IanB

Well done Piers. You must start believing in yourself and realise people appreciate the kind person you are and will do things for you for that reason. And no I am not creeping - I mean it Happy New Year to you. Ian Bottomley

What is not well known is that the russet finish on armour was originally oiled to prevent secondary rusting. With age old russet pieces become covered in secondary rust when the old oil has evaporated or failed. Some fifty years ago I acquired an armour that was almost completely russet and was beginning to show spots of secondary rusting on many of the plates. Being totally ignorant I decided to treat the surface in the same way that the finest gun-makers treated their barrels and apply a drying oil. The process I eventually settled on was to remove the secondary rust with a chisel shaped bone scraper, softening the hard secondary rust with a 50 / 50 mixture of boiled linseed oil and white spirit. Afterwards wiping off the excess oil with absorbent paper until no more came off. The oil that soaked into the russet layer oxidised in a week or so, was touch dry and had formed a more or less permanent seal. That armour still looks exactly as it did 50 years ago with no more secondary rusting and a rich chestnut coloured surface that still retains a beautiful soft sheen. Ian Bottomley

DR. Galeno, late of San Rafael Ca. used to have a gun with a form of snider breech. His was not a conversion but had been made with that system. As I remember the stock furniture was nickel plated - but that may have been done later. Ian Bottomley

It is a tiger not a shishi and why should the ninja be dragged into this? Ian Bottomley

Mike does wonderful quality lacquer work. His polished saya are superb. Ian Bottomley

No, it is the maedate. Dr. Galeno had one of these and I made myself a copy. Ian Bottomley

Steve, I think I can see Kunisada 国定 Ian Bottomley

Jon, Piers, This example, using copper percussion caps, almost certainly post dates those guns that were devised by Katai Kyosuke to use detonating pellets. That type is fully described by Ron Watson on this Board http://www.militaria.co.za/nmb/page/articles.html/_/articles/a-very-rare-teppo-pill-lock-r11. An absolutely similar gun is illustrated in Tairas Sawata's book and I bought yet another for the Royal Armouries Museum's collection. These sophisticated guns had a swivel ramrod, of the type Jon's had, a magazine that dispensed the detonating pellets as well as a lever on the outside of the lockplate that allowed the hammer to be cocked with the right thumb whilst still holding the stock. Since Perry didn't open Japan until 1853, I would suggest Jon's gun, in its present form, dates towards the end of that decade when percussion caps became available in Japan. Ian Bottomley

Interestingly the Haruta suji kabuto has a shikoro that was designed to have cross-knots as revealed by the broken section of lacquer. An absolutely typical example of how parts were modified or re-cycled. The shikoro of the eboshinari kabuto looks very delicate and would need quite a lot of work to consolidate and repair the blown lacquer at the back. Ian Bottomley

The last image shows what was rather interesting moment. Peter pulled out a large plastic bag of papers and the like that accompanied one of the armours (I'm ashamed to say I cannot remember which one there are so many but I think it is one still in store). Amongst the papers were kiwame fuda and other historic documents relating to the armour,but also several hata sashimono, bags and other items. Just a minor fun incident in a fabulous few days. Ian Bottomley

Well done Jan . You must be very proud. My order iis placed and I cannot wait to start reading. Ian Bottomley

Jean, Believe me, Judging armour is a lot easier than swords and there are far less outright fakes. Do not get hung up on the idea of an armour having to be 'homogeneous' either. Many armours are assemblages of old and new components that may or may not have been lacquered and laced to match. Nobody threw away a perfectly good helmet bowl or a well-made dou, they were simply incorporated into another armour in the same way that a good tsuba or other fittings were used and re-used. If a sword come up for sale you judge the assembly on how the elements compliment each other, not on whether the person who made the tsuba also made the fuchi / gashira. Very few armours were entirely the product of one workshop as so many components were produced by specialists who supplied the trade with ready-made items. Identical masks, sleeves and other elements turn up time and time again that show many armourers must have been more assemblers of components than actual makers - although they may have made the major elements. Like swords that needed refurbishing from time to time, armours also needed servicing if they were being worn regularly. They became dirty and splashed with mud, the lacing became snagged and broken and the lacquer chipped and scratched. They then went back to an armourer to be repaired and may well have had new elements incorporated whilst being serviced. At best an armour today is in the state it was in when the Haitorei Edict came into effect. Even then, Japanese curio dealers were putting together 'sets' from elements they acquired to sell off to the tourists. As Uwe says the armour looks harmonious and the elements compliment each other - so if you like it that is all that matters. Ian Bottomley

During the English Civil War in the 1640's the largest anvil from the armouries workshop at Greenwich Palace called the ' Great Bear' went missing. It had been provided by Henry VIII and had been used for around a century used in the making of armours for the KIng and Elizabethan courtiers. It seems to have ended up in the workshop of a locksmith in the City of London and was never recovered. Other tools including the massive shears for cutting plate, as well as hammers and stakes, are now in the Royal Armouries Museum collection. Ian Bottomley

The table cases in Uwe's panoramic photos are full of koshirae and kodogu of a quality that is astounding As Dave has said the storerooms also have very many more mounted swords and shelves filled with kodogu - so plenty of material for rotation. Ian Bottomley

As one who was there, I can only add to what others have said. Dave's work on this magnificent and important armour has saved it for many decades to come. I saw the armour earlier in the year and it was in a very delicate state with the black lacing was almost crumbing to dust as you watched. A great piece of work Ian Bottomley

Peter, The two guns in Nagoya are fully illustrated in the museum's catalogue 'Military Accessories of a Daimyo House' p.66 & 67. They show many features of their Indian origins such as the V shaped trigger and lockplates ending in a disc and a tail with tendrils - the disc holding a nut for the rear lock retaining screw. A trawl through GOOGLE images will show several guns from places like Vietnam and Burma with similar lockplates and snapping mechanisms. One of the Nagoya guns, on p.67, has had the internals of the lock replaced by a Japanese mechanism, but retains the original lockplate, and has been fitted with a Japanese pan and cover. Details are obscure but the gun seems to be decorated with a crucifix on the barrel in silver. Ian Bottomley

Nata had no role in bonsai growing or pruning but they did play an important part in the tea ceremony. Important guests would be shown the way through the garden to the tea house by a servant who cleared a path for them through the vegetation using a nata. The fact that there was no vegetation obstructing the path was irrelevant, the purpose was to demonstrate respect and regard for the guest. When seen in this context it is not surprising that it would be a properly mounted. Ian Bottomley

Peter, Thank you for publishing this. It is the first exhaustive (and indeed exhausting) version of this momentous event. Two points need mentioning. Firstly, Nikko Toshogu Shrine possess a screen painted by Kano Takanobu (1571 - 1618) showing the arrival in Japan of a Chinese vessel carrying Portuguese. Although not dated or inscribed and rather stylistic, it shows what is clearly a Chinese ship from which a rowing boat has landed ashore and from which goods are being unloaded. In the rowing boat is a Portuguese lifting a package whilst another is shown onshore about to receive another package from a porter. Alongside the Chinese ship is seen the bow of another with a fabric awning that suggests it is not a sea-going vessel so is probably Japanese. The fact that it shows two Portuguese and a Chinese ship suggests it is depicting the arrival of the first Portuguese in 1543 and that there were only two of them as the early Japanese state. The second point is that it is curious that Mr. Lindin more or less ignores the form and origin of the guns brought by the Portuguese. He could have learned much more had he done so. These guns we now know were the product of gun-makers in the Portuguese colony of Goa in India. This is fully explored by Rainer Daehnardt in 'The Bewitched Gun' (Texto Editoro: Portugal, 1994). where he describes how the arsenal there produced muskets for trade and use in the Far East. Two such guns, both snapping matchlocks, are preserved in the Tokugawa Art Museum, Nagoya where they are simply catalogued as SE Asian and 16th century. However, a study of their construction shows identical features with guns made in various locations across SE Asia that have retained the basic form of the Goan originals. One of the Tokugawa guns has had all the internal mechanism replaced in Japan, but retains the original lockplate. The other is complete and in original condition. It may be that the Tokugawa obtained these two guns as specimens of the original guns brought to Tanegashima. Ian Bottomley

At first I was inclined to think it was nerigawa, but the close-up pictures have convinced me it is resin. If you look at the lowest wrinkle in the central image there are two raised lumps towards the nose and similar ones on the teeth. There is another at the nose end of the top wrinkle and the area above the hook is messy. These are the result of tiny air bubbles that left an impressions in the mould. I was also puzzled by the hooks for the helmet cord. I have never seen any of that shape before. I suspect they are commercial cup-hooks or similar that have been pressed into service. One other point is that when properly laced the upper braid of all the cross-knots should run the same way, not randomly as here. It could have been re-laced but it is not a good sign. Sorry but I think you have been cheated and I should know I ended up being conned by buying an armour that was largely resin. Ian Bottomley

One small point is that unless the bronze ladle is oxidised, lead would stick to it, as would solder. Perhaps it was for melting wax or some similar purpose. Ian Bottomley

Peter, Franco, I once investigated on behalf of a very wealthy collector in the US what was supposed to be Perry material here in the UK. What the dealer had was a US naval bicorn hat with a New York address on the maker's label, a very old but rather small US flag and a telescope. Nothing that could be related to Perry just a collection of old bits. Needless to say they were dismissed. Ian Bottomley

Brian, I too saw the programme and very much shared your confusion. The loss of the letter from the BM is a bit worrying - but again I am not sure if anyone there has any real knowledge of Nihonto. I have been trying to make sense of the mei but failed, I think I can see ..kami 守 but the preceding characters do not seem to be those of a province. The last character, partially mangled by the mekugi ana, does look like saku, but what the name might be is another matter. With time it might be possible to make sense of it but it doesn't look as if it will be easy. The horimono looks new and has a bit of a 'machined look' about it. If I was asked to guess I would say Taisho or early Showa. Still someone punted £3000 for it - brave person! Ian Bottomley

Ben, There was indeed a very special blade that I hope the owner decides to keep. Depite that it was good to see you and I hope you will be able to attend regularly. It is always a good evening and if asked we can always get the odd item out of stores for people to examine and handle. When you are part of the establishment you do get used to having endless treasures available and forget that others would love to see them close up. Ian Bottomley

Having looked at the blade last night I am pleased to say I couldn't see any hagire, but it has been on a linisher or something similar that had left some transverse scratches that haven't been taken out. I became distracted by other things before really looking at the signature. Ian Bottomley

As Alex has said they do appear in prints, especially those showing Benkei, but I have never seen one in the flesh. There is another specimen of an axe illustrated in George Cameron Stone's 'Glossary of Arms & Armour ....' that has a curved saya that just fits over the cutting edge. He acquired some very interesting and rare items including a Japanese crossbow similar to one acquired by the Royal Armouries. That is now in the Met. Museum. in New York so I assume the axe will be there also. Ian Bottomley