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diff --git a/26670-h/26670-h.htm b/26670-h/26670-h.htm new file mode 100644 index 0000000..5c4d4aa --- /dev/null +++ b/26670-h/26670-h.htm @@ -0,0 +1,1875 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Making a Fireplace, by Henry H. Saylor + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + body { + margin-left: 10%; + margin-right: 10%; + } + p { margin-top: .75em; + margin-bottom: .75em; + text-align: justify; + text-indent: 1em; + } + h1,h2 { + text-align: center; + clear: both; + margin-top: 0em; + margin-bottom: 0em; + font-weight: normal; + } + h1 { + font-size: xx-large; + padding-top: 0.5em; + padding-bottom: 0.5em; + } + h2 { + font-size: large; + margin-top: 3em; + margin-bottom: 1em; + } + h2.ads { + margin-top: 5em; + line-height: 160%; + font-style: italic; + } + + p.copyright { + margin-top: 4em; + margin-bottom: 4em; + font-size: smaller; + text-align: center; + text-indent: 0em; + } + p.author { + margin-top: 0.5em; + margin-bottom: 0em; + font-size: large; + line-height: 140%; + text-align: center; + text-indent: 0em; + } + p.details { + margin-top: 0.7em; + padding-bottom: 0.25em; + font-size: small; + word-spacing: 0.8ex; + line-height: 170%; + text-align: center; + text-indent: 0em; + } + p.publisher { + padding-top: 0.5em; + padding-bottom: 0.5em; + margin: 0em; + font-size: medium; + line-height: 125%; + text-align: center; + text-indent: 0em; + } + p.newsection { + text-indent: 0em; + } + .dropcap { + float: left; + padding-top: 2px; + padding-left: 0px; + padding-right: 2px; + font-size: 250%; + line-height: 83%; + overflow: visible; + } + .firstword { + text-transform: uppercase; + } + + table { + margin-left: auto; + margin-right: auto; + } + table.toc { + font-size: medium; + width: 25em; + line-height: 160%; + margin-top: 1em; + margin-bottom: 1em; + } + table.toc td { + padding-top: 0.5em; + padding-left: 2em; + text-indent: -2em; + } + table.toc td.onpage { + font-size: 90%; + padding-left: 2em; + vertical-align: bottom; + text-align: right; + text-indent: 0em; + } + + table.title { + border-collapse: collapse; + border: 2px solid black; + width: 20em; + } + table.title td { + border: 2px solid black; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + right: 1%; + font-size: x-small; + font-weight: normal; + font-style: normal; + text-align: right; + text-indent: 0em; + color: gray; + background-color: inherit; + } + + img { + border: none; + } + img.border { + border: solid 2px black; + padding: 0px; + } + img.dblborder { + border: double 3px black; + padding: 0px; + } + + a:link { + text-decoration: none; + color: rgb(10%,30%,60%); + background-color: inherit; + } + a:visited { + text-decoration: none; + color: rgb(10%,30%,60%); + background-color: inherit; + } + a:hover { + text-decoration: underline; + } + a:active { + text-decoration: underline; + } + + .smcap { + font-variant: small-caps; + } + .u { + text-decoration: underline; + } + .caption { + font-size: small; + } + .figcenter { + padding-top: 2em; + padding-bottom: 1em; + margin: auto; + text-align: center; + } + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Making a Fireplace, by Henry H. Saylor + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Making a Fireplace + +Author: Henry H. Saylor + +Release Date: September 19, 2008 [EBook #26670] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK MAKING A FIREPLACE *** + + + + +Produced by Markus Brenner and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +</pre> + + +<table class="title" summary="title page"> +<tr><td colspan="3"><h1><span style="letter-spacing: 0.40ex">MAKING A</span><br /> +<span style="letter-spacing: 0.25ex">FIREPLACE</span></h1></td></tr> + +<tr><td colspan="3"><p class="author"><i>By</i> HENRY H. SAYLOR</p> +<p class="details">AUTHOR OF<br /> +BUNGALOWS, MAKING A ROSE GARDEN, ETC.</p> +</td></tr> + +<tr><td style="width: 30%"></td><td style="width: 40%; padding-top: 1.5em; padding-bottom: 6.5em"><div class="figcenter" style="width: 53px;"> +<a href="images/illu_logo.jpg"> +<img src="images/illu_logo_th.jpg" width="53" height="54" alt="" title="" /></a> +</div></td><td style="width: 30%"></td></tr> + +<tr><td colspan="3"> +<p class="publisher"><small>NEW YORK</small><br /> +McBRIDE, NAST & COMPANY<br /> +<small>1913</small></p></td></tr> +</table> + + +<p class="copyright"> +Copyright, 1913, by<br /> +<span class="smcap">McBride, Nast & Co.</span></p> + +<p class="copyright" style="margin-top: 5em">Published, January, 1913</p> + + +<div class="figcenter" style="width: 356px;"> +<a name="The_Fireplace_of_Long_Ago" id="The_Fireplace_of_Long_Ago"></a> +<a href="images/illu_frontispiece.jpg"> +<img src="images/illu_frontispiece_th.jpg" width="356" height="249" alt="The Fireplace of Long Ago" title="The Fireplace of Long Ago" /></a> +<span class="caption">The fireplace of long ago, made large enough to accommodate +most of the kitchen’s pots and pans beside the fire</span> +</div> + + + + +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> + + +<table class="toc" summary="contents"> +<tr style="line-height: 100%"><td></td><td class="onpage">PAGE</td></tr> +<tr><td><span class="smcap"><a href="#INTRODUCTION">Introduction</a></span></td><td class="onpage"><a href="#Page_1">1</a></td></tr> +<tr><td><span class="smcap"><a href="#CONSTRUCTION">Construction</a></span></td><td class="onpage"><a href="#Page_7">7</a></td></tr> +<tr><td><span class="smcap"><a href="#MISCELLANEOUS_ODD_FORMS">Miscellaneous Odd Forms</a></span></td><td class="onpage"><a href="#Page_22">22</a></td></tr> +<tr><td><span class="smcap"><a href="#FACINGS_AND_MANTELS">Facings and Mantels</a></span></td><td class="onpage"><a href="#Page_25">25</a></td></tr> +<tr><td><span class="smcap"><a href="#MENDING_POOR_FIREPLACES">Mending Poor Fireplaces</a></span></td><td class="onpage"><a href="#Page_31">31</a></td></tr> +<tr><td><span class="smcap"><a href="#FIREPLACE_ACCESSORIES">Fireplace Accessories</a></span></td><td class="onpage"><a href="#Page_36">36</a></td></tr> +<tr><td><span class="smcap"><a href="#BUILDING_THE_FIRE">Building the Fire</a></span></td><td class="onpage"><a href="#Page_45">45</a></td></tr> +</table> + + + + +<h2><a name="THE_ILLUSTRATIONS" id="THE_ILLUSTRATIONS"></a>THE ILLUSTRATIONS</h2> + + + + +<table class="toc" summary="illustrations"> +<tr><td><span class="smcap"><a href="#The_Fireplace_of_Long_Ago">The Fireplace of Long Ago</a></span></td><td class="onpage"><i>Frontispiece</i></td></tr> +<tr><td></td><td class="onpage" style="line-height: 100%">FACING<br />PAGE</td></tr> +<tr><td style="padding-top: 0em"><span class="smcap"><a href="#An_English_Basket_Grate_in_Brass">An English Basket Grate in Brass</a></span></td><td class="onpage" style="padding-top: 0em"><a href="#Page_4">4</a></td></tr> +<tr><td><span class="smcap"><a href="#A_Modern_English_Fire_Corner_in_Contrasting_Tiles">A Modern English Fire Corner in Contrasting Tiles</a></span></td><td class="onpage"><a href="#Page_4">4</a></td></tr> +<tr><td><span class="smcap"><a href="#An_Inglenook_with_Stone_Hearth">An Inglenook with Stone Hearth</a></span></td><td class="onpage"><a href="#Page_22">22</a></td></tr> +<tr><td><span class="smcap"><a href="#Caen_Stone_Mantel_for_the_Formal_Type">Caen Stone Mantel for the Formal Type</a></span></td><td class="onpage"><a href="#Page_26">26</a></td></tr> +<tr><td><span class="smcap"><a href="#An_Informal_Fireplace_in_Field_Stone">An Informal Fireplace in Field Stone</a></span></td><td class="onpage"><a href="#Page_30">30</a></td></tr> +<tr><td><span class="smcap"><a href="#The_Modern_Colonial_Type">The Modern Colonial Type with Brick Facing and White Wood Mantel</a></span></td><td class="onpage"><a href="#Page_38">38</a></td></tr> +<tr><td><span class="smcap"><a href="#A_Craftsman_Type">A Craftsman Type in Brick with Copper Hood</a></span></td><td class="onpage"><a href="#Page_46">46</a></td></tr> +<tr><td><span class="smcap"><a href="#A_Recessed_Fireplace">A Recessed Fireplace in Brick and Rough Plaster</a></span></td><td class="onpage"><a href="#Page_50">50</a></td></tr> +</table> + + + + +<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> +<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2> + + +<p>In a book of this kind there is no particular +need for dwelling at length on the +desirability of having a fireplace. That +will be taken for granted. It is enough +to say that in these days a home can +scarcely be considered worthy of the name +if it does not contain at least one hearth. +There is some inexplicable quality in a +wood fire that exerts almost a hypnotic +influence upon those who eagerly gather +about it. The smoldering glow of the +logs induces a calm and introspective +mood that banishes all the trivialities and +distractions of the day’s work and gives +one an opportunity to replenish his store +of energy for the coming day.</p> + +<p>The open fire, unlike most of the comforts +that we demand in a modern home, +<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>has been associated with the race as far +back almost as the home itself. At first, +of course, it was as a necessity and the +development from that to a luxury has +been an exceedingly slow one extending +over the years down to the present time.</p> + +<p>There are two forms of the open fire—a +possible third one, the gas log, being a +subject on which the less said the better. +We have, therefore, a choice between the +open fireplace designed for wood and the +basket grate in which to burn coal, preferably +cannel coal. This latter fuel is not +nearly so well known in this country as +in England where the scarcity of wood +necessarily makes coal the more commonly +used fuel. With our own abundance +of wood, however, there will perhaps +be little hesitancy in choosing the +open fireplace rather than the basket +grate for coal, although in certain cases, +<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>for example an apartment where the flue +has been built too small, or in a house +where an available chimney offers only a +small flue area for fireplace use, the basket +grate will prove a welcome solution of +the problem. Of course there is no excuse +whatever for building a modern home +with a chimney too small for the sort of +fireplace you want, but where the chimney +has already been built without this provision +it may possibly be found that a +small terra cotta flue lining may be inserted +in the larger flue without seriously +damaging the latter’s power of draft. In +that event the addition of a basket grate +fireplace to an old house would be an interesting +possibility.</p> + +<p>However fully we may appreciate the +desirability of some sort of fireplace, +there seems to be a rather widespread impression +that the attainment is largely a +<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>matter of chance. Too many home-builders +have instructed their architects +to provide a fireplace or two in the fond +hope that the matter was then practically +closed—a mere matter of time until they +might be sitting before the fire’s cheerful +glow. Too frequently the result has been +a disappointment when the first few trials +introduced into the room more smoke than +heat or cheer. The reason for this is +that there is a scientific basis for fireplace +building which is frequently ignored +absolutely by an over-confident and stupid +mason. Where the work of building the +home has been entrusted to an architect’s +hands the latter usually appreciates the +fact that the building of the fireplaces is +liable more than any other part of the +house to be taken into the mason’s own +hands with, if he is not watched, disastrous +results. Undoubtedly every mason +<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>would resent most strongly any insinuation +as to his lack of knowledge regarding +fireplace construction. Each mason not +only thinks that he knows how a fireplace +should be built, but it is almost as general +a rule that he feels that his particular +method is the only correct one.</p> + +<div class="figcenter" style="width: 328px; padding-bottom: 0em"> +<a name="An_English_Basket_Grate_in_Brass" id="An_English_Basket_Grate_in_Brass"></a> +<a href="images/illu_04a.jpg"> +<img src="images/illu_04a_th.jpg" width="328" height="223" alt="An English Basket Grate in Brass" title="An English Basket Grate in Brass" /></a> +<span class="caption">One of the best forms of the basket grate in brass. +The splayed sides send out more heat</span> +</div> + +<div class="figcenter" style="width: 326px;"> +<a name="A_Modern_English_Fire_Corner_in_Contrasting_Tiles" id="A_Modern_English_Fire_Corner_in_Contrasting_Tiles"></a> +<a href="images/illu_04b.jpg"> +<img src="images/illu_04b_th.jpg" width="326" height="222" alt="A Modern English Fire Corner in Contrasting Tiles" title="A Modern English Fire Corner in Contrasting Tiles" /></a> +<span class="caption">A modern English fire corner. Facing and +hearth have been worked out in a rather startling +contrast of tiles</span> +</div> + + +<p>In view of this it might be well for any +man building his own home to give some +attention to the matter of his fireplaces, +to insist on knowing how they are designed +and to follow their construction +throughout so that there is no chance for +a blunder; and this chance is not so slight +as might be supposed. In a house in +which the author had carefully shown +every detail of construction in the drawings, +it was found when the building was +nearly completed that the cast-iron throat +flues, which ordinarily prevent any possible +mistake of construction on the mason’s +<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>part, had been put in reversed and +it was necessary to tear down the whole +face of the chimney breast in each case to +replace them properly.</p> + +<p>The matter of construction is not at all +a complicated affair, as the next chapter +will aim to show.</p> + + + +<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p> +<h2><a name="CONSTRUCTION" id="CONSTRUCTION"></a>CONSTRUCTION</h2> + + +<p class="newsection"><span class="firstword"><span class="dropcap">T</span>he</span> chief difficulty in attaining a successful +fireplace design does not lie +in securing an abundant draft. In fact +it is an easy matter to make a fireplace +draw if the flue is large enough and the +opening from the fire chamber into the +flue unobstructed. There will never be +any question of getting a roaring blaze +the moment the fire is lighted.</p> + +<p>This is, in a way, the type of fireplace +that our Colonial ancestors built—great +cavernous openings and generous flues, +with the result that the more wood was +piled upon the blaze the more they blistered +their toes and at the same time +chilled their backs. For it is evident that +when we secure such a strong, unobstructed +<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>current of hot air up the chimney, +enough cool air to take its place must +be drawn into the room through every +opening and crevice. The result is a +mighty draft that rushes past those unfortunate +enough to be sitting about the +fire and carries rapidly up the chimney +almost all of the heat of combustion.</p> + +<p>In the fireplace of our Colonial ancestors +probably ninety per cent. of the +heat was entirely lost, being carried up +the chimney. However, cord wood was +then to be had for the cutting.</p> + +<p>We want a different sort of a fire in +these days—one that will burn with a +steady, constant blaze or glow, conserving +most of its heat, which the back and sides +of the fire chamber will reflect out into +the room.</p> + +<p>Such a fireplace will not necessarily be +a large one. It is amusing to hear how +<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>universally the demand goes up for large +fireplaces—“great big fellows that will +burn full cord wood.” It is hard to see +just why this is. It may be based on +the assumption that if a small fireplace is +desirable a large one is more so. This +is a fallacy that the architect and fireplace +builder find it hard to dispel. +There is no objection whatever to a large +fireplace in a summer camp or informal +shack of that sort. In fact a small one +would in such a place be ridiculous, but +when we come to our year-round living-room +or dining-room or den, where the +walls of the room are tight and the whole +atmosphere quieter and more restrained, +a large fireplace would be distinctly a +disturbing element. Such a room as this, +unless very poorly built, would not permit +the in-take of sufficient air for the +draft of a big fireplace, whereas in our +slab cabin or log bungalow the conditions +are quite different.</p> + +<div class="figcenter" style="width: 216px;"> +<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> +<a href="images/illu_10.jpg"> +<img class="dblborder" src="images/illu_10_th.jpg" width="216" height="389" alt="A section through the fireplace and +chimney" title="A section through the fireplace and chimney" /></a> +<span class="caption">A section through the fireplace and +chimney. The broad cross-hatching represents +brickwork</span> +</div> + +<p><span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>For the ordinary room, therefore, a +fair average size for the fireplace opening +is three feet in width by two and a half +feet high, with a depth half the width. +From such a fireplace it is possible to get a +maximum of heat with a minimum of draft.</p> + +<p>There are two vital principles that +should be observed in the design of any +fireplace. One of these is the relation between +the size of the opening into the +room and the size of the flue itself. A +cross-section of the flue—which incidentally +should be kept the same throughout +its extent—should be one-tenth of +the area of the opening into the room. +The second vital consideration is the introduction +of what are known as a +“smoke shelf” and a “smoke chamber.” +The reason for constructing a fireplace +<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>with these two features will appear more +readily by reference to the diagram. +This is drawn to show that when a fire is +kindled on the hearth the warm air current, +which is generated immediately, begins +to rise through the throat (the opening +between the fire chamber and the +smoke chamber) and at once induces a +down-draft of cold air. If the back of +the fireplace were on the same continuous +plane with the rear side of the chimney +flue, this downward current of cold air +would strike directly upon the fire itself +and force smoke out into the room. The +smoke shelf is built just where it will prevent +this action. The sectional diagram +does not perhaps make quite clear the +shape of this smoke chamber, but the accompanying +perspective outline sketch +will indicate the fact that the throat and +the smoke chamber at the bottom must +<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span>extend across the full width of the fire +chamber. This width in the smoke +chamber immediately diminishes in rising +until it joins the flue at the flue’s own +area.</p> + +<p>The sectional diagram indicates a cast-iron +damper built in the throat. This is +not necessary, for it contributes nothing +to the efficiency of the fire itself. Its one +great advantage is that by furnishing the +mason with an unalterable form, it forces +him to build the throat properly rather +than in one of the wrong ways that his +own judgment might dictate. Such a +cast-iron damper also forms a support +for the flat arch of brick over the opening +if bricks are used. If the damper is +not built in, it is necessary to use an iron +supporting bar to carry this flat arch. +Then too, in case the damper is not used, +there is lost the advantage of being able +<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>quite readily to close the throat entirely, +which is highly desirable in the summertime +and frequently in the winter when +the fireplace is acting too strenuously as +a ventilator. If the cast-iron throat is +not used, therefore, it will be well to lay +an iron plate on the smoke shelf in such +a way that it could be drawn forward +across the opening to close it.</p> + +<div class="figcenter" style="width: 252px;"> +<a href="images/illu_14.jpg"> +<img class="dblborder" src="images/illu_14_th.jpg" width="252" height="408" alt="Perspective view" title="Perspective view" /></a> +<span class="caption">Perspective view of the fireplace, showing the +shape of the various parts as built without a +cast-iron throat damper</span> +</div> + +<p><span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>There are other types of dampers, most +of them patented and all of them aiming +to provide an adjustable opening in the +throat in some way. One or two of these +have a knob or handle projecting through +the brickwork of the arch, permitting the +convenient adjustment of the damper +from outside. As a general principle, +however, it is well to choose the simplest +possible device that will secure the desired +result.</p> + +<p>The terra cotta flue lining which is +<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>shown in the sectional diagram is not absolutely +necessary, of course, as it is +a rather modern introduction and unnumbered +fireplaces have served their purpose +without it. There is no question, however, +regarding its worth, for it provides a flue +with smooth, regular sides that will not +clog nearly so readily as an ordinary +brick flue. Besides that, it has the advantage +of permitting a thinner wall for +the chimney. It is dangerous to build +a chimney with a single four-inch thickness +of brick between the flue and whatever +may adjoin the chimney. Of course +no wood should be allowed to come within +an inch or two of the brickwork in +any event, but with a single thickness +of brick, unlined, there is always +the danger that the mortar will crumble +from a joint and leave an opening +through which it would be an easy matter +<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>for sparks or flame to do considerable +damage. The introduction of a flue lining, +however, into the chimney built in this +way makes it entirely safe, provided the +joints between sections of flue lining are +carefully filled and made smooth with cement +mortar.</p> + +<p>The sectional diagram, it will be noticed, +indicates a difference between the main +back wall of the chimney, eight inches +thick, and the brickwork laid inside the +fire chamber to form the hearth and the +back. The reason for this separation is +that the rough brickwork of the chimney +is always laid first as simply as possible, +leaving the fire chamber with its sloping +back and sides and the hearth to be filled +in later with a better grade of brick or +perhaps another kind. Frequently, also, +tile will be combined with the brick finish +as a hearth or facing.</p> + +<div class="figcenter" style="width: 257px;"> +<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> +<a href="images/illu_18.jpg"> +<img class="border" src="images/illu_18_th.jpg" width="257" height="380" alt="A cross-section" title="A cross-section" /></a> +<span class="caption">A cross-section showing the construction of a +large stone fireplace with slightly arched opening</span> +</div> + +<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>A support for the hearth is usually obtained +as indicated—by bringing what +is called a “row-lock” or “trimmer” +arch between the foundation masonry of +the chimney and a pair of floor joists set +out at the proper distance, depending +upon the desired width of the hearth. +While this is the customary method, occasionally +a support is secured in some +other way, such as corbeling out from the +masonry foundation, or by extending two +short projections of this masonry from +the bottom up at either end of the hearth +and throwing an arch across between +these. Upon a bed of cement the hearth +bricks themselves are laid, usually flush +with the floor, although occasionally +enough higher to permit a beveled molding +strip to cover the joint between brick and +floor more closely. In some cases the +hearth itself is raised the full thickness +<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>of a brick above the floor, as in one of +the photographic illustrations shown.</p> + +<p>The width of the hearth is ordinarily +made about sixteen or eighteen inches beyond +the face of the opening with the average +size fireplace, twenty inches or even +more with larger ones. This width should +be increased, of course, if the opening is +made considerably larger. The question +of materials for the hearth and facing +will be discussed in the next chapter.</p> + +<p>The chimney itself should extend at +least a foot or two above any nearby roof +ridge and it should work without any +cowl, whirligig or other device of that +type on the top. There is no great objection +to having the opening a horizontal +one at the top of the chimney, although +in that case if the flue is nearly straight +throughout its course, some rain will find +its way down to the hearth in a hard +<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>storm. In most cases there is enough +bend in the flue to prevent this, and if not +it may be avoided by covering the top of +the chimney with a stone and having the +openings vertical ones on all four sides +just under this.</p> + +<p>All of the brickwork throughout chimney +and fireplace should be laid in first-class +cement mortar which consists of one +part Portland cement to three parts clean, +sharp sand. Although lime mortar was +used in all brickwork up to recent years, +it is not durable, particularly in the vicinity +of heat.</p> + + + +<p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p> +<h2><a name="MISCELLANEOUS_ODD_FORMS" id="MISCELLANEOUS_ODD_FORMS"></a>MISCELLANEOUS ODD FORMS</h2> + + +<p class="newsection"><span class="firstword"><span class="dropcap">T</span>here</span> are many unusual forms of +fireplace with which we are not particularly +concerned. For example, one +sees occasionally an opening shaped like +an inverted heart or like an ace of spades. +It is possible to make a fireplace of this +kind work satisfactorily, but it is by no +means certain that this result can be accomplished +at the first trial nor that the +fire will continue to work properly under +all conditions. It is safer always to adhere +to the established type of rectangular +opening, or to depart from this only to +the extent of having the top an arch of +large radius. Whenever the top is permitted +to vary more than a slight extent +from the horizontal there is the danger of +<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>having the smoke escape into the room at +the top.</p> + +<div class="figcenter" style="width: 335px;"> +<a name="An_Inglenook_with_Stone_Hearth" id="An_Inglenook_with_Stone_Hearth"></a> +<a href="images/illu_22.jpg"> +<img src="images/illu_22_th.jpg" width="335" height="248" alt="An Inglenook with Stone Hearth" title="An Inglenook with Stone Hearth" /></a> +<span class="caption">The inglenook seldom fails as a dispenser of home cheer. +Frequently the seats are placed too close to the fire</span> +</div> + +<p>There is one other type that deserves +special mention and that is the double fireplace, +where two openings in adjacent +rooms are served by a single flue between +them. The only way in which this affects +the two vital principles mentioned above +is that the cross-section area of the flue +should be one-tenth of the combined areas +of the openings. The throat will in this +case be in the middle of the chimney with +the smoke shelf on either side of it. It is +essential in a fireplace of this kind that +there be no disturbing draft tending to +pass through the opening from one room +to the other.</p> + +<p>Still another type which is even more +rarely seen is the open fire in the middle +of a room, such as may be desired occasionally +in the lounging room of a large +<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>club. Such an apparent anomaly could +be secured by suspending a metal flue and +hood from the roof, so that the lower edge +of the truncated pyramidal form at the +bottom would form the upper side of the +fireplace “opening” at a convenient +height above the hearth of brick, stone, +tile or concrete. It is conceivable that +an effective and thoroughly practical fireplace +could be thus devised, having the +flue and hood of wrought iron or copper, +suspended and steadied by chains or bars +from the ceiling and surrounding walls. +In such a form the same principle of a +fixed ratio between opening (here the entire +perimeter of the hood multiplied by +the distance above the hearth) and cross-section +of flue would have to be observed, +and here also it would be well to provide +as fully as possible against the presence +of disturbing drafts.</p> + + + +<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p> +<h2><a name="FACINGS_AND_MANTELS" id="FACINGS_AND_MANTELS"></a>FACINGS AND MANTELS</h2> + + +<p class="newsection"><span class="firstword"><span class="dropcap">T</span>here</span> is not a particularly wide +choice of materials available for the +finish of the hearth and fireplace. Stone, +brick, cement and tile exhaust the possibilities, +although with combinations of +these we have all the variety that we could +wish.</p> + +<p>Stone is suitable only in certain environments—the +informal shack or log +cabin chiefly, though of course it is impossible +to make any hard and fast rule +in the matter.</p> + +<p>Brick is almost never out of place. +Perhaps it is the association with the fireplaces +that have been built by our fathers +and grandfathers, or perhaps it is the inherent +worth and fitness of the material +<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>itself that puts it forward as a first +choice. Undoubtedly the practical consideration +that it is easier and more economical +to build has something to do with +the matter.</p> + +<p>Concrete is a newcomer in the field of +fireplace facing and as yet it cannot be +said to have shown any particular reason +why it should displace the other materials. +With the ordinary heat developed in +an open fire of wood there is no likelihood +of cracking the concrete facing if the material +has been properly mixed and applied, +although there seems to be a vague +impression that this might be a real danger. +The color of concrete gives it no +particular recommendation, for it is one +that remains unchanged by fire, though +not unstained by smoke. Brick, on the +other hand, and tile, have the very closest +possible association with fire in the making, +<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>which gives them a peculiar fitness +for this purpose.</p> + +<div class="figcenter" style="width: 271px;"> +<a name="Caen_Stone_Mantel_for_the_Formal_Type" id="Caen_Stone_Mantel_for_the_Formal_Type"></a> +<a href="images/illu_26.jpg"> +<img src="images/illu_26_th.jpg" width="271" height="360" alt="Caen Stone Mantel for the Formal Type" title="Caen Stone Mantel for the Formal Type" /></a> +<span class="caption">Caen stone or its clever representation in cement +serves well for the more formal type of mantel and +facing</span> +</div> + +<p>Tile, the last of the four materials, +gives more latitude in design than any of +the others, sometimes too much latitude +we feel. If understandingly used, nothing +could be more appropriate and attractive, +but tile has been used so carelessly +that somehow we have a feeling that the +tiled fireplace is for show rather than for +use. In any case, there is no question +whatever regarding the unfitness of the +glazed tiles which have made horrors of +thousands of pseudo fireplace openings. +It is only the mat-glazed or unglazed tiles +that have any right to be used in such a +place.</p> + +<p>Since this little volume has for its subject +the fireplace rather than the mantel, +little need be said regarding the latter +outward form, though there is no doubt +<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>that a whole book on the subject might +profitably be written. To touch upon +the subject as lightly as space will permit, +we can probably do no better than to +suggest the obvious type of mantel for +one or two of the more common architectural +styles, and recommend that in other +styles the architect be allowed sufficient +latitude in design and expense to distinguish +this important feature of hall, living-room, +dining-room or library with the +characteristics of the style he has worked +out for the house itself.</p> + +<p>The modern home along Colonial lines +is perhaps the commonest problem, and +incidentally the easiest, for the old models +of delicately detailed white-painted wood +mantels are so well known and so universally +admired that modern reproductions +along good lines and reasonable cost are +easily obtained.</p> + +<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>For the English plaster or half-timber +house the architect will doubtless design +a special mantel, in scale and in harmony +with the dark paneling and other architectural +woodwork, probably with a paneled +over-mantel if the cost is not too rigorously +held down.</p> + +<p>In a house which breaks away from the +historic architectural styles, as so many +of the stucco buildings of the day do, the +mantel treatment offers particularly interesting +possibilities. Frequently the mantel +is done away with entirely and the +chimney breast treated independently as +a whole.</p> + +<p>With the very informal type of summer +home where a rough stone for facing +and chimney is employed, the mantel treatment +can hardly be kept too simple and +unobtrusive in its rugged strength. A +heavy log, planed to a smooth top surface +<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>and resting on two projecting stone +brackets, is frequently used with good +effect. The chimney breast may be +stepped back at the shelf height to form +a narrow stone ledge, or the breast left +without any shelf. Many simple variations +with the informal brick chimney +breast will occur to everyone. In general, +with these summer shacks or bungalows, +the fireplace is the chief architectural +feature of the living-room and for +that reason will stand a moderate amount +of embellishment, but this latter should +take the form of a slightly better finish +of the materials used throughout the room +rather than the introduction of more elaborate +and costly ones.</p> + +<div class="figcenter" style="width: 277px;"> +<a name="An_Informal_Fireplace_in_Field_Stone" id="An_Informal_Fireplace_in_Field_Stone"></a> +<a href="images/illu_30.jpg"> +<img src="images/illu_30_th.jpg" width="277" height="422" alt="An Informal Fireplace in Field Stone" title="An Informal Fireplace in Field Stone" /></a> +<span class="caption">A fireplace and chimney breast of field stone, +chosen with care and laid with more than average +skill</span> +</div> + + + + +<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> +<h2><a name="MENDING_POOR_FIREPLACES" id="MENDING_POOR_FIREPLACES"></a>MENDING POOR FIREPLACES</h2> + + +<p class="newsection"><span class="firstword"><span class="dropcap">I</span>t</span> is well enough to say just how a fireplace +should be built so that it will +work satisfactorily, but that does not go +far in helping the man who has a fireplace +that will not work. Frequently it is possible +without any very great expense and +trouble to correct a fireplace that has +been improperly built. If one has in +mind a clear comprehension of the few elementary +principles of fireplace construction +it will usually be an easy matter to +determine the reason why a fireplace +smokes or fails to draw.</p> + +<p>The cross-section area of the flue is +likely to prove the most common difficulty. +Usually this cannot be seen from +inside the fireplace, because of the narrow +throat and the smoke chamber which in +<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>some form may be above the shelf. +If, therefore, the apparent essentials—such +as shape of opening, narrow +throat across the whole width, and preferably +the slanting back—have been followed +out it would be well to determine +the area of the flue itself. To do this it +will be necessary to reach the top of the +chimney and, by lowering a weight on a +line, find which flue leads to the fireplace +in question. Its area at the top will in +all probability be its area throughout. +If the flue happens to be the only one in +that particular chimney it may sometimes +be determined more easily by counting the +bricks in its two horizontal directions and +in this way estimating what would probably +be the inside flue. This conclusion +is by no means sure, however, since the +chimney may be built with eight-inch walls +or it may be simply a four-inch wall with +<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>the flue lining. To one with a knowledge +of bricklaying, however, the way in which +the chimney is laid up will usually indicate +the size of the flue.</p> + +<p>Having determined the size of the fireplace +opening and the cross-section area +of the flue itself, it will in many cases be +found that the latter is too small for the +former. The easiest way to remedy this +difficulty naturally would be to decrease +the size of the opening in the face of the +fireplace. In order to check up the diagnosis, +however, it would be well to fit a +pair of thin boards to wedge fairly +tightly into the opening at the top, one +of which boards could be drawn down past +the other one so that the fireplace opening +may be decreased anywhere from six +to twelve inches in height—using two +six-inch boards. By testing the fireplace +in action in this way it will be readily determined +<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>by what amount the opening +must be decreased. The boards then being +removed, a wrought-iron curtain or +decorative projecting hood of wrought +iron or copper may be fitted permanently +to the front.</p> + +<p>It is possible, however, that the opening +of the fireplace and the flue area are +properly related, in which case it may be +found that the trouble is due to the lack +of a narrow throat and smoke shelf. +This too could be constructed in the fireplace +without disturbing anything outside, +such as the mantel or chimney breast, +unless the fireplace is not large enough +to permit the addition of four inches of +brick at the back. If it is not, it will be +well to examine carefully the thickness of +the wall at the back of the fireplace and +if this is sufficient, part of it could be +taken away where the slope of the back +<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span>joins the upright wall—about a foot +above the hearth surface—and the sloping +back built in from there up to form +the throat. Or, to make perfectly sure +of the result, the mantel itself could be removed—this +is usually merely nailed to +the plaster—and enough of the chimney +breast taken down to permit the introduction +of a cast-iron throat damper.</p> + + + +<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p> +<h2><a name="FIREPLACE_ACCESSORIES" id="FIREPLACE_ACCESSORIES"></a>FIREPLACE ACCESSORIES</h2> + + +<p class="newsection"><span class="firstword"><span class="dropcap">J</span>ust</span> as a turkey dinner depends +largely for its success upon the +“fixin’s,” so the fireplace is in itself incomplete +without its andirons and tools. +To begin with the most nearly indispensable +appurtenances, we must name the andirons—or, +if the fuel is to be coal, then +the basket grate. I have wondered sometimes +why the philosophers have not hit +upon the andiron as a particularly fitting +subject for pleasurable rumination. +There are so few things which combine to +such a degree the purely utilitarian with +the eminently decorative qualities. Most +things which do combine the two in any +real measure have been developed on the +side of one at the expense of the other +quality. Take man’s dress coat, for example, +<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>the cut-away front of which, with +the two buttons at the back, was designed +to permit the gentleman to loop the skirts +up to his waist when he mounted his horse. +Or, take the modern lighting fixture with +its little pan still waiting to catch the +drip of the tallow beneath the flame, which +has long since been displaced by gas +tip or incandescent filament. How few +things there are, after all, which ages ago—probably +through a long evolution—were +designed to meet a real need in the +best possible manner and which still meet +that need and combine true beauty with +their usefulness. The wrought-iron shoe +of a horse occurs to us, perhaps a ship’s +anchor, a string-bow or an axe helve.</p> + +<p>Some support is needed to raise the +fuel so that the air may find a clear passage +under and through it to the flames, +and nothing could well be devised to serve +<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>the purpose better than the pair of horizontal +wrought bars, each with its single +rear foot and its steadying front, the upper +continuation of which serves to hold +the burning logs in place.</p> + +<p>One is not likely to go wrong in making +a choice of andirons for any given type +of fireplace. The simply turned brass +patterns belong so obviously to the Colonial +brick opening with its surrounding +white woodwork; the rougher wrought-iron +types are so evidently at home in the +craftsman fireplace or the rough opening +of stonework, that misfits are hardly possible.</p> + +<p>Fortunately the old brass andirons of +Colonial days have proven themselves fitted +to survive, and many of them are still +to be found in old cobwebby attics or in +the more accessible shop of the dealer in +antiques. One of these confided to me his +<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>way of distinguishing the really old andirons +from artificially aged reproductions: +the old ones have the turned brass of the +front post held in place by a wrought-iron +bar that attaches to the horizontal +member by a screw thread on the bar itself; +on the modern examples this upright +bar is drilled with a threaded hole into +which an ordinary short screw engages +through a hole in the horizontal member.</p> + +<div class="figcenter" style="width: 398px;"> +<a name="The_Modern_Colonial_Type" id="The_Modern_Colonial_Type"></a> +<a href="images/illu_38.jpg"> +<img src="images/illu_38_th.jpg" width="398" height="249" alt="The Modern Colonial Type" title="The Modern Colonial Type" /></a> +<span class="caption">The good old dependable Colonial type, with its simple brick facing +framed by the delicately detailed white wood mantel</span> +</div> + +<p>Next after the andirons in importance +are the tools—the three most nearly essential +ones being the poker, tongs and +shovel. There is no need of saying that +these should harmonize with the andirons +and preferably be of brass if they are +of brass; wrought iron if the andirons +are of wrought iron. There are two +ways of taking care of them—the ordinary +method of using a stand which, if +the tools are bought together, will probably +<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>come with them; or in some of the +fireplace types where the whole chimney +breast is of brick, concrete or stone, +sometimes a combination of three or more +hooks is wrought in the same metal as +the tools and fixed securely in the chimney +breast at the side of the opening.</p> + +<p>A brush for the hearth, although not +so frequently seen, is exceedingly useful +in sweeping back the ashes and small embers. +Then there is the time-honored +bellows, now hardly more than an ornament, +for with a scientifically built fireplace +it should never need to be called +into action.</p> + +<p>A screen of some sort comes nearer to +being classed with the necessities than +with the merely decorative accessories, +for it is hardly safe to leave a fire or +even the smoldering embers without some +protection against the damage that is so +<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>quickly caused by sparks. The usual +type of screen is the woven wire one in +several forms. Probably the most convenient +type is that made up of a number +of flat sections which fold upon one +another into a compact mass which will +not be in the way when not in use. In +recent years, however, there is another +sort of screen that is coming to be regarded +with very high favor and that is +the screen made up of glass in combination +with other materials. There is the +simple French screen of glass panes in a +gilded frame, and there are wonderful +possibilities for the employment of the +craftsman’s skill in combining with plain +or lightly tinted glass more decorative +features in the way of stained glass and +leading or in the combination of glass +and metals.</p> + +<p>The design of a fire screen depends, of +<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>course, on the purpose it is intended to +serve. If it is desired to secure a screen +that will cut off the heat but not the light +of the fire, the craftsman will work with +larger areas of clear glass. On the other +hand, it may be felt desirable to make a +nearly opaque screen to cut off both light +and heat. These, of course, are usually +small rectangles on some sort of a pedestal +and are not intended to take the place +of spark screens.</p> + +<p>A wood receptacle of some form is a +convenient accessory, as one will avoid +the task of carrying fuel up from the cellar +or in from the woodpile whenever a +fire is desired. There is a broad field +from which to choose—brass-bound +boxes of many sizes and forms, sturdy +baskets and the metal wood baskets which +are made for holding the logs themselves. +There are those who prefer not to encumber +<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>the vicinity of the fireplace with +these rather bulky receptacles, but who +find it convenient to have a box built in +near by in the form of a window-seat or +perhaps as a part of built-in bookcases. +Two or three houses that I have known +had a very simple rough dumbwaiter running +from the cellar up into a window-seat. +This could be loaded with fuel, +hoisted into position and locked there until +the fuel was needed.</p> + +<p>There are two other fireplace accessories +that we must not overlook, and these +are the crane and the trivet. The crane +is a very picturesque feature in a fireplace +that is large enough to hold it +comfortably, but it does seem unfortunate +that in a great many fireplaces the +crane is dragged in with the idea of making +it a decorative feature but without +any expectation of putting it to practical +<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>use. There are fireplaces—in a +summer camp, for example—where a +crane could be put to good use. Used +elsewhere it is too often merely an affectation.</p> + +<p>The trivet is not nearly so well known +as the crane and yet it might be put to +use in a modern fireplace much more frequently. +In England it is found in various +ingenious forms, most of which show, +however, some form of low stool which is +stood upon the hearth, as near as may be +convenient to the fire, to keep warm a +teakettle or perhaps even a plate of toast. +There are some rather interesting antique +brass trivets to be found in many +of the larger antique shops.</p> + + + +<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> +<h2><a name="BUILDING_THE_FIRE" id="BUILDING_THE_FIRE"></a>BUILDING THE FIRE</h2> + + +<p class="newsection"><span class="firstword"><span class="dropcap">I</span>have</span> no doubt that the majority +of the readers who have patiently +found their way thus far through this little +book will feel like closing it with a sigh +of impatience at the sight of the chapter +heading above. “Who doesn’t know how +to build a wood fire? We might as well +seek instruction as to the most approved +method of striking a match!” But if +you will bear with me for a moment I +would say most emphatically that as a +matter of fact very few people really do +know how to build a fire. It is easy +enough to assemble a bunch of newspapers, +twigs, kindling and logs so that it +is possible to <i>start</i> a fire, but perhaps +you have noticed that while many fires +are kindled few burn out. If you are +<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>seeking for the greatest amount of comfort +and enjoyment from your wood fire +you will secure it only by sitting at the +feet of that greatest of all teachers, experience, +or perhaps more quickly by experimenting +a bit with one or two of the +simple expedients which I shall try to +show are based on the wood fire’s way of +working. While there are those who +would not for worlds give up the pleasure +of tinkering with the tongs and poker +while the fire burns, it will perhaps not +detract from this enjoyment if the tinkering +is not actually the result of necessity +to keep the logs burning. Fire-mending +is a delightful recreation only +when it is not imposed upon us by becoming +an alternative to having the glowing +embers become discouraged and give up +the fight.</p> + +<div class="figcenter" style="width: 446px;"> +<a name="A_Craftsman_Type" id="A_Craftsman_Type"></a> +<a href="images/illu_46.jpg"> +<img src="images/illu_46_th.jpg" width="446" height="254" alt="A Craftsman Type in Brick with Copper Hood" title="A Craftsman Type in Brick with Copper Hood" /></a> +<span class="caption">There is a splendid opportunity for home craftsmanship of a high order in +making the copper hood for an example of this type</span> +</div> + +<p>First of all, there is the need of having +<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>fuel that is really dry. It is not essential +that the woodpile be kept indoors, +but it should at least have shelter above +it and on three sides. The woodsheds of +New England farmhouses offer a practical +and efficient solution of the problem. +Usually you will find these as an extension +to the house, a shed open only to the +south, in which the cord wood is piled +neatly to the roof with sawn ends to the +front. Two long logs are laid on the +floor or ground, at right angles to the +firewood, so as to encourage a circulation +of air for drying.</p> + +<p>In addition to the heavier logs which +are cut to fit the fireplace opening, there +should be almost an equal quantity of +twigs, brush and smaller pieces, or else +split kindling, to serve as starting fuel.</p> + +<p>To lay a fire on the hearth, select first +a heavy log which should be placed close +<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>against the back of the fire chamber on +the hearth and not on the andirons. This +is the traditional “backlog.” It will +serve through several fires and is intended +mainly as a protection of the back brickwork. +Stand the andirons with their +rear ends close up against the backlog, +and if the latter is of the best size its +top will be well above the horizontal bars +of the andirons. Now select a smaller +log—preferably not a split piece—and +lay it across the andirons. If a big +<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>fire is desired, keep this log—the “forelog”—well +to the front, just back of +the andiron upright posts, leaving plenty +of space between backlog and forelog for +the main body of the fire. The distance +between these two logs will govern the +size of the fire. In this space put a few +crumpled sheets of newspaper, some of +the lighter twigs and small branches, and +one, two or three logs or split pieces, as +may be required to fill the space. The +diagrams will make clearer this arrangement +for a small fire or a large one.</p> + +<div class="figcenter" style="width: 304px;"> +<a href="images/illu_48.jpg"> +<img src="images/illu_48_th.jpg" width="304" height="136" alt="Section showing the arrangement of andirons and wood" title="Section showing the arrangement of andirons and wood" /></a> +<span class="caption">Section showing the arrangement of andirons +and wood for a large fire (at the left) and a +smaller one</span> +</div> + +<p>As the central portion of the fire burns +away, keep the forelog pushed back +against it, unless a less active fire is desired. +It is well to remember that where +one isolated log will not burn, two close +together probably will, and a pyramid of +three will do still better.</p> + +<p>Many fireplaces show a tendency to +<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>smoke only when first lighted; this is probably +due to a cold chimney, and can usually +be prevented or made less objectionable +by burning a newspaper just under +the throat, thus starting the proper action +of the up and down drafts.</p> + +<p>If it is possible for us to choose between +various kinds of wood for our open +fire fuel there is opened up one of the +most interesting phases of the whole subject. +To most people probably a wood +fire is a wood fire, whether the logs be of +cherry wood, pine, hickory or anything +else. For the wood fire connoisseur, if +we may call him by that name, there is +no difficulty whatever in telling with a +glance at the fire just what wood is +burned. The crackle and explosive nature +of hickory, the hiss of pine, the +steady flame from cherry, the hot and +rapid disintegration of sycamore, and the +<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>steady and thorough combustion of soft +apple wood soon become familiar characteristics +to those who have the opportunity +to lay the fire in variety. Then +there is, of course, the fascination and +the weird coloring in a driftwood fire—most +spectacular of all but unfortunately +denied to most of us.</p> + +<div class="figcenter" style="width: 272px;"> +<a name="A_Recessed_Fireplace" id="A_Recessed_Fireplace"></a> +<a href="images/illu_50.jpg"> +<img src="images/illu_50_th.jpg" width="272" height="343" alt="A Recessed Fireplace in Brick and Rough Plaster" title="A Recessed Fireplace in Brick and Rough Plaster" /></a> +<span class="caption">A simple and exceedingly effective recessed design +in brick and rough plaster. The hearth is +raised above the floor</span> +</div> + +<p>Finally, the most important factor of +all in the management of a wood fire +is an ample bed of ashes for its foundation. +It is impossible for anyone who +has not actually tried fires both ways to +appreciate the immense advantage that a +bed of wood ashes gives. It unquestionably +doubles the fire’s efficiency in throwing +heat out into the room, it halves the +care and attention needed to keep the fire +burning, and it increases beyond measure +the beauty of a wood fire, when it is nearing +its end, by rekindling itself with the +<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>embers and keeping alive for a long time +the quiet, dull red glow. Stop your ears +to the importunities of the over-zealous +housekeeper and steel yourself against the +pricks of the conscience of cleanliness. +If need be, fight for the retention of that +bed of ashes. You can scarcely get it too +large or too deep. The accumulation of +two years is a priceless treasure. One of +my own fireplaces has a bank that has to +be depleted about twice a year to make +room for the fire. A peck or two of the +fine white powder is then carried out to +bring joy to the rose garden.</p> + +<p>To one who loves a wood fire and knows +its possibilities the mention of such a +thing as an ash-drop is as a red flag to a +bull. Peace be to the ashes of the man +who invented this easy method of robbing +the hearth of half its charm. May he be +forgiven it.</p> + + + +<h2 class="ads">THE<br /> +HOUSE & GARDEN<br /> +<span class="u">MAKING</span><br /> +BOOKS</h2> + + +<p>It is the intention of the publishers to make +this series of little volumes, of which <i>Making +a Fireplace</i> is one, a complete library of authoritative +and well illustrated handbooks dealing +with the activities of the home-maker and +amateur gardener. Text, pictures and diagrams +will, in each respective book, aim to make perfectly +clear the possibility of having, and the means of +having, some of the more important features of +a modern country or suburban home. Among the +titles already issued or planned for early publication +are the following: <i>Making a Rose Garden; +Making a Lawn; Making a Tennis Court; +Making a Water Garden; Making Paths and Driveways; +Making a Poultry House; Making a Garden +with Hotbed and Coldframe; Making Built-in +Furniture; Making a Rock Garden; Making a +Garden to Bloom this Year; Making a Garden +of Perennials; Making the Grounds Attractive +with Shrubbery; Making a Bulb Garden, Making +a Garage, Making and Furnishing Outdoor Rooms +and Porches;</i> with others to be announced later. +</p> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Making a Fireplace, by Henry H. Saylor + +*** END OF THIS PROJECT GUTENBERG EBOOK MAKING A FIREPLACE *** + +***** This file should be named 26670-h.htm or 26670-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/6/6/7/26670/ + +Produced by Markus Brenner and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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