Restauro sedia savonarola biography

Early 17th century.

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Right: Beech, 80 cm high, Lombardy, 16th century. A modern Savonarola chair from the 20th century. These chairs can be bought cheaply at internet e. This particular one was borrowed from a friend to have some idea of the dimensions and seating quality. This one is quite frail compared to my oak chair. The joints are connected by iron dowels screwed with iron nuts.

My Savonarola chair was constructed several years ago in I did not take that many photos then, so there are only a few photos of the chair during construction. I still have some spare parts of the chair, as well as some of the jigs in my workshop, so I have added some 'recent' photos of them as well. Basically the plan for making the Savonarola chair is that of Charles Oakley's Peacock folding chair.

He has provided clear and accurate instructions for a medieval replica using modern tools. I have only changed some dimensions of the chair - mine has a higher seating, due to an increased length of the legs. This makes the seating height of my chair uncomfortable for most people. Also different is how the feet rail, arm rest and backrest look, however the mode of construction is the same.

As already shown above in the pictorial variety of the chairs, they can look different.

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M y Savonarola chair, European oak, finished with furniture soap. Nowadays it has a linseed finish. Two routing jigs are needed for the legs, one for each side. The leg is fixed in the middle by two bolts, and at both ends with toggle clamps screwed to the jig now removed. In the middle a mdf model leg is shown, used for drawing the legs on the oak boards.

The block where the toggle clamp was fixed has some space allowance for the unrouted part of the leg. Right: The type of router cutter used with a top cutter and a guidance ring beneath it. A tenon at both ends of the leg was shaped as follows: the two flat parts of an end were cut with a spindle moulder or shaper. Another jig no photo was used to hold the leg at an identical position, again making use of the joint holes and bolts.

The two curved parts of an end were sawn by hand. The seating parts also 16 with 2 spare parts are rectangular and were the easiest part to make. The length of the seating parts were also rounded using an ogee cutter with a router table. The two spare legs and seating parts with the mdf leg model. The angle of the seating parts is 45 degrees.

The backrest, feet rails and armrest were sawn with a band-saw or hand-held power jig saw and finished restauro sedia savonarola biography spoke shave, gouges and belt sander. To make the mortises for the leg tenons, holes were drilled with a hand drill at the appropriate places, which were further cut out square by hand with chisels.

The exact places for the mortise was determined by building the legs and seating with the dowel joint for the rod and placing them on the leg rails. Each leg was numbered to ensure the same place during final construction. Note that there should be some space allowance between 0. The tenons at the arm rest side. Each is numbered for and exact fit with the mortise.

The mortises of the arm rest and the slot for the backrest. Cutting the groove for the backrest in the armrest was done by hand, using a clamped block to guide the saw. A router plane was used to clear out the groove. At the other side of the armrest decorative rosettes were carved. Each rosette has 10 leaves. Detail of the groove of the backrest.

The groove is 1 cm deep at each side of the armrest. Carving the rosettes. Some tests on the number 8, 10 or 12 of leaves for the rosettes on armrest. The ten leaves version was used. The final rosette; one of the four - with the linseed oil finish. The caps for the joint dowels were drilled using a dowel cutter to produce 20 mm diameter oak dowels, drilling a 12 mm hole in it with a Forstner drill bit with a drill press.

Then I put a small piece of Duct tape on a 12 mm dowel rod and added the cap onto it. This way it was fixed relatively stable to the dowel rod. The cap now could be easily and safely be rounded with a large belt sander, using the dowel rod as a handle. By rotating the dowel rod constantly a nice dome-formed cap was created. Across the ages particularly during the 16th centurythe function-over-form element was replaced by a tendency toward ornamentation, like intricate carvings and lavish upholstery.

In the 19th century, having acquired its name from the seats found in the convent where its namesake lived, the Savonarola chair went out of fashion. Their contemporary version remains true to the original in general shape and other minor details, while making a modern statement with the minimalist design of the backrest — whose smooth surface and undulating edges manage to evoke both the austerity and grandeur of Savonarola designs throughout the centuries.

Available in white, chrome, iridescent red or even plated in karat gold, the Girolamo chair invites the aesthetic of the Savonarola style into the present — without getting stuck in the past. Living Anatomy Of A Design Classic: The Savonarola Chair If the allure of vintage lies in bringing the past into the present, then this iconic item is what it's all about.

Questi dettagli decorativi sono stati realizzati con precisione e sono stati progettati per arricchire il design della sedia senza appesantirlo.

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Le sedie Savonarola sono pezzi di arredamento unico e molto prezioso, sia per la sua importanza storica che per la sua bellezza. Queste sedie sono pezzi di arredamento antico, risalente al periodo rinascimentale. Leslie S. Mira Burack, photographer. Courtesy Cranbrook Archives. Wall painting in the Transverse Hall, Tomb of Huy.