The Story Behind This Mirror
The hardest part of this frame is the part most people never look at: the transition from oval to rectangle. Cut the aperture badly and the eye reads the frame as two unrelated shapes stuck together. So the carver sets the oval out geometrically first, then works the reeded field around it so the curve resolves into the straight rails without a visible fight.
The ornament comes next. The ribbon bow at the crest is carved from the solid with its loops undercut, so light passes behind them and the ribbon looks tied rather than drawn on. The swags are cut as continuous runs, each flower head shaped on its own axis - some facing out, some turned away - because real flowers on a garland do not all face the front. The corner blocks are the densest carving on the piece and are cut last, when the carver can see how much weight the corners need to balance the crest.
Then it is hand-sanding through progressive grits, gold laid in coats and rubbed back by hand at the bead lines and flower tips, and the oval plate fitted at the end.