The Story Behind This Mirror
A carved face is the hardest ornament in the workshop, and the reason is simple: everyone is an expert on faces. A leaf that is slightly wrong reads as stylised; a face that is slightly wrong reads as unsettling. So the masks go to the carvers who do figure work, and each is shaped from the solid - brow, cheekbones, mouth, the fall of hair - with no correcting a cut that goes too deep.
They are also deliberately kept broad rather than fine, because a mask on a mirror is seen from several feet away and from below, not held in the hand. Detail that reads beautifully at bench height disappears on a wall; the carver compensates while cutting.
The shell crest is shaped with its flutes standing proud, the laurel border run continuously around the arch, and the husk drops graduated so each is slightly smaller than the one above. Then the finishing, which takes longer than the carving: the ebonised ground built up in thin coats and cut back between them until it is even across both flat and carved surfaces, and only then the gold laid by hand on the raised work alone and rubbed back at the high points.