The Story Behind This Mirror
Repeating a motif looks like the easy option and is in fact the hardest. Every leaf is compared against every other leaf by the eye automatically, so a single one cut shallow or spaced a fraction wide is obvious - there is no crest or cartouche to distract from it. The carver has nowhere to hide, which is why this frame is a workshop test piece as much as a product.
It begins with setting out. The leaf spacing is calculated for the exact frame size so the run divides evenly along each rail and, critically, turns the corners without a half leaf or a stretched one. Get that wrong and the corner announces itself forever. Only then does carving begin: each leaf shaped from the solid, the central vein cut, the edges undercut so the tip lifts away from the ground. The fluted inner moulding is run last, its reeds kept parallel along the full perimeter. Then hand-sanding through progressive grits, gold laid in coats and rubbed back by hand along every leaf tip and flute ridge so the light breaks unevenly across the border the way it does on old giltwood.