(In the collection of B. B. Harrison, Esq.)
When the loop went awry, as it did, it became an excrescence. In two examples this is shown in varying stages of decadence. It is obvious that the designer had lost sight of the fact that the curved loops could so be manipulated as to become an integral part of the design and contribute to its harmony. The same thing happens in regard to chair-backs. It was here that Chippendale proved himself a prince of designers. It was not so much what he put in as what he left out. In other words, take a great design of one of his superlative chair-backs and let the eye trace the spaces, that is the space form, trying if possible to eliminate the concrete solid design. The silhouette of the outlines of the spaces are really the key to the justness and beauty of the design. If one could remove the mahogany portions of an intricate carved back and placing it against a black sheet retain the beautiful outline of the spaces, the result, example after example, would be a design book in itself as fascinating as a book of Japanese stencil plates.
In the example 1795, with the three lights (illustrated, p. [111]) there is little to quarrel with the design except that the long stem and wanton simplicity and lack of grace suggest the cast iron standard which effect is carried out by the common place spiral leading to the central light, which, by reason of its curves, attracts an attention to itself which is unwarranted by any special beauty it possesses. It is a blemish. It has no meaning as a curve and it detracts from a simplicity which otherwise the candelabrum might possess.
The other example illustrated (p. [111]) has unmeaning spiral design utterly vitiating an otherwise harmless candelabrum. Its spirals run riot and offer nothing pleasing. They stand as an attempt undoubtedly original on the part of the designer to produce something effective as a novel design. The style otherwise of the candlestick does not suggest that the craftsman had a hold upon sound design, but we might pass that. We are extremely thankful to know that nobody seems to have continued this style. In all possibility, by the laws of practical usage, the housemaid placed her vengeance on the offending spiral arms with no support and they broke in halves. The same servitor teaches the offending potter a lesson when, in vessels intended for everyday use, he adds ornament that is unduly projecting in handle or in spout. They pass into the heap of shards because common utility abhors useless ornament.
As a comparison with other forms of branched candelabra and as exemplifying the completed mastery the artist craftsman had over his design and its execution, two examples of rare form and character are illustrated (p. [113]). The two-light candelabrum is of unusual shape, the standard being a full-bodied urn on which stands another urn. Branches issue from the lower urn and in their intersections form beautiful curves of pleasing form.
OLD SHEFFIELD PLATED CANDELABRUM.
With three lights: having central branch with corkscrew spiral. Standard of unusual form. Date 1795.
OLD SHEFFIELD PLATED CANDELABRUM.