DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1399#0173
PLATE 256.
OHANDELIEES,
BY YSAUEA BEOTHERS, BARCELONA; AND C. HERRMANN, DANZIG.
T)OTH the chandeliers which we have selected for illustration were executed in common
-*-' metal,—-the one electro-gilt, the other electro-silvered, and bear witness that the traditions
of Mediaeval art have not altogether died out either in Spain or Germany. Indeed, it would be
strange if they did ; for in both countries that style of architecture was practised to just as great an
extent as in France or England; and both Danzig and Barcelona still present to the admirers of art
fine monuments in the style. The chandeliers which we have illustrated are intended for churches,
and are enriched with statuettes of Christ and holy personages, combined with elaborate tracery.
Chandeliers were placed in the churches from a very early period, not only for the
purpose of lighting, but as having a mystical meaning. The largest now existing belong
to a very early period, and are suspended from the ceiling in the form somewhat of a crown:
they were thence termed corona. Durandus, in his " Rationale," states that the light
which illumes the church is the emblem of Christ, according to the word, " I am the light
of the world." In the Eastern Church this custom was also universal; and Paulus Silentiarius
gives a glowing account of the great central chandelier in the dome of Santa Sofia. (For
an account of the great corona chandeliers still preserved in Europe, we refer the reader
to the letter-press accompanying Plate 200.) The use of lamps and chandeliers richly
ornamented and of large size was not confined to the churches. In De Laborde's " Dukes of
Burgundy" is given an entry of the date 1468, concerning two great hanging chandeliers, made
by Jehan Schalkin, for the great hall, — "a cul-de-lampe," in which were placed seven of the
largest mirrors obtainable, each having eight branches covered with foliated ornament, and at
the end of each branch a place to hold a flambeau of lighted wax. In the Inventory of Anne
of Bretagne, A.D. 1493, two large hanging chandeliers are described, to be placed in the hall,
made in cross fashion, with chains, weighing altogether over fifty-five marcs. In the Inventory
of the Sainte-Chapelle, Paris, three pendent silver lamps are mentioned, to be placed before the
principal entrance. In the year 1399 a glass lamp is described in the Inventory of Charles VI.,
made in the Damascus style, without any silver mounts. Hanging chandeliers appear, however, to
have been exceptional. In Turner's "Domestic Architecture" we read:—"At supper the table in
the hall was adorned with candlesticks of artistic design; in the houses of the nobles they were some-
times of silver." Richard, Earl of Arundel, in the year 1392, left to his wife " two candlesticks
of silver for supper in winter." They were usually made with spikes, upon which the candles
were stuck; and these are known as prick candlesticks. Candles, however, were insufficient to
illuminate the spacious hall; and it was, therefore, lit up with splinters and flambeaux, which
were carried about by attendants. Froissart gives a graphic sketch of Count Gaston Phoebus de
Foix, who had a singular whim for dining at noon and supping at midnight. When he quitted
his chamber for supper, twelve servants bore each a large lighted torch before him, which were
placed near his table, and gave a brilliant light to the hall. This brings to mind the story of
the Highland chief, who, whilst dining with an Englishman, one of the Musgraves of Cumberland,
if we remember right, when asked if he could show such valuable candlesticks as the massive
silver ones placed on the table, declared that they were nothing in comparison with those he
possessed; and invited his host to visit him and see for himself. Numerous guests were invited;
and behind the chair of each, at dinner, stood a stalwart Highlander, with a flambeau in one
hand, a drawn sword in the other. In " Syr Degore" we read, " Torches in the halle he did
lyght,"—these torches were sometimes made of wax; and in " Richard Coeur-de-Lion " mention is
made of " torches maad with wax ful deer." In the romance of " Guigamar" a chamber is
described as having two handsome candelabra of pure gold, furnished with wax tapers. In
the illuminated manuscripts lamps are sometimes represented in chamber scenes. In " Syr
Eglamour of Artoys" we read that, in Christabel's chamber, "there were lamps burning
bright;" and the renowned hero Sir Bevys, we are told, "went to bed a night, with torches and
with candlelight." In a MS., British Museum, a lamp is represented hanging from the ceiling over
the bed. Such are some of the instances given in Mr. Hudson Turner's work; and we find
that tallow candles, wax candles, torches, and lanterns, — of which last numerous notices are to be
found in the old inventories, of silver, silver gilt, and enamelled, — were the usual methods used
in lighting rooms; the hanging chandelier was quite exceptional, and was reserved as a rule for
churches.
OHANDELIEES,
BY YSAUEA BEOTHERS, BARCELONA; AND C. HERRMANN, DANZIG.
T)OTH the chandeliers which we have selected for illustration were executed in common
-*-' metal,—-the one electro-gilt, the other electro-silvered, and bear witness that the traditions
of Mediaeval art have not altogether died out either in Spain or Germany. Indeed, it would be
strange if they did ; for in both countries that style of architecture was practised to just as great an
extent as in France or England; and both Danzig and Barcelona still present to the admirers of art
fine monuments in the style. The chandeliers which we have illustrated are intended for churches,
and are enriched with statuettes of Christ and holy personages, combined with elaborate tracery.
Chandeliers were placed in the churches from a very early period, not only for the
purpose of lighting, but as having a mystical meaning. The largest now existing belong
to a very early period, and are suspended from the ceiling in the form somewhat of a crown:
they were thence termed corona. Durandus, in his " Rationale," states that the light
which illumes the church is the emblem of Christ, according to the word, " I am the light
of the world." In the Eastern Church this custom was also universal; and Paulus Silentiarius
gives a glowing account of the great central chandelier in the dome of Santa Sofia. (For
an account of the great corona chandeliers still preserved in Europe, we refer the reader
to the letter-press accompanying Plate 200.) The use of lamps and chandeliers richly
ornamented and of large size was not confined to the churches. In De Laborde's " Dukes of
Burgundy" is given an entry of the date 1468, concerning two great hanging chandeliers, made
by Jehan Schalkin, for the great hall, — "a cul-de-lampe," in which were placed seven of the
largest mirrors obtainable, each having eight branches covered with foliated ornament, and at
the end of each branch a place to hold a flambeau of lighted wax. In the Inventory of Anne
of Bretagne, A.D. 1493, two large hanging chandeliers are described, to be placed in the hall,
made in cross fashion, with chains, weighing altogether over fifty-five marcs. In the Inventory
of the Sainte-Chapelle, Paris, three pendent silver lamps are mentioned, to be placed before the
principal entrance. In the year 1399 a glass lamp is described in the Inventory of Charles VI.,
made in the Damascus style, without any silver mounts. Hanging chandeliers appear, however, to
have been exceptional. In Turner's "Domestic Architecture" we read:—"At supper the table in
the hall was adorned with candlesticks of artistic design; in the houses of the nobles they were some-
times of silver." Richard, Earl of Arundel, in the year 1392, left to his wife " two candlesticks
of silver for supper in winter." They were usually made with spikes, upon which the candles
were stuck; and these are known as prick candlesticks. Candles, however, were insufficient to
illuminate the spacious hall; and it was, therefore, lit up with splinters and flambeaux, which
were carried about by attendants. Froissart gives a graphic sketch of Count Gaston Phoebus de
Foix, who had a singular whim for dining at noon and supping at midnight. When he quitted
his chamber for supper, twelve servants bore each a large lighted torch before him, which were
placed near his table, and gave a brilliant light to the hall. This brings to mind the story of
the Highland chief, who, whilst dining with an Englishman, one of the Musgraves of Cumberland,
if we remember right, when asked if he could show such valuable candlesticks as the massive
silver ones placed on the table, declared that they were nothing in comparison with those he
possessed; and invited his host to visit him and see for himself. Numerous guests were invited;
and behind the chair of each, at dinner, stood a stalwart Highlander, with a flambeau in one
hand, a drawn sword in the other. In " Syr Degore" we read, " Torches in the halle he did
lyght,"—these torches were sometimes made of wax; and in " Richard Coeur-de-Lion " mention is
made of " torches maad with wax ful deer." In the romance of " Guigamar" a chamber is
described as having two handsome candelabra of pure gold, furnished with wax tapers. In
the illuminated manuscripts lamps are sometimes represented in chamber scenes. In " Syr
Eglamour of Artoys" we read that, in Christabel's chamber, "there were lamps burning
bright;" and the renowned hero Sir Bevys, we are told, "went to bed a night, with torches and
with candlelight." In a MS., British Museum, a lamp is represented hanging from the ceiling over
the bed. Such are some of the instances given in Mr. Hudson Turner's work; and we find
that tallow candles, wax candles, torches, and lanterns, — of which last numerous notices are to be
found in the old inventories, of silver, silver gilt, and enamelled, — were the usual methods used
in lighting rooms; the hanging chandelier was quite exceptional, and was reserved as a rule for
churches.