It would appear that at first the spiral curl of the branched candelabrum was in due subjection, that is to say, it was a well considered part of a complete design. It fell within the four corners of a set harmonious whole. It did not detract from the whole by any eccentricity, nor did it attract especial attention except as a factor in an _ensemble_. For instance, take three examples and examine them minutely. The first is on one of a pair, in date 1790 (illustrated, p. 97). The convolutions of the spirals are apparently intricate till one more closely realizes that they approximate to the Gothic designs then being promulgated by Chippendale. The top loop forming a circle, the side loops forming similar circles, the intersections of these and the lower arcs forming an angle over the urn-ornamented nozzle are little other than the loops and angles forming the tracery of a Gothic design which might with little addition be the leadwork of a window. These same designs may, with an observant eye, be traced in fanlights and doorways in the suburbs of London where the middle and late eighteenth century styles still linger in the façades and in the railings. [Illustration: OLD SHEFFIELD PLATED CANDELABRUM. With two lights: having branches with interlaced spiral design as central ornament. Date 1790.] (_By courtesy of Walter H. Willson, Esq._)] [Illustration: OLD SHEFFIELD PLATED CANDELABRUM. With two lights: having S-shaped branches interlacing at centre. Date 1790. (_By courtesy of Walter H. Willson, Esq._)] [Illustration: OLD SHEFFIELD PLATE CANDELABRUM. Two lights, oval base, removable nozzles, fluted lobes, and single spiral branches. Date 1790. (_By courtesy of Walter H. Willson, Esq._)] Take another example still in date about 1790 (illustrated, p. 101); here the base is an urn and the single-candle standard form nothing very especially removed from a design very beloved by the brass turners of a slightly later date. But it is the branched form which commands respect as a piece of decorative ornament. Its =C=-shape spirals interlace at centre and form a pleasing ornament. Its simplicity and grace are at once apparent. It has the practicability that it is not readily injured by ill-usage. Its wearing parts are confined to a narrow space. Among all the spiral forms there is nothing, however elaborate, that excels this in grace. It is almost honeysuckle like in conventional ornament. We have seen the ironworker spin such reticent spirals, but in the silversmiths' work it is rare to find this form.