The Candelabrum Base, & Shalt.

219
It is obvious that the delicate forms and the division into legs,
which was so suitable for a material like bronze, could not be trans-
ferred directly to the construction in marble; but reminiscences of it
may be seen in the retention of the triangular ground-plan, the re-
duced claws, the double calyx, &c. (Plate 135. 8).
Plate 135. The Candelabrum Base.
1. Antique, bronze, Museum, Naples, (Botticher).
2.


(Botticher).
3.

Studj publici, Florence, (Weissbach and Lotter-
moser).
4
5. Antique, bronze, Museum, Naples.
6
7. Legs from antique candelabra: the former found in the ruins
of Paestum; the other in the Museum, Naples.
8. Eoman, State-candelabrum.
9. Renascence candelabrum. Collection of drawings, Uffizi, Florence.
The Candelabrum Shaft. (Plate 136.)
The decoration of the Shaft of the antique bronze domestic
Candelabrum is simple; and consists of flutings or channellings, some-
times of naturalistic buds and leaves.
Far richer is the ornamentation of the Antique State-candelab-
rum. It is divided into zones (Plate 136.
2),
or the shaft swells
and diminishes alternately, giving a richer profile (Plate 136.
1).
Smooth and fluted parts with contrast with foliage and figure; and
the ascending decoration is varied by trophies and festoons. The
effect depends on the propriety of the division. The repetition of
similar masses or similar forms becomes tedious.
The Antique and also the Renascence, particularly in Italy, has
transmitted to us a number of standard forms of Candelabra; of
which a few examples are reproduced Plate 136.
Plate 136. The Candelabrum Shaft.
1. Roman, marble.
2. Roman, marble.
3. Antique, (Botticher).
4. Mast -socket. Piazza of S. Mark, Venice, bronze, Italian Renas-
cence.
5. Candelabrum-like foot of a holy water-stoup, Pisa cathedral, Italian
Renascence.
6. Italian Renascence, Badia near Florence.