"Making a candelabra of noble simplicity, without weakness, giving each part the importance it requires, and subjecting the candelabra to strict compliance with the necessities it has been created to respond to: the greatest frankness has been followed with a duty of formality in the use of the materials, leaving their structure and lay-out completely visible, with no possibility of accepting, at all, that any layer of color may attempt to create the illusion of materials and objects that do not exist and which the weather would continually cause to disappear, showing the real material, like the nudity of the beggar, seen between the rags. (...)

"Over a triangular pedestal with chamfered angles, made of the so-called Santa Cruz marble, polished, in a dark color, arises the conic shape of the post, the upper part of which bears the arms of the lamps and is topped off with a commercial emblem. The shapes of this post are those that are indicated that are mechanically necessary for a column that is inset at its base and the details of which are required to facilitate the industrial operations that are necessary for polishing and finishing the iron, also intended to save long operations in the foundry and molding that, once these facilities are made evident through the construction of the model candelabra, should undoubtedly provide economic savings for the completion of subsequent models. The lanterns or lights have deserved an extremely careful study since they represent the main part of the project. They are laid out in a crown of six or three; when there are six lights, they are all on the same level, their respective arms are alternately supported on two different levels, in order to prevent the circle of housings that must be made in a circumference of not exceedingly great dimensions at the same time as in the disposition indicated they connect three by three on a piece that is made up of two cone trunks with these normal surfaces joined by their smallest sections to the supporting arms. (...)