Carlo Giuseppe Tacchini

Something else (at least for me). Very busy with my son and watching the yearly maintenance works on my house... :|

Possibly, but the combination of engravings is slightly puzzling (to me). Yes, to keep a blade lightly oiled is always correct.

The combination of Suken and Gomabashi calls for Koto Yamashiro, but gomabashi aren't so usual on Daito, and usually the Suken is on the front (according to this assuption, yours is on the wrong side for a Tachi). The bonji is possibly the one for Fudo Myô. Just rambling... EDIT : is it dirt the black line above the notch in the first picture ?

Would second Ted with this one : - Nambokucho - Yamashiro - Chu-Aoe I can't go further.

IMHO another point that might fit Chu-Aoe school is the Boshi. Still, being a Nagamakhi Naoshi, might be a "tricky point" (pun intended). Let's study a little more...

You, go figure me ! :lol: I attributed the matter to my inexperience, hence my disclaimer... Guess this time helped instead to be an obstacle. Compliments to Austin for his perfect Atari.

Very Easy to know for real estate, in my case, i baught my flat exactly 88 333 Euros in 1983, I sold it last April for 310 000 Euros. I have taken the tables to see what is worth a Euro nowadays compare with one 25 years ago (of course I converted Francs in Euros for the year 1983), if I remember correctly, my net profit value is of 7,8% over 25 years ..... Real estates prices bubble explosed in Italy a couple year ago, dramatically dropping the value. We're always late in everything... This recalls a lot (IMHO) good NihonTo prices too, in a much lesser scale as far as numbers goes. "Up and down, up and down, the market dance is always that..." (translated doesn't sound as well as in italian).

Yukimitsu isn't a bad idea either (would have been my second choice), as his tangs resembling a little too long for the blade and Furisode-like can match both with the Nakago Sugata of the given blade and the blade lenght given by Darcy, A larger available choice of hamon might be a plus against Samonji too, but still Nakago sori position and tip shape still don't convince me totally for Yukimitsu (as the boshi). I support the Samonji student idea because of the "spearhead" Boshi, the feeling the mihaba slightly narrow and because it looks like Machiokuri, hence needing to add lenght to the already quiet too long (for O-sa but feel for Yukimitsu too) Nagasa. In Nanbokucho Samonji students adhered to the period requirements, so I hope one of them made this blade slightly longer then his master. This considering all smaller details being accepted as ok for both, as I absolutely can't pick up one of the two by the mere quantity of nie or details as such, even with the best monitor under the heaven (and new eyes). Nothing to be charged to Darcy's pictures, just not enough exposure on my part to such a level of blades. If the blade turns out to be NOT machiokuri, well, then I've a problem.

quote from the "First time buyers Dojo Kun"... 9) Be prepared to lose money. Don’t put money into NihonTo thinking they are an investment unless you really know what you’re doing or you really roll into the money. Better if both requirements occur together. ...unquote (sorry Brian, couldn't resist). I like the idea of investing in wine. Have to ask Jean to suggest me a good "Cote xxx" or a "Chateau yyy".

...hence, I can't call me out... :D My opinion is that Eric got it right from his first post. - Nanbokucho - Soshu - O-Sa school - a smith that made little longer blades a litlle later the O-Sa and that I'm not able to nail (yet). Of course in case of Atari (well, dozen...) this late reply shouldn't be considered as mine but rather a support to Eric's one.

That's quiet a warranty.

You can try with Zenon Van Damme. Can't provide the site or e-mail just now (at work). I was requested to refuse a polish for Marco Quadri so Italy is out of supply... Others from UK can surely give you good names. Guess we miss a lot Laurent Milhau .

Hi Jean. Can't remember the thread as it wasn't exactly about dates, but here you'll find a link to a page for beginners that might be helpful to others forumite to get accustomed with the matter : http://www.ndl.go.jp/koyomi/e/unriddling/01_index.html There is also a program that I managed to have published on the net with a friend fo mine of a german university, but the fun is to calculate dates (*exactly*) the old way, by hand.

Higaki come to mind. Guess your post is a good one to be put into the FAQ for newcomers.

Wish Keith Larman (or another good Tsuka maker) was around just now. There was a good post (or thread?) somewhere on SFI but think that the diplomatic way you've managed this matter is the best solution for everybody.

got it too seriously... :D :D

really never gave it much thought but would not the slanting Yasurime all so serve in doing that? Yes, that's the reason for putting yasurime on the tang. to make as much friction as possible.

Hi Milt. I think that oiling the nakago is relatively a taboo. In effect a very small amount of oil can/should be applied on the Nakago even of very ancient swords (It's considered a way to preserve already stabilized patina) and Kunihira Kawachi in his "The Art of the Japanese Sword as Taught by the Experts" speaks about oiling the Nakago of their newly made swords the same way as made for the blade (I belong to the traditionalists and prefer to have it slowly rusting EDIT TO AVOID CONFUSION on newly made swords). I think that once (when swords were used as weapons) oiling the nakago was a no-no because the friction of the tang into a well-fitting Tsuka was important in holding the blade in place. Oiling the nakago would have diminished this friction a lot, not a good thing under an utilitarian point of view. Now this is no more a concern EDIT but for Battodo etc. . The patina (you refer to cleaning the nakago) is a different matter. The more information you have on the sword the better for judgment. Cleaning away the patina (and possibly altering the Mei and yasurime) means to lose info. Not good. Just my 2 cents.

Joakim, this will almost for sure result in a scratch on the blade. To make a Shirasaya is not a matter to just carve wood, but also to carve the wood in the exact way it has to fit the newly polished blade. A person not used to handle a NihonTo can either hurt himself and/or the blade when taking measurements and checking for fit. And as Brian said, Shirasaya really is not an easy work.

One of the curators. Looks like a good idea and think you've pretty much summarized all the entries should be included.

Wish you a prompt healing.

Hi Piers. I've no idea... :lol: Medals are totally out of my range. Hayabusa and Yatagarasu are used in sake cups as well as in medals because the relationship the military had with the ancient myts, but I've never digged in what they mean. You definitively would like to pay a visit to the Stibbert Museum's collection in Florence with Franci. Lots of Teppo to droll on.

Piers, these last arrivals are posted just for you. 25th Infantry Regiment, Officer's Group of 7th Division based in Hokkaido. Karafuto has not the same color as Japan so it wasn't part of the Empire yet, placing the cup before 1905. I wish you could feel the 3D. At least 5 different "levels" in lacquer colors. I'm so happy the original winner sold it to me. Given from Infantry 12th Regiment, 12th Company, in Meiji 38 [1905] March 14th, to 11th Division Commander, Army General, Holder of the 4th Class Golden Kite, 4th Class Rising Sun, 2nd Class Sacred Treasure, Samejima Shigeo (1849-1928) : From Shobu-Kai to Iwano, Meiji 29 (1896, first Sino-Japanese war): This one accompained an "Order of the Golden Kite" medal : And as we are all watching the "Orinpiku" games, hereunder one from the deleted edition of Tokyo 1940 (bowl is white inside) :

Thanks and sorry again Moriyama-San. I should have supposed I was in error someway. I'll add your pics to my archive.