swan neck pediment

[klkirkman]

I am trying to learn the circumstances under which the swan neck pendiment is essentially in the front plane of a piece, when it is carried to the rear,and the purpose and construction of the extension to the rear when it is fitted.

Karl

 

[Sam Yerardi]

I'm not sure I understand your question but if you're talking about different methods of how the pediments are designed and constructed, I've seen numerous methods ranging from applied to being constructed as a separate entity at the top of the upper cabinet.  Different methods have been used in attempts to address the potential movement of wood when the grain of the molding, pediment, etc., is against the grain of the underlying construction.

 

[klkirkman]

Sorry for the poorly worded question.

Some pieces have a structure made of secondary woods that continmues the curved shape of the pendiment all the way to the back of the piece as viewed fropm the side, and some pieces have only  the  decoration much like a false front on a building.

When and why is each variation used was what I was trying to understand

Karl

 

[walkerg]

All pediments on classically inspired work (which covers most of the 18th and early 19th century) have their roots in architectural models. The pediment as a form has its roots in the gable end of a temple front. The molding at the top of a classic order which would support a pediment is called a cymatium. You might think of this as a crown moulding. On the sides of the building this cymatium acts as a rain gutter to direct water off the structure, on the gable end it continues up to the peak of the pediment. This continuation you see of the moulding from the front to the back of the furniture piece is inspired by how the cymatium followed the slope of the pediment and then continued back on the edge of the eve of the roof. Architects took this pediment form and added it to doorways and windows. Partly to provide a little overhang and shelter from the elements but primarliy for easthetic reasons. Once applied to doorways and windows in both interior and exterior applications they took liberty with the shape of the pediments. That's where you see some variation enter the scene. Some retained the simple triangular pediment, but designers also broke the pediment in the center, used curved pediments, both a simple radius or a compound curve such as your gooseneck pediment. In all cases the prefered way to treat the pediment ends is to have them return back just as they do on the end of a temple front. My sense is that the pediments that do not return but are simply an applied front are done for purely economical reasons. Making the molding for the return is a little more than just making the right cut in a mitre box. The profile of the molding on the front of the pediment and on the return is different due to the geometry involved. many of the period design books devote a plate and some text of how to arive at the different molding profiles on the returns of a pediment. The molding with a return does have a richer look to my eye.

George Walker

 

[cbentzley]

After reading this post several times, I think Karl is asking why some high chests have a full-blown bonnet-top where the top backboard mimics the front scroll board and is covered over with thin hood boards (and how is that constructed) versus other high chests that just have a vertical scroll board in the front and the top of the upper case is flat behind that. If that’s your question Karl, there’s probably not a concrete answer for why. I’d assume it depended on the customer’s tastes and the size of their purse. As for construction, it’s fairly simple. The hood boards were thin enough (about 1/8” – 3/16”) to be bent to conform to the curve of the top. They were inlet into a rabbet at the back of the scroll board and nailed. At the rear they rested on top of the backboard and were nailed. It’s pretty rare to find an original piece that doesn’t have splits or damage from shrinkage and movement on the thin hood boards. Jeffrey Greene’s book shows a couple examples, and Randall O’Donnell had an article in Fine Woodworking on a CT high chest that shows how to construct one. Some details varied depending on the maker and the region, but you’ll get the general idea.

Craig

 

[klkirkman]

Craig,

Thank you so much and I am sorry I made this so painful with a poorly posed question - but that is precisely what I was trying to ask.

I am trying to discern whether there is a pattern by maker, area, style, or age which dictates whether a piece should be expected to have the full 3-D version you describe or the simple version essentially on the front face.

Anyone ?

Karl

 

[cbentzley]

Karl,

As with all things related to period furniture, there are no absolutes here. Just when you think you’ve seen it all, something new comes along to blow your theory out of the water. Since the high chest never really curried favor south of the Mason-Dixon line, we’re pretty much talking about Philadelphia and north to Newport, with the exception of New York, where the flat top high chest prevailed. Anyway, the general trend seems to be this:

1. The broken-scroll, or broken-arch pediment was introduced early in the “Queen Anne” period, around 1725. Virtually all early high chests from all regions had a full-blown bonnet.

2. This element remained pretty much unchanged throughout New England (one exception is Eliphalet Chapin, a Philadelphia-trained cabinetmaker in Connecticut), until the demise of the high chest form that coincided with the new “Federal” style of furniture.

3. In Philadelphia, most “Queen Anne” high chests had the full-blown bonnet. When rococo influences began to take hold, around 1750, the bonnet began to be displaced by the cleaner-looking front tympanum or scroll-board only design. That said, there are several later examples of the bonnet floating around, I can only assume customer preference played a part in the continuance of the feature.

If anyone else would like to add to this, I’d be much obliged.

Craig

P.S.: I picked the high chest because it's a form that's easy to track. The trend is similar for other case pieces (chest-on-chests, secretaries, etc.).

 

[bbaker143143]

I have a follow up queston on the Swan/Goose neck moulding. Is there a design formula for the curves in the moulding? Based on Queen Ann and Chippendale pediments, there are some case pieces were the curve of the moulding appears to be too high and some too low, almost squatty looking. When you see a broken pediment where the curves are just right it takes your breath away.
Are there certain radi that work based on the width of the case? Is there a design book discussing the curves?

Thanks in advance.

Bob Baker