The Japanese Book of the Ancient Sword

Author(s): Ethel Watts Mumford

Source: Journal of the American Oriental Society , 1905, Vol. 26 (1905), pp. 334-410
Published by: American Oriental Society

Stable URL: http://www.jstor.com/stable/592894

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The Japanese Book of the Ancient Sword.-By ETHEL
W ATTS MUMFORD, New York City.

INTRODUCTION.

IN Nippon the sword is sacred. It is one of the three

emblems of the Shinto faith. It is named "The Soul of the
Samurai," and is the embodiment of aristocracy.
The blade symbolizes the narrow path of justice; the flat,
square-ended handle-the "nakago "-that slips within the
ornamental hilt, is wrought into the semblance of a grave
tablet, in order that "he who dies while grasping it may be
spared evil reincarnations." To the Japanese his sword is no
mere bit of cleverly tempered metal, it is the work of gods; it
is animated by spirit.
In olden days, during the months of May and September,
selected for the finishing of swords, because of their stability
of temperature, the forges became temples; before their doors
swung the rope of hemp and the fluttering ribbons of the Gohei,
announcing to the passer-by the presence of the Immortals.
For the ceremony of " The Signing of the Sword " the smith
donned the robes of a priest, officiating as such in what was
considered no less than miraculous birth, the new blade receiv-
ing its soul through his prayers.
Hence arose the legend of Muramasa. In after years it
wrought such havoc that an imperial edict prohibited the bear-
ing of his swords except in battle. The legend related of
Muramasa is, that his formula of prayer craved " that his
blades be the great destroyers." Because of the excellence of
his work the gods granted the petition, sending a spirit of such
surpassing ferocity that, upon entering the swords, it demanded
blood, and, failing to receive its rightful sustenance within a
limited time, drove the owners to murder or suicide. The
belief obtained such hold, and so acted upon the unfortunate
possessors of Muramasa weapons, that crime became epidemic.
Yoshimitsu, however, one of the earliest armorers of Japan and
the one most famous, prayed in his forge-temple that his blades
might be " the great defenders. " The soul that dwells in Yoshi-

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Vol. xxvi.] Jlituforcd, The Japa ese Book, etc. 335

mitsu's steel is, therefore, peaceful unless its master be threat-

ened. There is a legend that two blades, one a Muramasa, the
other a Yoshimitsu, were placed in a rapidly flowing brook, a
vard apart, upright, edges to the current. "It was seen," the
story goes, "that leaves, twigs and all floating things were
attracted toward the Muramasa, and were cut in twain. Before
the Yoshimitsu, on the contrary, they turned aside, and were
carried unharmed down the stream."
One of the Empress's most cherished treasures is a first
Yoshimitsu dagger. Honnami, the most renowned of living
connoisseurs, possesses a Yoshimitsu short sword. One or two
other of his blades are known and authenticated, but as nearly
a thousand vears have passed since the gentle-hearted smith
passed into Nirvdnha, little is left of his work.
Study of the family records of the great sword makers will
show what appears to be surprising persistence of genius.
Four, five, six hundred years, and, as in the case of the house
of Munechika, nine hundred years, of uninterrupted excellence
of workmanship.
The explanation is simple. If the sons did not show sufficient
talent to warrant inheritance of the father's holy charge, the
chief apprentice was legally adopted. In an unbroken line of
genius the glory of the family name was so upheld from age to
age. Thus the worthless scion of a great house could never
wreck the edifice of his father's fortunes, and though, doubt-
less, justice leaned where love inclined, the result of the system
was to call forth the best efforts of all concerned. The unknown
apprentice might hope for the greatest prize, and all the
inherited tendencies of the master's children were called into
play by every claim of ambition and jealous fear.
In the middle ages sword-making was the only profession that
gave claim to ennoblement. The Emperors themselves were
smiths, and sought honor as assistants to the great makers. It
is not uncommon to find the imperial signature upon the rough,
file-marked iron of the nakago. In one legend, the wood gods
gave willing service at the anvil, while visions of the lovely
Kwannon, the Goddess of Mercy, were wont to float above the
roaring fires.
Small wonder then, when the energies of gods and men were
combined in the effort, that the sword of Japan has no superior.

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 336 E IL Jfurford, [1905.

The most authoritative treaties on sword judgment is " The

Complete Manual of the Old Sword," by an unknown author,
published in 1793, in Yeddo. Its carefully illustrated volumes
give a clear and comprehensive resume' of the subject that has
never been surpassed. In 19S-, acting upon the advice of
Honnami, and after a six months' search, I secured the book in
Nagoya, an ancient stronghold of the Samurai, and through
the kindness of Mr. Clay MacCauley, then President of the
" College of Higher Learning" in Tokyo, had it translated into
English by one of the advanced students of the college. In
presenting this rendering it has been my endeavor to correct
and recast only what seemed absolutely necessary in order to
make clear many passages that would otherwise remain obscure
and involved owing to the Japanese form of the translator's
sentences, and his curious misconception of the exact meaning
of many words.
I have endeavored to retain the individual quality of this
product of Oriental science, its quaintness and reverence, per-
mitting many faults of construction and even of grammar to
remain in the text rather than interfere with an interesting and
unconsciously enlightening point of view. The catalogues of the
" Nakago " and the "Book of Genealogies " have been omitted,
owing to the difficulty of reproducing upwards of three hundred
necessary illustrations.
The names of eras herein given do not tally with the com-
mqnly accepted list as given by Murray. If this is the fault of
the translator's difficulty in rendering Japanese sounds into
English form, or whether it has a deeper significance connected
with the division of time as concerns the epochs of sword-making,
I do not know, but of the two hundred and eighty odd eras pre-
ceding the publication of the book, less than twenty bear any
resemblance to Murray's list.
Of the status of the Honnami in 1793 the book leaves no
doubt, and to-day the words could only be rewritten and under-
lined: the family still exercises the art of sword judgment and
the head of the house is alone allowed the privilege of certifying
the sword which successfully passes his rigorous examination, by
inlaying the maker's name in gold or lacquer upon the nakago.
The elder Honnami holds the blue-book of weapons, the
Gotha of blades. He lives unpretentiously in a suburb of

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Vol. xxvi.] The .Jcqapaese Book of the Ancient Sword. 337

Tokyo, surrounded by his collection of priceless weapons-the

inherited quintessence of sword lore. He is the judge from
whose decision there is no appeal.
According to the generally accepted order of precedence, the
greatest of ancient swordsmiths are: the first Yoshimitsu (13th
century); Masarnune (14th century); Muramasa (14th century);
Hisakune (13th century); Yoshihiro (14th century); Kuniyoshi
(13th century); and Sadamune (13th century). Arikune (12th
century) and the first Munechika (11th century) are in a special
class. The " modern " makers of note are Sada, Yasushiro, and
Stikehiro. Of the work of these early makers not one example
of the twenty-eight grouped in the first order of merit is public
property in America. A few are in private collections.
Purchasers are often misled by a display of magnificent
mounting. Seldom, indeed, does such a scabbard contain a
"true" blade. The impoverished Samurai, as want compelled
them to part with their heirlooms, sold piecemeal the sword-
furnishings of gold and silver, wrought iron, and delicate inlay,
always hoping for the intervention of some happy chance to
save them "their soul." When at last the blade itself had to
go-and many a case of harakiri attested the bitterness of the
loss-it left its destitute owner in a plain case of wood,
unadorned save for its name in red or black writing. As each
sword must be individually fitted out, no two being exactly
similar, it is readily seen that gorgeousness of mounting would
indicate that the weapon had been sold complete, which was
seldom the fate of one of the ancient masterpieces, that were
loved, worshipped and treasured from generation to generation.

COMPLETE MANUAL OF THE OLD SWORD.

INTRODUCTION ON THE METHOD OF THE SWORD JUDGMENT.

Man possesses a natural intelligence whereby he is enabled to

guess the form of a thing by hearing the sound it produces, or
divine its meaning by seeing only its shape. Our judgment of
a sword is reasoned in like manner: we first become familiar
with the marks of a sword A, and when we afterward recog-
nize these signs in a sword B, we conclude that A belongs to
the same class as B. There are, however, two varieties of dif-
ferentiation. One is the individual peculiarities of the produc-

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 338 E. TV. Iliurfoqrd1, [1905.

tion of each maker. The other is the accidental personality of

each sword. For instance, whatever clothes they may put on,
we can recognize our intimate friends, if we see but a gesture,
or a backward glance, while we fail to remember mere acquain-
tances. So it will be most necessary, in the case of the sword,
that we should remember the difference between the changing
clothes and the body within them. We are often inclined to
pass a hasty judgment even without distinguishing between a
" midare" or "'straight edge," when a sword resembles closely
one we know well, or when it bears some peculiar ornament,
which tradition ascribes to a certain maker. But in such a case
we judge from its clothes and not by the true method of sword
judgment, which is the very opposite in every way of vague
supposition.
The difficulty of judgment will be seen from the fact that
there are many kinds of " straight edge," all of them apparently
the same. It is the object of a sword judge to minutely discern
these variants. For the convenience of beginners, we have
attached, in the following pages, some illustrations of the
important marks of such swords.

ON THE PRACTICE OF THE JUDGMENT.

Keep always in your memory the following three details:

(1) the names of all provinces and their situation; (2) the names
of all eras from the era of Daido, in their successive order; (3)
the complete list of swords. (It is very awkward to consult the
book every time you have a blade to examine.)
When you examine a sword, always hold it lengthwise, point
upward, and in such a position that the light, coming over your
shoulder, will shine on its blade, for thus you may see it most
clearly. Look closely, inch by inch, from hilt to point, first on
the outside (right hand) and then on the inside, examining it on
its plane (taira), ridge (shinogi), back (mune), etc. Consider
well whether it is ' gunome,' or 'choji' or a sakagokora'
(reverse line), in case it is a ' midare,' or whether it has ' feet'
or not. Should it belong to the straight edge class, observe
also the character of its ' nehiyokentsuri' (boiling marks), and
its ' glory.' Then select from the list you have kept in your
mind that class to which you think it bears the greatest resem-
blance. Compare each peculiarity of that class with the blade

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Vol. xxvi.] The, Japanaese Book of the Ancient Sword. 339

in hand, and never ignore any unsatisfactory detail, however

great the resemblance may be in other respects (although in
many cases one's first impression is correct). Never neglect to
examine each part searchingly until you have finished, for if
you do not carefully study its back or edge, you may fail to
notice its scars. If the reflection of light is inconvenient, you
may examine the blade -slantingly. Always touch the sword
with a wrapper; never touch it with your sleeves, and you
ought to keep the hilt and scabbard covered with a wrapper.
Never let the blade touch its scabbard either when you withdraw
it or when you return it to its case. (Besides this, there are
many things to be observed.) Express your opinion only after
you have sheathed the blade.
The short sword must not be judged in the same manner as
the long sword. The same swordsmith often makes the one dif-
ferently from the other. One, for instance, being ' midare ' and
the other the " straight edge." Beginners must take the great-
est care not to judge the long sword from the marks of the short
sword, for some swordsmiths forged only the long sword, while
others made a specialty of the short blade.
Knowledge concerning the whetting is very necessary, for
without it good judgment is utterly impossible, since in many
cases the true nature of the stuff-iron, or the presence of scars,
etc., is concealed by whetting.
Examine as many swords as possible, for practice makes for
perfect judgment, and during your investigation put a wrapper
around the nakago (that part of a sword which enters the handle),
which bears the inscription of the maker's name. Examine the
blade twice, thrice, or even to the fifth time, asking yourself
whether your judgment is correct, or nearly so, or possibly
wrong in regard to its origin. Be careful not to express an
unordered opinion, but judge according to the rules of the edge,
structure, etc. To say that " I think it resembles some work I
saw somewhere," is awkward; and instantly to guess the maker
of a work with which you are already acquainted is no glory,
not because you may not hit upon it rightly, but because you
do not judge it according to rule. You will never judge cor-
rectly if you do not work according to rule. Never make a
strained judgment, but answer honestly according to your study
of the blade. If you had examined ten swords and conclude

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 340 E. TV. Mlafordl, [1905.

that all of them belong to Nagamitsu, then you must answer:

"They are made by Nagamitsu "; never temper your judgment
by your supposition that it is impossible there should be so great
a number of Nagamitsu's works in one place. Be not dazzled
by splendid ornament, nor scorn poor appurtenances. Having
no thought of the owner, and receiving no influence from mere
supposition, keep your eyes and mind fixed upon the marks of
the blade.
When you meet with a sword that you cannot judge at all,
confess frankly that you cannot judge. There are numbers of
unknown swords whose makers even Honnami cannot determine.
It would be most ridiculous to pass your judgment on such a
sword from mere guess work.
The ' straight'-edged sword must be judged exclusively by
the rule of the straight edge, and the ' midare '-edged sword by
that of the 'midare.' If you meet with uncommon work, it is
not proper to judge at once by the rules of exception, for you
must first judge it by the general rules. Only when there are
some striking marks of dissemblance may you use the rules of
exception. Suppose we saw a short sword, having the charac-
teristics of Hasebe Nobushige, but straighter and narrower than
was his customary form. One man will at once judge it to be
Hasebe's work, but another will say: " It is the work of Hiro-
masu of the province of Sagami," and upon being told that his
judgment is wrong, will say: " Although its structure is differ-
ent, it may belong to Hasebe." In this case the latter is the
better judge. For the sword having the more vital characteris-
tic marks of the class from the province of Sagaini, it will be
great shame to the first judge should it turn out to be Hasebe's;
but not so with the second judge. Infer other things from this
instance. Never judge carelessly, nor strive to obtain the
admiration of others, for the existence of such a feeling is to be
considered as a proof of unskillfulness.

THINGS TO BE REMEMBERED IN SWORD-JUDGMENT.

Beginners desire too ardently simply to determine the name

of the maker; so much so that they are often misled by a falsi-
fied inscription. The judgment of the sword, however, is far
more difficult than that of any other article. Old swords are
often so rubbed and worn that it is impossible to discern their

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Vol. xxvi.] The eJapalese Book of the Ancient Sword. 341

traits, which may have been modified, moreover, by good or bad

whetting. Besides, although there are many thousands of sword-
smiths, we may be acquainted with only a few. It is necessary,
therefore, for beginners to copy and keep records of the struc-
ture, lines, inscriptions, etc., of each sword they examine. The
works made by the first and second classes are most difficult,
for, notwithstanding the limited number and the splendid marks
of structure and inscription, the first works differ in the most
minute points. Inferior works have no constant mark which
can be considered characteristic of any particular maker.
If the edge has no ' feet' or no ' midare' but has a great
degree of nobility, then it is generally made by either Awada-
guchi, Rai Tayema, Kanenaga, Senjuin, Yukimitsu, Shintogo,
Old Miike, Sairen, Yukihira, or Nagamitsu, and sometimes by
Nobukuni, Yoshinori, Tenkai, Shitsu Kake, Kagemitsu, Unjo
Zenju, Aoye, etc. If its nobility is slight, although it possesses
boiling woody grains, it is made by TJnatsu or Hojen, or by
Shimada, Seki, or Nib. If its ridge (shinogi) is high, by
Mikoro; if its appearance is good in no part, by the old Nami-
hira, Imka, Kagenaga, or Fuyuhiro, or Later Bizen; and if its
appearance is bad and the 'boiling grain' is not noble, by Kon-
gobyoye, Takata, or Kanafusa. The full details are given in
the chapter on the classification of edges.
Whenever a blade has 'feet,' it belongs to the class of Aoye;
and if it has "little midare," it belongs either to the Old and
Middle Bizen or to Mihara, Namihira, etc. Other details are
given in the following chapters. Take care not to confound
the edge that has small ' feet,' with the straight edge which
resembles it very closely.
One class of 'midare' called ' Notare midare,' is composed of
many varieties which all boil very irregularly. These are
chiefly made by the Masamune school. We can only distin-
guish their provinces and ages, the makers' names being lost.
Another class, called " Choji midare," chiefly appears in the
works of Ichimoji; if it has ' boiling grains' it may be the work
of Yoshiiye, Sadatoshi, Awadaguchi, Rai Kuniyuki, etc.; yet
if its 'boiling grains' are scanty, and it has rich glory (' Nioi,'
the shining appearance of the blade), it is of the Bizen school;
if it is of the ' small Choji,' then it belongs among the products
of Old Bizen. The works of Bizen and Kyo are easily con-
founded.
VOL. XXVI. 23

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 342 E. TV. _Jiwujmfford, [1905.

Another class, 'Gunome midare,' is the chief characteristic of

the work of the Bizen class, and Sehi, or of Yamato, Kaga,
Iwari, Bungo, and Takata, or of Utsu, Hojin, and Namihira.
Works by Aoye, whether they be of ' midare' or of ' small
feet,' always have the 'Saka' (reverse line), and this is also the
case with the work of Samoji and Ichimoji.
The 'hitatsura ' edge cannot be found among swords of the
first class, and that, of the common and middle works has no
admirable character. Although this sort of edge appears in the
works of Hiromitsu and Hasebe, which are much recommended
in the old books, and although the work of these masters is
undoubtedly superior, still the Hitatsura edge is undeniably
undignified.
Works of the Bizen class have unequal 'midare,' which is
seen to increase toward the hilt and to diminish at the point.
Some of the Ichimoji blades have their greatest width at the
middle, and possess some ' little midare,' as is also the case with
the swords of Rai -Kuniyuki and Kunitoshi. Generally speak-
ing, the works of the Bizen class have scant 'boiling grains,'
but rich ' glory' and frequently have the soft edge at the ' cap'
('boshi,' the point) .
Works of the Sagami class never have a soft-edged cap,
attention being concentrated in the point. Of course, there are
some works exceptionally executed; but each bears some unmis-
takable characteristic of its maker.
There are many swordsmiths who bear the same name. They
may belong either to the same century or to a different age, so
that it is difficult to distinguish among them.
The short sword is commonly called Kusungobu (9.5 inches),
although we always include it in the 7 or 8 inch class. We may
also term them Kowakizashi (small waist sword).
As for ornamental figures, some were carved at a later period,
and others by contemporary, but by different hands, so that
they do not necessarily offer determining proof. Despite this,
however, some peculiarities may be traced in each of them. It
is noteworthy that some of them have had their shapes modified
afterward.
There are many different sorts of the skin (or coat) of the
blade, like the ilasame (regular woody lines), the Itame (irreg-
ular woody lines), or the Pear-Skin, which has spots like a

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Vol. xxvi.] Y[ke Japanthese Book of the, Ancient iwvord. 343

section of that fruit. (The higher quality of the Pear-skin

is called Kenzan skin.) Among the swords of the Itame, those
are the best whose iron is dense, and among whose woody
grains silvery lines are visible. Some have the minute boiling-
marked skin among their woody lines. The color of such work
is often heightened by whetting and polishing, but the glaring
color of the common sword shows the stiffness of the iron. The
brightness of re-heated swords is somewhat lacking in moist
and dewy quality. Here lies danger of great confusion. Those
which have the woody skin are somewhat inferior in quality, the
superabundant presence of this texture indicating the softness
of the iron and imperfection of hammering. Some works have
a very rough skin like the bark of a pine-tree, and such a sword
is not good, even if the effect be the result of rude whetting.
The edge of some blades cannot be discerned, owing to the
presence of spots, and such works are not generally fit to use,
as is the case with many swords of Sukesada, etc. There are
also some blades whose marks have been purposely erased by
whetting. The besttskin is fine, silky, and beautiful.
" Good work" has different meanings, be it of the first or
second class. It is like the good weather of the seasons. We
say it is good weather when, in spring, it is balmy and rich;
good weather in autumn, when calm, and in winter, when it is
exceptionally warm. Meanings differ as the seasons differ.
Now the good works of the modern swords ('shinto '-new
sword) are like the good weather of summer, calm, warm, and
not at all cloudy; while the work of the ancient skillful maker
is spring-like, being dewy and transparent as regards the iron;
and distinguished by an ineffable character of profundity.
This is the secret part of sword-judgment which needs your
careful consideration.-If you examine only the outer marks of
structure and do not take into account the whole character of
the sword, it is like enquiring about the genealogy of a man,
and failing to ascertain the quality of his soul.

SOME REMARKS ON SWORDS; SCARS OF SWORDS.

In order to straighten a sword which is too much curved, the

smith sometimes hammered the ridge from the hilt to the top
on both sides of the blade, thus straightening it by extending
the ridge. It is impossible, however, to modify the shape of a

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 344 E. WE. lliufordd, [1905.

sword which is heated on its back (munegake), for if a sword

has a flaw in its interior, its point will be broken by much beat-
ing.
In order to curve a sword which is too straight, the smith
applies a red-hot copper bar to its back, and when the color of
its ridge changes to purple, he dips it gradually into water from
the edge to the point. Repetition of this process will finally
bend the blade. Some warp in a short time; others never warp.
Strong-edged swords that warp very rapidly sometimes split in
the edge, and soft-edged swords never wvarp. Remember that
the poorly made sword warps but little, and has a very inferior
appearance in its welded edge.
However celebrated may be the maker of a re-heated sword,
it has no value. Such a sword has as its condemnation a differ-
ent color in its skin, crossing obliquely at its hilt (which,
however, will vanish by whetting), and its cap shows no nobil-
ity. Both sides differ in character; the skin is rough and loose
(with a few exceptions its iron not at all moist); its edge is
hard and difficult to polish, and its ' boiling grain' glaring and
gloomy; all its features deformed and unbeautiful, even after
it is polished. If it be very skillfully re-heated, its skin, etc.,
may seem very splendid, especially after the lapse of fifty or
one hundred years, when it is cleared from the marks of heat-
ing. It still retains, nevertheless, some ghastly traces which
assure us it is useless. There are also some other swords of the
same kind whose point only is re-heated for two or three inches
in order to fill in a lack of welded edge. Such swords gen-
erally have no Kayeri; and their caps are disgraceful and arti-
ficial. Their welded edges are also very vague, which shows
that they are disfigured by polishing.
Take great care not to overlook any scars, though often they
are half concealed by whetting; and do not mistake rust for a
sear.
All scars in the 'cap' must be avoided, whether they be
'moon's rings,' 'bird's bill,' or 'crow's beak.' 'Back split' and
'vertical split' are not so objectionable, the former appearing
frequently in the works of Kongobyoye, etc.
' Corner stain,' 'barren ground' and ' edge stain' may be
tolerated if they do not appear in large quantities.
A slight protuberance or depression, if slight, may be con-
cealed by whetting (which may occasionally cause it), so that

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 Vol. xxvi.] The J-planese Book of the Anceiewt Swaord. 3445

it will not be objectionable, if it is not great. Examine well,

however, whether it is shallow or deep'
A 'knot' is produced by imperfect hammering, and never
appears in superior work.
'Buried metal' was not ill thought of in ancient times, but
it is to be avoided, since the depth of the scar cannot be ascer-
tained.

'Stain' on the edge if slight must be allowed, and is charac-

teristic of almost all works of Kunimune, Morinaga, and others.
If there be any split in the boundary of the welded edge, it
is called ' Glory's split' (Nioigire). You may clearly detect
it by looking at it obliquely, or better still, by the light of a
lamp. This split is to be avoided.
If the surface of the edge is uneven, the iron of the lower
part is generally soft, or else its welding is incomplete.
'Edge split' and 'shinaye' must not be allowed. Both are
scars transversely made. If it is massed in one place it is called
'centipede shinaye.' Shinaye of the back and ridge may gen-
erally be cut away. 'Vertical split' is sometimes concealed
by the chisel. However much the shinaye is reduced by the
chisel, it will still be seen when it is whetted. Some hold that
scars of the ridge and back are worse than those of the edge,
because the iron forms, as it were, the backbone of the sword.
Others claim that edge or steel scars are more fatal than that of
the iron, because it is the edge which bears the brunt of battle.
Both are right, since either defect will occasion the breaking of
the sword when in action. Strictly speaking, even inscriptions
and figure carving may have the same result. If the iron is too
soft, it may bend; if it is too hard, it is liable to break. These
are important points requiring careful attention on the part of
swordsmiths.
'Arrow scar' is not objectionable; we ought rather to admire
it. It is a mark left by an arrow's head, and resembles the
slight puncture left by the stroke of a drill.
' Clash' is not a scar, but a mark produced by the clashing of
blades. Among superior swords, eight or nine out of ten bear
'clash.' Beware, however, of those swords whose ' shinaye' is
so disguised as to resemble 'clash.'
Such are the scars that can be seen on the surface. Some-
times a new flaw will appear during the whetting, and at other

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 346 E }E 31ken-ford, [1905.

times old scars will disappear through whetting. If a sword

has no outward flaw it is treated as having no sear. Although
it is not good to cut away the ' vertical split,' etc., by the
chisel, yet it cannot be called bad, as it modifies any unsightli-
ness. These scars are sometimes concealed by figure carving.
Only a few of the celebrated works are without scars. Thus a
little 'edge stain,' 'vertical split,' etc., are to be tolerated.
' Broken edge' was not disliked in ancient times. It is a ques-
tion whether we may pass ' broken edge' when it is split. But
we may safely say it will not be as objectionable if the injury is
slight. Victory is often gained by a sword whose edge is
broken. It is not right to admire the ancient sword having no
scar. It should show its marks of service. In the case of
modern work, it is different. It should be flawless.

ON THE WHETTING.

As the whole appearance of a sword may depend upon the

mode of whetting, we must select the most honest and skillful
workman. A good whetter will work upon a sword as long as
may be necessary, repeating the process until the blade is per-
fectly finished; but a dishonest whetter thinks only how he may
save his labour, and will omit the proper processes; when and
wherever he thinks it will be overlooked by an unpractised cus-
tomer, he will betray his trust. The general features of a
sword are thus deformed to such an extent that precious mount-
ing may be irrevocably injured. There are many whetters of
this class who will heat the edge when it is too hard; who will
whet away without caring whether or not they injure the edge;
who will not obliterate scars and protuberances and spots upon
the blade; only whetting away the obvious rust. The most
important parts to be treated by whetting are the angle of the
small ridge, the shape of the cap, the part near the hilt, and the
body of the blade. These may be carried by the skillful
whetter to the highest degree of perfection. Even the sword
two or three feet long may have its appearance modified to an
extent of two or three inches. To "make the irregular even"
is, however, the chief care of the whetter, who must not injure
the edge while polishing the body, or stain the body while
whetting the edge. There are some qualities of iron which are
very difficult to finish, requiring constant labour for twenty to

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Vol. xxvi.] The JTapanese Blook of the Anciet Sword. 347

forty days. My teacher once told me that he knew of a sword,

most perfectly finished, which required fifty days of whetting!
Thus you will understand how difficult it is to get a sword
whetted for a limited sum of money when the labour required
must differ so greatly according to the nature of the blade.
These are my brief remarks on whetting, but, as this subject
is most abstruse, you must continue its special study under
your own teacher.

AUTHORITY OF THE SWORD JUDGE.

There are many books concerning.the secrets of sword-judg-

ment. Some from the hands of skillful judges. They contain
much, however, that is inexplicable, and no rule can be adopted,
however skillful its author, if it contradicts the rules established
by Honnami, for Honnami is the established authority on the
sword to this day.' In the time2 of Hideyoshi there lived a man
called Ikeda Sanzayemon, who was a very skillful judge of
swords. He issued his certificate under the title of Honnami
Kosetsu, inlaying the name of the maker with his own in gold
or in red lacquer, on the nakago, having no inscription, as is the
custom to this day. Although at that time there lived many
celebrated judges, Honnami was the best and most renowned.
There lived also Miyoshi and Hosokawa, whose secrets I have
received, but the books written by them are very difficult to
understand, their style being archaic and confused. There have
been nany changes since their epoch. There was no polishing,
rubbing, etc., the process of whetting being closed with the
present ' middle whetting.' Although there was some improve-
ment inl the time of Kohb, the grandson of Kosetsu, it was but
the rude polishing of the ridge, so that all the modes of finish
by which the iron is modified and the body is rubbed and bright-
ened, etc., are later developments and inventions of the house
of Honnami. Thus, if we were ignorant of the rules of Hon-
nami and contented ourselves with the books of the ancients, we
should fall into gross errors. There have also been gradually
discovered certain methods of whetting by which dishonest
workmen are enabled to finish their work by shorter processes,
so that the old sword may be made to appear new, an inferior

1 The statement still holds good. 2 Late sixteenth century.

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 348 E. TV illiurnfor d, [1905.

one to be noble, good characteristics may be disguised, and

objectionable marks made to appear excellent; all this simply
from the manner of whetting. Consequently we must carefully
study the modes of whetting and accumulate experience on this
point, which, however, cannot be perfectly realized without
actual practice in whetting. There are twelve families of the
house of Honnami, and all are acquainted with the modes of
whetting. Many skillful men of the house successively made
observation from their own experience, and these are now
handed down as the established rules. Every student of the
sword must study these rules. There are indeed some men who
are ignorant of them, although they are sometimes able to deter-
mine the name of the maker correctly. This must not be thought
strange, for when we ask such men the characteristics of that
maker they are always unable to answer. They are like those
doctors who sometime cure diseases though they are wholly
ignorant of medical science. We must be careful, on the other
hand, not to depend solely upon books, thus neglecting practice.
It is needless to say that however well the rules are studied, skill-
ful judgment cannot be gained without experience. We must
neglect neither practice nor rules.

ON THE SELECTION OF THE SWORD.

As the sword will be judged differently by men of different

interests, you must be very careful in its selection. Some are
foolish enough to pass judgment on a sword which they cannot
really understand, others will not speak the truth although they
see it. The merchant may speak falsely in order to sell his wares.
If a blade belongs to some- nobleman, or if it is appreciated as a
family treasure, or if the possessor is very proud of its supposed
qualities, the true judgment will often be withheld through
courtesy. When you would have any sword truly judged, you
must commit it unreservedly to a judge of absolute sincerity.
There are some swords which have the inscription of one
maker while they are unanimously regarded as the work of
another swordsmith. In such cases the decision of the judges
must stand. The sword is made by the power of fire and water,
and its quality is stable. We ought to admire any happily
made work though it come from the forge of an inferior maker.
The product of a workman does not always reach one standard.

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Vol. xxvi. The Japanese Book of the Anicient Sword. 349

So if the work is not perfect, we must depend upon the decision

of the judges. We therefore append a certificate to each sword,
to show in what manner and for what reasons the value of the
blade has been determined. If one issues a dishonest certificate,
the crime committed by such a man is indeed great. As Hon-
nami is the surest authority, we recommend all who wish swords
to consult with him.

ON THE NAME 'SWORD.

The ancient name of the sword was 'tashi' (great cutter).

The name ' katana' was adopted more recently in contradistinc-
tion to 'wakizashi' (waist sword), that is, short sword. The
latter is always characterized by the absence of ornamental
metal at the tip of its scabbard, there being no difference
between the blades.
Linguistically, the original meaning of the sword was "to
come," that is to say, " to come to the proper place by cutting."
It is written in a book entitled "Domeiki," that "we cannot
ascertain what was the shape of the ancient sword although it
is said that the Emperor Hwoang first moulded a sword from
the copper of Mt. Shil." At all events, the present sword has
a far different shape from the sword of ancient times.

GLOSSARY OF TERMS.

Ukubi type: thin back.

Shobu type: ridge type, without sides, and with a thin back.
Plain type: some are bent and some straight; the cutting
edge is termed fukura.
Short sword: 1. shaku (more than 12 inches) long.
Middle-sized sword: from 1.03 to 1.75 shaku in length;
of the ridge type, etc.
Sword: more than two shaku in length.
Modified halberd: of various lengths.
Old Bizen: The smiths before the era of Genrei.
Kuitashi: from 1.05 to 1.95 shaku in length.
Great short sword: from 1.08 to 1.99 shaku in length.
Tashi: commander's sword of different forms but modeled
upon the lines of bisection of the riken (double-edged lance
point).
Kiriha: a sword with an edge like that of a small knife.

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350 E. W. Jibtrnford, [1905.

Kosorimono: works of Nagafune from the era of Aei to that

of Eiwa.
The sword form is derived from the bisection of the h6ken
(leaf-shaped double edged lance form).
The "length" of a sword is the measure of the blade from
the point to the hilt-the length of the nakago being disre-
garded.
The sword is composed of a highly tempered iron body to
which a steel edge is welded. The best work has a white edge
and blue body. " Middle " work shows a blue edge and black
iron, and inferior blades, a black edge and white iron, although
the nature of the metal must naturally differ according to
country and the different methods of each swordsmith.

Works of the high ridge.

MIihara, Ni6, Yamato class, etc.

Works of the wide farrow.

Miike, Yamato class, Kiyotsuna, Mitsutada, Unji, Sukezane.

Works of the thick back.

Yamato class, Yoshimitsu, Kagemitsu, Kagemasa, Miike,

Nobukuni, Sa, Seiren, etc.

Works having decorations carved near the center of the blade.

Kunitsuna, Kanehira, Masatsune, Norimune, Ichimoji class,
Naganitsu class, Chikamura, HeianjQ, Shiga class, etc.

Works having the round back.

Hasebe, Mihara, Miike, Masamune, Sukezane, Aoye, Kuni-

yashu, Nagamitsu, Kanahira, Tomonari, Nobukuni, Fuyvthiro,
Ni6, Kogawa, Kagashir6.

Works of the triangular back.

Also called "ShinDo Mune" (true back), chiefly seen in the

works of the Kyb, Yamato and Sagami classes.

" Cap" or point.

In the Yamato class it is closely welded. In the Seki class

it is rounded, and in the Bizen class it is pointed. There are of

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Vol. xxvi.] The J'apaaese Book of the Awietnt Sworzd. 351

course exceptions. In the Sagami class it is widely and strongly

welded.
Jif. -The skin marks left by welding: they consist of regu-
lar or irregular woody lines, "pear-skin," etc. Its character-
istics vary according to the province of the swordsmith.
Utsuri. -Shadowy marks in the plain, sometimes in the whole
of the blade, seen in the Bizen class, and especially in the work
of Kanemitsu.

BOILING MARK.

This is sometimes seen on the plain, but its quantity and

quality differ according to the work. Although it is character-
istic of superior work, it is also seen in the inferior grades.
The 'boiling' in the latter class is angular and crowded,
besides being indistinct and dull, while the boiling mark of the
superior grade resembles the finest lacquer surface, strewn with
silver powder. This mark is seen either on the edge or the
boundary of the welded edge. The 'welded back' and 'Yu-
bashiri' generally has the ' boiling,' and whether it is abundant
or scanty, a bright boiling mark is regarded as the best.

GLORY. (NIOI.)

Hazy rays pouring forth from the boundary of the edge to

its margin and found in the superior grades, but not in the
lower. Although it occurs in the middle grade, it is irregular
and uneven, while the deep glory enclosing the boiling mark is
seen onlv in the best work.

CHIKEI.

A brilliant woody texture differing both from sunagashi and

from jifu, and seen only in the best grades.

LIGHTENING.

Like jifu, but more brilliant and glittering; seen chiefly in

the boundary of the edges in the highest grades.

UCHIYOKE.

Something like the welded edge, boiled finely, and occurring

here and there outside the edge.

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 352 E. TV. ]luwfor(d, [1905.

SUNAGASHI.

A boiling mark like strewn sand, occurring both on and

about the edge.

YUHASHIRI.

Something like the welded mark, either boiled or unboiled,

occurring on the back, ridge, and plain.

NOTES OF CERTAIN SWORDSMITHS.

The naginata (halberd) was first made by Yamato Sadamune,

in the second year of Kwanji. All the naginatas made by
Tajima Hoseiji have their points softly tempered, in order to
avoid their breaking. For 250 years after the age of Hogen,
or Heiji, many celebrated artists appeared in the house of
Ichimoji, including Norimune, Sukemune, and others. Fukuoka-
(or Yoshioka)-Ichimoji is a somewhat inferior worker. Accord-
ing to the old book, some of their works are not signed with
the name of Ichimoji, while many of Fukuoka's blades bear the
inscription, " a native of Yoshioka." The nakago of the Bizen
class, made about the age of Oei, is generally short, as is also
the case with some halberds of Naotsuna, Tomokuni, Nio, and
others. The angular shape of the nakago is derived from the
shape of the sotoba (grave-board), so that by grasping it the
owner may not be doomed to the three evil paths of transmigra-
tion.
It is said that Masamune did not inscribe his name, believing
no sword could be made which might be mistaken for his own.
Yoshimune, on the other hand, inscribed the letters of his name
so no one might know which part was written first and which
last. His earlier blades have the initial of his name with a
small letter, but afterwards he inscribed in larger figures: the
later works are superior. There are many traditions of the
master. Some maintain that the length of his nakago is 4.2
sun. (See the chapter on the list of the nakagos.)
'Kurikara' is the figure of a dragon entwined on the sword
and drawn in the shape of a Sanskrit letter.
When Rai Kuniyuki was young he inscribed himself as
'Kunitoshi,' but after the birth of his son Magotaro, he gave
this name to the latter, and signed himself Kuniyuki. In fear

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Vol. xxvi.] The Japanese Book of the Ancient Sword. 353

lest his blades should be confounded with those of his father,

Magotaro inscribed his name as Rai Kunitoshi after his thirty-
eighth year, calling himself Rai Minamoto Kunitoshi from his
sixty-second to his one hundred and fifth year. Notwithstand-
ing this, there are two varieties of blade bearing the name of
Kunitoshi, one being the early work of Kuniyuki, and the other
the younger productions of Rai Kunitoshi. The secret details
of this matter can be transmitted only orally.
The works of Yukihira, surnamed Kishindaya (the Devil),
have the nakago narrow and thin, with an 'oblique file' and an
angular head, while the upper part of the menuki hole (through
which the pin holding scabbard handle is secured) is cut by the
file. Having his residence in the provinces of Bungo, he
inscribed himself "Yukihira of the province of Bizen." While
he was living in a mountainous village, a devil disguised as a
boy came and asked him to make a sword 27 sun in length.
After receiving it and killing his enemy, the boy served Yuki-
hira and helped him make his swords. Once he gave Yukihira
a great mass of iron which was brought to his house by seven
or eight men. When Yukihira was sick, the boy made many
dozen swords by himself and inscribed them with his master's
name. He then said to Yukihira that he wished him to sell
these swords himself, and to live comfortably with the money
he should get for them, while, having served Yukihira for three
years, he must return to his original home. Thereupon he sud-
denly disappeared, and when Yukihira sold these swords it was
thought the boy was a demon (Kishin), so that they gave
Yukihira the nickname "Kishindava." Some say he lived in
Yamato. There were three men of the name of Yukihira. The
life history of the second greatly resembled that of the first,
though he lived 470 years later; but the history of the third
Yukihira is unauthentic and vague.
Yukihira was born in Bungo in the era of Tengo. When he
was 41 years old, he was banished to Kozuke for some crime.
He returned to his country after the lapse of 16 years. Some
say that he studied in Bizen, and so became the royal smith,
assistant to the Emperor.
His father, Sadahide, was also a famous smith, but as he died
when Yukihira was only nine years old, it is impossible that he
taught the son. It is said that when Yukihira resided in the

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 354 E. V. iliim vford, [1905.

province of Dewa he sometimes marked his swords ' Getsusan'

on the outside and' Yukihira ' on the reverse.
The old works of Harima are tolerably well made, although
on the whole they are inferior in their structure, nakago, etc.
There are inscriptions which are generally avoided, as of evil
portent, such as " Ryohai," " Sairen," "Jitsua," " Tengaimono,"
" Jikkake," " Senjuin," and all Buddhistic words as well as
Sanskrit letters, which, however, were not shunned in ancient
times. Perhaps it will not be well to seek especially for swords
which are detested, such as the work of Muramasa, and in some
cases it would be best to withhold judgment, if the sword hap-
pens to have belonged to Namihira, Ryohai, etc.
Masamune was a most skillful swordsmith, and his work is
found in great variety. This is true, also, of Yukimitsu and
Bizen Nagamori, etc. Their work, classified as ' straight edge,'
sometimes has 'midare' or ' hitatsura,' while those classified
as ' midare edge' occasionally have the straight edge, etc.
There are secrets concerning their structure and welded edge,
which, however, are not admitted by all men. Here we give
the list of the varieties:

Yoshirnitsu (small midare) Notsugu (straight)

Kuniyoshi (straight) Tadatsugu (straight)
Masamune (make bent, straight) Rai Kunitsugu (straight)
Go Yoshihiro (both bent and straight) Kunitoshi (straight)
Sadamune (straight) Nobunaga (straight)
Fugishima (straight)

Hiromitsu (both bent and straight) 4 Chiyozuru (straight)

Muramasa (straight)
Akihiro (both bent and straight) Masatsune (straight)

Shizu (both bent and straight) Mitsutada (wide straight)

Tomomitsu (straight)
Kaneshige (straight) Yoshimitsu (straight)
Tsunetsugu (straight) Shigesane (straight)
Nagayoshi (straight) Tochika (straight)
Motomitsu (straight)
Motoshigi (straight) Unji (straight)
Chikakage (straight) Yoshi class (straight)
Yoshikage (straight) Mitsukane (small make)
Kagemasa (straight) Miike (midare)
Ichinoji (straight) Kongobyoye (midare)
Yoshioka (small midare) Kagenage (midare).

Despite the number of varieties just enumerated, it is neces-

sary to trace each characteristic.

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Vol. xxvi.] The .Jacpanese Book of the Anqcient Swvor d. 355

CLASSIFICATION OF THE WELDED EDGE.

Straight edge, the iron beautifully boiled, and very fine.

Artists: Yoshimitsu, Shintogo, Kuniyoshi, Mitsukani.
KYO CLASS-Artists: Munechika, Hisakuni, Norikuni, Kunitomo Ari-
kuni, Kunimitsu, Rai Kuniyuki, Rai Kunimitsu, Rai Kunitsugu,
Rai Kunitoshi, Ryokai. Nobukuni, Yoshinori, Hasebe.
YAMATO CLASS-Artists: Taema, Aritoshi, Shenjuin, Yasumasa, Kane-
naga, Kanenori, Kaneuji, Tenkai, Shirikake, Kanefusa.
BIZEN CLASS-Artists: Yoshitomo, Sanenaga, Nagamitsu, Unjo, Unjfu,
Kagemitsu, Yoshimitsu, Kanemitsu, Masamitsu, Moromitsu, Mori-
kage.
LATER BIZEN CLASS-Artists: Tadamitsu, Norimitsu, Sukuada, Kiyo-
mitsu, Morimitsu, Kisamitsu, etc.
Getsusan, Tekai, Kagashiro, Fuyuhiro, Sanekage, Iruka, Kunit-
sugu, Kagenage, Michihiru, Namihiru.

Great oblique file and round head.

Artists: Hisakuni, Kuniyasu, Arikuni. Sadatoshi, Yoshikane. Nori-
mune, Yoshifusa, Nobufusa, Yukihide, Kagehide, Sukekuni, Unji,
Unju, Masatsune.
KATAYAMA CLASS-Artists: Sairen, Jitsua, Sa, Yasukichi, Yoshisada.
Later Miike, Ohara Sanemori, Tadasada, Chiyozuru, Iruka, Sanet-
sugu, Yukihira.

Great oblique file, with hammer marks.

Artists: Yokihura, Sadahide, Yukimitsu, Yamanouchi Kunitsuna,
Kanenji, Norishige, Sa, Sa Kunihiro, Sairen, Jitsua, Miike, Enjfu,
Aoe, Kaneshige, Sanekage, Akikuni, Sadasue, Chiyozuru, Naka-
zina Rai, Hoshojo. Utsu, Shimadu, Hoju, Kagenaga, Mihara,
Fuyuhiro, Yoshimnitsu, Kaifu, Hiromitsu, Nobunaga, Nio. Iruka,
Kumitsugu, Namihira, Michinaga, Tatsufusa, Kagashiro, Kiyomitsu,
Takata, Kongobyoye, Oishimono, Seki, and others.

Straight edge, called " Ayasugi " skin.

Artists: Getsusan, Momokawa Nagayoshi, Momokawa Tsuguyoshi,
Juniyo, Fuyuhiro, Namihira, and " Yamnato " class generally.

Straight edge, combined with small midare.

Artists: Jenjo Kaneyoshi, Namihira, Kongobyoye, Kagenaga, Utsu, Nio.

Straight edge, combined with small midare, and having deep

'glory' and fine ' boilingo;' characteristic of Bizen class.
Artists: Sukehira, Kanehira, Yoshikane, Tomonari, Yukihide, Suke-
kuni, Yoshimochi, Konesuke, Unji, Unjfi.
Artists: Hisakuni, Kuniyasu, Kunikiyo, Yoshiiye, Rai Kuniyuki,
Kunitoshi, Yukihira, Sadahide, Masatsune, Yasutsuna, Sanemori,
Enju, Sairen, Miike, Tamitsugu, Yoshihisa.

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 356 -E. TV. ifMumnord, [1905.

Straight edge, combined with small midare, boiled; found in

Yamato class.

Artists: Senjuin, Kanehira, Tenkai, Shirikahe, Yasumasa.

Senjuin, Rai Kunimitsu, Nakajima Rai, Nagamitsu, Kageyasu,
Yoshii, Utsu, Shimada, Kagenaga, Getsusan, Namihira, Takata,
Kaimikara, Ichijo.

Straight edge, combined with the ' reverse midare;' Bizen

characteristic.
Artists: Tomonari, Yukihide, Sanenaga, Shigizane, Kanemitsu, Kage-
mitsu, Kagemasa, Sanemori, Moromitsu, Chikakage, Motoshige,
Unjo.
Yasumitsu, Aoye, Matsune, Mihara, Tatsufusa.

Straight edge, having rats' feet (i. e. small feet).

Artists: Rai Kunimitsu, Ryokai, Sukekane, Unsho, Unji, Unju, Aoye,
Takata, Michinaga, Namihira.
Reverse midare, with deep ' glory' but slight ' boiling;' char-
acteristic of Bizen.
Artists: Yukihide, Masatsune. Ichimoji, Ichimoji Yoshioka, Yoshifusa,
Kagehide, Hidemitsu, Sukeyoshi, Sukemitsu, Sanemori, Nagayoshi.
Aoye, Katayama, Sadatsuna, Chiyazuru.

Reverse midare.
Artists: Motoshige, Katayama; and others who made a large reverse
Midare.

Nokogiri midare of Bizen class.

Artists: Kanemitsu, Yoshimitsu, Kagemitsu, Kagemasa, Hidemitsu,
Yoshikage, Masamitsu, Motomitsu, Motomasa.

Nokogiri midare, combined with Notare of Bizen class.

Artists: Kanemitsu, Kanenaga, Yoshimitsu, Tomomitsu, Hidemitsu,
Yoshikage, Moromitsu, Masamitsu, Motomitsu, Motomasa.
Notare, slightly boiled; characteristic of Bizen.
Artists: Tomomitsu, Hidemitsu, Kanemitsu, Kanenaga, Nagayoshi,
Morikage, Toinonari.
KYo CLASS-Artists: Munechika, Yoshiiye, Norikuni, Rai Kuniyuki,
Heianjo.
Yasutsuna, Kunisuke, Kunitsuna, Yoshisada, Nakajima Rai, Kane-
tomo, Shimada, Kaifu, Fuyuhiro, Jumio.

Notare midare, with the boiling mark, sunagashi, lightening,

etc.

Artists: Yoshihiro, Masamune, Sadamune, Rai Kunimitsu, Yukimitsu,

Sa, Shizu, Nobukuni, Norishige, Rai Kunitsugu,- Tomokuni, Naot-
suna.

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 Vol. xxvi.] The Japanese Book of the Anicient Sword. 357

Notare midare, boil well; fine specimens also occur among

the works of Masamune and Sadamune, etc.
Artists: Nagayoshi, Kanenaga, Yoshikage, Morikage, Kunihiro, Sane-
kage, Shimada, Kaifu, Kanesada, Sukesada.
Notare midare, boils well, and has deep ' glory,' 'lightening,'
sunagashi, etc.; also occurring in the works of Sashizu, Noki-
shige, Rai Kunimitsu, etc.
Artists: Go Yoshihiro, Sadamune, Masamune, etc.

Hitatsura, some boil, others not.

Artists: Sa Kunihiro, Akihiro, Hiromitsu, Later Sagami class, Hasebe,
Seki, Shimada, Ichijo, Tomo, Michinaga, Utsu Yukimitsu, Naga-
yoshi, Kadokuni, Heisujo, Yoshinori, Kunitsugu.

Sanbonsugi (three cryptomeria trees), boils a little; the mar-

gin of the edge is clear.
Artists: Kanemoto, Seki.

Gunome midare, slightly boiled.

Artists: Yoshii, Michinaga, Kanenobu, Seki.

Gunome midare, boiled.

BIZEN CLASS-Artists: Tomomitsu, Masamitsu, Motomitsu, Motomasa,
Later Bizen works.
Sanekage, Akikuni, Miike, Hoju, Kagenaga, Iwami class, Utsu,
Ichijo, Yomoe, Goami, Tatsufusa, Takata, Fujishima, Nobunaga,
Fuyuhiro, Nio, Seki, Aishi.

Gunome midare, with deep 'glory'; and woody texture,

boiled on the edge and body.
BIZEN CLAss-Artists: Moremitsu, Yasumitsu, Morikage, Jesuke, and
others of the Bizen class before the era of Oei.

Gunome midare, combined with the ' feet,' and with scanty
'glory.'
BIZEN CLASS-Artists: Sukesada, Katsumitsu, Kiyomitsu, Munemitsu,
Norimitsu (I), Norimitsu (II),' Hisamitsu, Yohimitsu, Tadamitsu,
Norimitsu, and some of the Later Bizen class.
Later Takata class, Later Seki class, Later Namikira class.

Great Gunome, well boiled.

Artists: Nobukuni, Later Shizu class-Kanesada (I), Kanesada (II)'
Seki, Iwami class -Nio, Ichijo, Tatsufusa.

Great Gunome midare, somewhat boiled.

Artists: Muramasa, Kaifu, Jumyo, Kanesada.

1 Different in signature.
VOL. XXVI. 24

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 358 E. TV. Eeun-ford, [1905.

Small Gunome midare.

YAMATO CLASS-Artists: Kaneuji, Shirikake, Tenkai.
Kuniyoshi, Kunimura, Rai Kunitoshi, Yasuyoshi, Yoshisada,
Tamitsugu, Iwari works, Takata, Kai mihara, Kunitsugu.

Gunome midare, with a slight tendency towards notare, and

boils well, and has a deep 'glory,' and sunagashi.
Artists: Kaneshige, Daneyuki, Later Shizu class, Naoye, Senjuin,
Hirotsugu.

Small midare edge.

KYo CLASS-Artists: Munechika, Yoshiiye, Arikuni, Ryohai.
OLD BIZEN CLASS-Artists: Ichimoji, Nagamitsu, Unji, Unsho, Unju,
Yasutsuna, Jitsua, Miike, Yoshii class.

Choji edge and Choji midare, with a deep ' glory,' and in the
Kyo class heavily boiled.
KYo CLASs-Artists: Kikuzukuri, Yoshiiye, Sadayoshi, Kunitsuna,
Kuniyasu, Kanenaga, Rai Kuniyuki, Kunitoshi, Kuninmitsu.
BIZEN CLASS-Artists: Sukehane, Yoshikane, Nobufusa, Tomonari,
Masatsune, Mitsutada, Nagamitsu, Moriiye, Sanenaga, Sanemori,
Norinaga, Yasumori, Sukemune, Sukenari, Muneyoshi, Nobufusa I
and II, Nobumasa, Yoshifusa, Sukezane, Yoshimune, Yoshimochi,
Yoshiiye, Yoshihira, Sanetoshi, Norifusa, Yoshimoto, Kunimune,
and Ichimoji class in Fukunoka and Yoshioki, etc.
Sanemori, Hoshoji, Masamune.

Classification of the structure of the short swords:

Straight make.
Artists: Yoshimitsu, Kuniyoshi, Kunitomo, Norikuni, Munechika, Rai
Kunitoshi, Rai Kunitsugu, Mitsukane, Ryohoi, Nobukuni, Tayema,
Hoshogoro, Shirikake, Tenkai, Moriiye, Kagemitsu, Kagemasa,
Yoshimitsu, Unji, Shintogo, Yoshimitsu, Masamune, Yoshihiro,
Norishige, Shinsoku, Kongobyoye, Miike, Enju, Hoshoji, Kagenaga,
Sadasuye, Akikuni, Iruka, Kaifu.

Bent make.
Artists: Tomokuni, Heianjo class, Hasebe, Kanenaga, Nakajima Rai,
Kanemitsu, Nagayoshi, Tomomitsu, Masamitsu, Motomitsu, Moto-
masa, Unju, Sa, Yasukichi, Kunihiro, Kunisuke, Kunitsuna, Sada-
mune, Hiromitsu, Sanekage, Tametsugu, Iwami class.

Mixed work.

Artists: Hisakuni, Rai Kunimitsu, Ranenji, Sairen, Yukihira, Takata,

Shizu, Kaneshige, Motoshige, Yoshii class, Aoye, Mihara, Ichijo,
Tatsufusa, Shimada, Hoju, Getsusan, Doei, Fuyuhiro, Utsu, Fuji-
shima, Nobunaga, Nio, Namihira.

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Vol. xxvi.] ThAre eJa(panese Book of the Ancient *Sordl. 3l9

Longer plain make.

Artists: Sadamune, Nobukuni, Hasebe, Rai Kunitsugu, Sa Yasuyoshi,
Shimada, Later Sagami class.

CLASSIFICATION OF THE NAKAGO.

Crosswise file and angular head.

Artists: Yoshihiro. Norishige, Yukimitsu, Sadamune, Nio, Tatsufusa,
Kongobyoye, Shirikake, Fuyishima, Nobunaga, Sadamune.
Crosswise file and round head.
Artists: Yoshimitsu, Kuniyoshi, Norikuni, Munechika, Yoshiiye Kane-
iye, Rai Kuniyuki, Kunitoshi, Rai Kunitoshi, Rai Kunimitsu, Rai
Kunitsugu, Tomokuni, Ryohai, Heianjo class, Hasebe, Nakajima
Rai Tomonari. Sukehira, Kanehira, Nobufusa I and II, Muneyo-
shi, Yoshikane, Kanetoshi, Kaneuji, Later Senyuin, Shintogo, Hiro-
mitsu.
Akihiro, Shizu, Kaneshige, Seki, Norishige, Utsu, Hoshoji, Sa
Kunihiro, Oishi work, Miike, Akikuni, Yasutsuna, Enju, Shinsoku,
Takata, Tsunetsugu, Mikara, Ichijo, Nainihira, Kagashiro, Fuyuhiro,
Hoju, Getsusan, Iruka, Kunitsugu, Shimada.

Crosswise oblique file and round head.

Artists: Kunitomo, Kunitsuna, Arikuni, Kanenaga, Nobukuni, Hira-
zane, Masatsune, Muneyoshi, Sukezane, Yoshikane, Unsho, Sada-
mune, Miike, Masatsune, Norinaga, Kamihara, Kanenji, Yamet-
sugu, Seki, Kaifu, Kaskashiro, Tayema, Later Shirikako, Fuyi-
shima, Iwami class.

Oblique file and angular head.

Artists: Masamune, Sadamune, Sukesado, Iwami class.

Oblique file and round head.

Artists: Munechika, Hisakuni, Mitsukane, Dakuma, Tomonari, Suke-
kane, Nobufusa, Chikakane, Norimune, Sukemune, Muneyoshi, Nobu-
fusa I and II, Yoshiie, Yoshihira, Koresuke, Sukekane, Sukeyoshi,
Sukemitsu, Mitsutada, Moriie, Sanemori, Nagamitsu, Kagemitsu,
Kanemitsu, Nagayoshi, Yoshimitsu, Tomomitsu, Sanenaga, Hide-
mitsu, Moromitsu, Masamitsu, Motomitsu, Motomasa, Kagemasa,
Motoshige, Chikakage, Shigezane, Morikage, Kageyasu, Sukekuni,
Yoshii class, Kunimune, Sadahide, Yukihira, Ohara Sanemoni,
Norinaga, Later Miike.

THE DIFFERENCE BETWEEN THE OLD AND NEW SWORD.

Some prefer the old, while others admire the new sword.
Although the old abounds in excellence, some covet the spotless
and brilliant blade of the new sword. Work less than one

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 360 E. if l". rimford, [1905.

hundred years old, no matter how celebrated its maker, cannot

obtain a certificate from Honnami. The price of the new
sword increases as it becomes old; for instance, the works of
Morimitsu and Yasumitsu which, a few years ago, were worth
30 ryo, are now selling at 50 ryo, and those of Sanemasa and
Sukehiro have increased in value from 1 or 2, to 5 or 7 ryo.
There are several reasons why the old sword is the more valu-
able. The wound inflicted by it is difficult to cure, though it
be but a scratch one inch deep; while that made by a new
sword heals easily even if it be deep. We know that the nar-
row, thin blade of the old sword is far sharper than the strongly
made blade of the new. This is generally true, although there
may be a few exceptions. At this time there are many fraudu-
lent old swords made by whetting away the blade of the new
sword. This is readily done, as the appearance of the welded
edge of the modern blade is easily changed, and thus the
'midare' may appear a ' straight' and a ' straight' may become
like ' a midare.' Old swords never change their character,
Ichimoji always remaining Ichimoji however much it is whetted.
In the book "Notes on the New Sword," it is said, that "we
must be well acquainted with the art of sword-cutlery or we
become as the archer who is ignorant of the nature of the bow,
or the doctor who does not understand medicine." The author
further gives the details of cutlery concerning the new sword
with which there is no difficulty. In the matter of whetting,
we must admire it even if it be made to-day. We admire the
old sword the more as its 'heat color' is lost with age and as
its stuff iron presents peculiar marks, showing the lapse of 500
or 800 years. We can understand its meaning only by the
study of the method of whetting. Of course the knowledge of
cutlery is not positively useless. But even the Honnami of
every generation do not study cutlery, while they are all per-
fectly acquainted with the modes of whetting. There are some
men who commit the examination of their sword to a smith.
But the arts of cutlery and judgment being quite different, the
latter cannot be acquired without its special study.
The method of sword judgment relates almost exclusively to
the old sword, but we can easily judge new blades without the
knowledge of its rules. Many of the new swords bear the
inscription of the maker. The structure of the nakago is very

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Vol. xxvi.] The Jdcpctwese Book of the Ancient ASwrord(. 361

simple, being exactly similar to their pictures in the sword book.

There are many very skillfully forged blades which have often
obtained a better price than genuine work, for the reason that
their value is fluctuating. This will be the case more frequently
in the f uture.
Some new swords resemble the old work, and are much
boasted of, but it is rather contrary to the purpose of the new
sword, that being valuable only because it is new. The works
of Sukehira and Sanemasa are noble, fresh, and lively. We
appreciate old swords that look new, but the new swords that
look old from the beginning become useless after the lapse of
a few hundred years. Even the old blade of which the welded
edge is not clearly seen is useless. However slender its edge,
good work will appear lively and newer than it really is. Some
maintail that the new sword will benefit posterity, serving it as
the "old," while the old sword will not be useful to future
generations, having fulfilled its purpose. This seems reason-
able. Still, always to select the new sword from such a motive
is to sacrifice one's own welfare for posterity. This is very
foolish, and may jeopardize one's life.

THE BLESSED SWORD.

What is called " blessed sword" is not blessed by its maker,

but by its owner. However excellent its quality may be, it will
not produce any good, if its owner be not a good man.
It is thought that through the possession of a certain sword
one may obtain blessings, or that calamities will come, but there
is no ground for this belief. After all, the ruin or misery of a
man is produced by his own bad conduct and not by the influence
of his weapons. The good man will naturally come into posses-
sion of a good sword, while the bad man, if a blessed blade fall
into his hands, will presently be moved to part with it.
The object of sword-judgment is not only to recognize its
maker, but to decide the good or bad qualities of his work. As
a good servant will not serve a bad master, so must our conduct
be upright if we wish to possess the ' blessed sword' which pro-
motes our welfare.
It is understood by all men that the sword is the instrument
bv which the state has been governed from the dawn of time.
The oldest existing sword is 'Amakuni,' which was made over

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 362 E. III ]ur 2nfojrd, [1905.

1000 years ago. No one knows what sword was in use before
that time. The killing of men by the government is inevitable,
as it diminishes the number of bad men and increases the num-
ber of good ones. If we could control without killing it might
be called a peaceable government, but it is only maintained by
the precious sword in our heart, which, killing the evil thoughts,
will lead to the blessed condition. Be it the individual, the
family, or the state, its good or evil condition will be produced
by the righteousness or the unrighteousness of their respective
swords.
Some are rather afraid of possessing a blessed sword, but as
it is a most precious guard of our lives, we must choose as good-
souled a sword as possible.
Some superstitious men insist that good or evil fortune will
result from a certain measure of the sword. We only ask such
men what good or evil fortune ever resulted from the differing
statures of men.
Some even dislike the swords that bear inscriptions relating
to Hachiman (the god of war), or to Buddha, the lotus flower,
or Sanskrit letters, and it will be wholly useless to tell these
foolish ones that such an idea is quite unfounded.

CLASSIFICATION AND DESCRIPTION OF THE

SWORDS.

All swords are classified and grouped under the province or

the school to which they belong. We shall treat, in the follow-
ing pages, of the characteristics of such groups and those of
the individual maker.

I. YAMATO CLASS.

The general characteristics are as follows:

(a) Long sword: Blade slender; ridge wide and high; some
are bent in the center; regular woody mark; cap closely welded;
some have the three-angled back; Iori is generally hill-shaped.
The general features of engraving and point are rather eccentric.
(b) Short sword: Always straight; file-marks of the nakago
differ. Even the works of the same master have 'I Higaki,'
'hawk's feather,' or ' crosswise oblique file,' etc.; this being
particularly true of inferior makers.
(1) Amakuni, born in Uta in the era of Taiho.

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Vol. xxvi.] The Jacpanese Book of the Aniewet Sword. 363

Blade slender; ridge wide; Iori deep; woody mark very fine;
skin beautiful; edge abounds in boiling marks; point closely
welded; feet of the 'small midare' type; some are of ' Notare
midare.'
(2) Amakura, identical with Amakuni.
Blade considerably bent; ridge wide; Iori deep; stuff-iron
highly tempered. The welded edge is small at the hilt and has
' medium midare' here and there, two or three inches above the
hilt (whose reverse feet are well welded), and is closely welded
in the point; somewhat slender at the sides (where there is no
reflex line). Both body and edge are admirably well made,
and although the back is angled in the nakago, it appears
to be round at the first glance. File-marks in the plain are of
different kinds, some even having hammer-marks. The head
of the nakago is either curved or angular. Some have the
points of their angles rounded.
(3) Tomomitsu, in the era of Wado.
The feature of this blade is its dryness; ridge wide; regular
woody lines very fine; edge of ' midare,' which is small in the
hilt, but wide in the middle, (some, however, are small). Far
inferior to Amakuni and Amakura.
(4) Yasunori, in the era of Eien.
Blade thick and straight; ridge high; Iori hill-shaped; regu-
lar woody marks very fine; boiling marks abundant; body and
edge beautiful; quality medium.
(5) Yukihira, in the era of Eien.
Blade slender and dry; ridge wide; back thin; regular woody
line; slender, straight edge, of 'small midare,' or ' Notare
midare'; it boils; back round; resembles the work of Bungo
Yukihira; the inscription consists of two letters of "So " type
(i. e. italic).
II. TAYEMA CLASS.

(at) In general, this class belongs to the genuine Kurihara.

Some halberds have furrows; works of Senjuin sometimes con-
tain very skillfully engraved figures, but are generally una-
dorned; Ken (double-edged sword) has its point acute and its
furrows deeply cut.
(b) Nakago is thicker towards the edge; file-marks are of
different kinds; it may also have the crosswise Higaki. The
name is inscribed on the uppermost part of the nakago.

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 364 E. TIr Jleoford, [1905

(c) The blade of the short sword is thick and straight. It is

wider towards the nakago. Some have the three-angled back;
most are of the Ukubi-shape. Generally the furrow is not pres-
ent. With the Ken type the furrow, sculpture, etc., are rarely
found.
(1) Tayema, in the era of Shomu.
Blade thick; ridge high; width either medium or narrow;
Iori deep; fine, regular, woody lines; pear's skin; rough boil-
ing marks. ' Straight edged' is narrow in the hilt and wide
toward the point, boils well, point closely welded, sometimes
containing reflex line.
The short sword is slightly bent and wide. In other particu-
lars it resembles the long sword. The file-marks are of differ-
ent kinds; nakago is narrow towards the head; inscriptions in
Ken-shape are rarely seen. The Tayema family includes many
generations, such as Kuniyuki, Tashiyuki, etc., of which a
minute account will be found in their " genealogy."
(2) Shirikake. That is Norinaga, in the era of Kencho.
Blade slender; ridge wide and high; bent at the center; reg-
ular and irregular woody lines; Iori deep; straight midare;
mixed ' Gunome' edge; ' lightening' and ' boiling marks.'
The small sword is always straight. Ridge and Iori high;
straight edge type; its welding and engraving are identical
with that of Tayema.
Nakago is thick in the back; file-marks crosswise; (later work,
however, has a somewhat oblique filing); head generally angle-
shaped; back straight. The same inscription, which has been
in use for many generations, is "made by Norinaga," or "made
by Yamato Norinaga "; later it was changed to " made by Nori-
naga of the province of Yamato," or "made by Shirikake
Norinaga of Yamato. "
(3) Senjuin, in the era of Chokei.
Blade much bent; ridge high and wide; back round; though
the welding is scarcely visible, it shows a regular woody grain;
'straight edge' having ' small. feet'; point medium.
The structure of the short resembles that of the long sword.
File-mark of the nakago is oblique on the ridge, crosswise
on its plain, or, in some cases, the crosswise mark is two or
three inches above the hilt, accompanied by a ' great oblique'
file near the point; the back is a much rounded angle; head is

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Vol. xxvi.] The Japanese -Book of the Ancieqnt Swaord. 365

rounded angle. Later works have both Higaki and crosswise;

thick round head and angle back. The inscription reads,
"Senjuin," " Senjuin Doin," "Yamato nokuni Soegamigori,"
or the maker's true name. There are many generations from
Yukinobu and Shigihiro, the founders of the house of Yasu-
shige and Yoshihiro, etc. The wide midare bears a great
resemblance to the Kamakura class.
(4) Kanenaga, in the era of Teih.
Blade long; bent in center; ridge high and uncommonly
wide; Iori deep; body thick towards hilt; peculiar regular
woody lines; cap loosely welded or round, sometimes has reflex
line; 'medium straight,' ' wide straight,' or ' midare edge';
generally the welded edge is wide at the point; boiling is abund-
ant and coarse, occasionally, however, it is clear and fine; glory
deep; some have welded back. Short swords are rarely seen
among the old blades. Works of various masters having
similar inscriptions are numerous. The older works are superior.
The file-mark of the nakago is hawk's feather; back round;
round head. Some of the works of Kanetoshi are filed cross-
wise.

III. SENGAI CLASS.

This class includes many makers. The furrow is rare, and

the general features resemble Kanenaga. Has regularly woody
lines; both straight and midare edge; caps of different kinds,
with some having deep reflex lines.
The short sword is 'generally straight, with a thick body, the
back sometimes being triangular; irregular woody lines occur
and the edge of the later work has a coarse, unlovely margin;
some blades have no boiling marks, while others have scattered
lines. Further details resemble Kanenaga. Some blades are
adorned with engraving and carving.
There are middle-sized short swords ; their file-marks are
oblique, or frequently Higaki.
(1) Kaneuji, in the era of Enhei.
Also called Yamato Shidzu. Ridge high and wide ; Iori
medium; point small; regular woody lines; perfect skin; of the
straight, 'small gunome,' or 'midare' type; deep glory; rough,
minute boiling marks ; scattered lines occasionally appear: caps
vary.

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 366 E17. Ji xbmfordc, L1905.

The short sword is either straight or curved; backs differ;

widths and bodies vary, some have carved designs. In other
respects they resemble the long swords.
The back of the nakago is either wide or round; file-marks
crosswise, a trifle oblique, or Higaki; head round; furrow rare.
Kaneuji became a disciple of Masamune and lived in Shidzu in
Mino.
(2) Yoshimitsu, in the era of Reio.
His long sword is rare. The short sword is short; dry in
point; thick toward hilt; no boiling; both edge and back of
the nakago round; slender towards the point; round head; the
inscription consists of two initials. No resemblance to Yoshiro.
(3) Yasumasa Goro, in the era of Shoan.
The most brilliant work of the Yamato class; ridge wide and
high; bent in center; Iori hill-shaped; regular woody lines; cap
closely welded; along the margin of the cap the welding mark
may gradually be discovered; edge straight and slender towards
the hilt; sometimes has a little midare; occasional scattering
lines or boiling marks.
The short sword is straight and thick in the body. The same
is true of the long sword in every respect.
The nakago is round in back; file-mark of Higaki; rounded
head. The latter work sometimes bears the oblique file-mark,
which, although it has lengthwise split, is not considered flawed.
It is said that with some swords the regular woody lines are
present, but invisible; also that some blades are made whollv
of steel. Engraved designs are rare.
(4) Hasebe Kunishige.
He lived in Sagami, Yamashiro, Kawachi, Settsu, and Yamato.
He was included in the Yamato class in the ancient books, but
is now spoken of as belonging to the Kyo class.
(5) Uta.
His school is included in the Settsu-chu class. He was a
native of Yamato, but later made his home in Etchu.

IV. KYO CLASS.

The general features of this class are as follows:

(a) Long sword. Blade well bent; equal in hilt and point;
medium Iori and point; both regular and irregular woody lines
are noble; boiling abundant; glory deep. This Choji-midare

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Vol. xxvi.] The ^Jarpanese -Book of the Ancient Swroordl. 367

closely resembles the work of Bizen and Ichimoji; cap straight-

edged; back round, sometimes showing a welding mark. Some
have long and sharply defined Sanskrit letters; point slightly
rounded; furrow reaches to hilt.
The short sword is nearly always straight. File-marks are
generally crosswise, excepting in the works of Sadatoshi, which
have great oblique filing. Ancient blades of highest quality,
whose file-marks are invisible, greatly resemble each other,
whether they be the work of Kyo, Yamato, Bizen, Kamakura,
or others.
(1) Munechika, in the era of Then.
Ridge somewhat wide; some swords have the furrow, while
others contain Ken, Gomaheshi, etc. Width and thickness
medium; Iori medium. All blades have very minute and beau-
tiful regular woody lines, which, when closely examined, pre-
sent a peculiar and incomparable individuality of appearance.
The short sword is straight and of the " Shobu type." There
are also medium-sized short swords, which have ' small feet' in
the straight edge, or ' small midare' and ' notare.' In some
the welded edge is slender at the center and wide in the upper
part; some are welded with strong boiling in the margin.
The nakago is round in the back and slender in the point;
file-mark crosswise or oblique; head of the obtuse angle type.
The inscription is " Sanjo Munechika," " Sanjo," " Munechika,"
"Nippon ichi," "Yukizane," or " Bungo Yuki."
Other work having the same inscription is found in Iga.
These have the file-mark crosswise in the ridge and oblique in
the plain. Its quality is inferior.
(2) Yoshiiye, in the era of Eien.
He is believed to be the son of Munechika, but some say that
he adopted another name, assumed by that master. The features
of the blade are identical with Munechika; no short sword;
regular woody lines; Iori shallow; furrow rare; some of 'small
Notare midare' type; frequently the slender, straight edge has
' small feet;' its 'Choji edge' resembles the 'Kiku' type;
abundant boiling; deep glory; perfect skin; sometimes the
edge widens toward the hilt; cap large and round, with little
reflex lines; file-mark crosswise; back thick; head round. In
the inscription, " Bizen," Yoshiiye used the word II created,"'
but Sanjo used the word "made."

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 368 E. JV J1ifu?jord7, [1905.

(3) Arikuni, in the era of Eien; disciple of Munechika.

Blade slender; ridge high; fine, regular, woody lines; Iori
somewhat shallow; small and boiling midare. The skillful
structure of this sword at once proves its right to be included
in the Kyo class.
(4) Sadatoshi, in the era of Bunei; lived in Ayakaji.
Ridge wide; Iori shallow; has 'Choji edge' on a small scale,
and also Choji mixed with ' straight edge;' deep glory.
Occasionally the edge is wider in the hilt and possesses some
midare. Although it resembles the work of Bizen Ichomoji, it
has more abundant boiling marks. Its 'Choji midare' resem-
bles that of Yoshiiye, and has some scattered lines; round with
reflex lines. The short sword is rare. The back of the nakago
is thick; file-mark great oblique; round head: inscription is in
So5 type.
(5) Kanenaga, in the era of Chogen; lived in Gojo.
The features of his blades resemble those of Arikuni, his
father. Furrowed, point small; 'Choji edge; ' ' midare' or
'fine midare; ' bears resemblance to Sadatoshi; the end of the
'midare' boils; deep glory; somewhat lurid spotted skin. The
short sword is rare; file-mark crosswise, or a trifle oblique;
head round.
(6) Kuninaga, in the era of Jireki, son of Kanenaga.
His work resembles that of Sadatoshi; Iori deep; ridge high;
skillful midare; back of the nakago thick; file-marks small and
oblique.
(7) Kuniyuki, in the era of Shogen; called Raitaro.
Blade considerably bent; Iori medium; regular woody grain;
tempered but lurid skin, furrowed; the ' Choji edge' contains
abundant midare in the hilt; wide and straight for six or seven
inches upward from the hilt,-in some there are ' small feet' at
this part, and more at from five to one or two inches above the
hilt; cap round and straight-edged. The back may or may not
show scattered lines; boiling mark fine; glory deep; blade
slender. It might be confounded with the Bizen class, though
it differs from it in its abundant boiling and varying features.
The short sword is rare. The back of the nakago is thick;
file-marked crosswise; thick in its plain and mostly round
headed. Inscription consists of the two letters of his name in
large type. He never inscribes the word Rai.

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Vol. xxvi.] The Japanese Book of the Alncient Swordj. 369

(8) Kunitoshi, in the era of Seio5; called Niji Kunitoshi.

General features resemble Kuniyuki; edge has midare in the
hilt and upper part. In some cases the wide, straight edge has
'feet,' in others the 'Choji edge.' There are also blades of
welded back, 'reverse feet,' 'straight edge' and the 'notare
midare.' In 'sugukas,' it does not boil so much as in ' midare.'
The nakago is like that of Kuniyuki. The inscription does not
contain the letter Rai. These may be classified as the higher,
the middle, and the lower types. His signature has often been
forged, as is also the case with Rai Kunitoshi.
(9) Rai Kunitoshi, the same province as Kunitoshi.
Blade slender; ridge wide; point and Iori rather deep; the
regular woody grain somewhat lurid; boils well, and has deep
glory; generally straight; rarely has 'midare edge' of 'Gonome
type;' cap round.
The short sword is straight, generally narrow, but widenin
toward the hilt; deep reflex line. Other features are identical
with the long swords. Sanskrit letters in running type; ' Ken'
is vaguely marked in the sides, but has middle ridge.
The back of the nakago is angular; file-marked crosswise; thick
back. The inscription consists of the word "R Rai Kunitoshi; "
often in small type, though found in many other types. It is
said that he changed the form of his inscription six times, (con-
sult the catalogue of the Nakago), sometimes inscribing himself
"Rai Minamoto Kunitoshi. "
(10) Rai Kunimitsu, in the era of Shoan.
Blade bent in the middle part and thick; Iori shallow; regular
woody lines; soft stuff-iron; texture fine, showing irregular
spots; skin lurid; point slender; edge straight, straight having
'small feet;' ' notare midare,' 'small midare;' or the wide,
straight edge of the ' Choji type,' or the one resembling Kuni-
yuki; boils well; deep glory; welded back; round cap. It is
said that the beautiful midare was made in his youth, while the
'straight' was constructed in his old age.
Some of the short swords are made straight and others curved;
of the 'straight edge' or 'notare type;' reflex lines, rather
deep; boiling marks very fine; glory deep; other points are
like the long sword. Some have very beautiful thread-like
welding lines; file-mark is crosswise; the head round or bent.
The inscription consists of three letters of " Rai Kuni mitsu,"
or of the four letters of " Rai Minamoto Kuni mitsu."

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 370 E. 1I i timfordt, [1905.

(11) Rai Kunitsugu, in the era of Kagen; it is said that he

came from Kamakura.
Blades different sizes, mainly large, medium and small.
There is also the Tachi sword, (the largest one of all, borne
only by a commander); regular woody lines; lurid skin; small
point; shallow Iori; some having triangular back; figures bril-
liantly cut; furrow wide and shallow; edge is of 'notare';
resembling, but far outshining Kunimitsu; some have midare in
the hilt; welded back; abundant boiling; glory deep; boiling
mark fine in the midare.
The short sword is not curved; it has a wide body and pecu-
liar furrow of the so-called Kunitsugu type. Blades have
notare edge; caps of different kinds; glory deep, and boiling
midare, rarely of straight edge type. In other respects they
resemble the long swords.
The back of the nakago is angular; has crosswise file-mark,
and head round; backs round in some swords. Inscription con-
sists of the three letters of "Rai Kuni tsugu" or of the four
letters of "I Rai Minamoto Kuni tsugu." In his latter years he
became a disciple of Masamune.
(12) Tomokuni, in the era of Sho-wa.
The short sword is bent and rather flat; has Iori and triangu-
lar back; figures of different kinds; ' great notare' edge; some-
times has ' dewy balls'; boils well; cap has deep reflex lines;
some resemble Shizu Sadamune. Some blades are longer and
flatter than others. The long sword is rare; file-mark cross-
wise; head round.
(13) Mitsukane, in the era of Sho-wa. He is called " Chudo
Rai" or "Tatsu Rai " because he made his swords in a Chudo
(temple) in Tatsu of Omi province. He was first a disciple of
Bizen Nagamitsu, and later of Kunitoshi.
Long swords are never found. The short sword droops some-
what; thick body;, deep Iori and back; sometimes has triangu-
lar back; very fine, regular woody lines of the straight edge
type; little midare; cap has deep 'reflex lines' and is rounded
in the middle; rich boiling; thick back; file-mark crosswise;
round head; inscription consists of the two letters of his name.
Some have figures. There is a decided individuality in the cap
of each of his blades.
(14) Ryokai, ill the era of Shoo; son of Kunitoshi; a disciple
of Sadatoshi.

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Vol. xxvi.l The J-pa nese Book of the Ancient Sw1or d. 371

Blade slender; ridge high; fine, regular woody grain; fur-

rowed, shallow back; some of triangular back type; small point.
The edge is 'straight'; 'straight having small feet'; 'small
midare,' that resembling Kunitoshi, or that having scattered
lines and a wide edge at the hilt; boiling rich and fine; glory
deep; cap round; reflex line deep.
The short sword of the straight type, thick; some a trifle
longer than others; straight edge; is of both Shobu and Ukubi
types; there are also medium sized swords.
The back of the nakago is angular; file-mark crosswise; gen-
erally a round head. His popular name is "Mitsushige,"
"Ryohai " being his religious-name.
(15) Nobukuni, there are three generations-Kenbu, Teiji,
and Oei.
The structure is of the furrowed and the 'back' type;
irregular woody lines; lurid skin; shallow Iori; some have a
triangular back and small point; figures frequently occur which
are not distinctly cut; some have the welded back. Swords are
of both notare and midare and of straight type; boils well;
glory deep; cap round.
The short sword is straight, rarely bent; some are long.
There are also middle-sized swords of both the Ukubi and the
Shobu types. In other respects they are identical with the long
sword. Some bear a resemblance to Sadamune.
As for the works of Teiji and Oei, the short sword is straight
and thick, may be of either straight or midare tvpe; has trian-
gular or Iorn back; the figure and also Sanskrit letters are of
many kinds and designs, such as the spade-shaped lotus flower,
and Amakurikara; the edge is generally wider toward the hilt,
and in some cases the end resembles the work of Sagami or
Bizen, the chief difference being that generally its 'feet of
midare' form a round group, by twos or threes. The back of
the nakago is thick; file-mark crosswise, oblique; mostly round-
beaded. Later blades are round-backed. Of the work of the
three generations of Nobokuni, the first is superior. Many
swords bear identical inscriptions of " Genzaemon," " Gengoro,"
etc. Among the older works some have their signature deflect
ing low toward the left. Later works have the word Kuni,
wide at the foot. (Consult the catalogue of the nakago.)
(16) Hasebe, in the era of Reio: called Kunishige.

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 372 E. Tn JilE mford, [1905.

Blade slender; point small; mostly a triangular back; Iori

shallow. In some cases the back is round and the blade fur-
rowed; irregular woody texture; beautiful but lurid skin. Its
figures are Ken, Sanskrit letters of spade-shaped lotus flower,
Amakurikari, etc., which are of many varieties, but loosely
designed and unskillfully carved; many swords resemble the
blades of Hiromitsu, Akihiro, Nobukuni, etc., but there is
always a strong individuality of the cap and kayeri (reflex).
The cap generally has a woody texture; but sometimes possesses
the straight edge.
The short sword is curved; wide and thin; some are straight-
edged, and exceedingly thin; many are of the elongated, flat
type; kayeri is very deep. In other respects they resemble the
long swords.
The back of a nakago is round; file-mark crosswise; point
slender; head round. The letter Kuni differs from the usual
form. He was a disciple of Masamune.
The works of Kuninobu and his school resemble the blades
of Hasebe, but are vastly inferior.
(17) Heianjo, in the era of Bunwa.
Blade thin and considerably bent; backs vary; Iori shallow;
small or sometimes middle-sized point; of the great notare edge;
deep kayeri; cap round, with boiling marks; figures in great
variety, such as Kurikara. The works of Mitsunaga have
'great notare' and 'small, mixed midare.' Some occur which
are of the straight type toward the point, but of 'midare of
the notare,' and ' Gunome' toward the hilt. Those of Hita-
tsura are rare.
The short sword is longer, bent and thin. In other respects
it resembles the long sword.
The back of the nakago is round; file-marks crosswise, or
sometimes small oblique; head round; slender point.
(18) Masamune (Darma), in the era of Bunkwa.
Mostly round-backed; regular woody texture; small midare;
fine notare; some boiling; round cap; rather flat; little kayeri.
The short sword is of the straight type. In other respects
resembling the long swords.
The back of the nakago is round; file-mark crosswise or
oblique; head round. The inscription consists of the two let-
ters, the letter Masa being of thin type. It may also be

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Vol. xxvi.i ?'Ie ^Iapjanese Book of the Ancient Sord. 3- 3

inscribed as "Kunishige," "Shigemitsu," "Darma Nyudo,"

"Darma," etc. The point of the nakago is slender.

V. AWADAGUCHI CLASS.

Blade slender; fine, regular, woody texture or a beautiful

irregular, woody texture; the most beautiful example of the
Kyo class; stuff-iron, hard and glittering; body blue and edge
white; has abundant boiling, both rough arid minute; edge not
broad; edge is the 'straight, middle notare,' ' small midare of
Choji type,' with the ' feet' of ' small Choji'; is noble as
becomes so celebrated a name; not easily confounded with any
other work. Figures are grand, skillfully and deeply cut.
Sanskrit letter slender, widening towards the foot; furrow
round-ended, deep and fine in its point; mostly triangular back.
The back of the nakago is angular, a trifle slender, full in
some blades; filing-mark crosswise, oblique, or great oblique;
mostlv round head.
(1) Kunitomo, in the era of Genreki.
Blade slender and curved toward the hilt; ridge a trifle thin;
body thick; Iori deep; back triangular; regular woody texture;
fine, beautiful skin; straight edge has rich boiling; the double
edge also occurs; round cap; welded back.
The structure of the short sword droops somewhat and is
narrower; Iori medium. In other respects resembles the long
swords.
The back of the nakago is round; file-mark crosswise oblique;
mostly round head ; inscription is " Kunitorno," " Fujibayashi
Kunitomo," or the initial.
(') Norikuni, in the era of Kemp5.
The long sword is rare. Blade slender and considerably
curved; welding fine; triangular back; medium Iori; edge of
'slender straight,' or of the 'notare' type; boils well; no kay-
eri; close welding; fine point; some show a fine woody texture
on the edge. His straight-edged swords are said to be superior
to the midare types.
The short sword is of the straight type, rather smaller; mid-
dle or slender, straight edge; boils finely; cap round; carved
figures resemble those of Awadaguchi.
The back of the nakago is thick; crosswise file; round head.
(3) Kuniyoshi, in the era of Kwangen.
VOL. XXVI. 25

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 374 hi'. TV. XlfnIjord, [1905.

The short sword is of the straight make; body medium; tri-

angular back; same figure as Awadaguchi; mostly furrowed;
fine, beautiful skin; 'Futsura' plentiful; of slender, straight
edge or straight edge; cap round; some blades closely resem-
bling Yoshimitsu's work. Tachi (the great commander's
sword) is rare; slender and straight-edged. In other points
resembling the short sword.
The back of the nakago is angular; file-marks crosswise;
round head.
(4) Yoshimitsu, in the era of Bunei, the son of Kuniyoshi,
called Toshiri.
The short sword is of the straight type, though somewhat
drooping, narrow and small; of uniform medium thickness; tri-
angular back; middle Iori; fine; beautiful stuff-iron, with a
peculiar texture of skin; some closely welded; of the brilliant,
straight-edged type, which is slender about the hilt; wider in
the middle, and closely and strongly welded at the point. In
some cases it has 'small midare' toward the hilt; 'straight
edge' at the point, and finally welded at the Fukura; some-
times with midare; cap round; some have the ' flaming end'; it
is said that those blades of which the kayeri is shallow are sure
to have no cap which is not round and no hilt which is not
straight-edged; boiling mark fine and coarse; glory deep; pre-
fatory welding is done before the edge is welded; the same
figures as Awadaguchi. He made but few long swords, all of
which are slender; ridge high; furrow reaching to the hilt;
midare edge; in other points resembling the short swords;
angular nakago back; round head; file-mark crosswise, and
beautiful, but almost invisible.
(5) Hisakuni, in the era of Genreki; called Yoshiro.
Slender blade; small point; a little wider ridge; medium
breadth and thickness; generally triangular back; Iori and fur-
rows rare; fine, beautiful skin; ' middle straight edge' or ' small
midare edge'; rich boiling; clear edge; sometimes having
deep 'feet' at the centre; round medium cap; some closely
welded.
The short sword is both straight and bent; medium breadth
and thickness; triangular back; Iori deep; in other respects
resembling the long swords. Most blades have Awadaguchi
figures.

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Vol. xxvi.] ?IThe Japanese Book of the Ancient Swordl. 37a

The nakago is thick in back; file-mark great oblique or small

oblique; point slender; head round.
(6) Kuniyasu (Tosaburo), in the era of Genreki.
Slender blade; point small; Iori medium; rarely furrowed; is
of 'small midare,' combined here and there with ' Choji;' has
also 'boiling,' 'lightening,' 'scattering mark,' 'balls,' etc.
Some have a 'straight edge,' combined with a 'little midare';
cap round.
The short sword is rarely found, and is of the straight type.
Nakago is thick in the back; file-marks great oblique; round
head.
(7) Kunikige, the same as above; called Shirobyoye.
Blade resembles that of Kuniyasu; triangular back, wide in
the middle; uneven texture; straight edge, similar to Kuni-
yoshi. But long and short swords are closely welded at the
point. The file-mark is oblique.
(8) Arikuni (Togoro), the same province as Kunikige.
Blade slender and considerably bent; ridge high; similar to
Kunitomo; skin fine; texture almost invisible; have nakago
obliquely filed; has the 'black spot,' like the Bit-chlf class;
some with irregular, woody lines; slender, straight edge; boils;
has glory and 'chikei; ' cap round; nakago with thick back;
file either crosswise, oblique or great oblique. He later lived
in Kamada of Omi.
(9) Kunitsuna, called Sakonshogen Goroku; in the era of
Kencho; afterward emigrated to Sagami.
Blade slender and long; point closely welded; ridge a little
wider; Iori shallow; furrowed specimens are rare; edge of the
wide, straight-edge type, with the small midare of the Choji
type, although some have the midare near the hilt; boiling
mark rough; also with 'chikei,' 'lightening,' or 'sunagoshi '; the
waist edge is one or two inches above the hilt and comes like
smoke from the welded mark, although in some specimens it
occurs as usual; in wide edge, this will be seen by turning the
blade one or two inches.
The short sword has no pointing at the waist edge; kayeri is
deep; boiling especially rich; both the edge and the stuff-iron
brilliant; nakago with round back; file, crosswise oblique; plain,
thick; head round.
(10) Kunimitsu, in the era of Kwangen.

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 3t6 -E. TaE Jlu"nford, [1905.

Ridge high; welded mark fine and highly tempered; slender,

straight-edge type; beautiful boiling mark; inscription of the
S6 type.
(11) Kikuzukuri, in the era of Genreki.
Some say his blades were really made by the Emperor Gotoba.
The blade resembles Norimune's work; ridge make; Iori and
back shallow; point small; very beautiful skin; 'choji edge ;'
some combined with the 'reverse feet ;' has 'balls,' 'lighten-
ing' and ' chikei; ' some specimens have a fanciful midare;
deep glory; rich boiling. The nakago, being made by Nori-
mune and others, has no definite file-mark; round head. In the
hilt the figure of the Kiku (chrysanthemum) is cut, its diameter
being 45 sun, and the number of its petals being 16, 24, or 32.
This is most curious work.
(12) Nakajima Rai, in the era of Embun; three generations
of Rai Kuninaga worked with him; lived in Settsu.
The furrowed blade and point present several varieties; regu-
lar woody line; shallow Iori; triangular back; middle, straight
edge; round cap; with glory and boiling; resembles the inferior
works of Kunimitsu.
The short sword is of the bent type; breadth medium; with
both straight edge and midare; cap of various forms; furrow
and back of many sorts; file crosswise; head generally round.

VI. KAMAKURA CLASS.

Blade rather wide; ridge narrow, and slightly bent; point

rather long; Iori deep; triangular back, with a wide center;
irregular woody lines; wide edge; rough boiling and 'suna-
goshi' (scattered line) ; cap large; ' kayeri' deep; welded
mark; square Sanskrit letter; chisel mark, wide; rather long;
point sharp. The Sankodzuka has its 'Tagane' more shallow
than in the 'Ken.' The furrow does not reach the top of the
small ridge; furrow point droops in order to widen the appear-
ance of the edge and is unusual ; toward the hilt it is smoothed
away or ends brokenly. The ornamental figures incline to the
center.

The short sword presents varied types, chiefly straight before

Sadamune, but after his period either straight or bent; file
crosswise or crosswise-oblique; back angular; sometimes round;
head both angular and round.

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Vol. xxvi.] The J pctwese Book o/ the Amciertt &Sword. 377

(1) Kunimune, in the era of Kocho; called Saburo; born in

Bizen, and the ancestor of Sagami.
His work is described under the Bizen class; edge with either
small or large midare, the latter sometimes having a stain, and
some being slightly boiled. In all other respects his work is
like that of the Bizen class.
(2) Kunimitsu, in the era of Sho6; son of Awadaguchi
Kunitsune and a disciple of Kunimune; called Shintogo.
The short sword is of the straight type, but rather narrow;
triangular back, with wide center and deep declivity; fine and
beautiful irregular woody lines, although lurid in parts; slender
straight edge, with fine boiling mark; with ' lightening,'
'chikei,' etc.; edge generally somewhat narrow at the hilt,
widening toward the point; woody texture on the edge; cap
round; 'kayeri' deep; figure, Ken; Sanskrit letter, furrow and
Gomahashi; specimens without a figure are rare.
Tachi and long swords are rare; point quite narrow, but in all
other respects like the short sword; nakago with round back;
file crosswise; head round.
(3) Kunishige, in the era of Shoma; called Shin Togoro.
His blades are like those of his father, Kunimitsu, but the
edge is broader and the cut of the Sanskrit letter is more shallow.
(4) Kunihiro, of the same province as Kunishige.
Blade rather wide; generally with middle straight edge;
figure larger and more free, somewhat resembling the work of
Ral Kunitsuge, but in all other respects like the blades of his
father, Kunimitsu, although his nakago is wider and thicker in
the end than the work of his father and brother (Kunishige).
The two brothers afterward inscribed as Kunimitsu.
(5) Sukezane, in the era of Bunei.
Blade wide; ridge narrow; the point rather long, resembling
the work of Bizen Sukezane. Some specimens have a round
back, and retain striking characteristics of the Kamakura class.
He became more skillful after he came to Kamakura. Very
brilliant 'Choji midare ;' with 'glory;' scattered line; 'balls,'
etc., while some blades have 'notare midare,' ' rough boiling,'
etc.; file oblique; head round; head rarely angular, or with
great 'higaki.'
(6) Yukimitsu, in the era of Bunei; called Tosabura; a disci-
ple of Kunimitsu.

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 378 E. TV. ][fumford, [1905.

Blade slender and rather long; irregular woody texture; tri-

angular back, wide top and deep or medium declivity; point
extremely varied; in type, wide, straight, 'midare,' ' notare,' or
' hitatsura;' boils well; with 'lightening,' 'sunagashi,' or very
irregular midare, etc.; cap round; deep ' kayeri.'
The short sword is of the straight type, and very rarely bent;
breadth and thickness extremely varied; edge slender towards
the hilt; all other details are like those of the long sword;
nakago angular in back, or a little rounded; file crosswise; head
generally angular, although some specimens show the oblique in
the ridge and crosswise in the plain, with round heads.
(7) Masamune, in the era of Sho3 and Kenbu; a son of Yuki-
mitsu and a disciple of Sintogo Kunimitsu; called Gorff Nytido.
Blade wide and only slightly bent; triangular back with wide
top and deep declivity; sometimes with Iori back: point rather
long, although the small point also occurs; beautiful irregular
woody texture; 'edge midare' or ' notare midare;' boiling
rough and rich; with 'lightening' and 'sunagashi;' and, in
some specimens, ' balls' resembling 'Choji' in miniature; some
elements of 'small notare;' rich 'glory;' figures in Kamakura
style; cap round, sometimes closely welded, or with scattered
lines.
The short sword is of the straight type, although sometimes
a little bent; breadth and thickness medium; edge slender
toward the hilt; in all other particulars the same as the long
sword. The back of the nakago is angular; file crosswise or
angular. The back of the Tachi's nakago is round, and all
blades of his are said to have figure, Ken, and fuarrows, speci-
mens without figures being rare; the inscriptions consist of
two words; although it is said that he signed the 'straight-
edge' blades only, not those of 'midare.'
Many varieties of the midare of this. artist, such as ' Tan-
zaku,' 'fan-shaped,' 'opened fan-shape,' 'half-moon,' etc.,
were classified by the old book, but I have omitted them since
they are liable to be confusing to beginners, and similar midare
appears in the works of Sukesada and other inferior smiths.
As this celebrated artist made blades of extreme variety, we
ought to judge them by their general features, for if we rely
only upon their welded marks, which are common to all swords,
we shall be greatly deceived; but since he was the great and

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Vol. xxvi.-I The Jipanese Book of the 1ncient Swordl. 379

matchless swordsmith, his work has some distinctive and char-

acteristic marks.
(8) Sadamune, in the era of Kenbu; called Hikoshiro.
Blade like Masamune's, but somewhat flatter; the same state-
ment holds true of its back, point, and welding; generally fur-
rowed; many are of the 'notare,' 'midare,' and 'ball-edge'
type; with rich ' boiling,' ' sunagashi,' and 'lightening.' They
greatly resemble the blades of Masamune, but have some ele-
ments of ' Notare;' cap round.
The short sword is of the bent type, and wider; some con-
siderably bent, but more thick; some flat specimens are very
long and slender toward the hilt; deep ' kayeri,' figure of
'Ken,' Kurikara, Sanskrit letter, etc., in the Kamakura style,
or, in other blades, of ancient Nobukuni, etc.; all have figures;
back of nakago angular; file oblique; head pointed and angular;
some specimens with round back; file crosswise, or crosswise
oblique, the file of the back being the same as that of the plain.
Once he inscribed as Sukesada. The blades wrought by him at
Takaoi of Omi are somewhat inferior, and these are inscribed
Hiromits u, and have the same nakago as the Kamakura work.
(9) Hiromitsu, in the era of Kenbu; called Kurojiro.
The short sword is of the bent type, wide and thin; back tri-
angular; top wide; deep declivity; some specimens are
extremely long; irregular woody lines; edge of the Hitasura
type, with numerous 'balls,' wide toward the point; 'kayeri'
deep; cap with boiling, or very irregular midare; back fre-
quently welded; rarely with straight edge. Long swords by
Hiromitsu are very rarely seen; they are wide and only slightly
bent; ridge somewhat high; furrow deep; quality superior to
that of the short sword, which they resemble in all other
respects; figures such as Ken, Sanskrit letter, and Kurekara,
intricately engraved. Many specimens resemble closely the
blades of Hasebe, etc. The back of the nakago is angular; file
crosswise; head and back of the blade round; signature 'Hiro-
mitsu, a native of the province Sagami." The uppermost line
of the word Hiro is perpendicular. Another consists of the
two letters. This is also the case with Hiromasa. Different
men sometimes use the same signature.
([0) Akihiro, in the era of Bunwa; younger brother of Hiro-
mitsu; called Kurosaburo.

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 380 W. 1 . ]iramjord, 11905.

The general features of the short sword are the same as the
blades of Hiromitsu; midare small; scale large; quality superior;
wide sword is very rare; considerably bent and rather slender.
The long sword is rare and unskillfully wrought; its blade is
much bent and rather narrow; figures numerous and similar to
those of Hiromitsu; nakago also the same as Hi romitsu's;
signed " Native of Sagami;" the letter Ahi is a So type; the
under points of the letter Hiro are oblique. He was a disciple
of Sadamune. Even those who were not the disciples of Masa-
mune became more skillful after they came to Kamakura than
they had been before. Of such men further details are given
in the chapter of their genealogy.
(11) Shimada, in the era of Kosei; lived in Suruga; called
Yoshisuke.
Blade of various forms, including swords of medium size;
Iori rather deep; some specimens show triangular backs and
furrows; point varied; irregular woody texture; in type
'notare;' large scale, or Hitasura; some specimens show a richly
boiled woody texture, while others have midare of the ' Gunome'
type, resembling that of the Sagami class; the straight edge is
rarely found; cap is round, has a deep 'kayeri,' and, in some
specimens, a scattered midare. The figures are varied.
The short sword is of the slender, straight edge, or of the
'small midare ' type; bent wide and shallow, although some
specimens are straight and narrow. In all other respects they
resemble the long sword; back of the nakago thick; file cross-
wise; point slender; head round; signature unchanged for
many generations.

VII. MINI CLASS.

Most of the swordsmiths of this class came from Yamato,

and their blades, therefore, resemble those of the Yamato class;
edge straight or midare with 'feet.' Ancient specimens show
the regular woody texture, but modern blades have the irregu-
lar woody texture; in the work of the Shizu school we see rich
boiling. There are many skillfully wrought blades, even
among the later swords; file mark chiefly Higaki or hawk's
feather; or, in some specimens crosswise, or the small oblique;
head generally round; in the works of Senjuin some blades are
crosswise in the plain and oblique in the ridge. Both ancient

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Vol. xxvi.] TYlle Japcanese B-ook 'f the Ancieet Swrordl. 381

and modern swords rarely show the cut and the furrow; ridge
usually narrow.
(1) Kaneuji, in the era of Gen 0; a native of Shizu.
Blade, back, and point vary in form; Iori ordinary; some
specimens show the triangular back, the irregular woody tex-
ture, and the furrow; boils well; midare somewhat rounded,
and some specimens have 'balls'; cap round.
The short sword occurs in various forms, and resembles the
long sword; some specimens show the straight edge, which,
in its finest instances, resembles Samoji's work. Generally
speaking, this school of Masamune is distinguished by its small
kirikake. The back of the nakago is thick; file crosswise and
Higaki; head round. There are many generations of the house
of Kaneuji, the later ones being inferior. He afterward became
a disciple of Masamune.
(2) Kanenobu, a disciple of Kaneuji; called Naoe Shizu.
Edge with ' Gunome midare,' having 'sunagashi,' in the style
of the Sheki class; boils well. There is also a school named
after Naoye Shizu, who was a native of Shiga in Awari.
(3) Kinju, in the era of Sho5e; a disciple of Masamune.
Blade of various forms; Iori ordinary; some specimens have
the triangular back and furrow; point and welding varied;
irregular woody texture; midare of the notare type, and small
' Gunome' ; has boiling and resembles the minor work of Shizu;
round cap.
The short sword is wide and bent; straight-edged in some
specimens; in all other respects like the long swords. The
back of the nakago is thick; file crosswise; head round.
(4) Kirigio, son of Kinju; in the era of Kenbu.
Edge straight combined with ' Gunome,' or the midare of the
Notare type; boils finely.
(5) Tametsugu, born in Et-chu; a son. of Yoshihiro, and a
disciple of Norishige.
The short sword is bent; shallow Iori; triangular back; of
the midare type; well boiled or of 'small Gunome,' or of the
straight edge form, having 'small feet' or with the edge simi-
lar to that of Kinju's; cap round; file crosswise oblique.
(6) Senjuin, in the era of Sho5; lived in Seki.
His blades are generally of the midare type and irregularly
boiled; generally retaining the character of the Seki class;

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 382 E. It' iAiluford, [1905.

woody texture on the edge, like the work of Shizu and Naoye,
and rich boiling like Hitatsura's blades; some specimens resem-
ble the Sagami class; file crosswise, but oblique in the ridge.
His native country was Yamato, but he afterward removed to
Mino. There were many generations of his house.
(7) Kaneyoshi, in the era of Keireki; called Seki Yoshisada.
Blade slender; ridge narrow; fine; regular woody texture;
some swords show the straight edge combined with the 'small
midare'; boils slightly; some blades with the Gunomne midare;
cap round.
(8) Kanesada, in the era of Bunkei.
Midare large; boiling and with deep glory. He was the
greatest swordsmith of his age, and his good blades resemble
those of Samoji and Shizu.
(9) Hoju, in the era of Teio; a native of Mutsu.
Blade sometimes narrow; point small; Iori shallow; back tri-
angular; irregular woody texture; loose; of the straight, or of
the midare type, or else resembling the work of Nobukuni, or
of Sheki; some boil, and others not; cap round; figures, the
Sanskrit letters, spade-shaped lotus flower, etc., which resemble
those of Hasebe, although inferior to his work.
The short sword is either of the straight or the bent type;
in all other respects resembles the long sword. The back of
the nakago is thick; file crosswise; head round.
(10) Getsusan, in the era of Geno5 to Meireki; lived in Mutsu
or Dewa.
Blade ordinary; small point; furrowed; common Iori; skin
the famous ' Ayasugi' (beautiful woody texture of the tree
'sugi'); some do not have this skin, while it appears in others;
often split.
The short sword is of various forms; rather small, but some-
times medium; in all other respects resembles the long sword.
The back of the nakago is angular or round; file crosswise,
or oblique; head round; edge elevated.

VIII. NORTH COIUNTRY CLASS.

Its boiling mark is mostly deep; has some 'sunagashi'; the

scattered line is inferior to the work of other countries, although
this is not invariably the case. The later works show deterior
ation both in shape and in stuff-iron.

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Vol. xxvi.] TRie JAptcanese Book of the An2cient Swordl. 383

(1) Fuyuhiro, in the era of Koshi; lived in Wakasa.

Blade and Iori ordinary; triangular back and furrow; point
rather small; some have the woody texture, which is sometimes
very beautiful; ' notare straight,' or ' Gunome midare ' in type,
and either large or wide edge. Some specimens are hard with-
out boiling, while others boil; some have deep 'glory.'
The short sword is of various forms; some are medium in
size; others have points like long swords.
The back of the nakago is varied; file crosswise or oblique;
head round, and higher toward the edge. He was a grandson
of Hirotsugu. Many generations succeeded him.
(2) Kuniyasu, in the era of Oei; lived in Echizen.
Blade wide and rather thin; lori deep; back triangular or
round; regular woody line; some stiffness will be found in the
stuff-iron on account of premature welding; edge of the 'Gu-
nome' type, combined with the 'reverse feet,' or the straight
edge, resembling Fujishima's blades; boils; some specimens
have the welded back; woody texture on the margin of the
edge. The short sword resembles the long; signed Rai Kuni-
yashu. The back of the nakago is angular; file great oblique.
He is called Echizen Rai; born in Kyo, a descendant of Rai.
(3) Morihiro, in the era of Oei; son of Kuniyasu; lived in
Echizen.
Blade wide; edge of the notare type or much scattered
notare; back of the nakago round; signature of-two letters.
(4) TUnozu, in the province of Et-chui.
Blade and point of various forms; furrowed; lori shallow;
back triangular; edge of the great straight or midare type;
some specimens are brilliant, and have ' scattered lines,' ' light-
ening,' etc.; cap varied, some having the irregular midare, and
others the round; boils well; some blades are so excellent that
they are confounded with the Sagmi class; others show the
slender, straight edge. The works of Niudo Kunimitsu are
the best of this class. Many have the woody texture, and the
large, boiled, straight edge, etc., while others look like new
swords. The quality of the blades is uneven. Generally we
see the ' stinagashi' on the edge, and sometimes the woody
texture.

The short sword is of many forms; some are medium in size,

while others resemble the long swords. The nakago is some-

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 384 E. TV llXumiforcl, [1905

times round in the back; file crosswise; head round; signed

with the letter Kuni.
(5) Yoshihiro, in the era of Kenbu; lived in Et-chli.
Blade is long and bent; ridge rather wide; lori deep; fur-
rowed; point sometimes long, although certain specimens have
the small point; irregular woody texture; skin very fine; large
and wide notare midare; fine, abundant boiling; deep glory;
midare always toward the hilt and broad in the side; cap round;
kayeri deep; some blades have the 'straight midare' and are
beautiful. The swords of Yoshiro greatly resemble those of
Masamune, but the texture of the latter is rough and active,
while that of the former is fine and diffuse; the blade is like
the finer work of Masamune.
The short sword is rare; straight type, although some
specimens are bent and have the triangular back.
The nakago has an angular back; file crosswise; point sharp,
shallow, angular head; signature generally lacking. The
swords made by Yoshihiro during his residence in Kamakura
and signed Yoshihiro, are called Kamakura Go. He was a dis-
ciple of Masamune. There was another swordsmith called
Yoshihiro of the Senjuin class, but his work is very different
from that of Yoshihiro of Et-chil.
(6) Norishige, in the era of Seichil; called Gofukfi Go; lived
in Et-chft.
Blade long and considerably bent; ridge rather wide and
high; furrowed; deep Iori; triangular back; points varied;
irregular woody texture which is very beautiful, and found
both on the body and on the edge;- some blades have no skin,
but are of close and beautiful welding; well-boiled midare;
with ' sunagashi,' 'lightening,' or 'notare midare '; only rarely
of the straight edge or of the 'large midare' type; cap round
and with deep 'kayeri.' When Norishige was a disciple of
Yoshihiro, his work had the small ridge and an edge which,
melting into the stuff-iron, rose high like smoke. When after-
wards he became a disciple of Masamune, his blade became
very beautiful, with a strongly welded point.
The short sword is of the straight type, narrow and thick,
but in all other respects resembles the long sword. The
nakago has an angular back; file crosswise; head round;
inscription of the wide cut, although some are cut in the Ken

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Vol. xxvi.] The Japanese -Book of the Ancient Sword. 385

shape; signed sometimes as Sayiki Norishige, a native of Go-

fuku, in the district of Nei, of the province of Et-chui.
(7) Sanekage, in the era of Kenbu; a disciple of Norishige;
lived in Kaga.
The short sword is bent; Iori common; back triangular;
midare combined with 'Gunome,' or with ' boilino notare,' or
with ' straight edge,' or with one like the work of Fujishima;
cap round and deep; kayeri. The long sword is rarely seen.
The back of the nakago is angular; file crosswise; head round;
signed Fujiwara. Sanekage was born in Et-chla, but afterward
removed to Hoki and Echigo.
(8) Tomoshige, in the era of Rareki; a disciple of Rai Kuni-
toshi; lived in Fujishima of Kaga.
Ridge narrow; Iori common. Some blades shallow and with
triangular backs; point small; of the 'middle Gunome' type,
with round or irregular midare, having the straight or the
double edge only rarely. No blades of this artist's work are
brilliant, and many resemble the swords of the Seki or Bizen
class; cap round or irregular.
The short sword is of various forms and similar in structure
to the long sword. Some specimens are of medium size. Tomo-
shige was a native of Echizen. The nakago has an angular back;
file crosswise or crosswise oblique; head angular with sides of the
edge somewhat long, which is a general characteristic of Kaga.
(9) Nobunaga, in the era of Oei; lived in Kaga.
Middle Gunome or small Gunome in type, or with an edge
resembling Fujishima's work. The short sword has the straight
edge. In all other respects his blades resemble those of Fuji-
shima.
(10) Hoseiji, in the era of Kenbu; lived in Yajima; called
Kunimitsu.
Blade slender; irregular woody lines; small point; shallow
Iori; made many halberds; some of medium size, or of the
'Shobu' class; edge of the 'Choji,' or 'great midare' type,
with 'deep feet'; most specimens are not 'boiled,' but have
deep 'glory.' Some blades are of small size, or of the ' Ichimoji'
type, or the straight edge. The cap is closely welded. In the
case of the halberds the point is usually welded softly for two
or three inches. The short sword is rare; but it is straight and
narrow.

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 38G E. Th ]Jlurnforrd, [1905.

The nakago has thick back; file crosswise; head rather larger
and round.
(11) Kagemasa, in the era of Seio; lived in Inaba.
Blade slender; ridge high; point small; Iori deep; back some-
times triangular; wide,, straight edge. Some specimens are of
the ' notare,' or 'midare,' or the ' Seki type,' or with the
straight edge and 'feet,' or a little boiled; cap round, or, in
some blades, with ' scattered lines.'
The short sword is straight and narrow, generally of the
straight edge type. The nakago has an angular back; file
crosswise oblique; head round; the letters of the inscription are
rather long.
(12) Yasutsuna, in the era of Daido; lived in Hoki.
Blade long and wide; ridge narrow; point small; Iori either
shallow or deep; irregular woody texture; with ' small midare';
well boiled; has ' lightening' or ' sunagashi.' Some specimens
have the notare edge; cap round; noble and giving all evidences
of great age; file crosswise; head round; inscription large;
'Ken' and Sanskrit letter deeply cut and short.
(13) Sanemori, in the era of Showa; lived in Ohara of Hoki.
Blade long; Iori shallow; point small; lurid, irregular, straight
edge, with small midare; some blades show the 'Choji edge' or
'Uchinoke'; boils; cap round; 'Ken' and Sanskrit letters
deeply cut; file oblique, either small or large; head round;
signature long, wide letters, Ohara Sanemori, of the Province
Hoki, or Getsu kei Unkyaku.
(14) Doei, in the era of Kakitsu; lived in Izumo.
Blade sometimes medium size, and sometimes of the 'Sh6bu
type' ridge high; point small; Iori varying with round 'Gu-
nome,' 'midare' or 'Hitatsura,' or having welded back, either
with or without boiling, or of the slender and hard, straight
edge, or of the type with 'small feet'; with the furrow and the
figures cut near the center.
The short sword is both straight and bent; nakago with the
thick, or the angular back; file middle oblique; head generally
round.

IX. IWAMI CLASS.

There are long swords, medium swords and short swords.

The ridge is narrow; point varied; Iori both deep and shallow;

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Vol. xxvi.] The 1Japanese Book of the Ancient ATemoral. 387

some specimens with triangular back; irregular woody texture;

edge of the medium and small Gunome types, or with the
notare midare, or with scattered boiling, or with the straight
edge; cap varied; figure in the centre, as in Sagami's work.
The nakago has the round or angular back; file crosswise
oblique or small oblique; head angular, with the longer side
toward the edge. In Tadasada's blades, however, the file-mark
is the great oblique, while some of Sadasuye's swords show the
crosswise file.
(1) Naotsuna, in the era of Kenbu; a disciple of Masamune.
Many of his blades are of large size; point small; cap round.
The short sword is bent, while the other forms resemble the
Iwami class.
(2) Sadatsuna, in the era of Meitoku.
Most blades with scattered boiling. The short sword is
slightly bent; midare of the Utsu type, although some speci-
mens show the 'reverse midare.' In all other respects his
swords resemble the work of their class.
(3) Tadasada.
Blade rather wide; of the crowded ' small Gunome,' or of the
'great Gunome' type. The short sword is rarely seen; cap
round; in all other respects showing the peculiarities of the
Iwami class.
(4) Sadasuve.
The long sword is rare. The medium and short swords are
slender and straight; with the straight edge, or, occasionally
with midare; cap round. In all other respects these blades
resemble the works of the Iwami school.

X. BIZEN CLASS.

(Works before Genreki are spoken of as belonging to the

'Old Bizen' class.)
The blade generally has a strong appearance; bent at the
middle; Iori sharp or medium; regular or irregular woody tex-
ture. Old Bizen has the round welded marks; boiling fine,
never rough, but generally scanty. It has deep ' glory.' The
edge is of the 'midare; ' the ' Choji,' or the straight edge type
having ' feet.' Some have a very close resemblance to the Ky3
class, which, however, has richer boiling, a welded back, and
not so much curve as the Bizen class; also like the school of

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 388 E. V Xlfumjord, [19(5.

Ichimoji, Rai Kuniyuki, Kunitoshi, or Sadatoshi. Some of the

Old Bizen work is like Awadaguchi, having no ' feet' and
rarely the ' pure straight edge.' The cap is generally sharp,
having kayeri; very rarely round. The figure designs are
generally slender; " Kurikara " and "Ken" are mostly cut
narrow and placed in the ridge; the Sanskrit letter is unskill-
fully executed, being open, short, and pointed. Furrow
reaches to the small point, furrow point follows the form of the
small point of the blade. Most blades have the second furrow
which reaches to the nakago. From the era of Hochi on, the
furrows are generally wide and shallow, having a round end.
Its 'Ken' has the middle ridge; and Sankozuke is deeply cut.
Later works may have boiling or not; some have the woody
texture, but, being coarse, may be judged as Bizen work at
once; some, too, are like the later Seki works. Welded back
is rare, but occasionally it may be found in the later works.
Generally the Bizen swords have ' shadow color' on the body,
especially in the work of Kanemitsu. The stuff-iron has a
woody texture, called the " Bizen skin; " the iron is somewhat
soft. The short swords are of different kinds, but Old Bizen
and Ichinoji class have no short swords. The file-marks are
nearly always oblique, but in some of the Old Bizen and Ichi-
moji the crosswise mark is found; head mostly round; back
round and angular.
(1) Sukehira, in the era of Eien, province of Bizen.
Blade narrow and long; Iori common; regular woody tex-
ture; boils well; some have oblique skin at hilt; of the skill-
fully made ' midare' or the ' large Choji' type, like Norimune,
Kumotsugu, etc. Some are of the straight edge, mixed with
' small midare;' point closely welded; back of the nakago
thick; file-marks crosswise. Two generations used the same
inscription. The first works are superior, and are inscribed as
" Bizen no Kuni Sukehira." The letter was written thus (k).
Occasionally it is said, the blades were inscribed " Motohira."
(2) Kanehiro, province of Bizen.
Blade narrow and slender; Iori and ridge, medium; point
small; regular, very fine woody line; deep, wide furrow; of
' small midare,' or ' straight edge type' combined with the
'small mnidare;' boils well; woody texture, 'lightening' or
' Ulchivoke' on the edge; some gay, others gloomy. Some

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Vol. xxvi.] -The lJa pnese Book of the Ancient rSword. 389

have a large woody texture on the 'midare,' and sometimes,

the oblique skin at the hilt; cap round or closely welded. The
back of the nakago is thick; file-marks crosswise; head round.
He afterwards lived in Kawachi. Some say that this Kanehiro
is a different man, not Kanehiro of the era of Eien; but perhaps
that is not so, for it is customary to work differently in a
different country.
(3) Sukekane, province of Bizen.
Blade narrow and slender; Iori shallow;' regular woody tex-
ture; some are furrowed; point small; is of the 'small midare'
or the straight edge type, having 'small feet,' although some
specimens have 'large midare,' and others have 'balls' and are
well boiled; cap round; back of nakago round; file-marks
middle oblique; head round. The same inscription is found
among the works of the school of Ichimoji. The letters are of
large and small types, but lack distinction.
(4) Tomonari, province of Bizen.
Blade long and slender; Iori shallow; some have round back;
point small; sometimes the furrow is wide; some have woody
texture; the edge is of the 'small midare' type, some having
'reverse feet,' of the straight edge having ' feet,' of the ' small
notare edge,' or of the ' Choji edge;' cap round; boils finely,
or considerably.
The back of the nakago is round; file-marks crosswise or
oblique; head round. On one side the inscription is (reads),
' (Long live the Lord)', and on the reverse side " Tomonari of
the Province of Bizen." This sword is used in the festival of
the Shogun. Other signatures in use are: " Tomonari,"
"Tomo-nari of the Province Bizen," and "Oho." It is said
that there were three men using the same inscription.
(5) Nobufusa, province of Bizen.
Blade not broad; point small; irregular woody texture; boils
considerably; of the 'notare ' combined with ' Choji ' type;
none has 'great midare.'
The back of the nakago is thick; file-marks oblique; grad-
ually becomes slender toward the point; inscription consists of
the two initials. There were two generations of swor.dsmiths.
(6) Yoshikane, in the era of Choreki.
Blade strong; Iori shallow; small point active, and with
skin; is of the ' middle' or ' wide straight edge' type, having
VOL. XXVI. 26

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 0390 E. }E ]Jfurnford, [1905.

'small midare,' or of the ' Choji edge;' 'edge hard; ' cap has a
little midare or is round and has small 'kayeri.' The back of
the nakago is thick; file-marks of different sorts; head round.
(7) Masatsune, in the era of Eien.
Blade narrow and long; mostly of the ridge make; Iori shal-
low; a fine, beautiful, regular woody texture; point small; is
of the 'small midare' type combined with 'Choji;' or of the
large edge having midare, or of the larger make, or of the
'reverse midare;' has boiling marks.
There were three generations in Bizen that used the same
inscription, but the works of the later generations are inferior;
works of the second generation have ' small midare; ' the third
generation has ' small midare' at the hilt, but are of the
'straight edge ' type upward from the middle of the blade to
the point, which is like Niji Kunitoshi.
The back of the nakago is thick; file-mark crosswise oblique;
head mostly round. There were two Masatsunes called " Ino
Masatsune," besides the Masatsunes of Bit-chii and Tsukuchi,
making five Masatsunes in all.

XI. ICHIMOJI CLASS.

There is no short sword. Larger structure is rare; the back

of Iori is shallow; mostly of the ridge make; point small; is
of ' Choji midare ' type; glory deep; boiling scanty; has the
'reverse midare' both large and small; cap round, sometimes it
has a welded back.
The back of the nakago is thick; file-marks crosswise; head
round. The work of Yoshioka Ichimoji has furrow; point
somewhat long; Iori deep. The edge of the midare of his work
has less glory than Ichimoji, and is ordinary; file-marks great
oblique; straight edge very rarely seen.
(1) Norimune, in the era of Genreki.
Blade slender; ridge narrow; of the ridge make; Iori shal-
low; point small; fine, beautiful, irregular woody texture like
Kyv work; of the 'Choji' edge, having 'balls,' of the 'small
midare,' having ' reverse feet,' or 'IUchinoke,' or of that hav-
ing the broad edge in the point; some boiling mark; very skill-
fully made.
The nakago has thick back, file-marks great or middle
oblique; point slender; head round. Among the Tachi of this

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 Vol. xxvi.] lThe ^Jaesc Book of the Ancient Sword. 391

class there are the works made by the Emperor Gotoba, which
are known as " Kikugukuri." (The details are given under
the Ky6 class.) On the swords which Norimune made, while
he was in the royal service, he signed himself " Norimune " at
the head of the nakago, this being the custom of all the sword-
smiths in the royal service. Sometimes he cut the figure of the
Kiku (chrysanthemum) flower of sixteen petals above his name,
or, again, the word " Ichi " (one). There is another skillful
smith in Nagafune who also uses "Norimune." The edge is
of the ' midare ' in the middle and waist, and of the ' wide
straight edge' in the point; fine, regular woody texture, like
Masatsune; mostly inscribed as "a native of Nagafune " in a
slender type.
The nakago is like that of the royal smith. There are many
men who use the same inscription.
(2) Yasunori, in the era of Genreki; son of Norimune.
Blade slender and considerably curved; ridge narrow; Iori
deep; of regular woody texture; very fine skin; ' small midare;'
boils; like Norimune. Many features are common to both, but
the work of the son is far inferior to that of the father.
(3) Sukemune, era of Genreki.
Blade is wide and longer in its point; Iori common; those
having the inscriptions are slender; like Kunitoshi (of Niji);
of fine, regular woody texture, the 'notare edge' having the
'down feet,' boiling at the point of the 'midare;' some have
'waist edge;' is called Dai (great) Ichimoji; inscription an
engraved Kiku (chrysanthemum flower), and the number
"Ichi "; file-marks oblique; head round.
(4) Sukenari, the same province as Sukemune.
Blade somewhat wide; Iori common; regular woody lines;
'midare' resembles that of Sukemune. Although his work
was inferior when he signed as "I Sukeshi," yet he became skill-
ful after he was appointed royal smith.
(5) Sukenobu, the same province as Sukemune.
Blade slender, fine, regular woody lines; 'small midare,' or
having fine 'Choji;' boils; has unrefined appearance, but is
nevertheless skillfully made.
(6) Nobufusa, the same province as Sukemune.
Blade slender; ridge high; Iori common; regular woody
lines; of the 'Choji edge,' having the 'large midare;' boi
fine; sometimes ' small midare.'

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 392 E. TV. Vlfumford, [1905.

The nakago has the round back; file-marks crosswise or

oblique; head round.
(7) Nobufusa, the same province as Sukemune.
Blade appears strong; stiff at hilt; Iori common; point
small; fine woody texture, of the 'small midare' type, of
which some are equal and slender to the top, and others a little
wider; sometimes of the 'Choji edge ' like Norimune. Cap
round or closely welded.
The nakago has round back; file-marks crosswise, small or
large oblique; head round.
(8) Nobumasa, in the era of Tei o; son of Nobufusa.
Blade thin and slender, resembling the work of his father;
ridge high;. Iori deep; regular woody texture; of the skillfully
made midare, which is closely welded at the point, and some-
what curved.
(9) Muneyoshi, in the era of Genreki.
Blade slender; Iori shallow; point small; fine and beautiful,
regular woody texture; with ' small midare' or ' Choji,' having
'balls;' has 'boiling' and 'glory;' cap round; nakago with
round back; file crosswise, or small or medium oblique; head
round, and generally quite large, with Ichimoji; although in
the blades of Norimune and Muneyoshi it is thin and slender.
(10) Yoshimune, a son of Muneyoshi; in the era of Gennin.
His blades are the same as those of Muneyoshi's, although
some of his edges are stained.
(11) Yoshimochi, a son of Sukiyoshi; in the era of Bunei.
His blades resemble those of Muneyoshi, but are not brilliant,
while some specimens have the straight edge and feet.
(12) Yoshiiye, in the era of Kenreki; the son of Muneyoshi.
Blade slender; Iori common; regular woody lines and fine
woody texture; very fine point; with excellent ' Choji' which is
broad toward the top; some specimens have ' Chikei.' Yoshi-
iye's work resembles Norimune's, yet some say he is identical
with " Sanjo Yoshiiye," whose blades resemble his very closely,
although they are entirely different, the Bijen class having the
nakago inscribed on the ridge as " manufactured by. Yoshiiye "
and with the oblique file, while the Sanjo type has the nakago
inscribed on the plain as "made by Yoshiiye," and with the
crosswise file, besides having its edge well boiled and broad at
the hilt.

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Vol. xxvi.] The efcapaese Book of the Ancient Swtord. 393

(13) Yoshihira, son of Yoshiiye.

Blade curved; ridge high, wide and strong; Iori shallow;
point small; beautiful regular woody texture, but a trifle lurid;
'plain Choji edge' in type, having deep 'glory'; some points
are broad, while others resemble Moriije's work; some specimens
have the 'waist edge,' and others have an edge like a shadow,
sometimes invisible and sometimes visible; cap round; back of
the nakago thick; file crosswise or oblique.
(14) Yoshifusa, in the era of Kenpo.
Blade wide; ridge high; Jori deep; point small; regular
woody lines; lurid skin; of the 'Choji' type, having 'large
reverse midare'; point sharp; some specimens have 'balls,' or
the woody texture both on body and edge; 'glory' deep; no
boiling; caps closely welded; back of the nakago thick; file
great oblique; head round; inscription small.
The three generations of Yoshifusa used the same inscription,
but in larger type; all have the 'Choji edge.' There was also
another swordsmith of the same name, whose edge is straight
and with 'small midare,' while still andther lived in Bit-chf,
the two being sometimes confounded.
(15) Yoshimoto; son of Yoshifusa.
His blades resemble those of Yoshifusa; some have ' midare'
and ' Choji,' but the edge has a hurried and ordinary appear-
ance. He was an adopted son of Sukeyoshi.
(16) Sadazane, of the same era as Yoshimoto.
Blade somewhat slender but thick; ridge narrow; Iori deep;
fine, regular woody texture with visible 'waist edge'; of1 the
' notare ' type, with brilliant ' reverse feet'; the ' Choji edge' is
rare; upper edge broad. In the cap, the round, straight edge
has a slight 'kayeri,' and has a har1, loose appearance, with
fine boiling marks.
(17) Chikakane, in the era of Koan.
Blade slender; Iori deep; point small; woody texture; of the
'small midare' type, as in the blades of Bijen, or Yoshihira;
midare scanty toward the point; boils gradually; cap round;
back of the nakago thick; file oblique.
(18) Norifusa, in the era of Kenpo; son of Sukefusa; lived in
Takatsu; called " Takagama Umanoj 6."
Blade much curved; ridge thick; lori common; regular
woody texture; stuff-iron with a clear hard back; ' Choji' both

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 394 E. TV Miunmford, [1905.

large and small; irregular "feet" which may be seen on the

blade, combined with a brilliant ' small midare.'
(19) Koresuke, younger brother of Norifusa.
Iori shallow; point small; rich woody texture; lurid skin; of
the straight edge type, with 'small midare'; cap round; back
thick; file oblique; head round.
(20) Sukezane, in the era of Buni; younger brother of Kore-
suke; disciple of Norimune.
Blade is considerably curved and long; ridge average and
strong in formation; point and Iori average or shallow; irregu-
lar woody texture; skin fine. Some blades have the welded
back like the large swords of Ichimoji; 'midare' and 'Choji'
large; some specimens are well boiled, and the 'choji' of certain
ones is very brilliant and noble; edge exquisite and clear; cap
round; back thick; file small oblique; head round; inscription
biliteral. Sukezane became more skillful after he removed to
Kamakura. He was the ancestor of Togenji.
(21) Sukemitsu, in the era of Teiei; called Yoshioka Ichimoji.
Blade long and stiff; Iori shallow; fine, regular woody edge;
'small midare' with 'reverse feet,' and, in the upper part,
straight edge, with 'small feet'; file oblique; head generally
round; inscribed with his initials, or "Sukemitsu, a native of
Yoshioka of the province Bizen."
(22) Sukeyoshi, in the era of Kenpo; was the father of Suke-
mitsu.
His work resembles that of Sukemitsu; edge broad, with
'reverse midare,' as in the blades of Ichimoji; some specimens
are of large size.
(23) Sanetoshi, in the era of Teiji; son of Yoshizane.
Blade slender; ridge rather highly curved; Iori shallow;
regular woody texture; rough skin; fine woody texture both on
body and edge; edge with 'small midare' at the hilt; and 'large
Choji' in the centre, which lacks distinction. In some speci-
mens, resembling Moriiye's work; 'scattered feet' appear
toward the point. Some blades have 'Sunagashi,' and others
have 'shadowy waist edge'; cap broad; file oblique. Hiroyo-
shi, the son of Norifusa, and two other men in the era of Sh36,
used a similar inscription.
(24) Kunimune, in the era of Rekijin; removed afterward to
Sagami; called "B izen Saburo."

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Vol. xxvi.] The Japanese Book of the Ancient Sword. 395

Blade long and thick; point slender; Iori shallow; irregular

woody texture; rough and lurid skin; the edge has rich 'midare'
at the middle; some 'notare' tending upward and toward
the point; generally of the wide, straight edge type, having
deep 'feet'; some are of the 'Choji' edge type, both large
and small; stains on the edge are frequent; cap round and lacks
rich boiling marks, perhaps owing to imperfect welding; some
have deep 'glory'; back thick; file oblique; head round. Noth-
ing is known about his short swords. While living in Rokukara
in Kyo, he inscribed as "Kuninao." Figures are rare. His
SOIn, Masaunine, also signed himself as " Kunimune."
(25) Moriiye, in the era of Hoji; a native of Hadakeda.
Ridge rather wide; Iori shallow; point small; line, regular
woody lines, occasionally a trifle lurid; 'Choji edge,' having
'large midare' at hilt and 'small midare' at the point. Shape
of 'Choji' is somewhat angular. Some blades have the Hyotan
edge, or 'double Choji'; while others have the 'visible waist
edge,' which is broad, or 'notare edge,' or that with 'Utsuri,'
or stain on the edge; cap round. The short sword is rare, and
of the narrow straight type; back thick; file oblique; head
round; signed by his two letters, or as "'made by Kurijiri
Moriiye." His grandson used the same signature. His ' Choji
edge' is far inferior, and in his 'I yotan ' there is no double ~edge.
The letter ' Mori' of his name differs from that of his grand-
father, which is written in a different script. lesuke and another
swordsmith of the Nagafune class also used the same signature.
(26) Sanemori, in the era of Kenji; grandson of Moriiye.
His work resembles that of Moriiye; Iori shallow; point
small; skill somewhat rough; edge of ' large midare ' or 'Choji,'
or with the 'reverse midare.' The straight edge has 'reverse
feet' or small boiling; many have stains on the edge; cap
round. Nothing is known about the short sword. Thick back;
crosswise file; round head; the same inscription is found in
Hoki, but in a larger script.
(27) Tochika, lived in Hadakeda; father of Moriiye.
His work generally resembles that of Sallemori; appearance
strong; some specimens with the 'Choji edge.'
(28) Mitsutada, in the era of Hoji; lived in Nagafune.
Blade strong at centre, bent at hilt, sometimes thick and
wide; generally furrowed; lori shallow; point small; regular

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 396 P. WT Afumford, [1905.

woody edge; skin of woody texture, a trifle lurid, but resemn-

bling a ' large Choji' of skillful make; some have boiled marks,
others the 'double Choji,' and still others have 'deep midare
feet' on the stuff-iron and point,. The chief care is the edge;
skin occasionally is rough. There is no short sword; back thin;
file oblique; head mostly round.
(29) Nagamitsu (Junkei), in the era of Kench6; lived in
Nagafune.
Blade like Mitsutada; nearly all are furrowed; Iori shallow;
point small; fine, beautiful, regular woody lines; very skillfully
executed 'Choji edge,' the 'midare' having round heads like
scattered cherry-flowers. Some have ' Chikei,' or 'lightening';
woody texture on edge; has brilliant, deep 'glory.' Some have
'Choji' at the hilt, and the wide, straight edge, combined with
the 'midare' at the point. The cap has 'midare,' or, with
some, the 'Utsuri.' Short sword is rare and inferior. Back
thin; file oblique; head mostly round.
(30) Nagamitsu (Sakonshogen), son of the aforesaid Naga-
mitsu; in the era of 8hoo.
His work resembles that of his father. Blade slender and
thick; furrowed, or doubly furrowed; Iori medium; skin some-
times rather lurid, as in the swords of his father Junkei, but
inferior; large scale rare; some blades have 'lightening'; edge
with 'small midare,' or 'middle midare,' having 'feet,' or it
appears to be the simple straight edge, or resembles the work of
Kagemitsu; Iori sometimes deep; cap round. The short sword is
rare, thick and dry; with 'small midare,' although the straight
edge occasionally occurs; cap of various forms; figure designs
are cut like 'Ken,' 'furrow,' etc.; the nakago is like Junkei's
work, and is sometimes signed Nagafune."
(31) Sanenaga, in the era of Seio; lived in Nagafune; a dis-
ciple of Junkei.
Blade is like that of Nagamitsu; Iori shallow; furrowed;
point small; regular woody lines; skin brilliant, though some-
what lurid; edge with ' small midare'; ' small Choji,' or straight,
although some specimens show the 'middle straight' edge, with
pointed 'feet,' or resemble the blades of Aoye or Nagamitsu;
cap round and occasionally somewhat boiled. Short swords
unknown. Thick back; oblique file; round head; signed with
his two initials, generally in long script, although some are
signed "Taira."

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Vol. xxvi.] The Japanese Book of the, Ancient Sword. 397

(32) Kagehide, in the era of Hoji; lived in Nagafune;

younger brother of AMitsutada.
(33) Kagehide, in the era of Hoji; lived in Nagafune; younger
brother of Mitautada.
Blade stiff and narrow; ridge broad; Iori shallow; point small;
skin is a little lurid; of the 'midare' edge, which is of the
darkened, 'reverse midare ' clearing at the margin of the edge.
Sometimes has the 'broad notare' or the broad edge. The cap
is round, or has a little 'kayeri'; some boil; welded back.
Thick back; great oblique file; round hand. Short sword is not
known.
(34) Kagemitsu, in the era of Keich3; son of Junkei.
Blade thick; ridge narrow and angular; width medium; Iori
deep; point small; regular woody grain, which is fine and of the
Noshihada type; a trifle lurid; the edge is of the Nokogiri
class, with 'small midare,' or the straight edge, combined with
the 'Nokogiri,' while some specimens have the midare visible
in the stuff-iron, or show the boiling, or the pure, straight edge
type; cap straight-edged; point round. The short sword is
straight and narrow, with triangular back; ' Nokogiri 'or straight
edge in type; cap straight or pointed. The short sword is supe-
rior to the long. Back thick or angular; file oblique; head
round. This blade is called the Kagemitsu type, while those
with the broad back are termed " Kagemitsu make."
(35) Kagemasa, in the era of KW5.
Some of his blades have the furrow, while others are of
the ridge type. They generally resemble Kagemitsu's swords,
with the ' Nokogiri ' edge, having 'small reverse midare,' which
in some specimens is visible on the stuff-iron. The short sword
is like Kagemitsu's work, both with small and large I midare ';
some blades have figures; back thick; file oblique; head round.
(36) Yoshimitsu, in the era of Kenbu; lived in Nagafune,
son of Kagemitsu.
Blade furrowed; Iori deep; points varying; of the 'Nokogiri'
type, or with 'notare'; rarely of the straight edge class. The
short sword is straight; edge straight, or combined with the
'Nokogiri' edge, or resembling the work of Kanemitsu; back
angular; file oblique; head round.
(37) Kanemitsu, in the era of Kenbu; lived in Nagasumi; son
of Kagemitsu; a disciple of Masamune.

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 398 E TE ]J Mmnfodc, [1905.

Blade broad; Iori deep; back triangular; point medium;

slender furrow, terminating in round form, about a half sun
above the hilt; irregular woody lines, which are lurid and visi-
ble on the stuff-iron; no boiling marks; of the 'Nokogiri,' 'no-
tare,' or wide, straight edge type, with 'feet'; cap round or
pointed. The short sword is curved, thin and wide, or straight
and long; in type of the 'Nokogiri,' 'notare,' or 'notare' com-
bined with ' Nokogiri'; some blades show the straight edge; cap
as in the work of Yoshimitsu; back thin or angular; file oblique;
head round. Skillfully cut figures such as 'Ken' or 'Kuri-
kara,' which is short. After Kanemitsu became a disciple of
M1asamune, his work developed brilliancy; before that the blade
was narrow and had the ' midare of small feet.'
(38) Moromitsu, son of Kanemitsu.
(39) Moromitsu, Tomomitsu and Kanemitsu produced work
nearly similar.
(40) Yoshikage, almost like Kanemitsu.
(41) Kanenaga, in the era of Koreki, son of Naganao.
His blades closely resembled those of Kanemitsu; boils well.
(42) Tomomitsu.
Blade medium or wide; Iori deep; back triangular; has figures;
is of the 'great notare,' or of the 'Gunome' type; combined
with 'midare'; different caps. The short sword is curved,
wide and thin. Some blades are of the 'great notare,' while
others are of the 'small notare' type, combined with sharp
'feet'; back angular; file marks oblique; head round. He was
a son of Kanemitsu; lived in Nagafune; in the era of Teiji.
(43) Hidemitsu, in the era of Oei.
Edge resembles Tomomitsu; of the 'Nokogiri,' or the 'reverse
midare ' type.
(44) Morikage, the same era as Hidemitsu.
Edge resembles Tomomitsu; of the large make, or of the
slender straight edge.
(45) Masamitsu, in the era of Teiji; lived in Nagafune; a dis-
ciple of Kanemitsu.
Blade flat; lori deep; back triangular; point small or medium;
edge of the 'Nokogiri' or combined with the 'notare,' while
other specimens show 'round Gunome'; boiling lacking; cap
varying, but with 'midare.' The short sword is curved and
rather wide, and resembles the long sword, although some

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Vol. xxvi.] The Jacpanese Book of the Ancient Sword. 399

specimens have the straight edge; back angular; file oblique;

head round.
(46) Motomitsu, in the era of Teiji; lived in Nagafune; a dis-
ciple of Kanemitsu.
All his. swords resemble the work of Masamitsu, although his
blades have slight boiling marks.
(47) MVotomasa, of the same era as Motomitsu.
All his swords resemble the work of Motomitsu; welded edge
somewhat hard in its margin; 'midare' fine; boiling scanty and
somewhat coarse.
(48) Choji, in the era of Kenbu; lived in Nagafune; a disci-
ple of Masamune.
Blade wide and thin; point medium; Iori deep or triangular;
ridge sharp; furrowed; irregular woody lines and lurid skin;
with ' notare edge,' large 'reverse midare' of 'notare' type,
while some specimens show 'Gunome' or the 'Hitatsura,' com-
bined with 'reverse midare'; edge widened toward the point,
and with rich boiling; cap either round or sharp, and with very
deep 'kayeri.' The short sword is curved, wide and thin, but
in all other respects it resembles the long sword, although some
specimens are too long and have all the characteristics of the
Kanmakura class; back thick; file-marks oblique; head round;
large inscription. His work before he became the disciple of
Masamune differed from his father's style.
(49) Mlotoshige, in the era of Kenbu; lived in Nagafune;
became a disciple of Sadamune.
Blade wide, thick, or medium; Iori deep; point medium; a
lurid, woody texture like that of the Bit-ch-a class; rio boiling;
is of the medium straight edge, combined with 'reverse feet,'
or with 'nokogori,' or of unusual make, such as 'balled midare';
cap round. The short sword is straight or bent, otherwise
resembles the long sword; some are of 'notare' edge; back
varying; file-marks oblique; head round. He afterward lived in
Hikara of Hoki.
(50) Chikakage, in the era of Shl56c; a disciple of Nagamitsu.
His blades resemble Motoshige's work.
(aM) Shigezane, the same era as Chikakage; afterward became
a disciple of Sadamune.
His work resembles Motoshige's work, although some blades
are of the small 'Nokogiri' with 'small feet.'

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 400 E. IT ]lXtrnford, [1905.

(52) Sukekuni, in the era of Gentoku; lived in Kokubuji.

Iori deep; point small; of the straight edge type, combined
with the " small midare "; some specimens have scattered boil-
ing marks; with 'Uchinoke.' The short sword is very rare;
back thick; file medium or large and oblique; head generally
round.
(53) Unsho, a priest; in the era of Kensho; lived in IUkai.
Blade slender;. ridge wide; Iori deep; fine, regular woody
texture; skin lurid; of the 'small midare' type, combined with
'reverse feet,' although some specimens show the straight edge,
while others have ' feet'; boiling either scanty or considerable;
cap round, or with slight. 'kayeri.' The short sword is very
rare; of the straight type; back both thin and angular; small
oblique file; round head. Unsho's son (in the era of Bunpo),
used the same signature as his father.
(54) Unji, a son of Unsho; in the era of Bunpo; lived in
Ukai.
Ridge wide, and either low or high; Jori medium; point
small; skin lurid; of 'small midare' type, or of straight edge,
combined with ' small midare,' although some blades have
'midare' at the hilt, and 'feet' toward the top; rich boiling
mark; cap very round, or with slight ' kayeri.' In some
instances it resembles the Bit-chfl class. The short sword is
rare; straight or slightly curved; back thick; great oblique file;
round head. Four swordsmiths' have used the same signature.
(55) Unjfl, in the era of Kenbu; lived in Ukai; son of the
younger Unsh3.
Blade wide; ridge broad; Iori deep; point varying; skin lurid;
of the 'small midare' type, or with the straight edge, having
the ' small midare'; rich boiling marks; cap round. The short
sword is curved; back wide or triangular; some specimens are
of the straight edge type, although in all other respects they
resemble the long sword; back thick; great oblique file; head
round.
XII. YOSHII CLASS.

In the era of Shoo or Oei.

Blade thick, angular or medium; Iori deep, or with triangular
back; some points are slightly longer than usual; lurid skin;
edge of straight or 'small midare' type, with 'feet,' although
some are of the hard, slender, straight type, while others are

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Vol. xxvi.] The Japanese Book of the, Ancient Sword. 401

Rickiki, with the 'round Gunome midare,' or with a woody

texture and ' sunagashi,' both on the body and edges; cap vary-
ing; boiling mark sometimes present. The short sword is either
curved or straight, but in all other respects it resembles the long
sword. The nakago has different kinds of backs; file oblique;
head round. In the case of 'Naganori' the edge is thick; Iori
shallow; of the ' Gunome' or the straight type, combined with
'small midare' or 'feet,' or with spotted skin, resembling
Aove's blades. This class also includes Kagenori, the son of
Kagehide of Nagafune, Yoshinori, Kiyonori, and others.

XIII. BIT-CHT CLASS.

Blade narrow or wide; Iori deep; three-angled or round back;

small, large or l6ng point; generally the furrow is narrow.
Figures such as 'Ken' and Sanskrit letters are rare. Skin lurid
and of so-called 'N amagu' skin; in some cases, showing regular
and beautiful texture.
There are many varieties of the short sword. In the Kata-
yama class, the long sword is rare, attention being devoted to
the 'Naginata' (halberd), having the large point. The edge,
with but few exceptions, is straight, but show 'feet, 'small
feet, ' or 'reverse midare.'
Some of the Naginata are of larger make. The margin of
the edge is clear and distinct; glory slender; boiling fine; some
have small or middle straight edge. The cap may be round or
pointed, or have deep 'kayeri.' The nakago has a thick back,
oblique file, and rounded head. Some have the crosswise or
' Higaki ' file-mark, but the edge, in that case, is thicker.
(1) Sadatsugu, iil the era of Genreki; lived in Aoye.
Blade slender; ridge narrow; is of the straight or the 'small
midare' type, and apt to have ' small midare' at the hilt, and
the wide, straight edge, having ' small feet' at the middle;
much boiling; some have 'large midare'; skin tolerably good.
His work 'Was skillfully done, as befitted a royal smith. Sadat-
sugu's swords do not at all resemble the common Bit-ch-f class.
The signature consists of his two initials in large type, but
sometimes the inscription is " Yasu." Swords inscribed " Osumi
Gonnosuke Taira no Sadatsugu " are the work of a different man,
who, though frequently signing as " Sadatsugu," carved the

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 402 E. W. 3Jiunford, [1905.

character 'tsugu' differently. He also made short swords. His

work is inferior.
(2) Tsugiiye, in the era of Genreki; son of Sadatsugu.
The blade is curved from the hilt; thick back; shallow Tori;
steep ridge; edge of small, but wide midare upward from the
middle; oblique file.
(3) Tsunetsugu, contemporary with Tsugiiye.
The blade is considerably bent, and has a common appear-
ance; Iori shallow; point small; regular woody lines; of 'small
midare,' 'small reverse midare,' or straight edge; cap round ;
short sword of the straight make; inscribed in a large letter;
some have crosswise file. There are other makers using the
same inscription.
(4) Yoshitsugu.
Long and small swords are of the straight, 'small midare,' or
the ' notare' types; in general, of irregular make. Welding
seems to be bad.

(5) Moritsugu.
Blade wide; stuff-iron has a hard and ugly appearance.; file-
mark distinct.
(6) Tsuguyoshi.
Deep 'feet' aid 'Uchinoke.' His short swords resemble the
blades of Shintogo.
(7) Masatsune, in the era of Genreki; lived in Bit-chlfi; a dis-
ciple of Tsuneto.
Blade long, slender, and considerably bent; Iori shallow.
Some have the rounded back; narrow ridge; small point; fine,
regular woody lines; lurid skin; straight edge, mixed with
'reverse midare,' or one like common "Aoye"; cap round; fine
boiling; a few have the 'lightening' or 'Hakikake,' etc.; angu-
lar back; great oblique file; slender point; round head.
(8) Katayama, called Katayama Ichimoji; lived in Bit-chm.
Breadth and thickness medium; Iori medium; small or large
point; Naginata (halberds) numerous; short sword unknown; is
of the 'large, reverse midare,' or 'simple midare'; boiling may
be numerous or scanty; cap round, or pointed; deep 'kayeri';
angular back; oblique file; round head. Almost all are unsigned.
(9) letsugu.
Closely resembles the work of the great Ichimoji; boils; deep
'glory'; some have regular ' feet' or ' midare' on the ridge. It

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Vol. xxvi.] The Japanese Book of the Ancient Swtord. 403

is said that Katayama has regularly arranged 'feet,' and the

straight edge welded widely above the Fukura.

XIV. MIHARA (of Bungo) CLASS.

Ridge high; narrow or bent; frequently furrowed; lori com-

mon, shallow or backed; points vary. Even though it belongs
to the regular woody line class, it has the appearance of the com-
plicated woody texture. Sometimes the skin is lurid. Many
are of the straight edge type, having 'Uchinoke'; or of ' Uchi-
noke' mixed with 'small reverse feet,' with or without boiling
mark. The cap may be either round or pointed. Short sword
is of the straight type, thick and narrow; occasionally curved
and thin; some have 'great midare.' Other points are like the
long sword. Nakago has the angular back, crosswise file,
slender point, and round head.
(1) Masaiye, in the era of Showa; lived in Mihara.
Chiefly of the Mihara type; some have 'small midare' at the
hilt and a wide, straight edge, having the 'feet' at the point,
which is too long; cap round; Tachi of the straight edge is like
the old Seki class. The blades of Masahiro and Masanobu
greatly resemble his, having straight edges, with rich boiling.
There are many generations of workers in Mihara, all closely
resembling eaeh other. Masaiye and Masahiro are the most
skillful among them.
(2) Ichijo, in the era of Seikei; lived in Mihara; called Hokke
Ichijo.
Blade slender; ridge high; lori is commoner with a triangular
back; point rather long; with a small or 'medium midare';
with the 'I Hitatsura' or the straight edge, having a ' scattering
midare'; caps varying; boiling marks frequently coarse and
abundant. The short sword is either bent or straight, but simi-
lar in other respects to the long sword. File crosswise; head
round.
(3) Kaimihara, a native of Kai.
Ridge high; blade thick; Jori of different sorts; small points;
wide, straight-edged in type; 'midare' small and no boiling.
His work is occasionally of the 'small Gunome' type, or resem-
bles the common Mikara. Short swords are rare. The file is
oblique or crosswise; point slender; head round.
(4) Tatsufusa, a native of Onomichi.

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 404 E. WI ]fawnford, [1905.

Ridge high; Iori common, or with a triangular back; edge

either of the distinct straight edge type, or of the 'Gunome
midare' of the 'reverse' variety. Some have ' Uchinoke,'
'great Gunome,' or a little boiling; carved designs numerous;
cap round. The short sword is straight or bent, while some
are middle-sized. In all other respects they resemble the long
sword. The nakago has a different back; file crosswise, 'hawk's
feather,' or ' Sakami'; head angular. In the school of Mihara
there are many generations of Goami which are of the ' Gunome'
type. A branch of the family worked for many generations in
Tomo, their blades resembling those of Hitatsura.
(5) Ni6, in the era of Bunka; lived in Sub.
Ridge high; Iori common; point small; type distinct straight
edge, with 'Uchinoke' or boiling, although it may also have
the 'midare' or the ' great Gunome'; some have a ' midare' of
the Seki type; cap round. The short sword is straight or bent,
and also occurs in different widths and thicknesses; some being
of medium size. In all Qther respects they resemble long
swords. Figures are numerous, and the nakago resembles
Tatsufusa's work. These swords are called Nio saburo, and
there are many generations of this name.
(6) Akikuni, in the era of Geiwa; a disciple of Yasukichi;
lived in Nagato.
Blade narrow and thick; point small; Iori common or with a
triangular back. 'Gunome midare'; well boiled and with 'suna-
gashi'; caps of different types; sometimes the blades have the
slender straight edge. The short sword is straight, generally of
the shobu type. There are also medium swords which are like
long swords. File crosswise; end broad; head round.
Yasuyoshi, in the era of Kenbu; lived in Nagato; born in
Chikuzen.
His blades resemble the work of Hidari and Yasukichi. They
have boiling marks, and some are of the straight edge. The
Chosha blades are slightly inferior.
(7) Sairen, in the era of Buno; lived in Chikuzen.
Blade wide; ridge rather wide; backs vary, some being round,
while the majority have the deep furrow; fine, regular, woody
lines; stuff-iron somewhat stiff. Some have the slender, straight
edge, with 'small midare'; fine boiling marks on the edge; cap
round. The short sword is bent or straight; breadth and thick-

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Vol. xxvi.] Tyie Japnctnese Book of the Ancienot Sword. 405

ness medium. Some of them are of the Sh5bu type; back thick;
large, oblique file; head round; inscribed as " Seirein," ''Kuni-
yoshi," "Hoshi Sairen," "Kuniiyoshi of Dangisho," or " Ha-
kata, of the Province Chukizen."
(8) Jitsua, in the era of Sei6; son of Seiren; lived in Chi-
kuzen.
Blade somewhat slender; point small; back round; sometimes
furrowed; fine, depressed, irregular woody texture, which may
also be seen on the edge; 'straight edge' or the ' small
midare' type, bears a general but inferior resemblance to Sei-
ren's work.
(9) Hidari, in the era of Geno; son of Jitsua, and disciple of
Masamune; native of Okihama in Chikuzen.
Blade wide; ridge high; mostly furrowed; deep lori; back of
various types; fine, beautiful, irregular woody lines; point gen-
erallv very long. His ' notare midare' has coarse, rich boiling,
sharp at the point, and with a slight ' reverse' appearance; cap
pointed and with deep ' Kayeri,' rich boiling and ' midare.'
This cap is peculiar, the figures being frequent. Short swords
are curved, although occasionally straight ones are found. They
may be wide or narrow, but are generally thick; sometimes they
are of the straight edge class, with fine, beautiful, irregular
woody lines, which are sometimes almost invisible. Back thick;
great oblique file; point slender; inscribed as "Hidari, a native
of Chiku-Province," an inscription which sometimes appears on
both sides; sometimes inscribed as " Genkei."
(10) Yasukichi, in the era of Kenbu; son of Hodari; lived in
Chikuzen; afterward in Nagato.
His short sword is bent, often thick; lori deep, or with trian-
gular back; skin beautiful, but not of great excellence; some
are too long at fukura; is of the 'midare' in the 'small
Gunome' type, which sometimes has boiling marks extend
through the body of the blade. The caps vary. The long sword
is rare, and is longer at the point; otherwise it resembles the short
sword in all particulars; some edges are wide in the upper half,
and have 'reverse feet.' Thick back; great oblique file; slender
point; round head; some swords have file-marks oblique at the
plain and crosswise at the ridge; inscribed as "Hidari Yasuki-
chi," or as "Yasukichi." Later blades are inferior.
(11) Yoshisada, son of Yasukichi.
VOL. XXVI. 27

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 406 E. Th Afrumford, [1905.

His blades closely resemble those of Yasukichi; some with

small, large, or extra large 'notare.
(12) Sadayoshi.
His work resembles that of his brother Yasuyoshi.
(13) KuLnihiro, in the era of Teiwa; descendant of Hidari;
lived in Chikugo.
His long and short swords are both like Hidari's; irregular
woody lines; mostly furrowed; with well boiled 'Hitatsura,' and
'midare,' of the straight edge or of the large or small ' midare';
cap with deep 'Kayeri' and either round or pointed; points
unusually long; file crosswise. He lived in Aki in the era of
Kenbu.
(14) Moritaka, in the era of Buno; called Kongobyoe; lived
in Chikugo.
Blade considerably bent; ridge narrow; furrowed; Iori deep
or with triangular back; point small; medium, middle straight
edge; sometimes rather slender; slight boil; although occasion-
ally no boiling is present. Some have 'Uchinoke,' and more
rarely 'small midare'; no 'glory,' common in type; cap round.
The short sword is straight and generally thick, with angular
back and crosswise file; extremely broad and common; angular
head.
(15) Miike, in the era of Shoho; called Denta; lived in Chi-
kugo.
Blade and ridge wide and thin; generally with shallow and
wide furrows, but occasionally with narrow furrow; backs vary,
some being round; small point; fine, beautiful, irregular lines;
edge, ' small midare' or straight, the latter having ' little feet'
or those characteristics of the larger types; cap round and finely
boiled. The works of his advanced years are very noble.
Those of his middle life. resemble the works of Seiren, Yenju,
etc., while his later works are sometimes like the Bizen or
Takata class in their 'midare.' The short sword is straight,
and of varying width and thickness. There are also swords of
medium size; back thick; crosswise file; round head. Some,
however, are of the small or large oblique, or ' Higeki.'
(16) Shinsoku, in the era of Wado; said to be a priest of the
Usa temple in Bizen.
Blade thick and dry; ridge narrow; back generally round and
furrowed; fine, irregular woody lines; stuff-iron bright; has

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Vol. xxvi.j The Jccapanese Book of the Ancient Swzord. 407

boiling; slender, straight edge in type; with 'little feet,' or

resembling the Imidare' edge class. The short sword is straight;
round back; file crosswise and a little downward; head generally
rounded; signed with the two letters of his name in large cut;
or inscribed as " Hoto Shinsoku " or " Senshu Banzai." In the
latter case, however, we must remember that the works of
Yukihira, Nagamaro, etc., are similarly signed.
(17) Sadahide, in the era of Kao; father of Yukihiro; lived
in Bungo; called Genzanhoshi.
Blade long and slender; point small; fine, irregular lines, or
very fine, glittering, regular woody lines; furrow shallow; of
the slender, straight edge type, with ' small feet'; deep ' glory';
boiling 'sunagashi,' or 'lightening.' The color of the edge is
vague, sometimes almost invisible; the cap has 'Hakikaki';
nakago has round back and oblique file; point slender; inscribed
as "ISadahide" or "Sadahide, a priest of Bungo." He is said
to have become a swordsmith at the age of thirty-two.
(18) Yukihira, in the era of Kennin; lived in Bungo; called
Ki Shindayu.
Blade slender; point close; ridge narrow; Iori deep or with
triangular back; of the fine, regular, straight line type; edge
with straight, or 'little notare,' or 'small midare,' or with
numerous spots in the stuff-iron; has no boiling; deep 'glory';
(some, however, show a fine boiling); cap closely welded. The
short sword is bent or straight; and either wide or narrow. All
have the figure of 'Kurikara in Hitsu,' (which is short, deep,
and not at all angular,) in addition to the ' ken,' or Sanskrit let-
ters; nakago with round back and thick in its plain; great com-
mon, or small, oblique file, or with some ' Tsuchimesen' or
'shi'; point very slender; round head; inscription cut in the
long letter, as " Hoshi," " Arikaze," " Muneyasu," or " Mune-
hide." The short sword inscribed sometimes by the two initials.
(19) Masatsune, in the era of Tenpuku; disciple of Yukihira;
lived in Bungo; called Kino Masatsune.
Blade slender; point small; Iori shallow; rarely furrowed;
almost invisibly fine, regular lines; some with the shadowy
'jifu'; edge is of the straight type, with 'small feet,' 'notare,'
'great midare,' ' midare' combined with 'small choji' or with
rich boiling; cap round and straight-edged like Yukihira's work;
nakago with the thick back; crosswise, oblique file; round
head. He was a son of the daughter of Yukihira.

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 408 E Th V.fuimford, [1905.

XV. TAKATA CLASS,

In the era of Kenbu.

The short sword is bent, wide, and in some specimens, thin;
backs varying; 'Gunome' small; cap pointed; some are boiled.
The long sword is rare.
(1) Taira Osamori, in the era of Oei.
Ridge high and stiff; of the regular woody line type; with
straight and 'midare edge'; some are boiled; cap round; figures
are minutely cut and dull.
There are many men belonging to the Takata class. Their
characteristics are not all alike, but their welding is invariably
bad. Their blades have a black skin, and are very ordinary;
the forms vary; some being of the Shob-a type. The blade is
bent; some are of the straight edge type, with 'small feet' or
'great midare,' or having only numerous 'small feet,' and no
boiling. All, however, are of vulgar appearance; caps vary;
some are well boiled, but lack nobility; angular back; crosswise
file; small point; round head.
(2) Yoshisada, in the era of Oan; a disciple of Ryokai of
Kyo; called Ryokai of Tsukushi.
Blade wide; lori shallow; skin as in Ryokai's work; of 'small
midare' or straight edge type; cap closely welded; boiling rare;
almost all have Sanskrit letters; back thick; crosswise file;
signed " Ryokai " or " Yoshisada."
(3) Enju, many generations beginning with the era of Sh5o;
lived in Higo.
Blade slender; ridge a little wide; Jori deep or with trian-
gular back; some are furrowed; point small; regular woody lines;
edge of 'small midare,' straight edge, or with 'small feet,' or
'small Gunome,' with both boiling and 'glory'; cap round. The
short sword is straight, thick, and of various breadths; straight
edge in type; cap round and with 'fukura,' nakago with thick
back; crosswise file; round hand, and inscription in a broad cut.
(4-5) Kunisuke, Kunitsuna. The short sword is bent; and
some have the ' notare edge.'
(6-7) Kuniyoshi, Kunimura. Some have the 'small Gunome.'
(8) Kunikado. Some are of ' Hitatsura.'
As this class was invented by Rai Kuniyuki, it resembles his
work in many points. Sometimes it has an irregular woody
marked skin.

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Vol. xxvi.]- The Japanese Book of the Ancient Swvord7. 409

(9) Namihira, many generations beginning with the era of

Bunpo; lived in Satsuma.
Some swords are medium in size and furrowed, shape of point
varies; slender; straight edge in type; sometimes with Haki-
kake. The short swords are of different shapes, breadths and
thicknesses, with triangular or round backs. There are also
swords of the straight edge type with ' Hakikake,' ' small feet,'
or 'small midare'; some are boiled; others not; cap round or
with 'Hakikake'; carved designs like 'Ken,' 'Hoko,' etc., are
frequent; edge with ' midare' like the later Bizen class, or with
the straight edge like the work of Mikara or Kongobyoye;
no glory; bad stuff-iron; coarse skin; nakago with angular or
round back; ' higaki'; crosswise or oblique file; round head.
(10) Masakuni, in the era of Eien.
Back generally round; ' small midare' or the 'slender notare'
in type; oblique file; some inscribed as " Happyaku nen," (800
years).
(11) Yukihito. Widely furrowed; the straight edge; or of
the 'small midare' type; skillfully made.
(12) Yukiyasu. Blade slender. The Jori is closely welded in
his good work. His blade resembles that of Rai Kunitoshi's,
but without nobility.
(13) Seiza, Shigeyoshi, mostly of the midare; crosswise file.
(14) Iruka, in the era of Bunwa; lived in Kii.
The short sword straight, with varying breadths, thicknesses
and backs. The long sword is rare, and is of the straight edge
type; round cap; rough, regular, woody lines; crosswise or
oblique file.
(15) Sanetsugu, a smith whose blades resembled Yasumasa
Goro's.
File-mark crosswise in the case of the long sword, and oblique
in the short swords.
(16) Kunitsugu, in the era of Oei; lived in Kogawa of Kii.
The forms of his swords vary. Blade is slender; Jori deep;
back round; with the irregular or regular woody lines; edge of
the clear, straight edge type; hard, slender, and devoid of boiling,
although sometimes it has ' Gunome midare'; or 'Hitatsura';
cap round; nakago with the round back; crosswise, or oblique
file; slender point; round head. Owing to the formation of the
letter 'Kuni,' in his signature he is called " Sudo Kunitsugu."

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410 Jflunford, The Japanese Book, etc. [1905.

(17) Umibe, in the era of Koreki; lived in Awa.

Blade generally thick; deep Jori; some specimens have exag-
erated points; edge with 'wide notare,' especially at the point.
The short sword is of the straight type, sometimes with trian-
gular back; edge straight in type, or with 'notare midare,' or
very rarely, the ' Hitatsura'; nakago with thick back; cross-
wise oblique file. The later specimens are far inferior.
(18) Yoshimitsu, in the era of Reio; lived in Tosa.
Blade. straight, narrow, and generally thick; Jori shallow or
with triangular back. The long sword is rare; straight edge in
type; round cap and some boiling; nakago with various backs;
crosswise file; round head; some greatly resembling the blades
of Awadaguchi, but are inferior in nobility; they have, more-
over many distinct peculiarities. The welding and designs also
differ widely from the work of Awadaguchi.

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