Carved lengths of timber are occasionally incorporated
into the undersides of pieces of furniture for which they were obviously
not intended. David Knell illustrates a gate-leg table (p.223) and
a chest of drawers (p.100) with this feature, and comments about
An interesting feature is the obvious re-use
of timber from another item, as shown by the carved lunette decoration
on the inside of one of the stretchers, which the joiner did not
take the trouble to plane off. The carving may be up to a hundred
years earlier than the table of which it now forms a part. Good
seasoned timber was seldom wasted and evidence of re-used wood
occurs many times on period furniture. There is certainly no reason
to suspect fakery unless other factors suggest it (p.223).
We have handled three such pieces in recent months,
and our experience suggests another possible explanation for the
Our three previously carved pieces are illustrated
on the left. The first is the inside rail of a Charles II center
table, and the second the inside of the apron of a joint stool from
the middle of the century. The third is the most unusual: the sides
of the drawer in a Charles II side table are made of previously
carved timber. It is unlike the other examples first because it
would have been visible in normal use and second because it is a
mis-use: the rail is too thick and heavy for the side of a drawer,
and usage has strained the joint with the drawer front, necessitating
It seems to us that these “re-used”
pieces had not actually been used in earlier pieces of furniture,
but had been intended to be the top rails of coffers: the joint
stool rail almost certainly was, for its lower edge is grooved to
accept a panel. In the center table, the rail has been reduced in
depth for its second, or at least its unplanned, use. Neither of
these examples has been oiled or waxed, which suggests that they
were never actually used for their original intention. The design
on the drawer sides has been roughed in, but not finished, by the
carver, which suggests much the same.
Our conclusion is that during slack periods in
the workshop carvers may well have occupied themselves by carving
long boards that could have many subsequent uses, particularly,
we think, as the top or bottom rails on the fronts of paneled coffers.
Over-runs or off-cuts would not be wasted, but would be used wherever
they might fit. If such “speculative carving” was indeed
a seventeenth-century workshop practice, it would also account for
the quite common occurrence when the decoration on a rail does not
fit exactly into its length: the top rail on the front of a coffer,
for example, will often end two-thirds of the way through a lunette.
The coffer shown here is quite typical. The top
rail is 32-1/2” long, 3-1/2” deep. It is carved with
five-and-a-bit lunettes of 5-1/4” diameter with ½”
decoration between each. The carver could have given us six lunettes
with a diameter of 4-3/4” or five with a diameter of just
under 6”. The height of each lunette on the rail (its radius)
would have had to have been decreased by about ¼” or
increased by about 1/3” to accommodate five or six lunettes
respectively. We can see no aesthetic argument against either.
There are three possible explanations for the “misfit”:
a. The carver didn’t care.
b. The carver couldn’t figure out the correct diameter –
it doesn’t require rocket science, John could do it!
c. The rail was pre-carved.
The side rails of this coffer are carved with identical
lunettes. The stiles into which the rails are tenoned are 3”
x 1-3/4”. The placement of the pegs suggests that the side
tenon is about 1” long, and the front about 1-1/2”.
To cut them, therefore, the joiner would have had to discard approximately
2-1/2” of carved surface. And this is exactly what has been
lost between the end of the front rail and the start of the left
side rail. We believe the third explanation is the most convincing.
In some cases these out-of-place carvings have
certainly been recycled from a previous use, but in others they
appear to be used for the first time, though they were not prepared
for the piece in which they were used: they were speculative carvings.
Whatever the explanation, they add interest to an already interesting
piece of furniture.
Knell, David (1992): English Country Furniture: The Vernacular Tradition
1500 – 1900, Woodbridge, Antique Collectors’ Club.