The inside of the chamber is what you actually look at when the stove is lit. Split-face stone and slate cladding, metro and brick slip tiling, exposed original brickwork brought back, and full breast panels with concealed downlights in the head of the opening. Every one of them is set out from the stove position first so the joints land sensibly and the cuts end up where nobody looks.

Multi-colour and single tone split-face panels, set out so the courses run through and the corners are mitred rather than butted.
Glazed metro, herringbone and brick slip chambers, with the grout colour chosen against the stove rather than against the tile.
Old brickwork cleaned back, repointed and sealed where the breast is worth showing rather than covering.
Low voltage downlights set into the head of the opening, so the stone is lit from above and the fitting itself is out of sight.
Stone or slate supplied in strips on a mesh backing, with the face left rough where it was split rather than sawn or polished. It gives a chamber real texture and depth, catches the firelight, and comes in everything from near black slate through greys and greens to golden multi-colour. It is the single most popular chamber finish we fit and it suits both period and modern rooms.
The adhesive and the substrate matter more than the stone. Natural stone, slate and porcelain all cope with the temperatures inside a correctly sized chamber, but they have to be fixed with a heat resistant adhesive onto a suitable board or masonry backing, not onto plasterboard with standard tile adhesive. That is a common failure on a cheap install and it shows up as tiles dropping off within a season.
Yes, and it makes a surprising difference when the stove is not lit. Small low voltage downlights set into the underside of the lintel or the head of the opening wash light down the stone and make the texture read. The wiring is run before the chamber is clad and terminated back to a switched supply, with the electrical connection done by a qualified electrician.
Often, yes, and it costs less than cladding it. Once the plaster is off you can see what you have: some breasts are beautiful old handmade brick worth cleaning, repointing and sealing, and some are rough common brick that was never meant to be seen. We open a patch up first and let you look at it before deciding, rather than committing you either way.
By setting out from the middle and from the stove, not from a corner. That means the cuts finish at the edges where they are least visible, the courses line through across the back and the returns, and the corners are mitred so you do not see the raw edge of the stone. It is slower and it is the difference between a chamber that looks fitted and one that looks stuck on.
Usually yes. The stove, the liner and the register plate are the fixed part; the cladding, the beam and the hearth finish are the decorative layer on top. Rechamfering a chamber in a few years means taking the stove out for the day, reworking the finish and putting it back, which is a far smaller job than the original install.
Send a photo of the chimney breast and David will come back with a price.