一对烛台（火红或吊灯） - 美国大都会艺术博物馆展品查阅

品名（中）	一对烛台（火红或吊灯）
品名（英）	Pair of candlesticks (flambeaux or chandeliers)
入馆年号	1999年，1999.370.1a, b, .2a, b
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Juste Aurèle Meissonnier【1695 至 1750】【法国人】
创作年份	公元 1735 - 公元 1750
创作地区
分类	金属制品镀金青铜（Metalwork-Gilt Bronze）
尺寸	.1 confirmed: 12 1/8 × 7 3/8 × 7 3/8 英寸, 93.466盎司 (30.8 × 18.7 × 18.7 厘米, 2650g) .2 confirmed: 12 1/8 × 7 3/8 × 7 3/8 英寸, 112.864盎司 (30.8 × 18.7 × 18.7 厘米, 3200g)
介绍（中）	在煤气照明和电力之前的时代，蜡烛在照亮房屋内部方面发挥了重要作用。点燃的蜡烛数量表明所有者的地位;蜂蜡蜡烛比牛脂更受欢迎，因为它们燃烧得更干净，气味更宜人，非常昂贵。难怪游客在某些活动中评论光的数量——正如菲利普·西克辛（Philip Thicknesse）在他的《给那些进行法国之旅的人的有用提示》（1768年）中所做的那样。他在1767年参加的一次晚宴上的餐桌"被六十多盏蜡灯照亮"。这个烛台的不对称模型是洛可可式的主要设计师之一Juste-Aurèle Meissonnier的作品。作为路易十五的建筑师、画家和银匠，迈松尼尔还活跃于三幅画作，以便从各个侧面展示这个带有松散螺旋茎的烛台。这些图画由加布里埃尔·胡基尔（Gabriel Huquier，1695-1772 年）雕刻，并发表在 Dousième Livre des oeuvres de J. A. Messonnier： Livre de chandeliers de sculpture en argent（1734-35 年）中。该设计结合了贝壳，花卉喷雾，甚至是旋风运动中的蝴蝶，变得非常受欢迎，并以银和镀金青铜制成。这双鞋的追逐和镀金质量及其抛光和哑光区域非常出色。
介绍（英）	In the era before gas lighting and electricity, candles played a principal role in illuminating the interior of a house. The number of candles lit was an indication of the status of the owner; beeswax candles, preferred over tallow because they burned cleaner and had a more pleasant smell, were enormously expensive. No wonder, then, that visitors commented on the quantity of light at certain events—as Philip Thicknesse did in his Useful Hints to Those Who Make the Tour of France (1768). The table at a dinner he attended in 1767 "was illuminated with upwards of sixty wax lights." The exuberantly asymmetrical model for this candlestick was the work of Juste-Aurèle Meissonnier, one of the leading Rococo designers. Active also as architect, painter, and silversmith to Louis XV, Meissonnier rendered three drawings in order to show from all sides this candlestick with its loosely spiraling stem. The drawings were engraved by Gabriel Huquier (1695–1772) and published in Dousième Livre des oeuvres de J. A. Messonnier: Livre de chandeliers de sculpture en argent (1734–35). The design, incorporating shells, floral sprays, and even a butterfly in a whirlwind of motion, became very popular and was executed in both silver and gilt bronze. The quality of the chasing and gilding of this pair with its burnished and matte areas is outstanding.