The chimney valence, also referred to by many as a chimney cloth, played an important role in fireplace efficiency during the Colonial era, specially among the settlers from Holland and the Lowlands.  Both terms, chimney valence/chimney cloth, are found in Colonial inventories.  A second textile article called chimney cloth(s) is found in the inventory lists of those who practiced the chimney-sweep trade.  These cloths, large in size,  were used to cover the front opening of the fireplace to keep down the amount of soot that would bellow into the room when the chimney was being cleaned.  This discussion is concerned only with chimney valences.

   In the inventories researched chimney valences and cloths were generally found listed with other household textiles, often curtains and hangings.[1] They were made from a variety of fabrics.  Edwin Tunis sets the picture of a typical Dutch fireplace:  “The smoke rose into a projecting canopy that was only a little lower than the ceiling but led directly into the chimney.  It was customary to drape the canopy with a ruffled linen valance, a fresh one very Sunday. (Tunis, p.69)”

   The style of fireplace traditional to the customs of the Dutch and Flemish peoples was much different in design than the English.  An eye witness account is offered by Alice Morse Earle:  “A description given by a Scotchwoman of fireplaces in Holland at about this date (late 17^th C.) shows very plainly from whence this form of hearth-dressing and chimney were derived: -- ‘the chimney-places are very droll-like; they have no jams or lintel, as we have, but a flat grate, and their projects over it a lum[2] in the form of the cat-and-clay lum, and commonly a muslin or ruffled pawn[3] around it.’ (Earle, p.125)”

   Peter Kalm, the Swedish Botanist visiting the Colonies, wrote on November 2, 1749: “(describing Dutch houses in Saratoga, NY)…The fireplace in the houses in the country was built in an unusual way and it was nearly always placed in the wall on the gable end opposite the door.  The fireplace for about six feet or more from the ground consisted of nothing more than the wall of the house which was six to seven feet wide and made of brick only.  There were no projections on the sides of the fireplace, so it was possible to sit on all three sides of the fire and enjoy the warmth equally. … Above, where the chimney began the bricks rested upon rafters and cross beams on three sides which had been arranged so as to support them.  As the chimney was some distance above the floor they had put boards about these rafters, or as was more common, they had hung short curtains extending downward … to prevent the smoke from coming in. …The hearth itself was always even with the floor. … Occasionally a shelf had been made above it upon which teacups, etc. were placed.  In Albany the fireplaces had small sides projecting out about six inches made of Dutch tiles with a white background and blue figures. (Kalm, p.612)”

   Madame Knight of Boston, visited New York in 1704 and described a similar fireplace design as Peter Kalm.  Her comments that seems worthy of adding are:  “But the Backs (the fireplace back) run flush with the walls, and the Hearth is of Tyles, and is as far out into the Room at the Ends as before the fire, which is generally Five foot in the Lowe’r rooms…(Singleton, p.242)”

   The chimney valence helped to prevent smoke from bellowing out into the room before the draft of the chimney could catch it and carry it up the chimney.  The fact that this device was not limited to the Dutch, can be seen in the use of smoke boards used in a variety of Colonial homes on fireplaces of the common design – the hearth opening flat with the wall, no canopy overhang.  These boards, perhaps 8” wide, were hung from the fireplace lintel by leather straps and served to keep the rising smoke from drifting into the room.  Benjamin Franklin wrote concerning this problem in 1744: “…Chimneys have been so long in Use, their Construction should be so little understood till lately, that no Workman pretended to make one which should always carry off all the Smoke, but a Chimney-cloth was look’d upon as essential to a Chimney:…(Franklin, p. 251)”

   The appearance of chimney valences, as indicated by Mr. Franklin, are seen in the 18^th as well as in the 17^th Century.  The following list them among the possessions of a tradesman:  “The use of window curtains was not confined to important houses, as is shown by many inventories of a simple sort; for example, that of Philip Menthorn, a wheelwright in New York, includes (1728) ‘four calico window curtains and vallins and calico chimney cloath, one suit of Flowered curtains, and Vallins’ and Four Linnen curtains and Two Linnen window Vallins’ in the bedroom.  The ruffled chimney cloth was usual in houses about New York, where the Dutch tradition was strong. (Halsey & Cornelius, p.24)”

   Now that the use of the chimney valence has been established, what was their variety – the inventories provide clues.  Esther Singleton introduces one inventory listing with the following comment:  “the number of valences and chimney-cloths would indicate that the room was draped differently on occasions. There is “one white valion before a chimney, one redd chimney-cloth, two ozenburg chimney valance, one blue calico mixed check valance, one redd ditto, one ditto with redd point lace. (Singleton, p.93)”  The inventory of Mrs. Van Varick’s (1696) listed “two chimney cloths of flowered crimson gauze and six window curtains of same, one green serge chimney cloth with fringe, … one painted chimney cloth…(Singleton, p.88)”

   Cornelis Steenwyck, one time Mayor of New York, had in his 1686 inventory a chimney-cloth of flowered tabby for his Great Chamber. (Singleton, p.245).  “The chimney-cloth (belonging to Thomas Crundell, used in his hall – main room, in 1692) was of fringed calico…(Singleton, p.254)”  The fabrics, designs and colors employed for chimney valences were as varied as personal tastes.

   A parting thought…how were these valence attached to the canopy?  None of the books in the Bibliography below offer an insight.  Therefore for now, the thought is that they were attached in a similar manner to curtains, that is:  tacked in place to the canopy or hung off small iron or brass rods.

Bibliography:

Earle, Alice Morse, Colonial Days in Old New York, NY: Charles Scribner

and Sons, 1896.

The Writings of Benjamin Franklin, Vol II – 1722-1750, compiled and edited by Albert H. Smyth, NY:  Haskell House Publishers, 1970.

Halsey, R.T.H., and Charles O. Cornelius, revised by Joseph Downs, A Handbook of the American Wing, NY:  The Metropolitan Museum of Art,

 1942.

Kalm, Peter, Travels in North America ~ The English Version of 1770, NY:

 Dover Publications, 1987.

Singleton, Esther, Dutch in New York, NY: Dodd, Mead & Company,

1909.

Singleton, Esther, The Furniture of Our Forefathers, NY:  Doubleday,

Page & Company, 1913.

Tunis, Edwin, Colonial Living, NY: The World Publishing Co., 1957.