The Story Behind This Mirror
A continuous pierced border has one difficult requirement: the acanthus run has to divide evenly around the perimeter and turn all four corners without a stretched or truncated leaf. That is arithmetic before it is carving, and it is settled at the setting-out stage for your exact frame size - which is why this design cannot simply be scaled up or down from a standard pattern.
The carving is worked in layers. The ground is established, one tier of acanthus is lifted away from it, then another, with each leaf undercut so it passes over and behind its neighbour. The waste between the layers is then pierced right through, at which point the frame is mostly air and every rib left has to carry the bevelled plate. The egg-and-dart border is run last around the aperture and is the most exacting element on the piece - a repeating classical motif where any variation in the spacing of the eggs is immediately visible.
The champagne tone is built at the finishing stage by laying the metal and then working it back further than on a bright gilt piece, so the colour settles down into something warm rather than reflective.