SWORD-FURNITURE
as though they were necessarily associated. They are essential parts of the sword, and though now highly ornate, they cannot be properly classed as sword ornaments.
TSUBA (Guard)
This term is derived from the name of a kind of cotton-spinning spindle which had a ring fixed on it. The tsuba of course existed from a very ancient epoch. It is mentioned in annals compiled in the eighth century, and is often spoken of as neri-tsuba (wrought-iron guard). The sword of Takauji, preserved at Atago-san, has a guard of wrought iron, and in the Taira Annals (Taihei-ki) gold guards are referred to.
N.B. Sometimes a specimen which does not bear a name indicating that it belongs to the class of either iye-bōri (carvings of the principal Goto family) or dōmyo-bōri (carvings of the branch Goto families), but which is nevertheless of such fine workmanship as to suggest that it came from a master's chisel, is sent to the Goto family for inspection, and returned with a written statement, "found inferior on examination and not identified by us." The dealers call such specimens "rejects" (nagerareshi), and it is said that the Goto experts put a chisel mark—the gimmi-tagane—on all these pieces, so that they can be at once recognised if submitted again for examination, but where the mark is placed the family never divulges.
N.B. The double kōgai (wari-kōgai), which is usually decorated with carvings of a plum-tree and a brushwood fence, or of bamboo, flowers, and plants, generally goes by the name of tayukogai, because its reputed originator (Kahei) became a skilled singer and received the musical title tayu.
N.B. In the chiselling of the fish-roe ground (nanako) slight differences are observable between the works of the artists of Yedo, Kaga, Kyōto, Awa, and so on. A good judge of carving must be familiar with these differences, but it is useless to attempt any written description of them.
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