DOI Page / Citation link:
https://doi.org/10.11588/diglit.1399#0176
PLATE 257.
BRONZE CANDELABRA,
BY LEROLLE, RAINGO BROTHERS, P. DESCOLE, AND LACARRIERE & CO., PARIS.
A MONG the many revivals of antique objects at the present day, none, perhaps, are more
-*--*- really useful or exhibit greater taste than the candelabra now introduced by the French
manufacturers, principally after Greek or Roman models, intended as supports for moderator and
other lamps. A prize medal was awarded by the International Jury of Class 31 b to M. Lerolle,
" for artistic combination of onyx, marble, and bronze, and for the skilful production of
chandeliers and lamps of antique style." The Messrs. Raingo obtained a prize medal for the
excellence of their workmanship and for artistic design. Lacarriere & Co. received a medal " for
good design and fabrication; " and M. Descole had honourable mention for " general utility."
From M. Lerolle's varied and beautiful contribution we have selected a candelabrum modelled after
one of the columns of the abbey of St. Denis, a very remarkable piece of chased metal-work,
which we believe was purchased by the Marquis of Sligo. From the numerous fine pieces
forwarded by Messrs. Raingo we have taken a steel tripod and stem-twisted candelabrum of
very excellent design. M. Descole furnished us with a bronze-gilt candelabrum in the Pompeian
style, very gracefully composed. The value of the pair being about £32, will serve to give an
idea of the average price of such articles. The bronze-gilt candelabrum in the Greek style by
Messrs. Lacarriere & Co. was remarkable for the elegance of its form and the justness of
proportions, affording a high idea of the present state of manufacturing art in Paris.
We read in the " English Cyclopaedia," article " Candelabrum," that candelabra were used
by the ancients, both in their public edifices and private dwellings. Those used in public buildings,
such as temples, &c, were usually of the greatest size, and made with a large cup at the top to
receive a lamp, or sufficient oil to feed a large flame. Candelabra have been discovered at
Iierculaneum and Pompeii, consisting of tall, slender, bronze stems, sometimes with a flat
circular top: in other instances they have a vase-like top. The base is usually triangular, with
the foot of a goat, lion, or griffin, at each angle; and the shaft often terminates with a capital,
which supports the tray or socket. The flat top was called by the Greeks pinalion, or pmakidim,
a little tablet. They were amongst the greatest ornaments of the temples and houses, being
constructed, sometimes, of the richest materials, although they are generally found of bronze,
iron, and marble.
The designs were of a very varied character, the stand being, sometimes, a human figure,
gilt, and holding in one hand the lamp or receptacle for the oil. In the " Library of Entertaining
Knowledge" ("Pompeii") the writer remarks that, in their original and simple form, candelabra were
probably merely reeds or straight sticks fixed upon a foot by peasants to raise their light to a
convenient height: sometimes the stem is represented as throwing out buds; sometimes it is a
stick the side branches of which have been roughly lopped off, leaving the projections where
they grew; some have a sliding shaft hke that of a music-stand, by which the light could be
raised or lowered at pleasure.
It is from models of this class that many of the modern French bronze candelabra are
taken, and they are always elegant and effective. In the Museo Borbonico, at Naples, are
several beautiful specimens from Pompeii and Herculaneum. The British Museum possesses some
fine examples in marble and bronze, as does also the Museum of the Vatican, in Rome; and
two richly-sculptured marble candelabra, found at Tivoli, are to be seen in the Radcliffe
Library, Oxford. The best collection of candelabra, however, will be found in Piranesi's "Vasi,
Candelabre, TJrne, Tripodi ed altri Ornamenti antichi," Rome, A.D. 1778. During the Middle
Ages, large candlesticks for wax tapers were placed before the high altars in churches, and
these not unfrequently resemble somewhat the antique candelabra in the general design. At
the period of the revival of ancient art, ornamental candelabra executed in marble occur; but
no serious use has been made of them as articles of furniture until the present day; and as
they are peculiarly well-adapted to their purpose, being portable and elegant, the use of them
will, no doubt, be widely extended.
BRONZE CANDELABRA,
BY LEROLLE, RAINGO BROTHERS, P. DESCOLE, AND LACARRIERE & CO., PARIS.
A MONG the many revivals of antique objects at the present day, none, perhaps, are more
-*--*- really useful or exhibit greater taste than the candelabra now introduced by the French
manufacturers, principally after Greek or Roman models, intended as supports for moderator and
other lamps. A prize medal was awarded by the International Jury of Class 31 b to M. Lerolle,
" for artistic combination of onyx, marble, and bronze, and for the skilful production of
chandeliers and lamps of antique style." The Messrs. Raingo obtained a prize medal for the
excellence of their workmanship and for artistic design. Lacarriere & Co. received a medal " for
good design and fabrication; " and M. Descole had honourable mention for " general utility."
From M. Lerolle's varied and beautiful contribution we have selected a candelabrum modelled after
one of the columns of the abbey of St. Denis, a very remarkable piece of chased metal-work,
which we believe was purchased by the Marquis of Sligo. From the numerous fine pieces
forwarded by Messrs. Raingo we have taken a steel tripod and stem-twisted candelabrum of
very excellent design. M. Descole furnished us with a bronze-gilt candelabrum in the Pompeian
style, very gracefully composed. The value of the pair being about £32, will serve to give an
idea of the average price of such articles. The bronze-gilt candelabrum in the Greek style by
Messrs. Lacarriere & Co. was remarkable for the elegance of its form and the justness of
proportions, affording a high idea of the present state of manufacturing art in Paris.
We read in the " English Cyclopaedia," article " Candelabrum," that candelabra were used
by the ancients, both in their public edifices and private dwellings. Those used in public buildings,
such as temples, &c, were usually of the greatest size, and made with a large cup at the top to
receive a lamp, or sufficient oil to feed a large flame. Candelabra have been discovered at
Iierculaneum and Pompeii, consisting of tall, slender, bronze stems, sometimes with a flat
circular top: in other instances they have a vase-like top. The base is usually triangular, with
the foot of a goat, lion, or griffin, at each angle; and the shaft often terminates with a capital,
which supports the tray or socket. The flat top was called by the Greeks pinalion, or pmakidim,
a little tablet. They were amongst the greatest ornaments of the temples and houses, being
constructed, sometimes, of the richest materials, although they are generally found of bronze,
iron, and marble.
The designs were of a very varied character, the stand being, sometimes, a human figure,
gilt, and holding in one hand the lamp or receptacle for the oil. In the " Library of Entertaining
Knowledge" ("Pompeii") the writer remarks that, in their original and simple form, candelabra were
probably merely reeds or straight sticks fixed upon a foot by peasants to raise their light to a
convenient height: sometimes the stem is represented as throwing out buds; sometimes it is a
stick the side branches of which have been roughly lopped off, leaving the projections where
they grew; some have a sliding shaft hke that of a music-stand, by which the light could be
raised or lowered at pleasure.
It is from models of this class that many of the modern French bronze candelabra are
taken, and they are always elegant and effective. In the Museo Borbonico, at Naples, are
several beautiful specimens from Pompeii and Herculaneum. The British Museum possesses some
fine examples in marble and bronze, as does also the Museum of the Vatican, in Rome; and
two richly-sculptured marble candelabra, found at Tivoli, are to be seen in the Radcliffe
Library, Oxford. The best collection of candelabra, however, will be found in Piranesi's "Vasi,
Candelabre, TJrne, Tripodi ed altri Ornamenti antichi," Rome, A.D. 1778. During the Middle
Ages, large candlesticks for wax tapers were placed before the high altars in churches, and
these not unfrequently resemble somewhat the antique candelabra in the general design. At
the period of the revival of ancient art, ornamental candelabra executed in marble occur; but
no serious use has been made of them as articles of furniture until the present day; and as
they are peculiarly well-adapted to their purpose, being portable and elegant, the use of them
will, no doubt, be widely extended.