The Story Behind This TV Unit
The apron is where this piece is won or lost. A pierced rocaille run along the full length of a console has no support behind it - it is the most exposed carving on any piece of furniture we make, and it sits at knee height where it will be knocked. So the carver reads the grain along the whole run before starting and leaves the ribs running with it, because a rib cut across the grain will break the first time someone catches it with a foot.
Cabriole legs are the other test. A cabriole is shaped in two planes at once - it curves out at the knee and back in at the ankle when viewed from the front and from the side - so it cannot be turned on a lathe and has to be cut by hand from a solid blank. Four of them have to match.
Then the finishing. The cream is built up in thin coats, each cut back before the next, until the colour is dense without drowning the carving - paint that fills detail is the commonest failure in painted furniture. Only then is the gold picked out by hand along the apron scrolls, the cartouche surrounds, the knee carving and the top edge, and rubbed back at the high points.