The Dolores star., 1905-10-13

II was early in 1902 that the Japan
society, now counting ESQ members
and presided over by viscount Haya-
shi. japanese minister to the court of
st James. had a relatively modest
origin In London. Their object. as de-
fined by their statutes. was nothing
II rot comprehensive. II included the
encouragement of the study of the
Jananese language. literature, history
and folklore of Japanese art, science
and industries of the social life and
economic condition of the Japanese
people, past and present, and of all
Japanese matters. In fact, one must
suppose that nobody has ever hunger
ed more to learn SO much about ia
pan.
Among the chosen means of further
ing these fervent aspirations were
meetings, transactions and loan exhi-
bitions. THE Arms and Armor of
Old Japan is the subject selected for
the first exhibition of the Japan So
ciety, and a highly interesting show It
is. Either displayed in cases or hung
upon the walls. at the galleries of the
Royal Society of Painters in Water
Soioio o. thtlt bt dl ltdSl ,ONU
jects and illustrations of warfare.
The greatest part dates from the
fourth and last evolutionary period of
old japanese armor. beginning with
the Tokugawa Shoguniate, 1903, and
ending in 1871. when the wearing or
arms was abolished. OF prehistoric
times there are bronze arrow
heads, probably dating from about 400
b. c.. but did not notice anything to
represent specially that first evolu-
tionary period which commenced in
200 A. D.. when the fleets of Japan.
commanded by the valorous Queen
Jingu, sailed westward to Korea and
made the arms of Japan shine be-
yond the sea-
Sword Decorations.
For centuries the best work Of the
most famous artists in metal was de-
voted merely to the decoration of the
sword, and now, in the present-day
catalogue, three out of seven introduce
tory articles are devoted to the sword
and its decorations. The swordsmiths
of Japan held, Of course, a very hon
orable position. They were not looked
upon as artists, and the forging Of a
blade was a semi-religious ceremony,
which required considerable prepare
tion. AS condition of success the
smith had to live moral life and alb
stain from all excesses.
OF the swordsmith. Prof. Inazo
Ritobe writes: Daily he commenced
his craft with prayer and publication.
or, as the saying was, he committed
his soul and spirit into the forging
and tempering of the steel. Every
swing Of the sledge. every plunge into
water. every friction of the stone was
religious act of no slight import
Was 1t the spirit Of the master or Of
his tutelary deity that cast such a
spell over our sword? Perfect as a
work Of art, setting at defiance its
Toledo and Damascus rivals, there
was more than art could impart. Its
cold blade, collecting on its surface.
the moment 1t is drawn, the vapors
of the atmosphere; its immaculate
texture flashing light of blush hue;
Its matchless edge, upon which his
tories and possibilities hang; the
curve of it's back, uniting exquisite
grace with utmost strength-ail these
fill us with mixed feelings of power
and beauty, of awe and terror"
Pleasant it is, indeed, to meet with
such enthusiasm-yet, perhaps, the
unterrified western reader will con-
slider the marvellous quality OF a Japa-
nese sword blade due to the sword
smiths art and science rather than to
his purity and prayer. These blades
were forged from soft elastic iron
combined with steel, or from two or
three grades or steel: and various