Series editors' preface - Wood Tools

654 Conservation of Furniture
lost through gessoing. Italian recutting tends to
be much looser than English work, and much
of the rounded appearance that results from
the use of gesso sottile was deliberately kept.
It is important that a gilder gain as much
knowledge as possible about the appropriate
recutting of a given style before undertaking
the recutting of a repair to a period object.
Having an authentic model to copy of a very
similar object from the same period, country
and level of sophistication is the best way to
ensure a faithful interpretation and an appropriate
recutting scheme for reproduction
pieces. The study of recutting may also be
helpful in determining if an object that is not
presently gilded was originally meant to be
gilded. If, for example, there are very fine
details carved into the wood that would be
completely filled in by the gesso, it is a good
indication that the object was not made to be
gilded because those details would only have
been added at the recutting stage. Craftspeople
in the seventeenth and eighteenth centuries did
not repeat lengthy operations unnecessarily.
In general, recutting falls into the two
categories of either redefining work that was
highly detailed in the wood or completely
reworking the gesso layer with elaborate detail
that was not put into the initial carving. The
first is characteristic of English and Italian
work whilst the French excelled at the second.
Some carving was very highly finished in the
wood to minimize recutting. The gesso on this
kind of work was relatively thin and the recutting
limited to sharpening the outlines and
flutes that became clogged with gesso. This
type of recutting was executed with the same
tools and techniques used for carving the
wood. Examples of this can be seen on some
English Georgian parcel gilt mirrors. It may be
reproduced by gently smoothing the high
points of the gesso with a fine grade abrasive
paper (320 grit). The outlines of the leaves and
ornament are redefined using carving tools and
fine decorative detail, such as fluting, are then
carved in. Surface texturing in the gesso, such
as hassling, is the last step.
Some carving was roughly carved in the
wood, aiming only to give a base for a thick
layer of gesso. Sufficient gesso was applied so
that extensive working of the surface was
possible without cutting back to the wood.
This type of recutting suited the very fine and
intricate surface decoration typical of much
eighteenth century French work. As with gesso
sottile, the recutting was defined and then the
fine fluting and other detail added. A characteristic
of French work is the extensive decoration
worked into the ground. After the
ornamental detail has been finished the
ground is smoothed and fine crosshatching,
diamonds or hassling may be added.
Recutting is the most challenging of the
gilding operations and was traditionally the
responsibility of the most skilled and highest
paid gilder in a workshop. The finest recutting
displays deftness, sureness of hand and
spontaneity. Skilled recutting requires not only
an understanding of historical techniques and
design, but a great deal of practice. It is essential
to practice recutting on a gessoed board
before undertaking a restoration project. The
cutting edge of the hook should be held as
near as possible to the end with one hand (for
maximum control), placing the other hand on
the handle and pulling the tool (Figure 14.6).
Moistening the gesso will make it easier to
carve, but it must not be soaked so much that
the gesso becomes damaged. Sharp tools are
essential. The hardness of the gesso will affect
recutting – if the gesso is too hard the strokes
will be wavy and difficult whilst if the gesso
is too soft the recutting will lack crispness.
Once the recutting and smoothing are
complete the loose particles of gesso must be
removed from the surface. Work should be
ragged if necessary and the recut areas
examined to see if the outlines need to be
softened. If so, they may be carefully ragged
with shaped pieces of wood wrapped in cloth.
Figure 14.6 Recutting a gesso repair