Design for a Chimneypiece 1740 - 1800

Editor: Here we have "Design for a Chimneypiece," dating from between 1740 and 1800, by Sir William Chambers. It's a drawing, perhaps a print, quite simple really – makes you think about basic shapes. What catches your eye about this piece? Curator: I'm immediately drawn to the materiality implied here. It's a design, a set of instructions really. But what about the actual labour of constructing this chimneypiece? What materials were available? Who would have crafted it? Consider the social stratification inherent in commissioning something like this. Was it marble, imported at great cost? Or locally sourced stone, reflecting regional craft traditions? Editor: That’s interesting! I hadn’t really thought about where the materials would come from. How does knowing that it's neoclassicism inform your view on that production and materiality aspect? Curator: Neoclassicism often evokes a sense of refined, almost austere taste. But think about the labour involved in achieving that smooth, polished surface. Think about the trade networks required to obtain specific materials – perhaps marble from Italy. This "simple" design belies a complex web of material production and social relationships. Who benefits from its making and it’s the consumption and display within the home? Editor: So, you're saying the apparent simplicity hides a more complicated story of production and access? Curator: Precisely! It forces us to consider the means of production and the socio-economic context in which this design, and the eventual chimneypiece, would exist. Editor: I've never considered how design highlights the importance of labour like this. That changes my view on neoclassicism quite a bit! Curator: And that is, perhaps, what Chambers wanted us to explore.