IanB

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

The images of Peter Janssen's museum is very much a taster. To actually see the items in the flesh is an experience I find hard to describe in words. To be able to stand in front of a case containing about 20 superb somen (full face masks) is something you would struggle to do anywhere else - even in Japan, and there are others scattered elsewhere. What is perhaps even more remarkable is the fine original condition of almost everything. A few helmets and one armour have obviously been re-laced, but almost all the swords had their original bindings and in many cases their sageo too. It is difficult to concentrate on any one item as you are constantly spotting and being drawn to something else. I spent days looking at things and I know I didn't give half the collection the attention many of the exhibits deserve. A truly remarkable experience. Ian Bottomley

Oh dear; I note with embarrassment a few minor typos (mine I might add) - I will get them corrected. Ian Bottomley

Ken, I don't think they are waterwheels. They are depicted as spokes with vessels on th ends that look like 'jars' or 'buckets' on their sides - c.f. the kamon used by the Doi family. Much more likely, the design represents the wheels of the bullock carts, used by court nobles in Kyoto, having the joints tightened up by soaking them in the water of a river. I remember a news article before the last coronation that stated only one family know how to make these wheels that had special joints so that they squeaked in a special way. Ian Bottomley

Justin, Sadly you are now the lucky owner of a Chinese made sword trying desperately to be Japanese. I hope you did not pay too much. Ian Bottomley

Peter, The Royal Armouries did a load of ballistics tests back in 1998 using the Royal Ordnance facility of a Sabre Sky Screen to measure velocities, and sheets of 2mm mild steel as an indication of penetration. Amongst the variety of weapons tested was a replica of a matchlock of the type ordered by Henry VIII for his troops from Gardone in Italy, a longbow drawing 90lbs and two crossbows, the main one having a steel bow with a draw weight of 440lbs. Of interest to you was the fact that with a 90gr charge of black powder the average initial velocity of the matchlock was 520.10 m/s, the best velocity being 520.10 m/s. With charge of 65gr these figures reduced to 440.05 m/s and 442.30 m/s and with a 50gr charge 378.65 m/s and 386.00 m/s. With the 65gr charge the gun easily pierced two 2mm sheets of steel placed beyond the Sky Screen, and with the 90gr charge a third sheet had the depression just beginning to break open on the back. From these results it is obvious why the introduction of the gun had such a profound effect on armour. They also indicate that a plate armour was an adequate protection from arrows provided they didn't find chinks. For comparison the longbow shot a poplar arrow with a type 16 head at 44.40 m/s and the crossbow with a poplar bolt with a square head 41.40 m/s. Neither the arrows, fitted with all manner of heads, nor the bolts. again with different heads and weights, managed to penetrate a 2mm sheet of steel. These data should give you something of a baseline. Ian Bottomley

Austin, Yes, the bulk of the Oriental collection is in Leeds but most of the Japanese items were acquired after WWII when Russell Robinson became Oriental Curator. We do have three diplomatic gift armours given in the 16th and 17th century but the tachi given at the same time is long gone. Our greatest strength lies in the Indian collection as a result of the UK's involvement in the sub-continent and in Chinese material obtained during the 19th century. What we do have is a fantastic library that contains vast amounts of documentation from early collectors - however most of it relates to European arms and armour. I never bothered to go through it to see if there was any mention of Japanese items except where I knew there was a connection to the gift armours of the 16th / 17th centuries. Ian Bottomley

Austin, I would also point out that there was considerable interest by individuals in the UK - see the records of the Japan Society, especially the writings of Dr. Garbiutt. Also the Victoria & Albert Museum acquired a considerable collection of swords and fittings to fulfil its role of representing the 'Applied Arts'. Curiously, the Tower of London, then the principle holder of the nation's collection of arms and armour seems to have been almost totally dis-interested in acquiring any of the arms, armour and kodogul that was being shipped into London in vast quantities and despite having owned a Japanese armour since the early 17th century. One group who did show interest was in Liverpool where several individuals built up superb collections that are now in Liverpool Museum. Ian Bottomley

Malcolm, Not for spiking cannon I think - far too ornate. The usual thing was effectively a nail bashed in so that it could not easily be pulled out. I cannot say why I think this, but in my view it is a carpenter's tool. My dear old dad was such and had a spike of similar size that he would drive into wherever and tie his string-line to when marking out. Ian Bottomley

Doug, Sorry but its a very bad Chinese fake. I note you are in Shropshire. It is against the law to sell such an item in the UK so the person you bought it from could be prosecuted. It may be a lever to get your money back. Ian Bottomley

As a former 'museum person' and an 'old guy who has accumulated a few items' I feel I must reply to this thread. I can only speak about museums in the UK, and yes, items do go into basement stores, and yes become unavailable or unknown to enthusiasts. But how different is that to a sword entering most private collections? How many NMB members publish lists of their collections or make them available in some way for study by enthusiasts? It is also true that items in private collections do eventually re-surface on the market, but how many emerge in the same condition as when they were acquired? Far too many end up in shirasaya, divorced from their koshirae, have their original tsuba changed or their hilts re-bound? Generally this would not happen to a sword in a museum, or if it were to be re-polished and put in shirasaya, as happened at the British Museum, it would remain with its koshirae catalogued under the same number. Why do so many swords, armours and the like owned by museums never see the light of day? In many cases the answer is that they have to compete for display space. In a typical museum only a fraction of their collection can actually be put on display. When the Royal Armouries lived at the Tower of London the fraction was around 8% and that percentage had to be the choice made by the curatorial staff. It may come as a shock to NMB members, but not that many museum staff have the same passion for Japanese arms and armour as we do. Despite this, items in many museum stores are looked after if not actually loved. As for museums taking swords on loan for display - yes it happens but it can lead to all manner of complications and negotiations between the owner and borrower. Not least of these is the matter of insurance. Have you thought what the insurance bill is for a major museum? In the case of the Royal Armouries Museum where I worked, all items taken on loan had to be insured whilst in the museum's care. Most museums are running on shoestrings and have to think very carefully about what they spend. Having said all that I fully admit there are plenty of instances where items in museums are neglected and even destroyed through lack of care or just plain ignorance. However, the same is true of some private collections that end up languishing in descendant's garage or basement after a collector dies. Sometimes nice surprises do emerge. Just this week I learned about a very important collection that includes an armour and swords presented to a diplomat that has languished unknown in a museum since the 19th century. The only item I have seen an image of an armour, which is not in pristine condition, but at least it has survived and its origins are fully recorded. Part of that collection fell into private hands a while ago and has now disappeared and is unlikely to ever resurface with any form of provenance. There are many reasons to deprecate museums, but they do good sometimes. Ian Bottomley

Uwe, I do indeed - that was a surprise. This was an analysis of a Saotome helmet with the outer part of each plate curved outwards to leave a space between it and the plate behind. What was discovered was that the rivets, whilst centrally through the outer plate did not run straight across the space but at a considerable angle. This may have been to avoid compressing the space whilst hammering the rivets closed. Also surprising was the 3D view of a sword, that could be rotated in any direction, that showed all the inclusions and the different alloy steels in its composition. Ian Bottomley

There is quite an interest in studying Japanese material using neutron beams that shows the different iron / carbon phases within an object like a sword or helmet with the utmost clarity. It has also revealed construction details we knew nothing about. One surprising find was that the famous uchidashi helmets in the shape of conch shells were not, as was believed, embossed from one piece but rather cleverly assembled in sections by brazing. The armourers concealed the joints by turning up a small lip on the edges to be joined, brazing them together and then hammering the turned up edge down over the joint to conceal the brazing material. By arranging the joints in the various grooves embossed in the shell's surface and then giving the helmet the usual russet finish conceals all traces of how it was done. Ian Bottomley