Sword Engraving Quotes

A weapon is a tool, and if it is beautiful, then it is beautiful because it is useful. A sword that could not fulfill its function would be ugly to my eyes no matter how fair its shape, not even if it were adorned with the finest jewels and the most intricate engraving.

It is noteworthy, the researcher further argued, that the inscription on the sword was engraved in the Romanian language, and, consequently, we see that Latin was actually Romanian, and not the invented language that for many centuries has passed for ancient Latin.

If a man does not investigate into the matter of Bushidō daily, it will be difficult for him to die a brave and manly death. Thus it is essential to engrave this business of the warrior into one's mind well. One should put forth great effort in matters of learning. One should read books concerning military matters, and direct his attention exclusively to the virtues of loyalty and filial piety. Having been born into the house of a warrior, one's intentions should be to grasp the long and the short swords and to die.

The Addams dwelling at 25 West Fifty-fourth Street was directly behind the Museum of Modern Art, at the top of the building. It was reached by an ancient elevator, which rumbled up to the twelfth floor. From there, one climbed through a red-painted stairwell where a real mounted crossbow hovered. The Addams door was marked by a "big black number 13," and a knocker in the shape of a vampire. ...Inside, one entered a little kingdom that fulfilled every fantasy one might have entertained about its inhabitant. On a pedestal in the corner of the bookcase stood a rare "Maximilian" suit of armor, which Addams had bought at a good price ("a bargain at $700")... It was joined by a half-suit, a North Italian Morion of "Spanish" form, circa 1570-80, and a collection of warrior helmets, perched on long stalks like decapitated heads... There were enough arms and armaments to defend the Addams fortress against the most persistent invader: wheel-lock guns; an Italian prod; two maces; three swords. Above a sofa bed, a spectacular array of medieval crossbows rose like birds in flight. "Don't worry, they've only fallen down once," Addams once told an overnight guest. ... Everywhere one looked in the apartment, something caught the eye. A rare papier-mache and polychrome anatomical study figure, nineteenth century, with removable organs and body parts captioned in French, protected by a glass bell. ("It's not exactly another human heart beating in the house, but it's close enough." said Addams.) A set of engraved aquatint plates from an antique book on armor. A lamp in the shape of a miniature suit of armor, topped by a black shade. There were various snakes; biopsy scissors ("It reaches inside, and nips a little piece of flesh," explained Addams); and a shiny human thighbone - a Christmas present from one wife. There was a sewing basket fashioned from an armadillo, a gift from another. In front of the couch stood a most unusual coffee table - "a drying out table," the man at the wonderfully named antiques shop, the Gettysburg Sutler, had called it. ("What was dried on it?" a reporter had asked. "Bodies," said Addams.)...

[During this winter the citizens of Jo Davies County, Ill., subscribed for and had a diamond-hilled sword made for General Grant, which was always known as the Chattanooga sword. The scabbard was of gold, and was ornamented with a scroll running nearly its entire length, displaying in engraved letters the names of the battles in which General Grant had participated. Congress also gave him a vote of thanks for the victories at Chattanooga, and voted him a gold medal for Vicksburg and Chattanooga. All such things are now in the possession of the government at Washington.]

Are we just going to take it? Without even Chaol’s permission?” Elide chewed on her lip. Aelin snickered. “Let’s consider ourselves swords-for-hire. And as such, we have fees that need to be paid.” She hefted a round, golden shield, its edges beautifully engraved with a motif of waves. Also Asterion-made, judging by the craftsmanship. Likely for the Lord of Anielle—the Lord of the Silver Lake. “So, we’ll take what we’re owed for today’s battle, and spare His Lordship the task of having to come down here himself.” Gods, he loved her.

Dumbledore reached across to Professor McGonagall’s desk, picked up the blood-stained silver sword, and handed it to Harry. Dully, Harry turned it over, the rubies blazing in the firelight. And then he saw the name engraved just below the hilt. Godric Gryffindor. “Only a true Gryffindor could have pulled that out of the hat, Harry,” said Dumbledore simply.

George Washington so liked Edward Savage’s painting of “The President and His Family, the full size of life,” that he ordered “four stipple engravings” in “handsome, but not costly, gilt frames, with glasses,” and hung one of his purchases over the fireplace mantel in the small dining room at Mount Vernon. As the Washington family—George and Martha, and two of Martha’s orphaned grandchildren, George Washington (“Washy”) and Eleanor (“Nelly”) Custis—took their daily repast, Edward Savage’s tableau of “The President and His Family” looked down upon them. It is likely that Washington favored the portrait above many others because of its intimacy and its affirmation of the future. The family gathers about a table at Mount Vernon, George seated at the left, opposite his wife, Martha. Washy, the younger of the two grandchildren, stands in the left foreground, while Nelly stands at the right in the middle ground. Washington rests his right hand upon the boy’s shoulder; Washy, in turn, holds a compass in his right hand, which he rests upon a globe, in a stance suggesting that succeeding generations of the family were destined to spread the ideals of liberty and democracy around the world. In the background, framed by large pillars and a swagged curtain, Savage presents a glimpse, as he said in a note, of “a view of thirty miles down the Potomac River.” On the table at the portrait’s center rests Andrew Ellicott’s map of the new federal seat of government. The family appears to be unrolling the document; Washington holds it flat with his left arm and sword, while Nelly and Martha steady it on the right. With her folded fan, Martha gestures to “the grand avenue,” as Savage called it, that connects the Capitol with the White House. In the right middle ground stands one of the chief contradictions of the new democracy, a nameless black male servant, part of the retinue of more than three hundred slaves the Washingtons depended upon for their comfort, security, and prosperity. Dressed in the colors of Mount Vernon livery, a gray coat over a salmon red waistcoat, he possesses an almost princely quality. His black, combed-back hair frames his dark face with its prominent nose. His unknowable eye impassively takes in the scene. He keeps his left hand enigmatically concealed in his waistcoat; his collar flamboyantly mirrors Washington’s across from him. The slave must remain a shadow, unobtrusive, unassuming, unremarkable, almost a part of the frame for the Potomac. Only the slave’s destiny seems apart from those gathered about the table examining the plans, yet from the beginning the fates of both slavery and the new city were inextricably intertwined. The nameless man’s story, along with the stories of tens of thousands of others, was very much a part of the plot unfolding on the Potomac in the 1790s. The consequences of involuntary servitude would affect and effect Washington’s development to the present day.

But he tried out the dagger, and it changed to a nice silvery sword, beautiful and ornate. He’d expected a little engraving of Rua making a rude gesture. And of course as he thought about it, that exact thing appeared on the blade. Huh. This offered a ton of possibilities.

I had been crafted here. I was born a lump of molten metal, shaped by my mother, honed to a point by my father, engraved on the hilt by my brother. I had so foolishly believed the trials of the last few months had been the final firing that would harden me into a righteous sword of justice. But that had only been the beginning. That had been the pounding of the blacksmith’s hammer, the grinding against the wheel until my edges were sharp and my aim was true.

I had been crafted here. I was born a lump of molten metal, shaped by my mother, honed to a point by my father, engraved on the hilt by my brother. I had so foolishly believed the trials of the last few months had been the final firing that would harden me into a righteous sword of justice. But that had only been the beginning. That had been the pounding of the blacksmith’s hammer, the grinding against the wheel until my edges were sharp and my aim was true. This night—this was the fire that had forged me. And someday soon, when the burning glow of my grief cooled away, I would show my father’s killer, and all of Emarion, just how deeply my blade could cut.

You can be certain I will,” Geralt said, taking the sword and slinging it across his back. “You can be certain I’ll remember. In this rotten world, Zoltan Chivay, goodness, honesty and integrity become deeply engraved in the memory.

Then why are your eyes full of fear, Geralt of Rivia? Your hands are trembling, you are pale. Why? Do you fear the last–fourteenth–name engraved on the obelisk so much? If you wish I shall speak that name.’ ‘You don’t have to. I know what it is. The circle is closing, the snake is sinking its teeth into its own tail. That is how it must be. You and that name. And the flowers. For her and for me. The fourteenth name engraved in the stone, a name that I have spoken in the middle of the night and in the sunlight, during frosts and heat waves and rain. No, I’m not afraid to speak it now.’ ‘Then speak it.’ ‘Yennefer… Yennefer of Vengerberg.