My hands, arms and shoulders seemingly aren’t in complete obeisance to my renewed interest in woodworking: Striking mouldings is a gentle occupation that I’ve always enjoyed, but frankly, making the door mouldings and panel rebates recently stuffed me up right good and proper… Gov’nor. Oo-er missus, I just came over all Mary Poppins there for a moment.
Faced with endless hours of planing dreary rebates (part of the process of making the glazing bar spines), I splashed out on an aluminium router plate and set up a very elementary router table to make life a little easier. I’m not a router person and having chunks of very sharp carbide spinning so close to my person at over 20,000 RPM scared the living daylights out of me to begin with, but by the completion of the last glazing bar, I was a little more at ease with it all.
… and corresponding door moulding.
The door moulding profile is identical to that on the glazing bars; it even retains the internal spine to strengthen it.
The internal spine helps keep the moulding together.
Some period glazed door frames were notched right through their thickness to accept the glazing bars so, from the inside of the door, the bars are seen to be mortised into the frames. An alternative method is to haunch the tenons on the ends of the glazing bars, thus leaving the internal edges of the door frames unbroken. I prefer the latter method and adopted it for these doors.
The glazing bar locations were laid out on the first door frame and the shallow mortises cut.
Stopped mortises provide neat, positive location for the glazing bars.
The ends of the vertical bar were notched and fitted to the frame, followed by the six horizontal bars.
Mitred intersections accentuate the moulding profile.
The intersections of the glazing bars are reinforced with short strips of linen, glued in place with thin animal glue. To ensure maximum strength, the strips of cloth are cut perfectly parallel to the weft by wetting and withdrawing two weft threads as cutting guides.
The peripheral moulding was cut to length, mitred and glued in place.
Like your work!
I’ve never seen endgrain mouldings like you are doing before.
Thanks for posting it.
Thanks! This form of moulding was fashionable from approximately 1670 to 1740.
The mouldings are actually cross-grain, not end-grain (although ultimately, some end grain will be visible) – think along the lines of ploughing a groove across the top of your bench (cross-grain) versus ploughing a groove across the end of your bench top (end-grain). The cut differs by 90 degrees and consequently exhibits different grain patterns.
I’ve made glazed doors by hand and yours are excellent!