My only experience with gas lighting took place more than 30 years ago during a Victorian Society in America annual meeting in Cincinnati, Ohio. As a special treat, we were taken over the river to Covington, Kentucky, for an evening at what turned out to be a Victorian time capsule. Our hosts removed dust covers from the original seating of a double parlor—containing not one but two suites of Belter furniture. But it was the gas jets on the wall that overwhelmed me. The hiss, the heat, the hot colors. At that moment I realized why and when the expression Let’s step outside for a breath of fresh air! entered the American idiom.
The technology of gas lighting is dead, but not its outward forms. In the social scale of Victorian lighting devices, gas lighting fixtures remain where they always were: at the top. A good example of an electrified reproduction gasolier is the five-arm fixture with open shades that imitates what originals looked like during the 1880s and ’90s. Compare this with the ball globes of the double-tiered, 12-branched gasolier—the kind popular from the 1850s through the 1870s in Italianate or Second Empire mansions. Why the shift? The new style globes of the 1880s were made wider at the base as well as across the top to increase air flow and reduce flickering.
For the majority of lighting’s history, any artificial light source has never been sufficiently beautiful in its own right. It needed a base. It needed a container. It needed a shelter. It needed a reflective device to make the most visual contribution to the room, and gaslight was no different. Fixtures were based upon all of the prevailing decorative styles of the era from Neoclassical and Rococo, to Neo-Grec, Aesthetic, and Eastlake.