Woodworker's Journal 2009-33-5, страница 39
The Base Arriving at a Design I scaled up the measured drawing for this piece from a photo on page 185 of Albert Sack's The New Fine Points of Furniture, but like the craftsmen who made the original American Queen Anne pieces, I varied from my source in order lo suit the tastes of my customer — in this case, myself. First, although I liked the informal grace of the original I was using as my model — a 1747 highboy built by Moses Bayley and Joshua Morss of Newbury, Massachusetts — I wanted my version to have a more stately posture, so when I drew the leg profile, I reduced the sweep in the leg's cyma curve. I also changed the moldings at both the cornice and the waist. The waist molding on mine extends almost an inch beyond the surface of the lower case, whereas the waist-molding on the original has no overhang at all. Finally, the cornice molding on mine is different than the cornice molding on the original in two respects: First, like Bayley and Morss, I composed mine of elements that could be made with the tools I had on hand. Second, I gave my cornice molding an overall contour that leads down into the upper case in a curving line unlike the essentially straight line that leads the eye down into the piece on the original. I did this hoping to echo the curve in the cabriole legs at the bottom of the piece. Since I didn't have access to the original highboy, I don't know any details about its internal parts, but I suspect it lacks some of Ihe features I added to my version. For example, I installed two layers of sliding Leg Pattern Each square =1" Carefully selecting which furniture part will come from which piece of wood is the first step in any successful woodworking project. Leg Pattern Each square =1"
Woodworker's Journal October 2009 1 9 |
