The Tri-Form Candelabrum.—The candelabrum with three branches has been found capable of much variation in character. These branches have had the advantage of being able to conform to conventional usages in regard to a triangular conformation and a trifid ornament. It is a favourite device in art from the lotus leaf of the Buddhist emblems to the fleur-de-lys. The love of a threefold ornament appealed to the wood-carver, and it is found on sprigs decorating porcelain. The use of three balancing adjuncts in ornament is universal, apart from the deeper or symbolical meaning of such forms.
In the example illustrated (p. [117]), in date 1805, the three curved branches spring upwards and the lights are all level. This form is typical of some of the best three-branched candelabra then made. It is solid and massive, and has no false or overloaded ornament. It is dignified and imposing. The other example, in date 1810, illustrated on the same page, betrays at once classic influence. The old models of Herculaneum and Pompeii had been eagerly refashioned as something new in the First French Empire. The portrait of Madame Rècamier by David shows her sitting on an empire settee with a tall standing candelabrum at its foot. The couch is a replica of old Roman stone forms and the candelabrum is a duplicate of a Pompeian style on tripod feet. The candelabrum illustrated has a stand consisting of three tapering legs reeded, and ending in claw feet. This supports an urn which in its turn supports another, which latter can be used as a light. From the lower urn proceed three branches, spread out in triangular manner.
A later candelabrum with two arms and centre light, illustrated (p. [121]) betrays every sign of bad design. The floral scroll work is hard and offensive. The leaf and shell ornament at base is equally unsatisfactory. It was this form that survived as it came on the threshold of the era of illumination by coal-gas. It was about this date that Sir Walter Scott lit Abbotsford by gas. "His application of gaslight to the interior of a dwelling house was in fact attended by so many inconveniences," says Lockhart his biographer, "that ere long all his family heartily wished it had never been thought of. The effect of the apparatus was at first superb. In sitting down to table in autumn no one observed that in each of three chandeliers there lurked a tiny bead of red light. Dinner passed off, and the sun went down, and suddenly at the turning of a screw, the room was filled with a gush of splendour worthy of the palace of Aladdin; but as in the case of Aladdin, the old lamp would have been better in the upshot. Jewelry sparkled, but cheeks and lips looked cold and wan in this fierce illumination; and the eye was wearied and the brow ached if the sitting was at all protracted. I confess, however, that my chief enmity to the whole affair," continues Lockhart, "arises from my conviction that Sir Walter's own health was damaged in his latter years in consequence of his habitually working at night under the intense and burning glare of a broad star of gas."
OLD SHEFFIELD PLATED CANDELABRUM.
With three lights: having spiral branches interlacing at centre. Circular base terminating in vase ornament. Date 1805.
(By courtesy of Walter H. Willson, Esq.)
OLD SHEFFIELD PLATED CANDELABRUM.
With four lights: having spiral branches on tripod column with claw feet, standing on hexagonal base. Date 1810.