets.
46 1/2"h x 59"w x 13 1/2"p
opening height: 34 1/4"
type d
Contemporary mantel elegantly
sculpted with multiple lines
and reveals.
47 1/2"h x 56 3/4"w x 10"p
opening height: 39"
opening width: 40"
Mantels
17
type e
Contemporary bolection mantel.
Specify any height and width.
moulding width: 10 3/4"
projection: 8 1/2 "
type f
moulding width: 9"
projection: 7 3/4"
type g
Ziggurat-inspired mantel
with a moderne sensibility.
50 1/4"h x 57"w x 7"p
type h
Contemporary bolection
mantel. Specify any height
and width.
moulding width: 9"
projection: 6"
18
Mantels
type i
moulding width: 5"
projection: 2"
type j
Mantel with an Elizabethan flavour,
featuring recessed panels showing
a decorative Renaissance motif.
A truly splendid chimney piece.
67"h x 83"w x 11"p
opening height: 39"
type k
A Georgian period mantel in
the best neoclassical style, based
on an 18th century original found
in one of the great Irish houses.
54 1/2"h x 66"w x 9 3/4"p
opening width: 31"
type l
Based on a turn-of-the-century
Edwardian mantel. Suitable for
modern, traditional or vintage
interiors.
50 1/4"h x 56 1/2"w x 9 1/8"p
Mantels
19
type m
A masculine mantel that features
graphic fluting and a stylized
Greek key.
50 1/4"h x 70 1/4"w x 10 5/8"p
opening height: 31"
type n
An imposing mantel which shows
an ornamental guilloche-patterned
frieze, supported by large brackets
featuring prominent volutes.
55 3/4"h x 70"w x 13 3/8"p
opening height: 37"
opening width: 37"
type o
Traditional mantel featuring
acanthus leaves, elongated
brackets and stylized rosettes.
53"h x 68"w x 7 3/4"p
type p
Regency-inspired mantel using a
stylized acanthus leaf to decorate
both the supporting brackets and
the frieze.
55 1/2"h x 61 1/2"w x 12 1/2"p
opening width: 34"
20
Mantels
CLASSIC MOULDINGS INC.
Head Office / Showroom:
226 Toryork Drive, Toronto, Ontario, Canada m9l 1y1
Showroom: West Palm Beach, Florida
Toll Free: 1-866-745-5560 Fax: 416-745-5566
www.classicmouldings.com [email protected]

Classic Mouldings Volume 1

Transcription

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