ace opening supporting the entablature are
vertical fluted in short sections which break joints like running bond
in brickwork. In both the pilaster projections and the central panel the
carving has been done in such a manner as to leave four-sided decorative
figures with segmental sides in slender outline flush with the surface.
The upper fascia of the architrave is adorned by shallow drillings
suggesting tiny festoons and straight hanging garlands with a
conventionalized flower above each festoon. A cavetto molding, enriched
with a bead and reel astragal and another drilled rope torus, outlines
the dark marble facings about the fireplace opening. Handsome brass
andirons, fender and fire set, together with the large gilt-framed
mirror above, combine with the mantel to make this one of the most
beautiful fireplaces in Philadelphia.

The third example in another room at Upsala is virtually the same as the
mantel just described, except for the greater elaboration of the
pilasters, pilaster projections of the frieze and central panel. Apart
from these three features, the only essential differences are a dentil
course in the cornice like that of the first Upsala mantel described and
a vertical fluted belt in the capital of the pilasters and associated
moldings. In the pilaster projections of the frieze there are flush
outline ornaments taking the form of a shield, while other graceful
outline patterns running through the flutings adorn the upper half of
the pilasters proper. The lower half is fluted in the short running bond
sections. The central panel of the frieze retains and elaborates the
motive of festoons and straight hanging garlands, the space above the
festoons in this instance being left flush except for an incised
conventionalized flower design in each of the three sections.

Rarely are three mantels of such attractive design, good proportion,
distinctive detail and dainty appearance to be found in a single house.
Seldom are three mantels to be found which are so similar and yet so
different. They present an eloquent illustration of the infinite
possibilities of minor variation in architectural design.

The same influences were at work elsewhere, however, and two other
mantels shown by accompanying illustrations, one in a house at Third and
DeLancy streets and another in the Rex house, Mount Airy, show numerous
variations of similar motives. In both, vertical flutings are depended
upon chiefly for decoration, o