The other example illustrated (p. 111) has unmeaning spiral design utterly vitiating an otherwise harmless candelabrum. Its spirals run riot and offer nothing pleasing. They stand as an attempt undoubtedly original on the part of the designer to produce something effective as a novel design. The style otherwise of the candlestick does not suggest that the craftsman had a hold upon sound design, but we might pass that. We are extremely thankful to know that nobody seems to have continued this style. In all possibility, by the laws of practical usage, the housemaid placed her vengeance on the offending spiral arms with no support and they broke in halves. The same servitor teaches the offending potter a lesson when, in vessels intended for everyday use, he adds ornament that is unduly projecting in handle or in spout. They pass into the heap of shards because common utility abhors useless ornament. As a comparison with other forms of branched candelabra and as exemplifying the completed mastery the artist craftsman had over his design and its execution, two examples of rare form and character are illustrated (p. 113). The two-light candelabrum is of unusual shape, the standard being a full-bodied urn on which stands another urn. Branches issue from the lower urn and in their intersections form beautiful curves of pleasing form. [Illustration: OLD SHEFFIELD PLATED CANDELABRUM. With three lights: having central branch with corkscrew spiral. Standard of unusual form. Date 1795.] [Illustration: OLD SHEFFIELD PLATED CANDELABRUM. With two lights: having elongated spiral branches interlacing at centre. Date 1790-1795.] [Illustration: OLD SHEFFIELD PLATED CANDLESTICK. On oval base, with standard in form of lyre. Threaded oval cups and nozzles. Date 1795. Height 10 in.] [Illustration: OLD SHEFFIELD PLATED CANDELABRUM. With two lights: having =S=-shaped branches, with standard in form of vase surmounted by another vase ornament. (_In the collection of B. B. Harrison, Esq._)] The single candlestick (illustrated, p. 113), has another adaptation of curves in ornament. The standard springs from a circular base and is in the form of a lyre which supports an urn-shaped nozzle. This form undoubtedly is derivative from French sources. We find it in ornaments to metal clock cases, and it bespeaks the Sheraton period in possessing a grace and _finesse_ associated with the designs of _Louis Seize_ that he acclimatized in this country.