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INLAYING , a method of ornamentation, by incrusting or otherwise inserting in one material a substance or substances differing therefrom in See also:colour or nature. The See also:art is practised in the fabrication of See also:furniture and See also:artistic See also:objects in all varieties of See also:wood, See also:- METAL
- METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)
metal, See also:- SHELL
- SHELL (O. Eng. scell, scyll, cf. Du. sceel, shell, Goth. skalja, tile; the word means originally a thin flake,. cf. Swed. skalja, to peel off; it is allied to " scale " and " skill," from a root meaning to cleave, divide, separate)
shell, See also:ivory and coloured and hard See also:- STONE
- STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
- STONE, CHARLES POMEROY (1824-1887)
- STONE, EDWARD JAMES (1831-1897)
- STONE, FRANK (1800-1859)
- STONE, GEORGE (1708—1764)
- STONE, LUCY [BLACKWELL] (1818-1893)
- STONE, MARCUS (184o— )
- STONE, NICHOLAS (1586-1647)
stone, and in See also:compound substances; and the combinations, styles and varieties of effect are exceedingly numerous. Several See also:special classes of inlaying may be here enumerated and defined, details
regarding most of which will be found under their See also:separate headings. In the ornamental treatment of metal surfaces See also:Niello decoration, applied to See also:silver and See also:gold, is an See also:ancient and much-practised See also:species of inlaying. It consists in filling up engraved designs with a See also:composition of silver, See also:copper, See also:lead and See also:sulphur incorporated by See also:heat. The composition is See also:black, and the finished See also:work has the See also:appearance of a See also:drawing in black on a metallic See also:plate. An art, analogous in effect, called bidri, from Bider in the See also:Deccan, is practised in See also:India. In bidri work the ground is an alloy of See also:zinc, with small proportions of copper and lead, in which shallow patterns and devices are traced, and filled up with thin plates of silver. When the See also:surface has been evened and smoothed, the bidri ground is stained a permanent black by a See also:paste the See also:chief ingredients of which are sal-ammoniac and See also:nitre, leaving a pleasing contrast of See also:bright metallic silver in a dead black ground. The inlaying of gold See also:wire in See also:iron or See also:steel is known as See also:DAMASCENING (q.v.). It has been very largely practised in See also:Persia and India for the ornamentation of arms and See also:armour, being known in the latter See also:country as Kuft work or Kuftgari. In See also:Kashmir, vessels of copper and See also:brass are very effectively inlaid with See also:tin—an art which, like many other decorative arts, appears to have originated in Persia. In the ornamental inlaying of metal surfaces the See also:Japanese display the most extraordinary skill and perfection of workmanship. In the inlaying of their See also:fine bronzes they use principally gold and silver, but for large articles and also for See also:common See also:cast hollow See also:ware commoner metals and See also:alloys are employed. In inlaying bronzes they generally hollow out and somewhat undercut the See also:design, into which the ornamenting metal, usually in the See also:form of wire, is laid and hammered over. Frequently the See also:lacquer work of the Japanese is inlaid with See also:mother-of-See also:pearl and other substances, in the same manner as is practised in ornamenting lacquered See also:papier-mache among Western communities. The Japanese also practise the various methods of inlaying referred to under DAMASCENING. The See also:term See also:Mosaic (q.v.) is generally applied to inlaid work in hard stones, See also:marble and See also:glass, but the most important class of mosaics—those which consist of innumerable small separate pieces—do not properly come under the See also:head of inlaying. Inlaid mosaics are those in which coloured designs are inserted in spaces cut in a solid ground or basis, such as the See also:modern Florentine mosaic, which consists of thin veneers of See also:precious coloured stones set in slabs of marble. The Taj Mahal at See also:Agra is an example of inlaid mosaic in See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white marble, and the art, carried to that See also:city by a See also:French artist, is still practised by native workmen. Pietra dura is a fine variety of inlaid mosaic in which hard and expensive stones —See also:agate, cornelian, See also:amethyst and the like—are used in See also:relief. Certain kinds of See also:enamel might also be included among the varieties of inlaying.
End of Article: INLAYING
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