Pulpit restoration part two: Assessing the craft

Before any meaningful pulpit restoration can begin, there is a stage that goes beyond condition and into understanding.

Not just what the piece is, but when it was made, how it evolved, and what that means for its construction.

For this pulpit at St Patrick's Church, new historical insight revealed that its origins date back to around 1856, with further modifications believed to have taken place during the church’s expansion in the late 19th century.

This explained something we had already begun to see in the craftsmanship:

The pulpit was not the result of a single moment in time, but of multiple phases of making.

And each phase left its mark.

Layers of craftsmanship across time

One of the most fascinating aspects of this church furniture restoration was recognising that different parts of the pulpit reflected different periods of work.

The original 1856 construction

The core octagonal structure — with its precise mitred joints and hand-crafted beading — is consistent with mid-19th century craftsmanship:

• Built from solid oak

• Hand-shaped mouldings

• Traditional joinery techniques

This was the heart of the pulpit — and it had endured remarkably well.

The 1890 adaptation

The believed modifications made during the 1890 church expansion introduced functional changes:

• Repositioning within the church

• Addition of steps for improved access

• Possible structural adjustments

These changes, while different in execution, still aligned closely with the original design intent.

Later alterations

In contrast, more recent additions stood out immediately:

• Lower-quality materials

• Simpler construction methods

• Less attention to detail

These elements had not aged well, and lacked the integrity of the earlier work.

The importance of respecting historic craft

In furniture restoration, you are not simply working with wood, you are working with the decisions, techniques, and intent of the original maker.

Every joint, every curve, every detail tells a story about how the piece was designed and built.

The role of the restorer is not to impose something new, but to understand and continue that story.

This is particularly true in antique furniture restoration, where the value of the piece lies as much in how it was made as in what it looks like.

Only then could we begin to plan how to restore, and where necessary, rebuild, the missing elements.

An octagonal masterpiece

One of the most striking features of the pulpit was its shape. The entire structure was built as an octagon, an eight-sided form that is both visually balanced and structurally complex.

At first glance, it appears elegant and symmetrical. But from a construction perspective, it presents significant challenges.

Precision in every angle

Each corner of the octagon was formed using tight mitred joints, precision cuts that bring two pieces of timber together at an angle.

For an octagon, this means:

• Every angle must be exact

• Every joint must align perfectly

• Any deviation becomes immediately visible

  
  

Even today, achieving this level of accuracy requires skill and care. To see it executed so cleanly in a piece over a century old is a testament to the craftsmanship of its maker.

Handcrafted details: The art of beading

Beyond the structure itself, it was the detailing that truly brought the pulpit to life. Each face of the octagon was made up of side panels, and at every level, these panels were framed with decorative beading.

What made this particularly special was the variation. Rather than repeating a single profile throughout, the pulpit featured different shaped beading at different levels, subtle changes in profile and depth and a layered effect that added visual richness.

Crafted without machines

It’s important to remember that when this pulpit was originally made, modern woodworking machinery as we know it today did not exist.

These mouldings would have been hand planed, shaped using traditional tools and finished by eye and by feel. This level of craftsmanship is incredibly difficult to replicate. And yet, for this pulpit restoration, replication would be essential.

These details are not decorative extras, they are fundamental to the identity of the piece.

Strength beneath the surface

While the external details captured the eye, the internal construction told its own story.

Inside the pulpit, the structure was built using solid timber beams, robust, functional, and clearly designed to last.

What this revealed was incredibly encouraging:

• The internal framework was strong and stable

• The core structure had stood the test of time

• The pulpit had been built with longevity in mind

  
  

This gave us a reliable base to work from.

In church furniture restoration, having a strong internal structure is invaluable. It means the focus can shift from rebuilding the entire piece to restoring and enhancing what already exists.

Where quality diverged

As identified in the earlier assessment, not all parts of the pulpit were original.

Some elements had been added later, and these told a very different story.

The added sections were:

• Constructed from lower-quality timber

• Less refined in their detailing

• Structurally weaker

  
  

Over time, these areas had deteriorated far more than the original oak structure. This contrast highlighted an important lesson in antique furniture restoration: Quality materials and traditional craftsmanship endure.

Shortcuts do not.

To ensure the longevity of the pulpit, it became clear that these later additions could not simply be repaired. They would need to be replaced and replaced in a way that aligned with the original construction.

Matching the original oak

We focused specifically on matching the original 1856 oak, ensuring that any new work aligned with the earliest and most significant phase of craftsmanship. 

When selecting new timber, it wasn’t enough to match the species. We also needed to consider the grain pattern and colour variation, as well as the density and texture.

The goal was to ensure that new sections would blend seamlessly with the original, not standing out as obvious replacements, but integrating as part of the whole.

Making the new feel as though it has always belonged.

Modern techniques supporting traditional craft

While much of the project was rooted in traditional craftsmanship, there were moments where modern techniques could enhance the outcome, particularly in areas that would not be visible.

For the new base supporting the steps, we used a structural timber framework similar to CLS construction.

This provided:

• Strength and stability

• Resistance to movement over time

• A reliable foundation for the visible elements

  
  

To assemble this framework, we used beech dominos (as opposed to hammer and nails). This modern joinery method that allows for incredibly strong, precise connections between timber sections.

While this technique wouldn’t have been available when the pulpit was first made, it serves the same purpose as traditional joinery by creating a structure that is solid, durable, and built to last.

In this way, modern methods can support traditional values, ensuring the piece performs well for decades to come.

Replicating the original design

With a clear understanding of the pulpit’s construction and materials, the next challenge was replication.

Where components were damaged or missing, the aim was to reproduce them like for like.

This meant:

• Matching profiles exactly

• Replicating the scale and proportion

• Using the same construction principles

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This is where detailed observation becomes essential.

Every curve, every edge, every transition must be studied and understood before it can be recreated.

Designing new elements with integrity

Not everything could be replicated directly. Some elements, such as the new base and stairs, needed to be designed from scratch.

But even here, the original pulpit provided the blueprint. The octagonal form remained central to the design language. The curvature of trims was echoed in new elements. Rounded edges and proportions were carefully matched.

The original design was simply extended, ensuring that any additions felt cohesive and respectful.