. Pennsylvania Museum Bulletin. Number 63, October 1918. , Inlaid with Silver. (99-357) BULLETIN OF THE PENNSYLVANIA MUSEUM 57. Persian. Brass, Engraved and Inlaid with Silver. (92-700) 58 BULLETIN OF THE PENNSYLVANIA MUSEUM Spanish Damascening, so called, is done; as may be gathered, it is not inlay-ing at all, but what I prefer to call encrusting.* The inlaying having been completed, the artist then proceeded to com-plete, with a graver, every detail of his design, faces and dress of the men,feathers and fur of beasts and birds and every detail of floral and other ornamentwas deli
. Pennsylvania Museum Bulletin. Number 63, October 1918. , Inlaid with Silver. (99-357) BULLETIN OF THE PENNSYLVANIA MUSEUM 57. Persian. Brass, Engraved and Inlaid with Silver. (92-700) 58 BULLETIN OF THE PENNSYLVANIA MUSEUM Spanish Damascening, so called, is done; as may be gathered, it is not inlay-ing at all, but what I prefer to call encrusting.* The inlaying having been completed, the artist then proceeded to com-plete, with a graver, every detail of his design, faces and dress of the men,feathers and fur of beasts and birds and every detail of floral and other ornamentwas delicately and minutely chased on the silver. Everything, except thesmooth faces of the letters of the inscriptions in Mamluk work, was portion of the work was slurred over even if it was not likely to be often seen. Stanley Lane-Poole tells an illuminating story of Mahmud El-Kurdy, aSaracen artist established in Venice in the sixteenth century, who, when hemade use of the stippling process, described above, stippled his notches ingraceful scrolls although he knew that they would be immediately concealedby the silver plates
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