Meyer Franz. A Handbook of Ornament

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METAL-

OBJECTS.

371

The

Hand-Candlestick.

Plate

216.

2i*

372

METAL

OBJECTS.

Plate

217.

The

Candle-Bracket.

The

Candle-Bracket.

—

The

Pendant-Lamp.

—

The

Chandelier.

373

Modern,

(Gewerbehalle).

Modern,

wrought-

iron.

The

Pendant-Lamp.

(Plate

218.)

Both

aesthetic

reasons,

and

the

danger

being

knocked-

over to

which

upright

candlesticks

are

subject,

led in

early

times

the

con-

struction

Pendant-lamps.

addition

the

small

bronze

lampg,

which

could

used

both

standing

hanging,

the

Antique

offers

Lamps

which

could be

used

only

for

suspension.

The

latter

form is

still

com-

mon

the East

(compare

Plate

187.

13),

and

the

West

Christian

and

Jewish

ritual. ,

The

introduction,

Paraffin,

Gas,

and

the

Electric

light, has

afforded

plentiful

opportunities

giving

artistic

form

Hanging-lamps.

The

spherical

globes

ground

glass

lend

them-

selves

especially to

such

treatment,

(figs.

5, 6).

Box-shaped

hold-

ers,

either

open or

closed by

panes

glass, are

termed

Lanterns.

Modern

lanterns,

for

illumination

the

open

air, are

generally

devoid

any really

artistic

decoration;

but

the

Middle Ages

and

the

Re-

nascence

created

many

objects

perfect

form

in this

branch.

The

most

suitable

material

for

Lanterns

wrought-iron

(figs.

and

3).

self-evident

that

Lanterns

must

be so

arranged

that

they

c;in

opened

for cleaning, &c.

Plate 218. The

Pendant-lajip.

Old Moorish,

iron.

United

collections,

Carlsnihe.

Mediaeval,

wrought-iron,

for

several

candles,

German,

(Formen-

schatz).

French, Hotel

Vogu6, Dijon,

17th century,

(L'art

pour tous).

Modern,

for Electric

glow-light, by

Peter^

Esslingen, (Ge-

werbehalle).

—

Modern,

(Gewerbehalle).

The

Chandelier.

(Plate

219.)

The

arrangement,

of a

considerable

number

of lights in

circular

form

on a

framework intended for

suspension,

led to the

construction

the

Chandelier.

In the Middle

Ages:

the

lights

were

all

placed

the

same plane

so that they

formed a

ring

(fig.

2);

the Re-

nascence

secured

greater richness and

variety

design by a number

rings,

arrangement

which has

usually

been

retained in

our

modern

Cliaiuleliers

(fig.

3 and

4).

Further

variety

attained

the

alternation

the

lights in

the

different

rings.

Wrought-iron

METAL

OBJECTS.

Plate

218. The Pendant-Lamp.

The

Chandelier.

—

The

Modem

Lamp.

375

and

bronze,

along

with

glass

(Venetian

chandeliers),

and of

late years

cheap

cast-iron,

and zinc,

are

the

chief

materials.

Original

and

uni-

que

design is the

mermaid

chandelier

consisting

female

half-

figures

terminating

fish-tails,

and

furnished

with

antlers to

carry

the candles

(fig.

1).

The

slender

chains

by which

these

mer-

maids,

and

other

lamps

and

lanterns,

were

suspended,

are

replaced

modern chandeliers by

tube

which

also

serves

gas-pipe. In

the former case

the chain

was

carried

over

pulleys

that

the

light

could

shifted higher or

lower;

modern

chandeliers

the

adjust-

ment

effected

means

of a

stuffing-box

with

balance

weights

(fig.

7).

Very frequently

the lower

end

the

Chandelier

terminates

ring,

facilitate

the change

height.

addition to the

globes

round the flames, guards are

often

placed

over

them,

protect

the

ceiling from

heat

and soot.

Each

burner must be

connected

with the

main gas-pipe

means of

separate

pipe.

Where the

Chandelier

is intended for Electric

lights; the

latter

may

bent

downwards

instead

of upwards,

that the

frames

for the

globes

will

cast

shadow. The Plate gives a

number of

ancient

and

modern

Chande-

liers,

partly in half

profile, the

foreshortened

arms,

which

interfere

\vith

the drawing, having been

omitted.

regular

arrangement,

5 or

arms,

the rule: more

or fewer

arms

occur

rarely. In

the

case of Chandeliers with a

great

number

lights:

each

arm is

arranged

after the fashion

of a bracket

with

several

candles.

Plate 219.

The

Chandelier.

1. Modern, style

of the

German Renascence.

2. German,

Renascence,

Hemispherical, for

candles.

—

Modern, bronze and

wrought-iron.

7. Modern,

French, by the

sculptor

Villeminot,

(L'art

pour tous)^

The

Modern

Lamp. (Plate

220.)

The principal value, of the modem Lamp, lies in the technical

completeness, and adaptation

to its purpose.

There is, it is true,

no such wealth

of artistic fancy as is shown

Antique Lamps;

but

still some good examples

may

found among the two

three

fundamental forms

of the Paraffin-lamp, with which

have mostly

to do. Metal,

glass, porcelain, and majolica, again

appear as materials.

a general

rule we have

profiled

foot, on

which the

oil-receiver

rests, from

which

latter the burner, chimney, and

globe

rise,

(figs.

and

2).

richly finished

examples have

a masked

receiver,

the

latter

being enclosed by a vase

(figs.

and

4).

Attempts

have lately

been

876

METAL

OBJECTS.

Plate

219.

The

Candelier.

METAL

OBJECTS. 377

The Modern Lamp.

Plate 220.

378 The

Modem Lamp.

—

The

Altar.

made to

replace

these

conventional

forms

original designs.

An example of this is the

"vestal

lamp" (fig.

5),

which

must be admitted

to be

successful. This

form

admits of

adjustment

height; can be

easily filled

and cleaned;

and allows

of a combination of

several burn-

ers

(fig.

6).

Plate

220. The

Modern Lamp.

—

2. Paraffin lamps, with

visible

oil receiver.

Oil Lamp,

with

concealed

receiver,

the sculptor

Piat of

Paris,

(L'art pour tous).

Paraffin Lamp,

with concealed receiver, by

Paul Stotz, of

Stutt-

gart, Bronze,

(GewerbehaUe).

Paraffin Lamp, "Vestal lamp", Berlin

Paraffin Lamp,

with

burners,

the

architect

Bohringer,

Stuttgart, (Gewerbehalle).

Religious

Utensils.

Notv/ithstanding the varied character of Religious

Utensils:

wei^

devote only five Plates

them,

principally because many

have been

already

dealt-with in

other groups.

We cannot attempt

to give a

complete view of the

apparatus

ritual;

but must confine

our

selection to objects

taken, partly from

Heathen, and partly

from

Christian examples.

The Altar.

(Plate

221.)

The

original

form of the Altar

(from

alta ara)

was no

doubt

extremely simple.

Blocks of rock and

stones, piled -up beneath

the

blue sky or under trees, were

probably

the

earliest. With

the

evolu-

tion of art, and

especially of architecture,

the Altar entered

into the

service of the Temple; and

received

artistic finish. The

plan

the Antique

Altar is usually

triangular, quadrangular,

circular.

Tbe material is generally

marble.

Its top is a table-like

Slab, gene-

rally with

hollow

to contain

tbe

sacrificial

.fire. The

decoration

was

of symbolic

character.

Skulls of animals.

Festoons of fruit,

votive

Wreaths, Figures of

the Gods, Genii,

and

similar

creations,

were used

almost always.

The triangular

Altar

was

often

used as the base

the Antique State-candelabrum;

the altar

represented on fig.

which is the base

of a

Candelabrum.

The so-called

"Altars" of the Christian religion have

nothing in

The

Altar.

—

The

Tripod.

379

common

with those

the

Antique;

and

they

do not

fidl

within the

scope

our work.

Plate

221. The

Axtar.

Assyrian,

triangular

sacrificial

stone.

Assyrian,

round

sacrificial

stone.

Assyrian,

sacrificial

slab,

from

relief

in the

British

Museum.

Roman,

three-sided

Altar,

like a

number

examples,

differing

little from

one-another,

the

museums

London,

Paris, &c

Roman, three

-sided

Altar,

used

the base

Candelabrum.

—

Roman,- various

altars, fig.

with

the

masks of 12

Deities,

and

the signs

the Zodiac,

(M6nard et

Sauvageot).

The

Tripod.

(Plate

222.)

The

name Tripod is

applied to

any

three-legged

support,

what-

ever

the

use

which it may be

j)ut.

accurately,

the

Tripod is

construction

in three parts: the top

part

being a bowl,

dish, or

slab. The

Antique Tripod played an

important

part both in

religious

rites and in

daily life. Originally an

article

of practical

use,

for

cooking,

&c.,

its

form

simple; when it

was

elevated to an

utensil

of Religion, to bear the

sacrificial pans

and the

consecrated

offerings

for the Deities, or

the

Prize

of Victory

in tL?

games: it

assu-

med conventional forms, and received

an artistic

finish.

The

material

was generally bronze,

except

for the great,

monumental

State-tripods,

which were of marble.

•

The Greek,

Roman,

and Etruscan

Tripods differ

characteristically from

each-,other, in

their detail;

but

have this

com-

mon, that they

are supported by three

smooth,

rod-like legs, which are

terminated

their lower

end in

animals' claws;

and are connected

together by rings (fig.

3),

or struts (figs. 1

and

2);

and at

the top

are

either

connected directly

with the dish (figs. 1

and

2),

or with

ring

intended for"

the

reception of a

loose

dish (fig.

3).

For the sake of

greater

convenience, handles

are sometimes attached to

the dish (fig.

1);

the legs may

be adjusted

to different heights

(figs.

and

2);

or the

Tripod may

be so arranged

that

can be taken to

pieces.

These

antique Tripods,

of which

some of the simpler examples are given

the Plate, afford

us, better than

anything else, an

insight

into the

Antique art of

bronze-working.

The Middle

Ages and the

Renascenoe

have

also

transmitted

to U3

numerous

Tripods. Their

principal,

use is in households as stands

for

washing-basins,

&c.; and they are

geaerally of wrought-iron (figs.

6).

After

the art

working

wrought-iron had been

revived

modern times,

we find

them as Stands

for washing-apparatus.

Trays

for

\nsiting-cards,

Stands for

wiae-coolers, (fig.

7),

&e.

380

METAL

OBJECTS.

Plate

221. The Altar.