The Story Behind This Mirror
A trophy crest is a composition, not a motif. Crossed torches, a laurel wreath and a tied ribbon all have to overlap convincingly - the wreath in front of the torch shafts, the ribbon over the wreath, the ends falling free - and every one of those overlaps is an undercut. Carve them on a single plane and the trophy reads as a flat badge; carve them in true depth and it reads as objects laid one over another. That difference is several days of work.
The urns are turned before they are carved, and their flame finials shaped from the solid so the flame appears to twist. The garlands trailing down the corners are cut as continuous runs with each bloom on its own axis, gathering into a carved bow at the base.
The twisted laurel moulding around the oval is run last and is the most exacting element: a continuous spiral of overlapping leaves that must keep constant pitch all the way round a curve, where there is no corner to hide a correction. Then hand-sanding, gold in coats, rubbed back at the wreath, flame tips and petal edges, and the bevelled oval fitted at the end.