The Story Behind This Mirror
This piece is made by more hands than anything else in the range. It is drawn full-scale first, because the griffins, the urns and the dial all have to hold proportion when seen from below at chimney-breast height - and because the dial aperture has to be cut to the movement, not the other way round, so the clock specification is fixed before the crest is carved.
The griffins go to the figure carvers. Wings, beak and haunches are shaped from the solid, the feathering cut individually, and there is no correcting a wing cut too thin. The urns are turned and then carved, their flowers shaped one at a time. The husk drops down the stiles are carved as graduated runs, each husk slightly smaller than the one above so the drop appears to hang under its own weight. The shelf base is a piece of joinery in its own right, carried on carved brackets that must actually take load rather than merely look as though they do.
Assembly, then hand-sanding, then gold in coats rubbed back at the cornice edges, urn lips and griffin wings. The movement is fitted, regulated and run before the glass goes in.