IanB

Alex, If it is Muromachi as I suspect (accepting that working from photographs is always subject to caveats) it will not be signed. Signatures did npt really appear on armour until the mid 16th century. Ian

Alex, My suspicions are allayed - you have a very unusual and genuine helmet. As Eric said, leather laced shikoro with both the uname toji and hishinui in leather as well. The roped rims (nawa fukurin) to the upper edges of the plates had me scratching my head. They are not uncommon around plates covered with stencilled leather, but to see them on other plates is unusual. I had been struggling to grasp what I was looking at and then noticed on the upper edge of the hishinui no ita that the whole shikoro is leather covered! That explained the odd texture and colour. I note the armourer has also covered the upper edge of the koshimaki with a roped fukurin as well - a style copied from European armour. As for the shape of the bowl, it would appear to be a Muromachi period akoda nari. That would accord with the almost vertical peak. Normally these bowls were black lacquered and fitted with fukurin on the suji and igaki (or higaki) around the base. These may have been removed when the bowl was adapted into its present form. So, What I think you have is a Muromachi period bowl remounted later. The tehen kanamono looks later Edo period and so do the fukigayeshi. The kiku ornaments on the fukigayeshi may well have been added as replacements when the original owner sold the helmet and took off his kamon. Ian Bottomley

John, Alex, I agree it is a bit tall for a regular 62 plate bachi. There are a few details that worry me regarding the age of the present assembly. Firstly the kamon on the fukigayeshi. Anything that resembles kiku immediately puts me off. Next the yellow agemaki is a favourite with modern repro armour makers. Also, since there isn't a shot that shows it clearly I'm not sure I am seeing it correctly, but normally the uname toji and the hishinui should be staggered on the lower plate of the shikoro. These seem to line up one above the other - not unknown, but not common. On the plus side, the leathers on the peak seem to be separated by fusegumi rather than jabara - a very time consuming technique that you don't see on copies. Alex, could you take some really clear close-ups of the lower part of the peak and crest holder, a good side view of the helmet bowl itself and a close-up of the lacing on the lowest plate of the shikoro? There are so many good copies of old helmets - some as old as the Meiji period, never mind the thousands of modern ones, it is only when one can see the small details that a judgement can be made. Ian Bottomley

Dear Alex, The photographs you show appear to be of a 62 (?) plate helmet with some of the plates covered by gilt copper decorated with shinodare - the pendant, applied arrow-like strips. That, together with the crests and crest holder, the shape of the neck guard and the framing around the edge of the fukigayeshi (turn-backs of the neck guard) suggest the helmet was assembled during either the late 18th or 19th century. It is quite possible. and indeed likely, that the helmet bowl itself is older, but the quality of the photographs is insufficient to be more precise. Ian Bottomley

Piers, Matchlock pistols were also made in India and probably elsewhere. The Indians also made all manner of combination weapons incorporating matchlock guns with what amount to barrels. The Royal Armouries has at least two axes with matchlocks in the hafts, a sword with one in the grip and a mace with one in the haft that has blown apart in firing. One of the axes, and the mace have daggers screwed into the barrels. What our military would describe as a 'third strike capability' I suppose. Ian Bottomley

Dave, I would love to but it is a heck of trail for me. Travelling to Manchester every couple of months never mind Birmingham, Stockport and other places is enough. Ian Bottomley

Having known Nishioka San and his delightful wife for several years I can assure you they both live eat and sleep armour. He once made a copy of a miniature armour preserved in the Imperial Collection that was made during the Heian period as a present for his wife. It took him a month to cut the stencil for the tiny piece of leather covering its breast. It was with Nishioka San that Robert Soanes, who has recently appeared on this board, trained. Ian Bottomley

Piers, A very sensible approach. We have to remember that all real armour is now at least 160 years old and in many cases much older than that. It is our responsibility to preserve what remains as best we can. Ian

Piers, Oh dear. As I suspected the shikoro is a modern fabrication. Where the fukigayeshi is riveted to the upper lame would, on an old shikoro, be levelled off with filler. Here the junction has been simply painted over. Again the bead around the plates of the shikoro are just too prominent and look wrong. I am also sorry to say I don't believe the shiten no byo. They would normally be iron not brass and would have a carefully rounded outer end, not the series of flats from either a file or the riveting. On a Muromachi helmet the fukurin covering the suji and the igaki (higaki?) at the base of each plate would be made as one unit. Here the igaki look separate from the fukurin. I'm sorry to have to say there has been considerable 'refurbishing' going on with this helmet. Ian Bottomley

Since the hibiki no ana and the shiten no byo are essentially decorative, they could have just as well have been left off rather than being positioned in odd positions. The only use I have heard claimed for them was for a kind of 'rain cover' tied over the tehen kanamono through the loops of braid that are fitted through the hibiki no ana - I even have grave doubts about that. In my view they are just anachronistic survivors that were added because 'we have always done things that way' - like the ring at the back of most helmets that were originally for a jirushi but ending up being something to hang a decorative agemaki bow from. Ian Bottomley

Whilst I think the hachi as such is fine (although it may have been lacquered originally) I do have a suspicion it has seen quite a few changes since its inception. To my eyes the peak and haraidate look as if they have been added. The haraidate in particular is too long to fit - positioning the large soft metal rivet being positioned up through the base of the helmet itself rather that through the koshimaki. Similarly the rivets on either side seem a little low unless the koshimaki is very deep over the brow. I also feel the raised edges to the shikoro plates and fukigayeshi are just a bit too prominent and the corners of the intermediate plates too rounded. Clearly the shikoro has been added - see the two soft-metal rivets behind the fukigayeshi instead of just one, the other two holes taking the loop for the helmet cord. Ian Bottomley

Ian et al, The rules are that you can import any antique sword into the UK (up to 1947 to allow for gunto) as well as any made by a recognised Japanese swordsmith to the present day. The ban was originally to prevent the import of Chinese and Indian fakes which were being bought by the 'headbangers' for committing evil deeds. However, replica swords could be imported by re-enactors or those used for martial arts - although you would need to prove that was why you wanted one. However some politician who thought he knew better screwed the whole law by insisting that these exemptions should also include any sword that is 'traditionally made', whatever that means. All that is now required is to argue that a replica is traditionally made and HMRC would have to disprove that it isn't to prevent importation. Ian B (the other one)

Dave, That is how I understand it. What is being described is the overall shape. Turning to my 'bible' on these matters (Nihon Katchu Bugu Jiten - Sasama, p314), those helmets which come to a point with a convex sides he lists as: Shii-nari- acorn shaped. One with straight sides he lists as Sui-nari - conical. Those with concave sides he describes as fude-nari - shaped like a writing brush. All of these shapes he lists as TOPPAI kabuto. Ian B

Paul, I would agree with you that a shii-nari bachi would be to some extent pointed but with rounded sides - in other words resembling the top of an acorn. A toppai bachi strictly speaking is simply a pointed helmet so I suppose the former is a specific form of the latter. Ian Bottomley.

Andy, I bow to your opinion - after all, you have handled the armour and I haven't. I'm afraid my questioning of its authenticity arose from too many disappointing experiences. You are right about the King James armour brought back by Saris. Whilst it was in the tender hands of the military it suffered terribly, as did so much of the armour in the Tower - cleaned on a regular basis with brick-dust and Rangoon oil (not to mention the diligent scraping off of gilding to eke out pay). To my mind the work done on it in the 1970's was less than satisfactory. During the process it lost its kote, haidate, suneate and box and underwent a very drastic cleaning. I have only ever seen a black and white photograph of it before this was done and I am not even sure about the present colour scheme. Still we do have the other armour which survived in far better condition having been in various palaces all its life. That at least retains its original lacing. We are also lucky in having the haramaki presented to King Philip II of Spain although that has suffered relacing by Victorian Tower staff. Ian

Tobias, Although it is rather simplistic and rather old, 'Everyday Life in Traditional Japan' by C. J. Dunn, Batsford London and Putnam's New York, is an easy to read account about all levels of society in mainly Edo period Japan. Superficially it looks a bit elemetary but it is well illustrated and contains some real nuggets of info. Ian Bottomley

Stu, They represent the rings that attach to the front and back of a saddle to which all the harness ties. Unusual subject indeed. Ian Bottomley

Dave, A type of seashell is most likely although they usually have bumps on the whorls. I once came across a helmet 'in the shape of a hurricane' which I never really understood, but the idea was a swirling shape. I wonder if this might be along these lines. Ian B.

Rob et al, Two points (no pun intended). The ribs of the fan are pointed to facilitate assembly and the covering material is in fact a special paper. Apparently the fan-maker glued two sheets together leaving pockets for the ribs. These were then glued and inserted in the pockets, the pointed ends making the job easier. I have a tessen, very plain and very heavy. Only the outer plates are plain russet iron, the inner ribs being blackened bamboo. Both sides of the paper are plain white but with a brown coating at the folds. On one side, where the paper is attached to the side plate is a signature 'Fujiwara Yukitada' in ink. They do turn up, but in my experience fetch quite a premium if the plates are decorated or the papers lacquered. Ian Bottomley

Jan, It is in Iemon no jiten as being used by the Wada family. There is another, drawn with somewhat narrower lines making up the rings ascribed to the Tanabe family. I think yours is the Wada one but cannot be absolutely sure. Ian Bottomley

Lindus, 'fairly modern' would I suggest mean 6.37pm last Tuesday. As for the gold daisy decoration Ian Bottomley

Derek, Could I echo your sentiments and offer my thanks to all the contributors of this Board and especially to Brian who makes it all possible. When I was first infected with the passion, as a poor joiner's lad growing up in the north of England, access to other enthusiasts and any real information was virtually non-existent. Just about the only book available was Basil Robinson's 'Arts of the Japanese Sword' which I had on permanent loan from the library. The only consolation was that swords were relatively plentiful and not too expensive. My heart goes out to the aspiring collectors of today who must sometimes wonder whether the ticket on a sword is the price or the length in microns. Even worse in many respects is the butchered state of so many items offered for sale. Despite this, new blood is constantly arriving on the scene to keep our wonderful obsession alive - long may they continue to do so. Ian Bottomley

Tobias, The Stibbert Collection in Florence (Firenze) has what in my opinion is a better example based on this theme. The 'arm' holding the vajra is shorter, really only the hand, and it is in russet lacquer apart from the gilded vajra. Ian Bottomley.

All, Having known Rob for years, and knowing the very high standard of work he turns out, I can recommend him to anyone member of this Board who needs work done on armour. Ian Bottomley

Jan, I have one of these little flags which was kindly given to me by a well-known Tokyo dealer. I assumed it was a sode jirushi, tied onto the sode to show allegiance. As I was leaving he commented 'It might be a luggage label.' As for the so-called ammunition boxes, note the first one has no lock, just a catch. Apart from the writing and kamon, obviously done at the same time with the same paint, it could equally be a box to carry a craftsman's tools or a thousand other uses. The second, shown by Eric, does have a lock and could equally be used for all manner of purposes. In Zobyo Monogatari, the ammo supplier is shown with a box on his back with shoulder straps rather than handles to sling from a pole. Ian Bottomley