Search results
Today's crossword puzzle clue is a quick one: Old light. We will try to find the right answer to this particular crossword clue. Here are the possible solutions for "Old light" clue. It was last seen in The Guardian quick crossword. We have 1 possible answer in our database.
Oct 26, 2024 · Crossword Clue. Here is the answer for the crossword clue Old light (3,4) featured in Guardian Quick puzzle on October 26, 2024. We have found 40 possible answers for this clue in our database. Among them, one solution stands out with a 98% match which has a length of 7 letters. We think the likely answer to this clue is OILLAMP.
- Overview
- 18th century
- 19th century
- 20th and 21st centuries
The 18th century was the great age of candlelight, and the salons of the nobility and gentry were lighted by many hundreds of candles from chandeliers, candelabra, and wall sconces. In England silver and glass were used in the homes of the wealthy, while brass chandeliers of domestic manufacture were hung in churches and council chambers. As the century advanced, chandeliers became more massive in form and more elaborate in ornament. The earliest English glass chandeliers date from the 1720s and were of plain design with a heavy ball at the base of the shaft, like the contemporary brass chandeliers. Later they were decorated with numbers of pendants and the surface was given life by cutting. Another decisive change came in the 1770s when the ball was replaced by an urn form. At the same time pear drops were hung from the branches and glass spires set in the upper tiers in place of candles. The chandelier eventually became even more elaborate, icicles being suspended around the shaft and long cascades of pear drops suspended from the lustres.
In Europe rock crystal was used instead of glass on the finer chandeliers, but in the course of the 18th century the production of glass ones was greatly expanded in Venice and in Bohemia. Venetian chandeliers were made of varicoloured glass with floral ornament and achieved a particularly decorative effect. Magnificent porcelain chandeliers were produced at the larger European factories but, because of their extreme fragility, few have survived.
In 18th-century France some of the finest chandeliers were made of ormolu. The richest and most splendid, dating from the mid-18th century, were cast and chased in bronze with Rococo designs. Corresponding to the big chandeliers were candelabra and single candlesticks, which, designed by artists such as Juste-Aurèle Meissonier, rank as works of sculpture rather than as domestic accessories.
In the 18th century wall lights became more elaborate. Though the same materials—carved wood, silver gilt, bronze, or brass—were used, they were made with many more candle sockets arranged in tiers or, in the case of those of the Rococo period, growing asymmetrically out of a central stem. The reflector plate, which had played so important a part in the design of the 17th century wall light, was abandoned in the course of the following century, the effect being gained by massing lights rather than by reflection. The girandole was a particularly ornamental type of wall light made of gilt bronze or carved wood and having usually two branches. The great engravers and gilders of mid-18th century Paris executed superb examples in gilt bronze.
The 18th century was the great age of candlelight, and the salons of the nobility and gentry were lighted by many hundreds of candles from chandeliers, candelabra, and wall sconces. In England silver and glass were used in the homes of the wealthy, while brass chandeliers of domestic manufacture were hung in churches and council chambers. As the century advanced, chandeliers became more massive in form and more elaborate in ornament. The earliest English glass chandeliers date from the 1720s and were of plain design with a heavy ball at the base of the shaft, like the contemporary brass chandeliers. Later they were decorated with numbers of pendants and the surface was given life by cutting. Another decisive change came in the 1770s when the ball was replaced by an urn form. At the same time pear drops were hung from the branches and glass spires set in the upper tiers in place of candles. The chandelier eventually became even more elaborate, icicles being suspended around the shaft and long cascades of pear drops suspended from the lustres.
In Europe rock crystal was used instead of glass on the finer chandeliers, but in the course of the 18th century the production of glass ones was greatly expanded in Venice and in Bohemia. Venetian chandeliers were made of varicoloured glass with floral ornament and achieved a particularly decorative effect. Magnificent porcelain chandeliers were produced at the larger European factories but, because of their extreme fragility, few have survived.
In 18th-century France some of the finest chandeliers were made of ormolu. The richest and most splendid, dating from the mid-18th century, were cast and chased in bronze with Rococo designs. Corresponding to the big chandeliers were candelabra and single candlesticks, which, designed by artists such as Juste-Aurèle Meissonier, rank as works of sculpture rather than as domestic accessories.
In the 18th century wall lights became more elaborate. Though the same materials—carved wood, silver gilt, bronze, or brass—were used, they were made with many more candle sockets arranged in tiers or, in the case of those of the Rococo period, growing asymmetrically out of a central stem. The reflector plate, which had played so important a part in the design of the 17th century wall light, was abandoned in the course of the following century, the effect being gained by massing lights rather than by reflection. The girandole was a particularly ornamental type of wall light made of gilt bronze or carved wood and having usually two branches. The great engravers and gilders of mid-18th century Paris executed superb examples in gilt bronze.
The design of the candlestick in the early 19th century was influenced by the introduction of the tall glass open shade which kept the flame from flickering. The candlesticks were made of brass or bronze and decorated with Egyptian or Classical motifs. An attractive type had a circle of branches below the nozzle from which were suspended cut-glass icicles. In large candelabra, figures of Atlas were prominent, as were expressions of the “Egyptomania” that had gripped the continent.
In the latter part of the century, with the advent of the more convenient and efficient methods of gas and electric lighting, the real need for candlesticks diminished rapidly, although their use continued in spite of the greater efficiency of acetylene, paraffin wax, and other portable lamps. For use when moving about or going to bed, a candlestick was far lighter and simpler to use than these lamps, and the chamber type, with saucer-shaped base and small looped handle, continued to be manufactured in various metals, pottery, or even kitchenware enamel. Designs retreated from decorative to purely utilitarian levels as candlesticks were relegated to humbler use. The use of candlesticks was largely undimished in liturgical settings, however. In the final decades of the century, the rise of Zionism in Europe saw the menorah repurposed as both a sacred object and as a symbol for Jewish political identity.
A revival of purely decorative types of table candlestick or candleholder occurred in the middle decades of the 20th century, stimulated by fashions for candlelit dinner tables. Scandinavian designs popularized candlesticks of glass, both heavy polished glass and lighter blown or molded types. Wrought iron, copper, and brass were used for designs in Italy, Spain, the Balkans, and farther north, in some cases reverting to the spike or pricket method of fixing candles in position. Silver, pewter, and wood also were employed.
Altar candlesticks continued to be used in churches, and, although traditional "church plate" types persisted widely, many individual designs were commissioned in the modern style. Silver, gilt, and, to a lesser extent, brass still remained popular materials into the 21st century, but aluminum, stainless steel, enamel inlays, and some forms of plastic have all been used successfully in both old and new churches. In general, these designs are simple, based on pure or adapted geometric shapes that exploit the quality of the material. In contrast, the large bronze many-branched candelabra presented to Westminster Abbey in 1939 and 1942 were designed by Benno Elkan with an elaborate symbolism and detail that owes much to historical sources.
Mar 3, 2021 · The solution (underlined) is Bath and Wells, and the buried hint is the fact that 'see' is a word referring to a bishopric, of which Bath and Wells is a famed English example. 'Envelope'...
The Crossword Solver found 30 answers to "Traditional lighting (7)", 7 letters crossword clue. The Crossword Solver finds answers to classic crosswords and cryptic crossword puzzles. Enter the length or pattern for better results. Click the answer to find similar crossword clues.
A crossword (or crossword puzzle) is a word game consisting of a grid of black and white squares, into which solvers enter words or phrases ("entries") crossing each other horizontally ("across") and vertically ("down") according to a set of clues.
People also ask
How were wall lights made in the 18th century?
What was the era of Candlelight in the 18th century?
What kind of candles were used in the 18th century?
What is a 'British puzzle'?
Why was the brass candlestick so important in the 18th century?
What type of chandeliers were used in England?
The first British crossword puzzles appeared around 1923 and were purely definitional, but from the mid-1920s they began to include cryptic material: not cryptic clues in the modern sense, but anagrams, classical allusions, incomplete quotations, and other references and wordplay.
