JAPANESE AND ORIENTAL ARMS AND ARMOR. Nippon's upper classes have, from the very distant past, shown a depth of study and reverence for the fashioning of arms and armor, including a complex etiquette, that amounts to a military cult. Their Samurai were fighting nobles devoted to military achievement. as a career. Their warriors (bushi) lived in religious devotion to their martial ethics — termed bushido. Mr. Bashford of the Metro politan Museum of Arts, New York, writes: °Japan is hardly second to Europe in furnishing artistic examples of arms and armor?' Armor (Y oroi).— The earliest armor was of sheepskin or oxhide, then (before the 7th century) it was of leather. By the 7th century iron armor was in use; this was a corselet of iron plates rivetted together, a•flaring skirt of metal, leather guards for shoulders and the upper arm and a conical helmet. By the 16th century guns were introduced, but the ethics of warriors upheld the use of their revered long bow and arrows (so inseparable was the bow and arrow in their ideals that yumi-ya is synonym of both), and their religiously rever enced sword (katana). And the light and loose-hanging armor continued in constant use, conservatively retaining the same parts though subject to changes in fashion. The headpiece (kabuto) consists of three parts: the hachi or skull, the shikoro or articulated neck protector, and the maye-zashi or peak. At the sides are curved wing-pieces (fuki-gayeshi), sometimes part of the shikoro. Varieties of the hachi are: dzu nari and saku nari (shaped like the crown of the head), mono nari (peach shaped), to kamuri (form of the kamuri ceremonial hat), kimen (demon's head), shii nari (nut shaped), toppai (tall conical form flattened at sides). The bowl (hachi) is of iron or hard-lacquered leather in a single piece or of rivetted strips. The tatami kabuto (folding' helmet) is con structed of loosely joined articulate circlets capable of closing up more or less flat. The ordinary hachi's outer surface is composed.of numerous elongated triangular ribs running from the lower rim to the socket. surrounding the opening in the apex. The outer rim of this socket is termed hachiman-za, and is sacred to the god of war and used for occult decoration, often an embossed or engraved conventional chrysanthemum (kikumon), when it is called kiku-za. A silk cloth sometimes closed this opening against the weather and was fastened by strings to four metal knobs called ski-ten biyo (four Diva knobs). For higher ranks are added quarterings in gold and silver in bands extending from the hachimanza to the back and front, sometimes also to the sides, thus dividing the helmet ornamentally into two, four or eight parts (termed respectively kata-jiro, happo-liro). Small holes on four sides allow thin leather strips to connect with the inside cap. The shikoro (neck defense) consists of either three, five, six or seven laminated metal plates or stiff leather of a curved form fastened together with silk cords. In some examples the laminations consist of small metal scales (kozane), 100 to 136 in a row. The inner side of the shikoro is usually coated with bright red lacquer (said to reflect fierce color on the war rior's face). The before-mentioned fuki-gaye ski (curved wing pieces) at the sides are gen erally fastened to the edge of the shakoro plates and curl round projecting at the sides. They are generally covered with ornamented leather and a decorated border, the centre hav ing the metal crest of the wearer. The right side piece is sometimes hinged to be movable when the bow is in action. The peaks or front lets (maye-hcrshi) are inside of gilt, red lacquer, or lined with red leather, usually with a metal border. Each has a three-branched metal socket (harai-date); in the centre is a dragon or crest form (mayedate), and on either side are placed curved horn-like metal branches (tsunamoto), broad and thin with foliated ends. Behind the hachi is a decorated brass ring from which to hang a thick tasselled silk cord (kasa jirtishi no kuwan) hanging in bow form behind, used sometimes for attaching the kasajirushi, a white cloth badge worn as distinguish ing mark in battle. In some helmets is another similar ring above this one for attach ing the horo, a large bag, filled with cotton or stretched on wicker-work frame, hung at the back for the protection of cavalry from arrow shots. Besides crests (mayedate) other badges (wakidate and ushiro-date) are sometimes worn on the sides or back. The face is protected by a visor (menko or saku-bo) separate from the helmet and attached by strings; it is a metal mask covering the whole features (then termed mempo) with eye and nostril perforations, or only covering the cheeks and portion below the nose (then termed ho-ate). The masks are named according to the character of the fea tures, as: tsubame-bo (swallow-face), suru-bo (monkey-face), okina-men (old-man's face), shiwadzura (wrinkled face), waradzura (young boy's face), etc. The menko is generally made
of one piece, except the nose and upper -lip covering which is generally detachable for eat ing and drinking. Two small holes with metal tubes near the bottom of the mask give egress for perspiration. Hair of the wild boar, horse or deer are furnished for the upper lip, chin and cheeks, usually, but they are sometimes painted. Deep wrinkles appear, sometimes, on the checks to prevent a weapon slipping over the smooth surface into the eyehole. Knobs afford hold for the fastening cords. A kind of gorgette (yodare-gane or yodare-kake or yen-u) hangs from the bottom of the menko made of either laminated plates, leather, or chain mail and widening gradually toward the bottom. The Japanese had a half-helmet Own buri) or skull cap of leather or metal worn instead of the kabuto, some reaching to the temples, some only covering the crown. The former consisted of several hinged plates, and had ear-holes and a hole on top for the tuft of hair, and was covered with leather, the ends being used for tying beneath the chin. The Japanese term do takes in trunk armor and leg as well as poste rior protective parts. The do-mant was a cor selet opening at the side, the was of a single piece of metal wrought into the form of a naked torso. Such pieces are usually blacik, some covered with shark-skin are termed when covered with tortoise shell, velvet, silk, etc., they are called, respec tively, moji tsudzumi, etc., while those covered with leather were given also names ac cording to the styles of leather used such as, gilt, blue, lacquered, diapered, etc. Polished brass, iron inlaid with colored or precious metals, were the material of some Folding corselets had two or four plates do and do) hinged at the sides and fastening with clasps and strings. The do (“pigeon breasted))) corresponded to the bulging 'peas cod)) European cuirass. The do was a do-mant composed of metal or hard leather scales overlapping. The skirt-pieces (kusad sari) depending from the corselet, taking the place of European ((tares" (see PLATE ARMOR), in old armor were each in a continuous piece lengthening toward the bottom considerably, the lower part having a central slit to facilitate the movement of the legs. In later armor the kusadzuri consisted of a number of tares hang ing quite loosely and overlapping; the front portion was divided into three, the back three or four, and one piece at each side. They were laminated plates or scales hung by a row of silk cords. Pieces corresponding to the European al'palettes" (see PLATE ARMOR) were the sendan for the right side and the ita, for the left side, protecting the front of the armpits. They are only on old and perfect specimens. Right and left had different shapes, hence different names. The former was a nar row board (3 inch x 9 inch) composed of three plates or rows of scales connected by cords and lined with leather; the smaller than the other, is an oblong piece of metal or thick lacquered leather having a kind of dove tailed projection above. Both are suspended from the watagansi (shoulder braces). The sode (epaulie re in European armor) protected the shoulder and upper arm, it consisted of a broad, slightly convex, piece made of laminated steel plates or imbricated scales and lined with leather, and was suspended from the wata-gami by cords of leather. There were several vari eties of sode such as the kawara-sode, namban .sode, maru-sode, ha-sode, hiyotan-sode, ki-no named according to their make up and shape. The kote, in some respects, answers to the European and brassart (see PLATE ARMOR), being a tight defensive sleeve protecting the entire arm. It was of padded cloth, leather or silk, widening at the mouth, where it fits the shoulder, and was tied by strings round the chest. The kote is covered in part by mail with additional metal plates and terminates in a metal hand-guard or semi gauntlet called They only cover the front of the arm and are laced behind. The top plate (kamuri-ita) covers the shoulder, below is a large metal plate or scales, connected by mail to protect the muscles of the upper arm. A circular plate protects the elbow point. The lower part of the fore arm has long parallel splint-like strips of metal connected by chain mail (the ikada) or a single piece of pierced and embossed metal. Attached to this, at bottom, is usually a second plate (tetsugai) rounded to fit the shape of the back of the hand above the knuckles. Gloves also were worn. Kote varieties ; mail covered and reinforced with plates; tsugi gote shaped more like the sode, but smaller. Protecting the thighs, as do European ucuis sards? was the hanging loose like a double apron, which was made in different styles known as etc.