Measurements cm h. 104, figures h. 51, bases 34.5x22.4, face of Aeolus 6x14, girandoles diameter 38.5. An imposing pair of large gilt-bronze candelabra, all applications and candelabra, are executed with mercury gilding, the figures and plinths, depicting winged female figures or Victories, are patinated in an antique style. Each figure rests on a gust emitted by the face of Aeolus and holds up a garland of flowers from which six finely chased cornucopia-shaped arms emerge, decorated with laurel branches, terminating in a floral wreath. The face of Aeolus is placed on the upper part of a plinth, divided from top to bottom by: a cornice decorated with egg-and-dart molding, below which is a frieze consisting of a garland of roses, a frame, a rose boss, a frame decorated with palmettes, all resting on a two-step square base. The floral elements depicting roses are typical of the Empire period around 1810, when the influence of Romanticism became apparent. A characteristic element of these candelabra are the dark brown-green patinated bronze sculptures depicting (Nike) Victory. The figures are of impressive size and display exceptional chasing in details such as the hair, wings, and drapery. Their clear composition and harmonious proportions testify to the refinement of the design. The naturalistically rendered floral garlands supporting the arms are characteristic of Thomire's work, a motif he developed from the traditions of 18th-century workshops. We are looking at an absolutely original and large-format model. The design of the candelabra is inspired by the work of Charles Percier and François-Léonard Fontaine. Their influential "Recueil de décorations intérieures" helped define the style that dominated European decorative arts in the first half of the 19th century. This magnificent pair of French candelabra from the early Empire period is in excellent condition, retaining its antique patina and its original matte and burnished mercury gilding, as evidenced by the unique gilded surface, which shows minor imperfections typical of this type of gilding, not subsequently re-gilded. The bobeches are missing, likely due to the conversion from candles to light bulbs; the electrical wire has been correctly mounted externally without causing any damage. The works exhibit some greenish surface stains, typical of copper bloom, due to clumsy cleaning with acidic soaps (probably TB) as was common in the last century; proper cleaning of the gilded parts would restore the full splendor of the mercury gilding. The pins are original forged steel, as are the original chisel-cut nuts.