C LASSIC M OULDINGS I NC. columns pilasters mantels

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1 C LASSIC M OULDINGS I NC. columns pilasters mantels

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3 column: A vertical member, circular in section, and normally with a gentle taper (entasis). In classical architecture, it is composed of a base, shaft and capital. pilaster: A flat rectangular classical column fixed against a wall, or used to frame a doorway, wall area, fireplace, etc.

4 column/pilaster The Classical Style is generally thought to have its beginnings in the 5 th 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.

5 installation information 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 equivalent 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 Composite Ionic Doric Tuscan

6 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" /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" /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

7 tuscan column capitals 142 TUSCAN COLUMN CAPITAL 18 3/4"l x 18 3/4"w x 8 1/4"h takes 14" diameter column 198 TUSCAN COLUMN CAPITAL 13 1/8"l x 13 1/8"w x 6 3/4"h takes 8" diameter column 15"l x 15"w x 6 3/4"h takes 10" diameter column doric column capitals 180 DORIC COLUMN CAPITAL 8 1/2"l x 8 1/2"w x 6 1/2"h takes 6" diameter column 181 DORIC COLUMN CAPITAL 8"l x 8"w x 3 1/2"h takes 5 1/4" diameter column 186 DORIC COLUMN CAPITAL 9"l x 9"w x 6 1/4"h takes 6" diameter column 182 DORIC COLUMN CAPITAL 11"l x 11"w x 7 1/2"h takes 8" diameter column 183 DORIC COLUMN CAPITAL 14 1/4"l x 14 1/4"w x 8 3/4"h takes 11" diameter column 185 DORIC COLUMN CAPITAL 6"l x 6"w x 3 1/2"h takes 4" diameter column 863 DORIC COLUMN CAPITAL 17 1/8"l x 17 1/8"w x 9"h takes 11" diameter column Column 5

8 ionic column capitals 148 IONIC COLUMN CAPITAL 15"l x 15"w x 5 1/2"h takes 10" diameter column 161 IONIC COLUMN CAPITAL 9"l x 9"w x 3"h takes 5 1/4" diameter column 163 IONIC COLUMN CAPITAL 20 3/4"l x 20 3/4"w x 5 1/2"h takes 12" diameter column 165 IONIC COLUMN CAPITAL 27 1/2"l x 27 1/2"w x 8 1/2"h takes 16" diameter column 167 IONIC COLUMN CAPITAL 25"l x 25"w x 8"h takes 14" diameter column 170 IONIC COLUMN CAPITAL 13"l x 13"w x 4"h takes 8" diameter column 174 IONIC COLUMN CAPITAL 11 1/4"l x 11 1/4"w x 4 1/2"h takes 6" diameter column 176 IONIC COLUMN CAPITAL 18 1/2"l x 18 1/2"w x 7"h takes 10" diameter column 6 Column

9 corinthian column capitals 145 CORINTHIAN COLUMN CAPITAL 16"l x 16"w x 13"h takes 10" diameter column 146 CORINTHIAN COLUMN CAPITAL 13 1/2"l x 13 1/2"w x 10 1/2"h takes 8" diameter column 147 CORINTHIAN COLUMN CAPITAL 8 1/8"l x 8 1/8"w x 12"h takes 8" diameter column 162 CORINTHIAN COLUMN CAPITAL 14"l x 14"w x 11 1/2"h takes 8" diameter column 18"l x 18"w x 15"h takes 10" diameter column 164 CORINTHIAN COLUMN CAPITAL 9 1/4"l x 9 1/4"w x 8"h takes 6" diameter column 177 CORINTHIAN COLUMN CAPITAL 14"l x 14"w x 12 3/4"h takes 8" diameter column 178 CORINTHIAN COLUMN CAPITAL 23 3/4"l x 23 3/4"w x 20"h takes 14" diameter column 179 CORINTHIAN COLUMN CAPITAL 27"l x 27"w x 24"h takes 16" diameter column 196 CORINTHIAN COLUMN CAPITAL 20 1/2"l x 20 1/2"w x 12"h takes 11" column 862 CORINTHIAN COLUMN CAPITAL 19 1/2"l x 19 1/2"w x 15 3/4"h takes 12" diameter Column 7

10 single and double ring column bases 149 SINGLE RING COLUMN BASE 9 1/2"l x 9 1/2"w x 5"h takes 6" diameter column 150 SINGLE RING COLUMN BASE 11 3/4"l x 11 3/4"w x 6"h takes 8 diameter column 197 SINGLE RING COLUMN BASE 14"l x 14"w x 6 1/8"h takes 10" diameter column 16"l x 16"w x 6 1/2"h takes 12" diameter column 20 3/4"l x 20 3/4"w x 7"h takes 16" diameter column 156 SINGLE RING COLUMN BASE 22"l x 22"w x 7 1/4"h takes 15" diameter column 151 DOUBLE RING COLUMN BASE 6"l x 6"w x 3 1/2"h takes 4" diameter column 152 DOUBLE RING COLUMN BASE 10 1/4"l x 10 1/4"w x 4 1/2"h takes 6" diameter column 199 DOUBLE RING COLUMN BASE 16 1/4"l x 16 1/4"w x 7 5/8"h takes 12" diameter column 18"l x 18"w x 7 1/2"h takes 13" diameter column 153 DOUBLE RING COLUMN BASE 12 1/2"l x 12 1/2"w x 8 1/2"h takes 8" diameter column 154 DOUBLE RING COLUMN BASE 14"l x 14"w x 8 3/4"h takes 10" diameter column 155 DOUBLE RING COLUMN BASE 17 1/2"l x 17 1/2"w x 9"h takes 13" diameter column 864 DOUBLE RING COLUMN BASE 10 3/8"l x 10 3/8"w x 4 1/2"h takes 7" diameter column 157 DOUBLE RING COLUMN BASE 23 1/4"l x 23 1/4"w x 13"h takes 16" diameter column 8 Column

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12 tuscan pilaster capitals 872 TUSCAN PILASTER CAPITAL 8 1/4"w x 8 1/8"h x 6 5/8"p takes 14 1/4" shaft width 873 TUSCAN PILASTER CAPITAL 12"w x 6 1/2"h x 5 1/4"p takes 8" shaft width 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 takes 12 1/2" shaft width 874 TUSCAN PILASTER CAPITAL 18"w x 7 3/4"h x 4 1/2"p takes 12 1/2" shaft width 876 TUSCAN PILASTER CAPITAL 17 1/2"w x 8 1/8"h x 6 1/2"p takes 12" shaft width doric pilaster capitals 187 DORIC PILASTER CAPITAL 15 3/8"w x 6"h x 3 1/2"p takes 9 3/4" shaft width 188 DORIC PILASTER CAPITAL 12 3/8"w x 6"h x 3 1/2"p takes 7 1/4" shaft width ionic pilaster capitals 143 IONIC PILASTER CAPITAL 25"w x 9 1/2"h x 1 1/2"p takes 14" shaft width 144 IONIC PILASTER CAPITAL 12 1/4"w x 6 1/2"h x 1 3/4"p takes 7 1/4" shaft width 169 IONIC PILASTER CAPITAL 7"w x 2 1/2"h x 2"p takes 4 1/4" shaft width 10 Pilasters

13 ionic pilaster capitals 173 IONIC PILASTER CAPITAL 10 1/2"w x 4"h x 3 1/2"p takes 5 1/4" shaft width 175 IONIC PILASTER CAPITAL 15"w x 4 1/4"h x 3 1/2"p takes 10" shaft width 184 IONIC PILASTER CAPITAL 17 1/2"w x 5 1/2"h x 5 3/4"p takes 12" shaft width 189 IONIC PILASTER CAPITAL 14 3/4"w x 8 1/2"h x 3 1/2"p takes 9 3/4" shaft width 190 IONIC PILASTER CAPITAL 12"w x 8 1/2"h x 3 1/2"p takes 7 1/4" shaft width corinthian pilaster capitals 160 CORINTHIAN PILASTER CAPITAL 21 1/4"w x 12"h x 5 1/2"p takes 11 1/2" shaft width 166 CORINTHIAN PILASTER CAPITAL 9"w x 8 1/2"h x 1 3/4"p takes 5 1/4" shaft width 168 CORINTHIAN PILASTER CAPITAL 11"w x 8 1/2"h x 2 1/2"p takes 7 1/4" shaft width 172 CORINTHIAN PILASTER CAPITAL 13 1/2"w x 12 3/4"h x 3"p takes 9 3/4" shaft width 191 CORINTHIAN PILASTER CAPITAL 18"w x 16 1/4"h x 7 1/4"p takes 9 3/4" shaft width 192 CORINTHIAN PILASTER CAPITAL 13"w x 9 7/8"h x 3 3/4"p takes 8 1/2" shaft width Pilasters 11

14 corinthian pilaster capitals 193 CORINTHIAN PILASTER CAPITAL 16"w x 11 1/4"h x 3 3/4"p takes 12" shaft width pilaster bases 194 CORINTHIAN PILASTER CAPITAL 11"w x 9"h x 4"p takes 6 1/2" shaft width 195 CORINTHIAN PILASTER CAPITAL 15"w x 12 1/4"h x 5"p takes 8" shaft width 158 PILASTER BASE 9"w x 10"h x 1 7/8"p takes 7 1/4" shaft width 159 PILASTER BASE 9 1/4"w x 9"h x 1 3/4"p takes 7 1/4" shaft width 12"w x 9"h x 1 1/2"p takes 9 3/4" shaft width 865 PILASTER BASE 15 5/8"w x 13 1/2"h x 3 1/4"p takes 12" shaft width 866 PILASTER BASE 15 1/4"w x 10"h x 5"p takes 12" shaft width 867 PILASTER BASE 12 3/4"w x 6 1/4"h x 5 3/4"p takes 9 1/2" shaft width 868 PILASTER BASE 16"w x 6 1/2"h x 3 1/2"p takes 12 1/2" shaft width 869 PILASTER BASE 11 1/8"w x 12 1/2"h x 3 3/4"p takes 8" shaft width 870 PILASTER BASE 12 1/2"w x 5 3/4"h x 3"p takes 10" shaft width 871 PILASTER BASE 17 1/4"w x 8"h x 3 5/8"p takes 12 1/2" shaft width 18 1/2"w x 7"h x 6 3/4"p takes 14" shaft width 12 Pilasters

15 mantel: the frame surrounding a fireplace

16 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.

17 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 18 th century fireplace. Coloured marble began to be used, as were ornamental mirrors. The hob grate for burning coal became common in the late 18 th 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 19 th 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 19 th 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.

18 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. The Edwardian period brought everyone back to the conventional, but in a simpler manner. The fireplace became squarer and more functional, and was often fitted with a gas fire. WWI 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 21 st 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 dream with us. We think there s something to suit most everyone; and if you don t see it, we can concoct what ever it is you d like to see. installation information 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 90 TM, 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.

19 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" opening width: 36 1/2" 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

20 type e Contemporary bolection mantel. Specify any height and width. moulding width: 10 3/4" projection: 8 1/2 " type f Contemporary bolection mantel. Specify any height and width. 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 opening height: 36 1/2" opening width: 34 1/2" type h Contemporary bolection mantel. Specify any height and width. moulding width: 9" projection: 6" 18 Mantels

21 type i Contemporary bolection mantel. Specify any height and width. 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" opening width: 36 1/2" 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 height: 32 1/2" 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 opening height: 36 1/2" opening width: 31 1/4" Mantels 19

22 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" opening width: 36 3/4" 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 opening height: 38 3/4" opening width: 44 1/4" 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 height: 34 3/4" opening width: 34" 20 Mantels

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24 C LASSIC M OULDINGS I NC. Head Office / Showroom: 226 Toryork Drive, Toronto, Ontario, Canada m9l 1y1 Showroom: West Palm Beach, Florida Toll Free: Fax: info@classicmouldings.com