Another 1790 design (illustrated, p. 101) carries the loops out in such a manner as to suggest an elongated urn. The oviform intersection of the loops, plain and formal though they appear at first glance, do not come into such a severe classic position by mere accident. The low dropping loops afford just that contrast and upward spring which make the intersection, and give it its maximum ornament as two bands enclosing a space, which space is in itself a component part of the ornament to the candelabrum. Two fine examples illustrated (pp. 103, 107) exhibit respectively the fine use of the twisted form in the arms. They are both two-light candelabra with central vase ornament. In the former with single loops the vase is very properly left nearly level with the apex of the arms. This would have been a blemish in the other example illustrated (p. 107), where the vase ornament is larger and carries off the strong double twisted design in the arms. This example is original in its treatment of curves and carries the idea to the utmost limit. Beyond this the ornament became disastrous and added a note of eccentricity to otherwise well-balanced designs. [Illustration: OLD SHEFFIELD CANDELABRUM. Two lights: oval base, acanthus leaf decoration in column. Double spiral branches. (_In the collection of B. B. Harrison, Esq._)] When the loop went awry, as it did, it became an excrescence. In two examples this is shown in varying stages of decadence. It is obvious that the designer had lost sight of the fact that the curved loops could so be manipulated as to become an integral part of the design and contribute to its harmony. The same thing happens in regard to chair-backs. It was here that Chippendale proved himself a prince of designers. It was not so much what he put in as what he left out. In other words, take a great design of one of his superlative chair-backs and let the eye trace the spaces, that is the space form, trying if possible to eliminate the concrete solid design. The silhouette of the outlines of the spaces are really the key to the justness and beauty of the design. If one could remove the mahogany portions of an intricate carved back and placing it against a black sheet retain the beautiful outline of the spaces, the result, example after example, would be a design book in itself as fascinating as a book of Japanese stencil plates. In the example 1795, with the three lights (illustrated, p. 111) there is little to quarrel with the design except that the long stem and wanton simplicity and lack of grace suggest the cast iron standard which effect is carried out by the common place spiral leading to the central light, which, by reason of its curves, attracts an attention to itself which is unwarranted by any special beauty it possesses. It is a blemish. It has no meaning as a curve and it detracts from a simplicity which otherwise the candelabrum might possess.