It was encrusted and damascened over with the rust of ocean.
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Hissar was long famous for its damascened swords and its silk goods.
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He was harnessed in a suit of highly polished steel armor, fluted and damascened.
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His strangely patterned back was almost black, yet brilliant, like some kinds of damascened steel.
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The barrel was pattern welded by winding a damascened band in a spiral around a mandrel.
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Also a magnificent pair of long-barrelled pistols, the barrels of which were damascened like the sword.
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The iron blades were cunningly ornamented with damascened copper, and the hilts artistically inlaid with the same metal.
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The hilt was studded with gems, and the blade, which had a cutting edge, was damascened in blue and gold.
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Among the contents was a damascened sword, with runes, showing that the letter existed among the Northmen in the seventh century.
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During the 18th century there appeared a whole range of remarkably decorative corkscrews made of silver, or gold, or chased and damascened steel.
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The entire piece rests on a round base at an angle, on gentle volutes encrusted in coral and decorated with stylised vegetal elements that alternate with damascened surfaces that stick out.
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The helmet has been added with a false damascened band of decoration in the latter years of Maharaja Sawai Ram Singh II (19th century). Watered steel was extremely expensive and therefore used very sparingly.
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"In gay Paree he hides, Egan of Paris, unsought by any save me. Making his day's stations, the dingy printing case, his three taverns, the Montmartre lair, rue de la Goutte d'Or, damascened with flyblown faces of the gone." From James Joyce's, Ulysses.
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Some examples of damascened work Damascening is the art of inlaying different metals into one another—typically, gold or silver into a darkly oxidized steel background—to produce intricate patterns similar to niello. The English term comes from a perceived resemblance to the rich tapestry patterns of damask silk.
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Shakudō is sometimes inaccurately used as a general term for damascened decorative metal inlays of Japanese origin. These were widely known in the West as Amita damascene, from the name of a 20th- century manufacturer of such items for export. Amita damascene included shakudo, shibuichi, gold, silver, and bronze for inlays.
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Hercules, engraving by Ghisi after Giovanni Battista Bertani, 1558 Centre of the Ghisi Shield in the British Museum, 1554 Giorgio Ghisi (1520 — 15 December 1582) was an Italian engraver from Mantua who also worked in Antwerp and in France. He made both prints and damascened metalwork, although only two surviving examples of the latter are known.
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Created 500 years after the death of Charlemagne, the bust is an idealized representation, the facial structure, hair style and fleur-de-lys crown of which reflect 14thc., not 9thc. tastes. The skin is chased with silver and partially gilt; hair and beard are gilt. Damascened silver Reichsadler, the heraldic charge of the Holy Roman Empire signifying Charlemagne's imperial dignity, decorate the tunic.
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The first Middle Age (from the 5th to the 6th century AD) began with the Merovingian dynasty, founded by Clovis I. Gaul became progressively frank and its christianization progressed. From this period, numerous cloisonné jewels were found with garnets set in metallic partitions, as well as buckles of damascened belts with silver or brass threads inserted in iron engraved furrows.
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His works were exhibited at many national and international fairs, winning multiple gold and silver medals and extremely positive reviews from critics.Blair, Claude "Introduction" in , p. 9 The British-Iranian scholar and collector Nasser D. Khalili has assembled, published, and exhibited more than a hundred items of Spanish damascened metalwork from this period, forming the Khalili Collection of Spanish Damascene Metalwork.
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Mughal dagger with hilt in jade, gold, rubies and emeralds. Blade of damascened steel inlaid with gold. High levels of achievement were reached in other materials, including hardstone carvings and jewellery, ivory carving, textiles and leatherwork. During the Middle Ages, Islamic work in these fields was highly valued in other parts of the world and often traded outside the Islamic zone.
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The straight sword on display in Vienna. The sheath of the straight sword. According to Dhimitër Frëngu, Skanderbeg's scribe and one of his biographers, the first sword was curved (In the original Italian: una schimitarra storta), with a sharp edge and elegantly made of Damascened steel. There are also accounts which report that at one point he kept two swords sheathed in the same scabbard.
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Writing or document desk by Plácido Zuloaga, 1884–1885 Many works in the collection are from the workshop of Plácido Zuloaga, one of a family of artists based in Eibar, Spain. Zuloaga's art won many awards in national and international expositions. He was known for elaborate damascened artworks, each requiring the skills of eight to twelve specialist artisans over a period of years. Many of these pieces were commissioned by the English collector Alfred Morrison.
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The style of the engravings is similar to those of the swordsmith Heianjō Nagayoshi, so some scholars suggest Muramasa studied under Nagayoshi. It is also silver-damascened with characters , which suggests that the sword was once in possession of Nabeshima Katsushige (1580-1657), the first daimyō lord of Saga Domain. Later this sword was given to Katsushige's son Nabeshima Motoshige, the first lord of Ogi Domain, and has been inherited by his successors. Muramasa's students made excellent weapons too.
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It is in diameter, deep, and weighs . An inscription on the front of the shield reads, "GEORGIVS DE GHISYS MNTVANZ FA M.D.LIIII". Ghisi was an artist, mainly a printmaker, from Mantua, but he was in the Netherlands from about 1550 to about 1555, and the shield was probably made in Antwerp, then under the rule of the Habsburgs. It is one of only two surviving pieces of damascened metalwork known to have been made by Ghisi.
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From Japan, there are 1,600 items of Meiji era decorative art and another collection of more than 450 kimono, covering a 300-year period. The most comprehensive private collection of enamels, with over 1,300 items, includes items from China, Japan, Europe and Islamic lands. The eight collections also include 100 flatweave textiles from southern Sweden, 100 examples of Spanish damascened metalwork (i.e. with metal inlaid into other metal), and 48 Aramaic documents from 4th century-BC Bactria.
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The workshop's royal commissions ended in 1868 when the queen was exiled and Eusebio lost his position in the royal household. Plácido contacted the English art collector Alfred Morrison, heir to a textile fortune, whom he had met at the 1862 International Exhibition in South Kensington. Over a twenty-year period, Zuloaga and his workshop worked almost exclusively for Morrison, adapting the factory to make damascened art works rather than armaments. From 1860 to 1890, Zuloaga trained more than 200 artists in damascening.
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The Ghisi Shield, Waddesdon Bequest, British Museum, London The Ghisi Shield is a piece of Renaissance parade armour made by the Italian goldsmith and engraver Giorgio Ghisi, signed and dated 1554. It is part of the Waddesdon Bequest, held by the British Museum in London since 1898. The shield is made from a single plate of hammered steel, with its rim turned over a wire. The decoration on the outer face is damascened in gold and partially plated with silver.
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When the skies at night Are damascened with gold, Methinks the endless > sight Eternity unrolled. His novel The Hard Life is a semi autobiographical depiction of his experiences at the Synge Street Christian Brothers School. The Christian Brothers in Ireland had an unenviable reputation for often extraordinary brutality, which frequently left lifelong psychological scars on their pupils. Blackrock, where his education continued, was run by the Congregation of the Holy Spirit (known as the 'Holy Ghost Fathers'), considered more intellectual and less violent to their pupils.
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Finished jade objects were often damascened with gold or silver, enamelled or studded with jewels, not only for external beauty but also to grant them royal status. Decorative elements and design used in Mughal architecture in stone and marble were beautifully used in jade. Jade formed an important material with which small objects like thumb rings, wine cups, plates, trays, boxes, huqqa bowls, dagger and sword hilts and the like were fashioned and decoratively enriched with various designs. The Mughals referred to jade by its Persian name Yashm.
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The technique, while also being used on firearms, has a long history in Japan, where it was used to decorate katana fittings, particularly tsuba. Known as zougan (象嵌) in Japanese, it has developed its own subset of terms to describe the particular patterns, although "shippou-zougan" is an enamelling technique which most Westerners would consider closer to champlevé. Damascened-inlay jewelry, especially of Japanese origin, is sometimes referred to as shakudo from the use of that alloy as the dark background. The technique of niello is also famously attested in prehistoric Greece.
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Santoku with damascus steel blade Some of the knives employ San Mai laminated steels, including the pattern known as suminagashi (墨流し literally, "flowing-ink"). The term refers to the similarity of the pattern formed by the blade's damascened and multi-layer steel alloys to the traditional Japanese art of suminagashi marbled paper. Forged laminated stainless steel cladding is employed on better Japanese Santoku knives to improve strength and rust resistance while maintaining a hard edge. Knives possessing these laminated blades are generally more expensive and of higher quality.
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The Khalili Collection of Spanish Damascene Metalwork is a private collection assembled by the British-Iranian scholar, collector and philanthropist Nasser D. Khalili. It includes a hundred examples of damascened metalwork, in which gold or silver is pressed into an iron surface to create fine decoration. It is one of eight collections assembled, conserved, published and exhibited by Khalili, each of which is considered among the most important in its field. The collection includes art works from 1850 to the early twentieth century, including many from the workshop of Plácido Zuloaga and other works from artists trained or influenced by Zuloaga.
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The two known pieces of metalwork engraved by Ghisi are the Ghisi Shield, a parade shield, dated 1554, and a damaged sword hilt, dated 1570, and now in the Hungarian National Museum in Budapest. The shield, now part of the Waddesdon Bequest in the British Museum, is made of iron, hammered in relief, damascened with gold and partly plated with silver. It has an intricate design with a scene of battling horseman in the centre, within a frame, around which are four further frames containing allegorical female figures, the frames themselves incorporating minute subjects from the Iliad and ancient mythology, inlaid in gold.
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The kris blades were forged from layers of different grades of steel, which gave them a damascened appearance. The Visayan kris was considered inferior compared to those from Mindanao and Sulu, and these in turn were less esteemed compared to the imports from Makassar and Borneo. The blade of the kampilan on the other hand is long and straight with a single edge which widens to a dual point. Like the kris, it was coated with poison before combat and the propagated fiction that an arcane alchemy was used to render the kampilan blade poisonous certainly increased its market value.
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The critical reception of Zuloaga's art, and of Spanish damascened metalwork generally, has changed greatly over time. In 1872, the Keeper of Art Collections in the South Kensington Museum (later renamed the Victoria and Albert Museum) wrote that a Léonard Morel- Ladeuil vase decorated by Zuloaga "will be regarded as one of the greatest Art productions of the century". An 1879 article said that his works showed a patience and effort that "take one into an era when the fine arts producer devoted himself solely to the cause of his métier, apart from the commercial considerations of time, trouble and expense." Early twentieth-century art critics took a more negative view of the Zuloaga family's works, but a new wave of interest and critical appreciation emerged in the last decades of that century.
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The first criterion of distribution catered to the owners of the weapons. Those of Charles V, Holy Roman Emperor occupied mainly the first eight drawers in the southern side, while those of Philip II were stored next to those of his father in the northern wall. According to the second criterion, certain drawers housed the set of armor, spines, trappings and clothing that constitute each of the harnesses of Charles V and Philip II. The third criterion, broader, responded to the types of objects, both from a formal point of view as material. Thus drawers that kept only one type of weapon, dedicated for example for knives, for chain mails, or other objects with common features as was its decorative art in the case of arms decorated in damascened settled.
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In 1551 Ghisi joined the Antwerp Guild of St. Luke as a copperplate engraver, which was the same year the painters Ambrosius Bosschaert and Peter Breughel the Elder joined.Page 174-175 of the Liggeren One of only two surviving pieces of damascened armour known to have been engraved by him is also from this period, the Ghisi Shield, signed and dated 1554. His movements between his employment with Cock and his return to Mantua in the late 1560s remain obscure; his engravings from this time were not commissioned by major publishers, although many seem to have been published in France, and Ghisi is known to have been in Paris in 1562. In the last few years of his life he was employed as keeper of jewels and precious metals, and overseer of the wardrobe, to the ruling family of Mantua, the Gonzagas.
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On 4 March, ELAS forces from Siatista, augmented with Reserve ELAS members from the surrounding villages, some 200–250 men in total, ambushed an Italian convoy heading for Grevena from Korce via Florina and Kozani. The ambush took place in the narrow pass of Bougazi between the mountains of Sniatsiko and Bourino, at the location known as Vigla, some 3 km from Siatista itself. The partisans were armed with shotguns and antiquated Gras rifles, axes, and damascened knives, but were able to knock out the first and ninth lorries in their opening salvo, trapping the bulk of the convoy; only the tenth lorry, at the rear of the column, managed to turn around and escape. The battle lasted for three hours, and was ended when the partisans closed in for hand-to-hand combat, whereupon the Italians surrendered.
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