Jim Broughton explains why there’s no real alternative to using traditional techniques when it comes to replicating authentic cross-grain moulding.
The D moulding was first used on English furniture in what is commonly known as ‘first face construction’ towards the end of the 17th century. Referring to the practice of applying decorative timbers to the show faces of less attractive timbers, the trend continued into the first quarter of the 18th century culminating in stylistic improvements such as the ‘double D’ moulding. Using mainly walnut (Juglans regia) or oak (Quercus robur) but also and to a lesser extent rosewood (Dalbergia latifolia) and kingwood (Dalbergia cearensis), sections of solid timber are applied to a deal or other soft wood backing with the grain at 90° to that of the substrate.
Although considered extremely decorative, the D moulding also had some very practical advantages when applied to the front face of drawer dividing boards. Far more robust than flat cross-banded veneer, it wouldn’t chip out as easily when the drawers were being opened. The visual effect of the cross-grain is very pleasing as it frames the drawer fronts with a contrasting pattern. The shape of the D softens the edge between the opening and the drawer front, blurring the junction between the two and letting the cabinetmaker off the hook should he discover his drawers didn’t quite line up.
The same technique was used in the construction of top and bottom mouldings applied to a variety of casework such as chests of drawers, writing desks and longcase clocks. Larger in section than the D moulding and to save material, the decorative timber was applied to the deal substrate after it had been chamfered across its entire width to about 45°. Typically an ovolo moulding would be created for the top of a chest of drawers or table and an ogee or reverse-ogee for the bottom.
Reference material
Jim Broughton and Mark Pargeter of Alexander George Fine Antique Furniture Ltd have many years’ experience working with case furniture and clock cases from the 17th and 18th centuries. They have an extensive collection of templates and original sections of moulding to refer to when called upon to recreate a missing moulding so they can reproduce exactly what the original cabinetmaker had in mind.
Step-by-step
The 17th-century cabinetmakers had perfected the proportions of the chest of drawers, in my opinion. An average size would be 35in wide and notably deeper than later chests at 23in with a height of 33in. Most cross-grain mouldings follow a similar size and form, ranging from ½–¾ x ¼in for the D mouldings and roughly 1½in high x 1in deep for the bottom moulding. To form the necessary profile of any cross-grain moulding, I use a combination of traditional hollow and round moulding planes, a shoulder plane, pattern maker’s gouges and various diameter dowels wrapped with abrasive paper.
A straight edge is planed on a deal board that is equal in thickness to the width of your intended D moulding. It helps if the board is wide enough to be held in the vice. With a board this size you can prepare and use both edges if there are multiple mouldings to be made. Sections of cross-grain timber are cut into pieces just slightly wider than the thickness of the substrate. These are then trimmed on a shooting board to match. The show wood is then cut or preferably snapped into shorter lengths. Doing so helps to stick them to the board with just a rub joint and without the need for cramps or masking tape. It also helps when we come to the ageing process. We only use traditional hide glue for this.
Shaping up
When the glue is set we start shaping the D moulding with the moulding planes and finish to a very smooth surface down to 400 grit garnet paper. The grain is raised with water at least twice to get a perfect finish like a polished stone. No tear-out is acceptable. When the shaping is complete we then run the moulding through the bandsaw, leaving the show wood attached to a thin veneer (1/16in) of deal. The process can then be repeated on both edges of the deal board if necessary until you have the required amount of moulding.
The D moulding is applied to the prepared surface with the deal veneer still attached. It is in effect, part of the finished moulding. Where two mouldings meet at 90°, a ‘bird’s mouth’ joint is used. Where smaller sections of moulding are required we sometimes carry out the shaping with the moulding glued into position on the piece of furniture. This often allows for a more accurate replication of the moulding.
Cutting to the chase
Some restorers prefer to use a scratch stock to form their profile but I don’t like this method as it tears out the cross-grain and leaves a very unsatisfactory finish that requires large amounts of time-consuming sanding to achieve the desired effect. I do use a scratch stock for the earlier form of long grain scratch mouldings that typically appear on oak joined furniture.
Imperfect principles
I have already mentioned that the smaller sections of moulding will help with the ageing process. When you study a piece of late 17th or early 18th-century furniture with cross-grain mouldings, you will see (if the piece is untouched or has been restored sympathetically) the characteristic movement and shrinkage of the mouldings. This is because the wood will naturally shrink across the grain and cause very slight gaps and even high spots. This level of imperfection is good and entirely in keeping with the period as we want to preserve the signs of ageing at all costs. Finally, when the mouldings have been fitted and glued into place we can then move on to the finishing and ageing process; a black art and another story altogether.
