Meyer Franz. A Handbook of Ornament

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The

Candelabrum.

361

listic. We

have already

mentioned, in

chapters

135

—

137,

that

the former

case: the base,

shaft and

bowl,

are

generally decorated.

The

second

class includes

standing and sitting figures,

behind which

the shaft of the candelabrum rises,

or by which it is borne (Plate 211.

2 and

3);

or of bearers

in the

form of

trees,

beneath which

figures

or groups

are seated (Plate 211.

4).

Occasionally

examples

are

found

arranged

that

they

can be

taken apart and adjusted

different

heights (Plate

211.

7).

The

majority of

the

Antique bronze

Cande-

labra

which

have been

preserved to us are of

Etruscan origin.

Plate

211 shows

seven

different

examples selected

from the copious

material.

Plate

211. The Antique Candelabrum.

Antique,

bronze

stand from

'which

suspend

lamps

(lychnucus,

lampadarium),

found in Pompeii,

Berlin, Museum.

2. Etruscan,

bronze, Biblioth^que National, Paris.

Antique,

bronze,

found in Chiusi,

(Menard

Sauvageot).

4. Antique, bronze,

found

Herculaneum.

5. Antique,

bronze,

to hold

candle or torch,

(Menard

Sauvageot).

6. Antique,

(Candelabrum

humile),

bronze, Museum,

Naples.

Antique,

bronze,

adjustable

different

heights, found in Her-

culaneum.

The

Candelabrum

was revived

at the

time of the

Renascence

along

with

the tradition

of Antique

art. It accepted

the form;

but

remodelled

it in

its own

fashion.

Since

that time the

Candelabrum

occurs in

countless

modifications,

both for state

and use, in religious

and secular

buildings.

It is no more a

Lampstand, but bears a

candle in a

pricket

of,

more rarely,

in a socket.

The

Roman

Catholic

ritual,

particular,

the

services

which

require lighted candles,

has

given an

impetus

the new forms

Candelabra

metal,

and

carved wood

set-off

painting and gilding. The

finest examples

tliis

kind are

to be found

in the churches and

palaces of

Italy.

Plate

212. The

Renascence

CANDELABRmi.^

Altar

candlestick,

church of

the Benedictines,

Villingen,

wood,

gilt

and

silvered,

Late

German Renascence,

ft.

ins. high.

2. Bronze,

end of

the

16th century, Italian.

3..

Altar

candlestick,

Certosa

near

Pavia, 17th century, Italian,'

(Musterornamente).

Medicean.

chapel, San

Lorenzo,

Florence, Italian, Renascence,

5. Bronze,

Italian,

Renascence,

Bargello, Florence,

METAL

OBJECTS.

Plate

211.

The

Antique Candelabrum.

METAL

OBJECTS. 363

The

Kenascence

Candelabrum,

Plate

212.

.364

The

Antique

Lamp.

The

Antique Lamp.

(Plate

213.)

The

Antique

Lamp {lychnus,

lucerna) is,

strictly

speaking, a

combination of

holder

and

pourer; and might with equal propriety

have

been included

in the group of Vases. The fundamental form,

which

was

retained down

the latest

times, is

found

early

Egyptian

household utensils; and

is created by

adding

handle,

funnel for

filling, and a spout with an

opening

for

the wick, to a

spheroid body, figures 1

and

Greek and Roman Lamps: the

body

becomes flattened, the

funnel contracts

to a

simple orifice, and the round handle

either

replaced by a

straight one

combined with it, (figs.

and

9j.

Very

frequently the

lamp has

several

wick-openings

(dimyxos, tri-

myxos &c.)

instead of only one, (figs.

10 and

11).

Clay and bronze are the materials almost exclusively

employed.

The clay

Lamps

are

mostly plastically decorated, more

rarely painted.

The decoration is most

conspicuous on

the

handle and

the

spout;

the

upper part of the body is

often treated

with

figures

in bas-relief,

(fig.

4).

Bronze Lamps are decorated with figures, with

covers fastened

hinges, wick-trimmers,

&c.,

(fig.

10).

And

was

the

bronze

Jjamps which

were especially arranged

to be

suspended

from

Lampa-

darii. Small Lampstands,

in the form of low tripods,

are also not

scarce

(figs. 8 and

9);

occasionally

Tripod

and Lamp are

combined,

the example shown in fig. 7. By the side

of examples

tectoni-

cally constructed,

we find freer

forms, imitating human

figures, animal

shapes,

human

feet, &c.

In some cases

these may

considered

"happy thoughts";

in others they are simply an

aberration of

style

(figs. 12

and

13).

The

early days

of Christendom show reminiscences

of the

An-

tique, e.

the

Lamp

in fig.

13,

which also bears

the monogram

of Christ.

later periods: the

decoration degenerates, although

the

fun-

damental form has been retained

till the present time, in

the

East,

for household

lamps; the design of

the modern lamp

from

Jerusalem

(fig.

14)

of the simplest possible

desciiption. In

the

West: the

old

form

gradually dying-out, since

the introduction of the

glass

cylinder,

which enables

the illuminating

gases to

more thoroughly

consumed.

Plate

213. The Antique

Lajiip.

—

2. Egyptian,

clay.

Antique,

painted clay,

(Menard et Sauvageot).

Antique, red clay.

United collections,

Carlsruhe.

Antique, red

clay, with two spouts and

vertical ring handle,

United collections,

Carlsruhe.

METAL OBJECTS.

365

The Antique Lamp. Plate

213

366 The

Antique

Lamp.

—

The

Candlestick.

Antique,

with cover'

and

ring handle, red

clay, United

collections,

Carlsiiihe.

Antique,

bronze,

with

high,

stand, the

•

missing

cover

was

evidently

human

mask.

Louvre,

Paris.

—9.

Antique,*

bronze,

small

tripods

(candelabrum humile).

10.

Antique,

bronze,

with

three spouts,

the

figure' serves as

handle

for

the

cover, a

wick-trimmer

attached to

chain,

found

Herculaneum.

11.

Antique,

bronze,

with two

spouts,

found

Herculaneum,

Museum,

Naples,

'/c

original size.

12.

Antique,

bronze,

for

suspension,

(Formenschatz).

13.

Eaily

Christian,

bronze,

with the

monogram

of Christ,

for

suspension,

from

the

catacombs,

Rome.

14.

Modern,

Oriental,

clay,

from

Jenisalem,

United

collections,

Carlsruhe.

The

Candlestick.

(Plates

214

—

215.)

The

Candlestick

the

candle-bearer

the

Middle

Ages,

the

Renascence,

and

Modern -times.

distinguished

from

the

Cando-

labi-um,"'

if a

distinction

can be

made

all

where the

forms

thus

blend

with

each

other,

its

smaller

dimensions

and

simpler

forms-

and

it is

chiefly

used

for

secular

purposes.

The

principal

materials

beside

brass,

iron,

copper,

tin,

&c.,

are

clay,

porcelain,

and

glass.

the

Middle

Ages;

was

usual

stick

the

candle

conical

pricket;

our

Modern

times

prefer

the

cylindrical

socket.

The

design

includes

base

(often

tripartite),

shaft,

and

socket,

in the case

the

Candelabrum.

The

upper

end

furnished

with a

saucer

bowl,

catch

the

droppings.

The

saucer

sometimes

loose,

that

may

easely

taken-off

and

cleansed,

which

case

termed

"save-all".

Often

the

upper

part is

furnished

wth

number

arms

receive

several

candles.-

regards

decorations:

the

principles

laid

down

for the

Candelabrum,

the

chapter

Supports,

hold

good.

The

Seven-branched-candlestick,

the

Temple

Jerusalem,

histo-

rically

celebrated;

fig.

Plate

215

reproduces

this

from

the

repre-

sentation

the

triumphal

arch

Titus.

The

fundamental

form

has

been

retained, iff

this

day,

Jewish

ritual.

High

Candlesticks,

simple

form,

m^de

wrought-iron,

are not

rare

the

Middle

Ages

(Plate

215.

2).

Richly

finished

examples,

-vvrought-iron

and

bronze,

were

created

the

Renascence,

(Plate

214.

5,°and

21-5.

3).

The

Japanese

and

Chinese

bronze

candlesticks

The Candlestick.

—

The

Hand-Candleatick.

367

have a

certain

similarity

the Romanesque

ecclesiastical

candlesticks

of the

same

material, (Plate

214.

—

4).

Modern

productions

clay,

glass and

porcelain

have

scarcely

any

artistic

importance; all

the

must

praise

modem

for

recurring

to the old models in metal

work; and

thus producing

very

gratitying

results, (Plate 214.

6, 7, 8,

and

Plate

215. 4

and

5).

f*LATE

214.

The Candlestick.

Romanesque,

bronze, 11th century,

Dugu6 collection,

(Viollet-le'

Due).

Romanesque,

bronze. Cathedral, Hildesheim.

3. Romanesque,

bronze.

4. Ancient

Chinese,

bronze.

Brass, 17th

century.

Modem,

bronze,

(Gewerbehalle).

Modern,

bronze,

Gewerbehalle,

Carlsruhe.

Modern,

bronze,

by Prof.

Schick, Carlsruhe,

(Gewerbehalle).

Plate

215. The

Candlestick.

The

Seveu-branched-candlestick

of the

Temple

at Jerusalem, Arch

Titus,

Rome.

2. Wrought-iron,

S. Peter's, Tarrosa, Spain, 14th century,

(L'ait

pour

tous).

Wrought-iron,

for

candles, 17th

century.

4. Wrought-iron,

Modern.

Wrought-iron,

with several arms,

by C.

Zaar, (Gewerbehalle).

The

Hand-Can]>lestick. (Plate

216.)

The term

Hand

-candlestick includes any

kind of portable can-

dlestick;

and it assximes the existence of some

kind of handle

to hold

and carry

it. The Hand-candlestick

always of modest dimensions;

and it

generally low

height,

as in our flat

candlesticks.

It may

be constructed on an

immense

variety of plans,

that

number of different forms occur.

Candlesticks

frequently

recur

the

form shown in fig.

in which

a screw

thread enables the height

of the socket to be

adjusted. The

Middle Ages

and

the Renascence

exhibited great ingenuity in the invention of such arrangements

(fig-

1).

the Hand-candlestick

liable

gutter: the "save-all" has

here undergone

a special

developement,

that in a certain class

368

METAL

OBJECTS.

Plate

214. The

Candlestick.

METAL

OBJECTS.

369

The Candlestick.

Ueyeri

Baodbook

of OniameDt.

Plate

215.

370

The Hand-Candlestick.

—

The Candle-Bracket

candlestick

it consists

of a broad dish out

of" 'Fhich

rises a shaft

with

a socket-bowl

the

end (figs.

216.

6, 7,

8).

Often an Extinguisher

combinet with the Candlestick, especially

when

the latter

is of wrought-iron; as shown by the original example,

fig.

of late

years Match-holders

have

also been included.

The

material

is the

same as

for other candlesticks.' There

nothing

special to say as regards the decoration.

Pate

216. The

HAND-CA>rDLESTiCK.

—

3. Wrought-iron,

17th

century.

—

5. Modern,

wrought

iron.

Modern,

^by

P. Faure

Paris,

(GewerbehaU^).

7. Modern,

brass.

8. Modern,

brass.

The Candle-Bracket.

(Plate

217.)

Candle-Brackets

are fixed

movable bearers

attached to vertical

surfaces,

columns, pilasters,

&c.

the

Middle

Ages

and

the

Renascence

they

were

chiefly

used for Torches and Candles;

the

present time

they are

employed for Candles and Gas. Their form

naturally

differs

from that

of the upright Candlestick. Curved

scroll-work

and

consoles

of metal

(for

this

material

the one almost

exclusively

used) bear on their free end the

prickets, or the

sockets,

the

burners and

globes, which last ar6 employed to diffuse

the

glaring

light

and soften

the sharp shadows.

primitive method

of,

connecting

the

bracket with the wall

is by hook and

eye

(fig.

1);

in articles ot'

better

finish this

done by means

of rosettes or wall-plates

and

car-

touches (figs.

6, 7, 8, 9).

The Bracket

may be used for

one or more

lights. In the latter

case:

several

prickets

sockets are

placed

common disc (fig.

2);

or, which

artistically

better, the main branch

divides into a number of subsidiary arms (fig.

3).

The Bracket

on a

large

scale,

is used for

Street-lighting, for Churches,

Theatres,

Halls, Mansions, Palaces, Restaurants,

&c.;

and

a smaller

scale, for

Pianofortes,

&c.

In designing Brackets for gas: care

must

be taken

provide for the (Jas-pipe, The modern adjustible

Brackets,

being

mostly without decoration, need not

considered.

Plate 217.

The Candle-bracket.

—2.

German, Renascence, wrought-iron.

National

Museum, Munich.

Rococo,

for

candles,

bronze gilt, Milan

Museum,

(Raguenet).

—5.

Modem, by M.

Weinholdt,

Munich,

(Gewerbehalle).

6—7.

Wall-plates, to

and