How great the industry became is reflected by the series of Design Books issued showing the patterns that Sheffield was able during a period of training of less than twenty years to send to the Continent and that, be it noted, in the days of _Louis Seize_. The illustrations of Candlesticks from these Design Books illustrated (pp. 65, 69, 75), are described in detail in Chapter III in relation to their technique and artistic features (pp. 86, 89). =Contemporary Silversmiths and Their Art.=--For ten years of the reign of George II, and from 1760 to for thirty years of the reign of George III, English plate is remarkable for simple and practical designs embracing the exuberant ornament from the hand of Paul Lamerie and imbued with the classic spirit of Robert Adam. Its variety is a noticeable characteristic, and silver plated replicas carry on the tradition until the second or decadent period when cumbersome and unwieldy design overloaded ornament, and finicking details choked the fine inspirations that had come down from the past. [Illustration: OLD SHEFFIELD PLATED CANDLESTICKS. From old Pattern Book issued by R. C. & Co. (Robert Cadman & Co.) about 1797. The prices of the above examples (written in ink) are given at 20s. and 45s. per pair. (_At the Victoria and Albert Museum._) (_Reproduced by permission of the Board of Education._)] The cherubs' heads, the satyrs, the lion-masks, and the engraved and pierced work of Paul Lamerie extended from 1742. Thomas Gilpin was noted for his fine scrollwork; Peter Taylor has fine designs embodied in tea caddies engraved with Chinese figures and embellished with shell ornament. Isaac Duke with his sauce boats with handles formed as dragons and rich chasing and ornament holds high reputation. John Cafe, Edward Wakelin, John Swift and George Wickes all were of the middle eighteenth century and are well known. Daniells, William Shaw in 1785, Orlando Jackson and James Wilkes carried on the traditions. Peter Archambo, who worked a decade or two previously, had left a technique. The designs of Elston of Exeter are still honoured. At Dublin, R. Calderwood in 1750 and William Homer, of Dublin, and John Williams, of Cork, twenty years later were producing masterpieces of delicate artistry. And before the decadence came William Plummer and Paul Storr. It was therefore with no misgiving as to choice of rare design that the Sheffield plate workers set out to immortalize the work of these men with no less courage than did McArdell and the great school of mezzotinters in regard to the canvases of Sir Joshua Reynolds. III CANDELABRA AND CANDLESTICKS EARLY TYPES THE ADAM STYLE AND ITS PROMULGATION TO THE CONTINENT THE CANDELABRUM THE VARIETIES OF THE SPIRAL FORM THE TRI-FORM CANDELABRUM THE CHAMBER CANDLESTICK THE EVOLUTION OF THE TABLE CANDLESTICK CHAPTER III CANDELABRA AND CANDLESTICKS