1045:
603:
687:
793:
488:
40:
1100:
773:
754:
368:
655:
567:
1072:
579:
1060:
671:
615:
627:
522:(1020s) has outline engravings of figures filled with niello, the black lines forming the figures on a gold background. Later Romanesque pieces began to use a more densely engraved style, where the figures are mostly carried by the polished metal, against a black background. Romanesque champlevé enamel was applied to a cheap copper or copper alloy form, which was a great advantage, but for some pieces the prestige of precious metal was desired, and a small number of nielloed silver pieces from c. 1175–1200 adopt the ornamental vocabulary developed in
916:
591:
1123:
354:
928:
210:
947:
58:
1084:
1030:
639:
808:
182:
196:
959:
1184:
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niello was added. These are known as "niello prints", or in the cautious words of modern curators, "printed from a plate engraved in the niello manner"; in later centuries, after a collector's market grew up, many were forgeries. The genuine
Renaissance prints were probably made mainly as a record of his work by the goldsmith, and perhaps as independent art objects.
484:, Viking, and other types of Early Medieval jewellery and metalwork, especially in northern Europe. Similar uses continued in the traditional styles of jewellery of the Middle East until at least the 20th century. The Late Roman buckle from Gaul illustrated here shows a relatively high quality early example of this sort of decoration.
718:, after which they filled up the hollows produced by the burin with a black enamel-like compound made of silver, lead and sulphur. The resulting design, called a niello, was of much higher contrast and thus much more visible. Sometimes niello decoration was incidental to the objects, but some pieces such as
293:(German: "painting in metal"), which involves using gold and silver inlays or applied foils with black niello and the bronze, which would originally have been brightly polished. As well as providing a black colour, the niello was also used as the adhesive to hold the thin gold and silver foils in place.
1203:
is used on silver. Later a mixture of metals was used; Pliny gives a mixed sulphide recipe with silver and copper, but seems to have been some centuries ahead of his time, as such mixtures have not been identified by analysis on pre-medieval pieces. Most
Byzantine and early medieval pieces analysed
391:
Sasanian niello is a decorative technique used in metalworking during the
Sasanian Empire (224-651 AD). This technique was particularly popular in Sasanian silverwork, adorning objects such as plates, bowls, ewers, and jewelry. The designs often featured scenes of hunting, courtly life, animals, and
331:
has also been claimed to use niello decoration. However, controversy has continued since the 1960s as to whether the material used on all these pieces actually is niello, and a succession of increasingly sophisticated scientific tests have failed to provide evidence of the presence of the sulphurous
122:
on engraved or etched metal, especially silver. It is added as a powder or paste, then fired until it melts or at least softens, and flows or is pushed into the engraved lines in the metal. It hardens and blackens when cool, and the niello on the flat surface is polished off to show the filled lines
1198:
Various slightly different recipes are found by modern scientific analysis, and historic accounts. In early periods, niello seems to have been made with a single sulphide, that of the main metal of the piece, even if it was gold (which would be difficult to handle). Copper sulphide niello has only
746:
By the late 16th century relatively little use was made of niello, especially to create pictures, and a different type of mastic that could be used in much the same way for contrasts in decoration was devised, so
European pictorial use was largely restricted to Russia, except for some watches, guns,
140:
Niello was used on a variety of objects including sword hilts, chalices, plates, horns, adornment for horses, jewellery such as bracelets, rings, pendants, and small fittings such as strap-ends, purse-bars, buttons, belt buckles and the like. It was also used to fill in the letters in inscriptions
551:
from the 13th century continued to develop this pictorial use of niello, which reached its high point in the
Renaissance. Niello continued to be widely used for simple ornament on small pieces, though at the top end goldsmiths were more likely to use black enamel to fill inscriptions on rings and
742:
on paper, and nearly all the earliest engravers were trained as goldsmiths, enabling the new art medium to develop very quickly. At least in Italy, some of the very earliest engraved prints were in fact made by treating a silver object intended for niello as a printing plate with ink, before the
854:
and fill the background with niello using a mixture of red copper, lead, silver, potash, borax, sulphur which was liquefied and poured into concave surfaces before being fired in a furnace. The heat of the furnace would blacken the niello and make the other ornamentation stand out more vividly.
1156:
The technique is as follows: the artisan would carve a design into the silver, leaving the figure raised by carving out the "background". He would then use the niello inlay to fill in the "background". After being baked in an open fire, the alloy would harden. It would then be sanded smooth and
407:
A silver oval bowl decorated with tigers and grapevines, attributed to the
Sasanian period of Iran (3rd-7th centuries CE) and held in the Metropolitan Museum of Art's Department of Ancient Near Eastern Art, was examined using non-invasive analytical techniques to identify the composition of the
877:
invasion from 1237 to 1240 AD, nearly all of Kievan Rus was overrun. Settlements and workshops were burned and razed and most of the craftsmen and artisans were killed. Afterwards, skill in niello and cloisonné enamel diminished greatly. The
Ukrainian Museum of Historic Treasures, located in
403:
has
Sasanian shallow bowls or dishes where in one case it forms the stripes on a tiger, and in another the horns and hoofs of goats in relief, as well as parts of the king's weapons. This relief use of niello seems to be paralleled from this period in only one piece of Byzantine silver.
730:
might be decorated in this way, as well as secular objects such as knife handles, rings and other jewellery, and fittings such as buckles. It appears that niello-work was probably a specialist activity of some goldsmiths, not practiced by others, and most work came from
Florence or
1044:
792:
602:
772:
131:
illustrated here. The metal where niello is to be placed is often roughened to provide a key. In many cases, especially in objects that have been buried underground, where the niello is now lost, the roughened surface indicates that it was once there.
686:
480:, generally forming the background for motifs carried in the metal, but also used for rather crude geometric decoration of spots, triangles and stripes on small relatively everyday fittings such as strap-ends in base metal. There is similar use in
1022:
region (whether Muslim or
Christian). It was also used to decorate handguns when they came into use. Until modern times relatively simple niello was common on the jewellery of the Levant, used in much the same way as in medieval Europe.
1005:
It is used on the locking bars of some ivory boxes and caskets, and perhaps continued more widely in use on weapons, where it is certainly found in later centuries from which more material survives. It is common in the decoration of the
282:, as well as a sophistication in both technique and figurative imagery that is startlingly original in a Greek context. There are a number of scenes of lions hunting and being hunted, attacking men and being attacked; most are now in the
226:, all of which have been the subjects of disputes as to the actual composition of the materials used, that have not been conclusively settled, despite some decades of debate. The earliest claimed use of niello appears in late Bronze Age
1232:
to melt the niello, others just seem to use an open fire. The necessary temperatures vary with the mixture; overall silver-copper-lead mixtures are easier to use. All mixtures have the same black appearance after work is completed.
1221:(1500–1571) give detailed accounts, using silver-copper-lead mixtures with slightly different ratios of ingredients, Cellini using more lead. Typical ingredients have been described as: "sulfur with several metallic ingredients and
545:). Eight large nielloed plaques decorate the sides and roof, six with figures seen close-up at less than half-length, in a very different style from the cruder full-length figures in the many Limoges enamel equivalent reliquaries.
654:
141:
engraved on metal. Periods when engraving filled in with niello has been used to make full images with figures have been relatively few, but include some significant achievements. In ornament, it came to have competition from
978:
included inlays of silver and gold in their often elaborate decoration, leaving less of a place for niello. Other black fillings were also used, and museum descriptions are often vague about the actual substances involved.
387:
enjoyed dining and drinking together, a social event that is visible through ceramic, glass, and silver vessels. Elite circles handled silver cups, plates, and bowls on which artisans hammered and chased intricate designs.
1161:
was often used for additional ornamentation. Nielloware is classified as only being black and silver coloured. Other coloured jewellery originating during this time uses a different technique and is not considered niello.
566:
461:, including Christian church plate. It was often used on spoons, which were often inscribed with the owner's name, or later crosses. This type of use continued in Byzantine metalwork, from where it passed to Russia.
412:
and the niello inlay used in its decoration. The study revealed that the bowl is made of a silver-copper alloy containing approximately 3 wt.% copper. The niello inlays were found to consist solely of silver sulfide
578:
514:
began to use it for small figurative images as part of large pieces, very often applied as plaques. These began to exploit the possibilities of niello for carrying a precise graphic style. The back of the
1491:
Oudbashi, Omid, Layah Ziaii-Bigdeli, and Federico Carò. 2024. “Sasanian Niello Inlay: Microanalytical Investigation of a Silver Oval Bowl with Tigers and Grapevines.” Studies in Conservation (20240520):
1445:
Oudbashi, Omid, Layah Ziaii-Bigdeli, and Federico Carò. 2024. “Sasanian Niello Inlay: Microanalytical Investigation of a Silver Oval Bowl with Tigers and Grapevines.” Studies in Conservation (20240520):
1071:
246:, who lived about 1550 BC, on a dagger decorated with a lion chasing a calf in a rocky landscape in a style that shows Greek influence, or at least similarity to the roughly contemporary daggers from
974:
In the early Islamic world silver, though continuing in use for vessels at the courts of princes, was much less widely used by the merely wealthy. Instead, vessels of the copper alloys bronze and
614:
753:
1099:
1153:
were popular gifts from American soldiers taking "R&R" in Thailand to their girlfriends/wives back home from the 1930s to the 1970s. Most of it was completely handmade jewellery.
1059:
626:
429:(AD 23–79) describes the technique as Egyptian, and remarks the oddness of decorating silver in this way. Some of the earliest uses, from 1–300 AD, seem to be small statuettes and
670:
487:
1122:
927:
417:). This composition closely resembles that of early Roman niello inlays, suggesting a possible technological link between Roman and Sasanian metalworkers during this period.
1029:
332:
compounds which define niello. It has been suggested that these artefacts, or at least the daggers, use in fact a technique of patinated metal that may be the same as the
1433:
1375:
Smith and Stevenson, 114 (the identity of the queen in this burial has undergone revision in recent decades); Lucas and Harris, 250–251 for a more sceptical account.
453:
and a cat. From about the 4th century, it was used for ornamental details such as borders and for inscriptions in late Roman silver, such as a dish and bowl in the
395:
Sasanian niello is notable for its fine craftsmanship and the skillful use of negative space to create detailed imagery. But in general, Niello was rarely used in
1083:
867:
39:
915:
1923:
Oddy, W., Bimson, M., & La Niece, S. (1983). "The Composition of Niello Decoration on Gold, Silver and Bronze in the Antique and Mediaeval Periods".
1225:"; "copper, silver, and lead, to which had been added sulphur while the metal was in fluid form ... was then brushed over with a solution of borax..."
590:
300:, and many scholars think that it was highly-skilled metalworkers from Syria who introduced the technique to both Egypt and Mycenaean Greece. The
946:
367:
1290:"Chamber's English Dictionary, Pronouncing, Explanatory, and Etymological: With Vocabularies Or Scottish Words and Phrases, Americanisms, &c"
738:
Niellists were important in the history of art because they had developed skills and techniques that transferred easily to engraving plates for
1685:
Craddock, Paul and Giumlia-Mair, Allessandra, "Hsmn-Km, Corinthian bronze, Shakudo: black patinated bronze in the ancient world", Chapter 9 in
283:
909:
in the late 18th and early 19th centuries; by then Russia was virtually the only part of Europe regularly using niello in fashionable styles.
638:
1434:
https://www.khanacademy.org/humanities/ancient-art-civilizations/ancient-near-east1/x7e914f5b:sasanian/a/sasanian-art-an-introduction
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1914:
1875:
1857:
1839:
1825:
1797:
1779:
1755:
1737:
1712:
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1476:
1412:
61:
Byzantine gold ring with niello inscription "Lord help Leontius, Patrician and Count of imperial Obsikion guarded by God",
1941:
828:
983:
278:), especially in long thin scenes running along the centre of the blade. These show the violence typical of the art of
1289:
1274:
835:, a 12th-century Byzantine writer, praised the work of Kievan Rus artisans and likened their work to the creations of
1900:
Eastern Mediterranean Metallurgy and Metalwork in the Second Millennium BC. A Conference in Honour of James D. Muhly
400:
958:
510:
largely replaced it, although it continued to be used for small highlights of ornament, and some high quality
187:
Detail of the bronze "Lion Hunt Dagger" with niello, gold and silver from Grave Circle A, Mycenae, c. 1550 BC.
1898:
Giumlia-Mair, A. 2012. "The Enkomi Cup: Niello versus Kuwano", in V. Kassianidou & G. Papasavvas (eds.)
1247:
779:
760:
719:
353:
31:
990:
basin of engraved brass with gold, silver and niello inlay, which has been in France since at least 1440 (
707:
799:
1982:
164:
for black. Though historically most common in Europe, it is also known from many parts of Asia and the
1680:
1214:
991:
425:
Niello is then hardly found until the Roman period; or perhaps it first appears around this point.
209:
57:
1811:
507:
454:
1569:
1175:. The Thai version is called Ramakien. Important Thai cultural symbols were also frequently used.
1972:
305:
1918:
1204:
are silver-copper, while silver-copper-lead pieces appear from about the 11th century onwards.
1910:
1871:
1861:
1853:
1835:
1821:
1801:
1793:
1783:
1775:
1751:
1741:
1733:
1716:
1708:
1698:
1690:
1472:
1218:
998:), is one example where niello is used. Here niello is the background to the figures and the
783:
715:
473:
333:
1480:
858:
Nielloed items were mass-produced using moulds that still survive today and were traded with
304:
can most easily be explained by some combination of influence from the broader traditions of
1952:
1675:
1209:
863:
661:
279:
76:
1977:
1967:
1200:
1188:
840:
764:
747:
instruments and the like. Niello has continued to be used sometimes by Western jewellers.
703:
572:
Roman brooch in the form of a panther, copper alloy inlaid with silver and niello, 100-300
469:
426:
384:
181:
142:
296:
Byblos in Syria, where niello first appears, was something of an Egyptian outpost on the
882:, has a large collection of nielloed items mostly recovered from tombs found throughout
620:
Niello ornamentation and inscription on a silver 6th-century liturgical strainer, France
584:
Silver-plated fancy bronze spoon with a panther, Roman, 3rd-4th century, found in France
195:
145:, with far wider colour possibilities, which eventually displaced it in most of Europe.
123:
in black, contrasting with the polished metal around it. It may also be used with other
1767:
1253:
1229:
1183:
1050:
677:
523:
519:
503:
275:
271:
161:
1961:
1275:"A Dictionary of the English Language Pronouncing, Etymological, and Explanatory ..."
937:
906:
890:
645:
542:
538:
496:
492:
481:
477:
446:
309:
239:
51:
846:
The Kievan Rus technique for niello application was first shaping silver or gold by
1806:"Newman": R. Newman, J. R. Dennis, & E. Farrell, "a Technical Note on Niello",
894:
832:
553:
516:
409:
396:
124:
1165:
Many of the characters shown in nielloware are characters originally found in the
1609:
308:
where somewhat comparable imagery had been produced for over a thousand years in
1456:
1242:
851:
847:
798:
Niello print, 2 inches high, 1500-1520. Orpheus seated and playing his lyre, by
739:
727:
465:
458:
301:
263:
231:
47:
1945:
692:
Niello-filled paten from Trzemeszno, Poland, fourth quarter of the 12th century
1844:
Thomas, Nancy R., "The Early Mycenaean Lion up to Date", pp. 189–191, in
1192:
1036:
824:
548:
337:
313:
243:
223:
1909:, eds. Ian Freestone, Thilo Rehren, Shortland, Andrew J., 2009, Oxbow Books,
1687:
Metal Plating and Patination: Cultural, technical and historical developments
1250:(carries a full description on how niello was applied to jewellery in Yemen)
1128:
999:
898:
711:
608:
Gold Byzantine wedding ring with scenes from the Life of Christ, 6th century
534:
530:
511:
414:
165:
1902:, Nicosia, 10–11 October 2009, 107–116. Oxford & Oakville: Oxbow Books.
722:
were effectively pictures in niello. A range of religious objects such as
1171:
1158:
1150:
1136:
1113:
1105:
1019:
1011:
1007:
836:
723:
373:
235:
1471:, 64–65 (see note 128 in particular), 1981, Metropolitan Museum of Art,
17:
1928:
1191:
gold belt buckle with discreet niello bringing out the interlace, from
883:
732:
557:
449:
was somewhat different, and provides brooches with niello stripes on a
442:
438:
267:
247:
128:
103:
43:
1834:, 3rd edn. 1998, Yale University Press (Penguin/Yale History of Art),
1090:
995:
987:
933:
902:
874:
859:
533:, which use both niello and enamel, include what may be the earliest
430:
328:
324:
297:
259:
227:
111:
107:
1907:
From Mine to Microscope: Advances in the Study of Ancient Technology
1764:, National Gallery of Art, Washington (Catalogue), 1973, LOC 7379624
1611:
Siam: A Handbook of Practical, Commercial, and Political Information
1157:
buffed. Finally, a silver artisan would add minute details by hand.
632:
Monogram in the centre of an otherwise plain Byzantine dish, 610-613
222:
There are a number of claimed uses of niello from the Mediterranean
1077:
16-17th century Ottoman cavalvry shield with niello on central boss
1222:
1166:
1065:
15th century box, brass with silver and niello, perhaps from Egypt
1035:
Niello accents on the lock of the ivory "Box of Zamora", 900-964,
975:
486:
434:
317:
312:
and the like, and some (such as the physique of the figures) from
119:
56:
38:
897:
and Moscow produced high quality pictorial niello pieces such as
1679:, Oxford Art Online. Oxford University Press. Web. 1 Oct. 2017,
1015:
879:
450:
376:
bowl with niello stripes on tiger, and fruit, 6th or 7th century
115:
1730:
The Jewellery of Roman Britain: Celtic and Classical Traditions
786:, showing a close relationship to the printed engraving style.
1605:
336:
known from ancient literature, and is similar to the Japanese
201:
Detail of a Late Roman silver-gilt buckle from Gaul, c. 400 AD
82:
529:
A group of high-quality pieces apparently originating in the
1810:, 1982, Volume 21, Number 2, Article 6 (pp. 80 to 85),
127:
techniques to cover larger areas, as seen in the sky in the
1905:
Northover P. and La Niece S., "New Thoughts on Niello", in
850:
work, embossing, and casting. They would raise objects in
94:
88:
1725:(A. Bilenko, Trans.). Kiev, Ukraine: Mistetstvo Publishers
1689:, Ed. Susan La-Niece and Craddock, P. T., 2013, Elsevier,
1002:
ornament around them, and used to fill the lines in both.
710:
in Florence, decorated their works, usually in silver, by
258:
At about the same time of c.1550 BC it appears on several
1762:
Early Italian Engravings from the National Gallery of Art
491:
Reliquary casket with scenes from the Martyrdom of Saint
441:; these were very common in Roman art, as creatures of
1792:, 2012 (reprint, 1st edn 1926), Courier Corporation,
541:, probably from a few years after his death in 1170 (
433:
of big cats, where niello is used for the stripes of
79:
1469:
Silver Vessels of the Sasanian Period: Royal imagery
91:
1455:In a way similar to the Roman "Hoxne Tiger" of the
85:
27:
Black mixture of copper, silver, and lead sulphides
1808:Journal of the American Institute for Conservation
952:Snuffbox with distance-finder, Veliky Ustyug, 1823
664:, now only with traces of niello left. 9th century
289:These are in a mixed-media technique often called
1830:Smith, W. Stevenson, and Simpson, William Kelly.
994:and perhaps other kings were baptized in it; now
46:with Nativity and Adoration, silver and niello,
359:Sasanian dish; the king hunting rams. c. 450-550
242:it appears a little later, in the tomb of Queen
1532:, page 158. Oslo, Norway: J.W. Cappelens Forlag
702:Some Renaissance goldsmiths in Europe, such as
1559:Levinson, 528–529; Landau, 98–99; Osborne, 595
1228:While some recipes talk of using furnaces and
1651:Osborne, 595 (following Theophilus Presbyter)
868:trade route from the Varangians to the Greeks
316:, although no early niello has been found on
230:in Syria, around 1800 BC, in inscriptions in
8:
1846:Charis: Essays in Honor of Sara A. Immerwahr
1149:Nielloware jewellery and related items from
215:Niello panels on a reliquary, Mosan, c. 1230
1818:The Oxford Companion to the Decorative Arts
676:Niello-filled lettering on the side of the
1018:traditionally carried by all males in the
936:table snuff-box with shell body. Probably
866:, and other peoples that traded along the
1832:The Art and Architecture of Ancient Egypt
1790:Ancient Egyptian Materials and Industries
921:Russian sacrament box; early 18th century
596:Mount for Spear Shaft, Late Roman, c. 400
250:, and perhaps other objects in the tomb.
1182:
1139:, 1800–1850, also with silver and gold
537:with scenes of the murder and burial of
1870:, 1984, Arts Council of Great Britain,
1432:Khanacademy.org. “Khan Academy,” 2023.
1402:Thomas, 171–182, 193; Dickinson, 99–100
1353:
1351:
1349:
1347:
1265:
1025:
911:
749:
562:
468:metalwork, with examples including the
1328:
1326:
1010:and hilts of the large daggers called
399:, which could use it inventively. The
284:National Archaeological Museum, Athens
1927:, 28(1), 29–35. doi:10.2307/1506104,
1889:Overview of Siam Sterling Nielloware,
1723:The Kiev museum of historic treasures
1089:Ntello ihe top zonarea a helmet from
827:craftsmen possessed a high degree of
7:
1746:Landau, David, and Parshall, Peter.
1707:, 1994, Cambridge University Press,
1586:Levinson, 528–529; Landau, 26, 67–68
1570:"niello print | British Museum"
1292:. Chambers – via Google Books.
1273:Stormonth, James (25 January 1895).
823:During the 10th to 13th century AD,
660:Anglo-Saxon silver strap end in the
1893:Survey of Siam Sterling Nielloware,
1852:(Princeton, N.J.) 33, 2004, ASCSA,
1816:Osborne, Harold (ed), "Niello", in
1774:, 1971 (5th ed.). Dover, New York,
1277:Blackwood – via Google Books.
552:the like. Niello was also used on
1423:Craddock and Giumlia-Mair, 109–120
1393:Thomas, 179–182; Dickinson, 99–100
1384:Thomas, 178–182; Dickinson, 99–100
839:, the highly skilled craftsman of
782:, c. 1490, circle of the engraver
25:
1953:E.Brepohls article on niello work
1868:English Romanesque Art, 1066–1200
1642:Maryon, 162–164; Newman; Craddock
1288:Donald, James (25 January 1879).
1199:been found on Roman pieces, and
1121:
1098:
1082:
1070:
1058:
1043:
1028:
957:
945:
926:
914:
806:
791:
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752:
685:
669:
653:
637:
625:
613:
601:
589:
577:
565:
366:
352:
208:
194:
180:
148:The name derives from the Latin
75:
1673:Craddock, P. T., "Metal" V. 4,
901:in contemporary styles such as
102:is a black mixture, usually of
1895:(E-Book), Bookbaby Publishers)
813:Watch case, London around 1700
1:
1866:Zarnecki, George and others;
421:Roman, Byzantine and medieval
62:
1614:. F. G. Browne. p. 435.
445:. The animal repertoire of
323:A decorated metal cup, the "
1320:Levinson, 528; Osborne, 595
1302:Ingredients vary; see below
763:, early 1460s, probably by
560:steel, as well as weapons.
1999:
1732:, 1996, Psychology Press,
1703:Dickinson, Oliver et al.,
1213:of about the 9th century,
1093:or South Russia, 1818–19
648:, Anglo-Saxon, 9th century
401:Metropolitan Museum of Art
29:
1624:Maryon, 161–162; Craddock
1510:Lucas and Harris, 249–250
1179:Ingredients and technique
984:Baptistère de Saint Louis
829:skill in jewellery making
136:Statistical consideration
1942:"Nielloware in Thailand"
1772:Metalwork and Enamelling
1606:Graham, Walter Armstrong
1467:Prudence Oliver Harper,
1366:Smith and Stevenson, 114
1925:Studies in Conservation
1760:Levinson Jay A. (ed.),
1541:Zarnecki, 287, 283, 285
1411:Maryon, 161; Craddock;
1311:Levinson, 528; Craddock
1248:Yemenite silversmithing
50:frame, Paris, c. 1500,
32:Niello (disambiguation)
1788:Lucas A and Harris J.
1195:
708:Antonio del Pollaiuolo
499:
152:for the substance, or
68:
54:
1748:The Renaissance Print
1717:The Aegean Bronze Age
1705:The Aegean Bronze Age
1681:Subscription required
1501:Craddock; Maryon, 161
1186:
964:Russian tumbler, 1854
819:Kievan Rus and Russia
490:
464:It is very common in
60:
42:
1887:Dittell, C. (2012),
1528:Solberg, S., (2003)
1215:Theophilus Presbyter
992:Louis XIII of France
556:, in this case over
392:mythical creatures.
30:For other uses, see
1948:on 12 January 2015.
1721:Ganina, O. (1974),
1530:Jernalderen I Norge
800:Peregrino da Cesena
455:Mildenhall Treasure
1728:Johns, Catherine,
1574:The British Museum
1196:
698:Renaissance niello
500:
457:and pieces in the
397:Sasanian metalwork
69:
55:
1917:, 9781782972778,
1860:, 9780876615331,
1800:, 9780486144948,
1740:, 9781857285666,
1715:, 9780521456647,
1697:, 9781483292069,
1479:, 9780870992483,
1219:Benvenuto Cellini
893:in North Russia,
784:Martin Schongauer
714:the metal with a
474:Strickland Brooch
437:and the spots on
385:Sassanid Persians
334:Corinthian bronze
16:(Redirected from
1990:
1949:
1944:. Archived from
1676:Grove Art Online
1661:
1658:
1652:
1649:
1643:
1640:
1634:
1633:Craddock; Newman
1631:
1625:
1622:
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1367:
1364:
1358:
1355:
1342:
1339:
1333:
1330:
1321:
1318:
1312:
1309:
1303:
1300:
1294:
1293:
1285:
1279:
1278:
1270:
1217:(1070–1125) and
1210:Mappae clavicula
1125:
1102:
1086:
1074:
1062:
1047:
1032:
961:
949:
930:
918:
864:Byzantine Empire
810:
795:
775:
756:
689:
673:
662:Trewhiddle style
657:
641:
629:
617:
605:
593:
581:
569:
508:champlevé enamel
370:
356:
306:Mesopotamian art
280:Mycenaean Greece
212:
198:
184:
101:
100:
97:
96:
93:
90:
87:
84:
81:
67:
64:
21:
1998:
1997:
1993:
1992:
1991:
1989:
1988:
1987:
1958:
1957:
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1884:
1882:Further reading
1768:Maryon, Herbert
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1201:silver sulphide
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1048:
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1033:
972:
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931:
922:
919:
841:Greek mythology
821:
814:
811:
802:
796:
787:
776:
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765:Maso Finiguerra
757:
704:Maso Finiguerra
700:
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633:
630:
621:
618:
609:
606:
597:
594:
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582:
573:
570:
470:Tassilo Chalice
427:Pliny the Elder
423:
381:
380:
379:
378:
377:
371:
362:
361:
360:
357:
346:
266:royal tombs at
256:
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204:
203:
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199:
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174:
138:
78:
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65:
35:
28:
23:
22:
15:
12:
11:
5:
1996:
1994:
1986:
1985:
1980:
1975:
1970:
1960:
1959:
1956:
1955:
1950:
1936:
1935:External links
1933:
1932:
1931:
1921:
1903:
1896:
1891:Tampa, FL (or
1883:
1880:
1879:
1878:
1864:
1842:
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1804:
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1750:, Yale, 1996,
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1519:Johns, 175–177
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1254:Kubachi silver
1251:
1245:
1238:
1235:
1180:
1177:
1146:
1145:Thai jewellery
1143:
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1127:
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986:", c. 1300, a
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678:Imperial Cross
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631:
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619:
612:
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586:
583:
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524:Limoges enamel
520:Imperial Cross
504:Romanesque art
422:
419:
372:
365:
364:
363:
358:
351:
350:
349:
348:
347:
345:
342:
310:cylinder seals
276:Grave Circle B
272:Grave Circle A
255:
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206:
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193:
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162:medieval Latin
137:
134:
66: 1000 AD
26:
24:
14:
13:
10:
9:
6:
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3:
2:
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1598:
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1556:
1553:
1550:Zarnecki, 302
1547:
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1516:
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1507:
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1332:Levinson, 528
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1053:dish, c. 1200
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1021:
1017:
1013:
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969:
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955:
948:
943:
940:, c. 1745–50
939:
938:Veliky Ustyug
935:
929:
924:
917:
912:
910:
908:
907:Neoclassicism
904:
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891:Veliky Ustyug
887:
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861:
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688:
683:
679:
672:
667:
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646:Fuller Brooch
640:
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623:
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611:
604:
599:
592:
587:
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561:
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546:
544:
543:The Cloisters
540:
539:Thomas Becket
536:
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505:
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497:The Cloisters
494:
493:Thomas Becket
489:
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478:Fuller Brooch
475:
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447:Roman Britain
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262:daggers from
261:
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240:Ancient Egypt
237:
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183:
171:
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133:
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118:, used as an
117:
113:
109:
105:
99:
73:
59:
53:
52:The Cloisters
49:
45:
41:
37:
33:
19:
1983:Metalworking
1946:the original
1924:
1919:google books
1906:
1899:
1892:
1888:
1867:
1862:google books
1849:
1845:
1831:
1817:
1807:
1802:google books
1789:
1784:google books
1771:
1761:
1747:
1742:google books
1729:
1722:
1704:
1699:google books
1686:
1674:
1656:
1647:
1638:
1629:
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1591:
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1524:
1515:
1506:
1497:
1487:
1481:google books
1468:
1463:
1451:
1441:
1428:
1419:
1407:
1398:
1389:
1380:
1371:
1362:
1357:Osborne, 595
1341:Osborne, 594
1337:
1316:
1307:
1298:
1283:
1268:
1227:
1208:
1206:
1197:
1187:7th century
1170:
1164:
1155:
1148:
1004:
982:The famous "
981:
973:
888:
872:
857:
845:
833:John Tsetses
822:
745:
737:
701:
680:, c. 1024-25
554:plate armour
547:
528:
501:
495:, c. 1170s,
463:
424:
410:silver alloy
406:
394:
390:
382:
322:
295:
291:metalmalerei
290:
288:
257:
221:
157:
153:
149:
147:
139:
125:metalworking
71:
70:
36:
1812:online text
1457:Hoxne Hoard
1413:Enkomi Bowl
1243:Damascening
1189:Anglo-Saxon
1116:, 1800–1850
899:snuff boxes
873:During the
852:high relief
759:Florentine
740:printmaking
728:reliquaries
466:Anglo-Saxon
459:Hoxne Hoard
302:iconography
264:shaft grave
232:hieroglyphs
48:gilt-bronze
1962:Categories
1915:1782972773
1876:0728703866
1858:0876615337
1840:0300077475
1826:0198661134
1798:0486144941
1780:0486227022
1756:0300068832
1738:1857285662
1713:0521456649
1695:1483292061
1668:References
1477:0870992481
1193:Sutton Hoo
1108:, perhaps
1037:Al-Andaluz
825:Kievan Rus
724:crucifixes
549:Gothic art
506:colourful
476:, and the
327:Cup" from
314:Minoan art
244:Ahhotep II
224:Bronze Age
172:Bronze Age
1973:Jewellery
1129:Flintlock
1008:scabbards
1000:arabesque
712:engraving
535:reliquary
531:Rhineland
512:Mosan art
415:acanthite
236:scimitars
166:Near East
1850:Hesperia
1660:Craddock
1608:(1913).
1492:1-9:1–9.
1446:1-9:1–9.
1237:See also
1172:Ramayana
1159:Filigree
1151:Thailand
1137:Dagestan
1114:Dagestan
1106:Khanjali
1020:Caucasus
1012:khanjali
848:repoussé
837:Daedalus
517:Ottonian
439:panthers
431:brooches
374:Sasanian
150:nigellum
18:Niellist
1230:muffles
1169:legend
1133:Kubachi
1110:Kubachi
889:Later,
884:Ukraine
778:German
733:Bologna
443:Bacchus
338:Shakudō
268:Mycenae
254:History
248:Mycenae
154:nigello
129:diptych
114:, and
104:sulphur
44:Diptych
1978:Silver
1968:Alloys
1913:
1874:
1856:
1838:
1824:
1796:
1778:
1754:
1736:
1711:
1693:
1595:Ganina
1475:
1091:Crimea
1051:Seljuk
996:Louvre
988:Mamluk
934:Rococo
903:Rococo
875:Mongol
862:, the
860:Greeks
558:etched
482:Celtic
435:tigers
344:Persia
329:Cyprus
325:Enkomi
298:Levant
260:bronze
238:. In
228:Byblos
160:, the
143:enamel
112:silver
108:copper
72:Niello
1929:JSTOR
1260:Notes
1223:borax
1167:Hindu
1131:gun,
976:brass
720:paxes
716:burin
318:Crete
158:neelo
120:inlay
1911:ISBN
1872:ISBN
1854:ISBN
1836:ISBN
1822:ISBN
1794:ISBN
1776:ISBN
1752:ISBN
1734:ISBN
1709:ISBN
1691:ISBN
1473:ISBN
1207:The
1016:qama
1014:and
905:and
895:Tula
880:Kiev
726:and
706:and
644:The
451:hare
383:The
274:and
270:(in
116:lead
780:pax
761:pax
502:In
234:on
156:or
1964::
1848:,
1782:,
1770:,
1572:.
1346:^
1325:^
1135:,
1112:,
886:.
870:.
843:.
831:.
735:.
526:.
472:,
340:.
320:.
286:.
168:.
110:,
106:,
95:oʊ
83:iː
63:c.
1576:.
1436:.
413:(
98:/
92:l
89:ɛ
86:ˈ
80:n
77:/
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
