The stages of fabrication and manufacture of Sommacal classic furniture, come from a tradition of masters of the Venetian furnishing. We thought the implication of our clients with a Virtual Tour (located above), an overview of the most important stages in the processing of the cabinet to give way, to fully understand the love that binds us to the classic furniture for over 47 years!
The technique of covering a surface of wood, usually of lesser value, with a most valuable wood of reduced thickness, gluing the two sides to form a single body, is very old and well attested in the Roman world (Pliny 23-24 AD). Besides the greater quality and a lower cost, this technique offers the advantages of a high strength, resistance to deformation, the possibility of using wood and cuts otherwise be discarded, as the root or wood head.
Of course we have excellent glues and take some precautions, such as stack the wood fibers with different direction, so as to compensate for the movement of the wood, and sometimes even fill the bottom timber from the inside to avoid the curvature, especially in doors.
As for "SLABS" or "PLYWOOD" to apply, they may be more different essences, and also vary depending on the cut: if this is done along the medullary rays of the trunk, it has the "RIGATINO" if the tangent to the circumference , we have the "FLAME" and if close to the divergence of the branches you have the "FEATHERS" and if secant trunk, it has the "LEGNO DI TESTA" or "RADICONE” with a drawing of concentric circles where the cut is perpendicular in concentric ellipses if diagonal. The lower part of the plant roots with the start of the "RADICA", characterized by the complexity of the veins and nodes, a root of inferior quality, because with less complicated knots, is also given from the top, where the trunk splits in branches.
In the Middle Ages always preferred the use of solid wood, in big thickness, the decoration was done or with the pill or painting or marquetry: the latter was already a form of coverage with different woods. Towards the end of the Renaissance was able to cut, with large saws placed in special guides, walnut slabs that were glued on the support and fixed further with some small wooden tacks driven into holes previously prepared, the thickness was high, although reduced in part by the work of sanding.
Italy has always been home of the roots, which continued to be used in the '600 and '700 (especially olive and walnut), although in different ways from region to region and thinner. The slabs that can be extracted from the root are not very big, and have irregular shapes with holes and flaws, and after cutting are mature, but they board and writhe, so, once prior to application were immersed in hot water for several hours, then pressed between two panels, preferably covered with sheets of paper, and allowed to dry slowly, only then were ready for radicatura straight. The surface of the furniture veneering was worked with a trowel plane, which eliminates the irregularities, but at the same time streaked surfaces to adhere the glue.
Shaped and curved on the furniture, however, the root was applied wet, so that he could adapt to curved surfaces, and after being bonded was to be pressed with the help of counterblocks until complete drying: In Venice they used sandbags to bring it above adapt well to the curves. The pieces of roots are joined together and keep following the curves of the veins and knots and inserting dowels into the holes of round.
Surfaces embedded in 500 were usually surrounded by frames; in 600 and 700 as the root was usually reserved for the center while the edges of the slabs surfaces were vertical or diagonal, possibly with a thread of separation.
This process is still used, only variation introduced in the 900 is the mounting plate of wood: burl retained by crooked nails that once the glue has dried, they are removed manually with the pliers. The drawback of this operation is the trace left by the nails, which is then removed with several coats of sanding.
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