The quilted lattice on the lower panels is cut shallow on purpose, and the depth is settled with a test piece before a single panel is carved.
The instinct with a carved texture is to cut it deep, because depth gives shadow. But this texture is going to be gilded, and gilding behaves differently from paint. It is laid over a prepared ground that itself has thickness, and it flows into the bottom of every cut. On a deep, narrow groove, the preparation and the gold together round off the sharp bottom corner, and what began as a crisp diamond grid ends up as a soft ripple.
So our artisans work a sample panel first - the same pattern at two or three different depths - take it right through preparation and gilding, and set it up in the light. The depth that still reads as a defined grid after the gold is on is the depth chosen, and it is always shallower than the one that looks best in bare timber.
Only then is the pattern set out on the real panels, worked around the curve of the bow so the grid stays even where the surface turns away.