Choosing the Woods and THE Carving Designs

This chest follows the 17th‑century work of Thomas Dennis of Ipswich, MA, known for bold strapwork and deeply carved floral motifs. The frame and carved panels are made from riven white oak, the same strong, straight‑grained wood used by period joiners. The bottom and interior till are eastern white pine, the traditional lightweight secondary wood.

The carving design I chose draws directly from Dennis’s style: flowing S‑curves, interlaced strapwork and lowered backgrounds that create dramatic shadow. Each panel is carved by hand using the same tools and methods early New England craftsmen relied on, resulting in a chest that reflects the look, feel, and spirit of the originals.

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Drawing out the design on the Top Rail

Taking time to draw out the carving design is what anchors the whole chest in true 17th‑century practice. Early joiners worked out their proportions, curves, and rhythms on paper or directly on the panel before ever picking up a gouge. Slowing down at this stage ensures the strapwork flows naturally, the motifs stay balanced, and the carving reflects the bold, confident style of Thomas Dennis. A careful layout isn’t just preparation—it’s the foundation that makes the final work feel alive, intentional, and historically faithful

Designing the first Panel

Designing a three‑panel layout is about creating a rhythm across the front of the chest. Each panel must stand on its own, but the curves, strapwork, and floral elements also need to flow naturally from one panel to the next. Taking time to refine the proportions and spacing ensures the carving reads as one cohesive composition—exactly the kind of balanced, confident design seen in 17th‑century Ipswich chests.

Choosing the Woods and THE Carving Designs

Video

Drawing out the design on the Top Rail

Designing the first Panel

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