Medieval and Renaissance Furniture

by Daniel Diehl

  The ring that holds the door pull to the back plate is shaped out of 1/8-inch round stock bent around a 5/8-inch-diameter pipe. Heat and bend the round stock to form one complete loop or circle. Straighten the ends of the loop into the shape shown in the side view of the door pull ring. Cut the ears to a length of ½ inch. The ring should pass fairly easily through the hole in the center of the door pull plate. Place the handle on the ring, insert it through the back plate, and splay the ends attached to the ring outward. Cut away a small amount of wood on the door, directly behind the ears of the door pull ring, to allow the door pull plate to lie flat against the door. Nail the door pulls and lock plates to the door with ¾-inch-long forged nails. The original lock mechanisms on the cabon have been replaced with modern locksets positioned so that the original keyholes can still be used.

  Hanging the Doors

  Attach the hinges to the doors in the positions shown in the hardware location A and B drawings, paying special attention to the two sets of doors that are hinged together. Position the hinges so that the splats on the door’s back are directly behind the hinge nails. All the hardware is held in place with 2-inch clinch nails, which are bent over on the back of the door to prevent the nails from working loose over time. (See the detail on the rear view of the door.) Make sure the doors fit squarely and swing freely so that they will not bind when installed on the cabinet frame. Next, attach the door pulls and lock plates. Then place the doors in their proper positions. Shim the bottoms with slips of thin cardboard to prevent the doors from dragging against the lower rails when they are opened and closed. Also be certain that the doors do not bind against each other. Drill pilot holes, then nail the butt ends of the hinges to the face of the cabinet frame.

  Carving the Columns

  There is no secret shortcut to carving these columns. Because the base shown in section A is the largest point on the column, the entire length of the column can be cut to these dimensions. The area between the base and section line D is the most difficult to deal with. Although it is hard to see in the drawings or photograph, each facet of this complex pattern is slightly concave. Rough out the shape with chisels, and finish it with carving knives and spoon-shaped gouges.

  If the challenge of carving columns to surround the entire cabinet is too daunting, consider carving the two bases by hand and having the columns run off at a mill yard. In either case, note in the cornice profile drawing that the base of the cornice is the same shape as the side columns and is joined to the columns with a miter joint, which ensures an unbroken line of columns across the cabinet’s top.

  After you have the bases and sufficient carved column stock to surround the face of the cabinet, nail them to the cabinet frame with headless nails. Because headless hand-forged nails are almost impossible to find, it is acceptable to use modern finishing nails in this instance. Drill pilot holes to prevent splitting the oak. You will undoubtedly have to rout out depressions on the back side of the columns to allow the columns to fit over the butt ends of the hinges.

  Mount the two side columns in place on the frame, and then cut the top horizontal section to length. After it has been mitered to fit between the side columns, rip it to the proper width as shown in the cornice profile drawing. Nail it to the face of the cabinet frame. Trim the tips of the side columns to length with a small saw or a chisel.

  Carving the Rosettes

  The six rosette designs shown in the drawings of the carved cornice blocks represent the only designs on the cabinet. To fill the thirteen spaces in the cornice molding, each design needs to be executed twice. Since the rosettes on the extreme left and right ends of the cornice are only partial blocks, one block can be split to fill both of these spaces, eliminating the need to carve a thirteenth rosette.

  All the rosettes are carved from oak blocks that are 15/8 inches wide, 15/8 inches long, and 11/8 inches thick. Gouge the carvings to a depth of no more than ¼ inch, as shown by the dotted line in the side view of the cornice block. (See the instructions on gouge carving on page 4.) It is easier to carve the designs into a large piece of wood and then trim the blocks to size later. This approach also avoids the dangers inherent in carving on a small block of wood. You can enlarge the designs on a copier and transfer them directly onto the wood.

  Crown Molding

  The crown molding shown in the cornice and cornice profile drawings is simple enough that it can be executed with molding planes or a molding cutter. The real challenge is mounting the carved rosettes on the face of the molding. After cutting the molding to length, lay out the locations of the rosettes, all of which are visible in the photograph and the cabinet front drawing. Again, note that the rosettes on the left and right ends of the crown molding are incomplete. The rosettes fit snugly into the face of the crown mold; cut the sockets carefully. Note that the sockets pierce entirely through the 1-inch-thick crown mold. This makes cutting the sockets slightly easier than if they were simply hollows in the face of the molding. Remove the bulk of excess wood with a jigsaw, and clean up the edges of the socket with a sharp chisel.

  Once the rosettes fit snugly into the sockets, cut the 1-by-23/8-inch filler strip, shown in the cornice profile drawing, to length. Position the filler strip behind the cornice molding and mark the position of each of the rosette blocks. Notch out the positions of the rosettes to a depth of 1/8 inch. These notches can be cut on a table saw, because they can extend across the entire width of the filler strip. After ascertaining that all the component parts fit, glue together the cornice assembly. Glue and clamp the filler strip to the back of the cornice molding, and then insert the rosettes into place, making certain that the designs repeat in the intended order.

  Arms of York

  The armorial device on the center right door was originally burned into the wood. Short of constructing a branding iron specifically to this design, the easiest way to reproduce the emblem is with a woodburning set.

  Finish

  A rich, dark oak finish will replicate the look of the original. We recommend using a combination of boiled linseed or olive oil, dark oak wood stain, and a little turpentine, as described on page 7.

  PROJECT 19

  Kist

  Kist, English or Netherlandish, seventeenth century. Oak, 66 x 28½ x 24 inches. Private collection. Photo by Mark P. Donnelly.

  Akist is a large wooden chest in which linen is stored, especially one used to store a bride’s trousseau. During the nineteenth and early twentieth centuries, a trunk used for this purpose was called a hope chest. In either case, this was a chest in which a young woman would collect linens that she would later use in her own household after she was married. The word kist is an English adaptation of the Dutch ‘cist,’ and this piece, which dates from the second half of the seventeenth century, was built in either England or Holland.

  The construction of this kist tells us more about the builder than is the case with any other piece in this book. The dozens of small dimensional inconsistencies in the kist’s construction indicate that he did not have access to a ready supply of boards and probably collected pieces as he could find them, laying them aside until he had enough material to build the chest as he envisioned it. Although he was obviously a skilled carpenter, the builder had only a rudimentary knowledge of woodcarving techniques and executed the elaborate carvings in a free-flowing, organic style typical of the best in primitive artwork. Considering that this piece was constructed at the height of the “great age of sail,” it is possible that the builder was a ship’s carpenter who made this kist as a present for his daughter during his long months at sea.

  Over the years, this kist underwent some major changes. The three drawers are obviously very late additions, probably dating from the early nineteenth century, as are the braces on the underside of the top, likely meant to provide support when the top began to bow. We recommend including the top braces, but the inclusion of the drawers is purely the choice of the builder. If you choose to eliminate the drawers, the finished kist will stan
d on 7¼-inch-tall legs that originally would have helped keep the contents of the chest away from the dampness of cold stone floors.

  Construction Notes

  The dozens of small dimensional inconsistencies in this piece would make describing or constructing an exact copy amazingly difficult. Therefore, we have taken the liberty of reconciling these inconsistencies to make construction easier. The drawers are a very late addition, so you have the option of eliminating them entirely. If you choose not to include the drawers, do not cut the rabbets for the lower side panels, lower side rails, or bottom front rail in the corner posts.

  Materials

  The case of the kist is constructed entirely of oak, but the backs and bottoms of the added drawers are of pine. All the pine pieces are marked with * on the materials list.

  Cutting the Stiles and Rails

  Select boards for the ten vertical stiles and eleven horizontal rails, as listed on the materials list and shown in the drawings. There should be three long and two short stiles for the front of the kist, three for the back, and one for each side. The front and sides of the kist each have three rails, and the back has two. All the stiles and rails have rabbet channels into which the edges of the flat panels will be inserted. The three stiles on the front of the kist have Roman ogee edge moldings. The stiles for the back are identical to the front stiles except that they do not have the ogee edge molding. Cut this molding on the front stiles with molding cutters before beginning work on the rabbets.

  After the molding has been shaped, the next step is to cut the rabbets and tenons. Each stile has a rabbet ¼ inch wide by ½ inch deep running along each long side. The rabbets and their positions are shown in the drawings labeled front left and right stiles, front center stile, and side stile. Note that they are set slightly off-center. Next, cut the tenons on each end of each stile. Although the widths of the tenons differ with the various widths of the stiles, they are all ½ inch thick and 1 inch in length. The dimensions and positions of these tenons are also shown in the same drawings.

  Now cut the rabbets and tenons on the horizontal rails. Details of the positions and dimensions of the rabbet and tenon for each top rail are shown in the profile drawing to the right of the carving detail for the top rail. Note that the rabbet is slightly off-center here, as it was on the stiles. The center rail on the front of the kist and the bottom rails along the sides and back each have only one rabbet located along the top edge. The center rails on the side of the kist each have rabbets on both the top and bottom edges. The bottom rail on the front of the kist has no rabbets. A close examination of the drawings clearly shows where these rabbets should be located; the edge of any rail that will attach to a panel needs a rabbet. Where there is no associated panel, no rabbet is necessary.

  Details of the lengths and positions of the tenons on the rails are shown in the front right construction detail drawing. All four top rails have identical rabbets and identical tenons on both ends. The tenons on the ends of all rails are 1 inch long, ½ inch thick, and set back ¼ inch from the front and rear faces of the rail. The widths of the tenons vary with the widths of the rails, but every tenon is 1 inch narrower than the rail to which it is attached and is positioned ½ inch from each edge of the rail; for example, the 6¾-inch-wide bottom rail on the back of the kist has a tenon 5¾ inches wide set ½ inch from each edge of the rail.

  Mortises need to be cut into the rails at the points where the stiles fit into the rails. With the exception of the mortises for the stiles separating the drawers, these mortises all fall in line with the running rabbets in the rails. Each of these mortises is ½ inch thick and 1 inch deep, although the width varies with the particular stile. Note that the side of the mortise nearest the inside of the kist will be even with the running rabbet, and only the side of the mortise facing the outside of the kist will require the rabbet to be enlarged from ¼ to ½ inch in width. To better understand how this will look when finished refer to the drawings of the rabbets and mortises on the page of corner post drawings. Although the center and bottom front rails have no rabbets, each has mortises at the points where the drawer divider stiles are attached.

  To widen and deepen the mortised areas, use a sharp chisel to expand the mortises to the proper ½-inch width; a drill will help remove excess wood to deepen them to the proper 1-inch depth. As you enlarge the mortises, periodically check the width and depth by inserting a tenon into the mortise. Since all the tenons are 1 inch long and ½ inch wide, any tenon will serve this purpose. Enlarge the mortises slowly and carefully so that they do not become too large.

  Cutting the Panels

  The overall dimensions of all the panels are given on the materials list. When the panels have been cut to size, cut the offset edges as shown in the drawings of the front and side panels. Note that the edges are cut so that they fit snugly into the rabbets in the rails and stiles. Each panel edge is cut so that it has a running tenon ¼ inch thick and ½ inch deep around all four edges of the panel. The front face of the panel retains the full dimension of the panel while the back of the panel will be 1 inch smaller in both height and width.

  Cutting the Corner Posts

  All four corner posts are identical: 27¾ inches in length and 21/8 by 3½ inches square. Each post has a small, 45-degree chamfer cut along one edge that will face the inside of the chest. This may seem confusing, but all the dimensions of the posts are shown in the corner post drawings, and a careful review of these illustrations, along with the front right construction detail, should provide a clear picture of how the pieces will ultimately fit together. Two faces of each corner post contain rabbets and mortises into which the tenons on the panels and rails will be inserted. The easiest way to cut these rabbets and mortises is to cut a running rabbet ¼ inch wide by ½ inch deep, ½ inch from the appropriate edge of the post. The relative position of these rabbets is shown in the four cross section drawings of the front right corner post. The remaining three legs are similar to this leg, with slight variations for the sides of the rear corner posts to which the back panels are attached. We suggest laying out the location of each of the rabbets and mortises in pencil before actually cutting the rabbets to make certain that all eight faces with rabbets and mortises correspond with their counterparts.

  When the running rabbets have been cut, the mortised areas need to be enlarged. Use a sharp chisel to expand the mortises to ½ inch wide, and a drill to remove excess wood to make them 1 inch deep. As you enlarge the mortises, periodically check their width and depth by inserting a tenon into the mortise. Since all the tenons are 1 inch long and ½ inch wide, any tenon will serve this purpose. Enlarge the mortises slowly and carefully to ensure that they do not become too large. When this is done, you should be able to fit the entire frame of the kist together with a few taps of a mallet or the palm of your hand.

  Carving

  We suggest that you execute the carving prior to beginning assembly of the kist. This will allow you to move the pieces around as much as necessary during the carving and avoid making a mistake on a piece that is already attached to the finished cabinet. For your convenience, here is a list of all the pieces with carved work: four front panels, four side panels, the front top rail, both side top rails, the front center stile, front left and right stiles, two side stiles, and all four corner posts. Note that while the front and side faces of the front corner posts are carved, only the single face that is seen on the side of the chest is carved on each rear corner post.

  Scars in the wood show that the original builder laid out his design with some kind of template and straightedge, scratching the designs into the wood before he began carving.

  We suggest that you enlarge the images in the carving diagrams on a photocopier until they are the size indicated, then transfer them onto the wood. If you want an indelible outline to follow while you are executing the carvings, use an awl or large nail to scratch the carving into the wood.

  All the carving on this piece is executed with either a small or mediums
ized V-shaped carving gouges or a straight carving knife. The carvings range anywhere from 1/16 to 3/16 inch in depth, depending on their width; the wider the line, the deeper it tends to be. The carvings have been executed in a very free-flowing manner; the carver was no slave to precision and allowed himself a lot of latitude in interpreting the designs. We have tried to retain this organic approach to the designs in our drawings and you should feel just as free in your own interpretation. Before beginning work, you may want to review the instructions for gouge carving on page 4.

  Building the Front and Back Assemblies

  It is probably easiest to begin final assembly with the back, which has the fewest components. If all the rabbets, mortises, and tenons have been properly cut, the four panels, three stiles, top and bottom rails, and corner posts should fit together with a few taps of a mallet or the palm of your hand. The panels should be seated into the rabbets so that they are flush with the interior surface of the chest and recessed ½ inch from the outside face. The panels’ proper position is shown in the section A drawing.

  When all the pieces fit together properly, disassemble the back and run a small bead of glue into each of the three mortises in the top rail (gluing the panels should not be necessary). Insert the tenons of the stiles into the mortises and slide the panels into place. Repeat the gluing process on the tenons of the bottom rail and tap it into place. After making sure the assembly is square, clamp it together with bar clamps. When the glue is dry, drill two ¼-inch holes through each rail-stile assembly, about ¼ inch above the edge of the rail as shown in the drawing of the back. Drop a small bead of glue into each hole and tap in a ¼ inch dowel. When the glue is dry, cut the dowels about 1/8 to ¼ inch above the surface of the assembly and sand them level with the surface.