Silver leaf on a chair with figure carving raises a question gold does not: how bright to leave the faces.
Burnished to full brightness, a silvered lion head becomes a mirror. It picks up every reflection in the room, and the modelling that the carver spent days on disappears into a confusion of bright and dark that has nothing to do with the form.
So on figure work our artisans burnish the raised planes - the brow, the bridge of the nose, the top of the mane - and deliberately leave the recesses matt, killing the reflectivity where the shadows need to sit. The head then reads as a modelled object rather than as a reflective one.
The frame carving around it is treated the opposite way, burnished more evenly, because scrollwork has no anatomy to lose and benefits from the brightness. Two different approaches to the same silver on the same chair, decided by whether the shape being described is a face or a curve.