Department of Arms and Armor at the Metropolitan Museum of Art

01/12/2023

The falcata was a popular type of sword in the Iberian Peninsula from the fifth to the first century B.C. Closely related in form to slashing weapons found in Greece, it is distinguished by the fact that its blade is double-edged for about half of its length, whereas Greek specimens normally have a single cutting edge.⁣
⁣
Although its old patina was removed and an inaccurate modern wood grip was added sometime before it was acquired, The Metropolitan Museum's falcata occupies an important place among the examples known to survive because of the otherwise fine state of preservation of its blade, which is structurally intact and only superficially corroded. ⁣
⁣
The sword is currently on display in our gallery of Ancient Arms and Armor (Gallery 370), its modern grip having been carefully removed by conservators, exposing the original tang.⁣
⁣
⁣
⁣
Sword (Falcata). Iberian, 5th–1st century B.C. The Collection of Giovanni P. Morosini, presented by his daughter Giulia, 1932 (32.75.260)

The falcata was a popular type of sword in the Iberian Peninsula from the fifth to the first century B.C. Closely related in form to slashing weapons found in Greece, it is distinguished by the fact that its blade is double-edged for about half of its length, whereas Greek specimens normally have a single cutting edge.⁣
⁣
Although its old patina was removed and an inaccurate modern wood grip was added sometime before it was acquired, The Metropolitan Museum's falcata occupies an important place among the examples known to survive because of the otherwise fine state of preservation of its blade, which is structurally intact and only superficially corroded. ⁣
⁣
The sword is currently on display in our gallery of Ancient Arms and Armor (Gallery 370), its modern grip having been carefully removed by conservators, exposing the original tang.⁣
⁣
⁣
⁣
Sword (Falcata). Iberian, 5th–1st century B.C. The Collection of Giovanni P. Morosini, presented by his daughter Giulia, 1932 (32.75.260)

01/09/2023

This is the larger guard (tsuba) of a pair of sword guards that is the product of a collaboration among three artists. Ishiguro Masaaki (石黒政明, born 1813) crafted it after a smaller guard (19.71.6) of the same design to create a matching set for the traditional pair of swords worn by a samurai . It features an extraordinary openwork design of a flower basket whose quatrefoil rim is decorated with a Greek-style key pattern inlaid in gold. The smaller guardm for the wakizashi, was made by father and son Hagiya Katsuhira (萩谷勝平, 1804–1886) and Suzuki Katsuhiro (鈴木勝容, 1827–1886) in 1860.



石黒政明 Ishiguro Masaaki (Japanese, active 19th century). Sword guard (Tsuba) With Flower Basket Motif (花籠透鐔), first half 19th century. Iron, copper-silver alloy (shibuichi), gold, silver, copper, H. 3 1/4 in. (8.3 cm); W. 3 in. (7.6 cm); thickness 1/4 in. (0.6 cm); Wt. 4.1 oz. (116.2 g). Charles Stewart Smith Memorial Fund, 1919 (19.71.7).

12/30/2022

Happy New Year from the Department of Arms and Armor!

A big thank you to all our followers and we’re looking forward to sharing more of our objects and activities with you in 2023! ⚔️⚔️

12/22/2022

Happy Holidays from the Department of Arms and Armor!

Thanks for all the likes, follows, and shares in 2022. We're looking forward to sharing lots more beautiful arms and armor, exciting departmental projects, and looks behind-the-scenes in the new year!



Illustration by Stephen Bluto, 2022. Inspired by the Album of Tournaments and Parades in Nuremberg. German, Nuremberg, late 16th–mid-17th century. Rogers Fund, 1922 (22.229).

12/16/2022

The style of this mounting, known as toppei-koshirae, emerged at the end of the Edo period (1615–1868). It reflects the influence of Western infantry swords at a time when Japan was modernizing its armed forces. The fittings, including a hilt collar dated 1871, are masterworks by Takamoto Hidemune (高本秀宗, 1819–1887), who had trained with one of the last great masters of the Edo period, Tanaka Kiyotoshi (田中清寿, 1804–1876). The scabbard is decorated with a delicate makie lacquer décor in the form of Chinese silver grass. The blade is unsigned, but exhibits the style of the Late Seki (Sue-Seki) smiths of the 16th century.

On view now in Samurai Splendor: Sword Fittings from Edo Japan (Gallery 380)!



Fittings inscribed by 高本秀宗 Takamoto Hidemune (Japanese, 1819–1887). 芒蒔絵鞘突兵拵 Blade and Mounting for a Sword (Katana), blade, 16th century; mounting, 19th century. Steel, wood, lacquer, leather, gold, iron, L. 32 18 in. (81.6 cm); L. of blade 28 1/4 in. (71.8 cm); L. of cutting edge 22 3/16 in. (56.4 cm); D. of curvature 3/8 in. (0.9 cm). Bequest of George C. Stone, 1935 (36.25.1728a, b).

12/02/2022

We were fortunate to host Isabelle Lobley as our Summer 2022 conservation intern. Isabelle is a fourth-year student at the Conservation Center at New York University’s Institute of Fine Arts. During her internship she treated a silver-hilted Sudanese sword (Kaskara) as well as treating a pair of Indian arm guards with surviving textile. Isabelle is continuing with her studies in arms and armor conservation as a yearlong intern with the Royal Armouries, Leeds.



Sword (Kaskara). Hilt, Sudanese; blade, European, late 19th century. Steel, silver, wood, L. 41 1/4 in. (104.3 cm); L. of blade 34 3/4 in. (88.5 cm); W. 5 1/2 in. (13.8 cm); Wt. 2 lb. 1 oz. (935.5 g). Rogers Fund, 1977 (1977.162.3).

11/30/2022

One of Ishiguro Masayoshi’s (石黒政美, 1774–1862) masterpieces, this is a rare complete set of fittings for a pair of swords (daishō), comprising sword guards (tsuba), knife handles (kozuka), hilt ornaments (menuki), pommels (kashira), and hilt collars (fuchi). The decoration features rabbits and the horsetail plant, a traditional combination. In Asian folklore, the dark markings on the near side of the moon are interpreted as a rabbit that makes the moon shine brightly by polishing it with horsetail. Masayoshi was one of the most renowned artists of the Ishiguro School, and his luxurious interpretations contributed greatly to the school’s success.

On view now in Samurai Splendor: Sword Fittings from Edo Japan (Gallery 380)!



Inscribed by 石黒政美 Ishiguro Masayoshi (Japanese, 1774–1862). 木賊兎図大小揃物 Fittings for a Pair of Swords (Daishō Soroi-Mono), 19th century. Copper-gold alloy (shakudō), gold, silver, copper-silver alloy (shibuichi), copper, Sword guards (Tsuba) (a, b); H. of each 2 7/8 in. (7.3 cm); W. of each 2 11/16 in. (6.8 cm); thickness of each 3/8 in. (0.5 cm); Wt. of each 5.2 oz. (147.4 g); knife handles (Kozuka) (c, d); 3 7/8 x 9/16 in. (9.8 x 1.4 cm); sword-hilt collar (fuchi) (e); 1 1/2 x 13/16 in. (3.8 x 2.1 cm); pommel (kashira) (f); 1 3/8 x 11/16 in. (3.5 x 1.7 cm); sword-hilt collar (fuchi) (g); 1 1/2 x 7/8 in. (3.8 x 2.2 cm); pommel (kashira) (h); 1 3/8 x 3/4 in. (3.5 x 1.9 cm); each of a pair of menuki (i, j); 1 1/16 x 5/8 in. (2.7 x 1.6 cm); each of a pair of menuki (k, l); 1 x 9/16 in. (2.5 x 1.4 cm). Rogers Fund, 1948 (48.63.5a–l).

11/29/2022

Friends of Arms and Armor and the Negroli Society

Friends of Arms and Armor brings together an international group with a serious interest in, or simply curiosity about, the armorer's art and its manifestations across all places and time, to foster a wider appreciation and deeper understanding of this extraordinarily rich, diverse, and universal art form.

Friends and the Negroli Society play a vital role in supporting the Museum and the activities of the Department of Arms and Armor, including acquisitions and research.

This international group brings together individuals with a serious interest in, or simply curiosity about, the armorer's art and its manifestations across all places and times, to foster a wider appreciation and deeper understanding of this extraordinarily rich, diverse, and pervasive art form.

11/25/2022

This exceptionally fine cuirass of crucible ("watered") steel is unusual in its use of octagonal plates decorated with fluting. The edges and central bosses are damascened in gold with Koranic inscriptions.

Iranian and Indian cuirasses of this four-plate construction are known in Persian as char-a'ina, "four mirrors." The term suggests the talismanic value of the mirror for repelling evil.



Cuirass (Char-aina) with Mail Shirt. Cuirass, Iranian, 17th–early 18th century; mail shirt, Iranian or Indian, 18th–19th century. Steel, iron, gold, leather, textile, breast- and backplates: 11 x 11 in. (28 x 28 cm); side plates: 11 5/8 x 6 1/8 in. (29.5 x 15.5 cm); Wt. of cuirass 6 lb. 8 oz. (2948 g). Bequest of George C. Stone, 1935 (36.25.18a–d, .22a).

11/21/2022

Materials and Techniques

Fascinated by the techniques used to decorated works of art in the Arms and Armor collection? Check out this Met Perspectives series on materials and techniques!

Discover metalworking techniques employed by nineteenth-century American silversmiths at Tiffany & Co. through demonstrations by contemporary artisans, illustrative works from The Met collection, and primary source material.

How are works of art created? This online feature outlines art-making techniques, including metalworking, drawing, and printmaking.

11/18/2022

Photos from Department of Arms and Armor at the Metropolitan Museum of Art's post

11/17/2022

This knife handle (kozuka) made by Ranzan Tsuneyuki (嵐山常行) depicts an icefish amid water plants, imagery associated with early spring in Japan. Like another kozuka in The Met's collection (acc. no. 29.100.1216), this work is featured in the artist’s sketchbook titled Album of Designs for Metal Carving (acc. no. 36.120.699). It is inscribed on the reverse with different but homophonous characters for the name “Tsuneyuki” (恒之), and with another art name, Shōryūsai (昇龍斎). Works signed this way have been attributed to a different artist in the past. However, the sketchbook and other works by Tsuneyuki in the Museum’s collection allow us to ascertain that they are all by the hand of a single artist who changed the spelling of his name and used different artist names over the course of his career.

On view now in Samurai Splendor: Sword Fittings from Edo Japan (Gallery 380)!



嵐山常行画 Ranzan Tsuneyuki (Japanese, active mid-19th century). 藻に白魚図小柄 Knife Handle (Kozuka), 19th century. Copper-gold alloy (shakudō), silver, gold, copper, L. 3 3/4 in. (9.5 cm); W. 9/16 in. (1.4 cm); thickness 1/4 in. (0.6 cm); Wt. 1.1 oz. (31.2 g). The Howard Mansfield Collection, Gift of Howard Mansfield, 1936 (36.120.383).

11/14/2022

The Washida School was founded by Mitsutoki (光時, 1743–1803), the son of a samurai from the northern part of Japan (Shōnai domain, present-day Yamagata Prefecture) who went to Edo (Tokyo) to become a sword-fitting maker. Mitsunaka (光中, 1830–1889), who made this sword guard (tsuba), was one of the school’s last great artists. He focused on the revival of classical sword-fitting designs, as is the case with the scrolling leaves in flush inlay here, decoration seen on many sixteenth-century sword guards.

On view now in Samurai Splendor: Sword Fittings from Edo Japan (Gallery 380)!



Inscribed by 鷲田光中作 Washida Mitsunaka (Japanese, 1830–1889). 唐草図鐔 Sword Guard (Tsuba), 19th century. Iron, silver, copper, L. 3 1/4 in. (8.3 cm); W. 3 1/4 in. (8.3 cm); thickness 3/16 in. (0.5 cm); Wt. 4.8 oz. (136.1 g). H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.1053).

10/28/2022

In this print, Kitao Shigemasa (北尾重政, 1739–1820), an artist of the ukiyo-e genre (known for woodblock prints and paintings), portrays twenty-eight of the most influential sword-fitting makers of the Edo period (1615–1868). Sitting at the top of this imaginary gathering is Yokoya Somin (横谷宗珉, 1670–1733), who is celebrated for his role as initiator of a movement that ushered in a renaissance of the craft. The way Somin is highlighted in terms of position, size, and frontal view, with the other artists arranged in a circle, can be interpreted as an allusion to spiritual mandalas that feature buddhas and bodhisattvas.

On view now in Samurai Splendor: Sword Fittings from Edo Japan (Gallery 380)!



Kitao Shigemasa (Japanese, 1739–1820). Portraits of Twenty-eight Metal Artists, ca. 1615–1868. Woodblock print; ink and color on paper, image: 20 1/8 × 14 1/4 in. (51.1 × 36.2 cm). Department of Arms and Armor, The Metropolitan Museum of Art.

10/26/2022

The maker of this matching pair of sword guards (tsuba), Kurokawa Kenshirō Shigenao (黒川兼四郎茂直, 1822–1853), belonged to a family of sword-fitting makers who were purveyors to the Matsudaira, a daimyo family directly related to the Tokugawa sh**un. Shigenao not only made sword fittings, but also became a renowned cloisonné-enamel artist, although he died young. In an accompanying letter, he confirms the completion of the work as desired by the client, a certain Kitamura Yoshiemon (北村與四右衛門), and cordially thanks him for arranging a viewing of a sword from the collection of the Matsudaira daimyo.

On view now in Samurai Splendor: Sword Fittings from Edo Japan (Gallery 380)!



Sword Guard (Tsuba). Japanese, 19th century. The Howard Mansfield Collection, Gift of Howard Mansfield, 1936 (36.120.115)

Sword Guard (Tsuba). Japanese, 19th century. The Howard Mansfield Collection, Gift of Howard Mansfield, 1936 (36.120.116).

10/17/2022

Samurai Splendor: Sword Fittings from Edo Japan

Have you visited our special exhibition "Samurai Splendor: Sword Fittings from Edo Japan" on view in gallery 380? Click for a web preview, and plan a visit soon!

After almost a century and a half of near-constant civil war and political upheaval, Japan unified under a new ruling family, the Tokugawa, in the early 1600s. Their reign lasted for more than 250 years, in an era referred to as the Edo period, after the town of Edo (present-day Tokyo) that became the new capital of Japan. The Tokugawa regime brought economic growth, prolonged peace, and widespread enjoyment of the arts and culture. The administration also imposed strict class separation and rigid regulations for all. As a result, the ruling class—with the sh**un as governing military official, the daimyo as local feudal lords, and the samurai as their retainers—had only a few ways to display personal taste in public. Fittings and accessories for their swords, which were an indispensable symbol of power and authority, became a critical means of self-expression and a focal point of artistic creation.

This installation explores the luxurious aspects of Edo-period sword fashion, a fascinating form of arms and armor rarely featured in exhibitions outside Japan. It presents a selection of exquisite sword mountings, fittings, and related objects, including maker’s sketchbooks—all drawn from The Met collection and many rarely or never exhibited before.

This exhibition is made possible by the Vilcek Foundation.

This exhibition explores the luxurious aspect of sword fashion from Edo period Japan, a fascinating area of Japanese arms and armor rarely featured in exhibitions outside of Japan.

10/14/2022

From 2016 to 2017 Marina Viallon, the Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow worked in the Department of Arms and Armor and recatalogued our holdings of equestrian equipment—nearly eight-hundred objects in total, from Europe, Asia, Africa, and the Americas—increasing the visibility and adding fresh depth to our understanding of this fascinating and lesser-known category of the Arms and Armor collection.

In celebration of Hispanic and Latino/a/e/x Heritage Month, we are pleased to share a special web feature, Collection Insights – Mexican, South and Central American Equestrian Equipment, which includes Marina's contributions to our understanding of this small but important group of objects. Check it out via the link in comments! A selection of exceptional examples are on view in Gallery 749.



Pair of Stirrups. Mexican, ca. 1750. Iron, silver, H. 18 1/8 in. (46 cm); W. 14 1/4 in. (36.2 cm); H. of foot opening 3 5/8 in. (9.2 cm); W. of tread 3 1/4 in. (8.3 cm), Wt. 5 lbs. 8 oz. each (2494.8 g). Rogers Fund, 1908 (08.56.11a, b)

Stirrup. Peruvian, 19th or early 20th century. Copper alloy, H. 5 in. (12.7 cm); W. 4 3/4 in. (12.1 cm); D. 9 3/4 in. (24.8 cm); Wt. 2 lb. 4.1 oz. (1023.4 g). Gift of Stephen V. Grancsay, 1942 (42.50.428)

Curb Bit. Mexican, first half 19th century. Iron alloy, copper, silver, stone, H. 8 3/4 in. (22.2 cm); W. 5 in. (12.7 cm); Wt. 1 lb. 1.4 oz. (493.3 g). Gift of William H. Riggs, 1913 (14.25.1791).

10/06/2022

Now on view , the most recent facade commission, "Gilt" by Hew Locke consists of four sculptures that reflect on the exercise and representation of power, with details inspired by objects in The Met's collection. This includes two objects in our departmental collection, incorporated into Locke's "Trophy 3". Can you pick them out?⁣
⁣
The first is a Saber traditionally believed to have been refitted in 1876 for the investiture of the Ottoman sultan Murad V (reigned May 30–August 31, 1876). He suffered a nervous breakdown before the ceremony and subsequently was deposed and kept a prisoner until his death in 1904. ⁣
⁣
The second is a late eighteenth-century flintlock owned by Tipu Sultan—the self-proclaimed Tiger of Mysore—and later taken to Europe as a spoil of war, after Tipu was killed by the British in 1799. On Locke's sculpture this gun's detail is more difficult to spot than the saber: The sculpted tiger crowning each handle derives from the the jaws of the flintlock's hammer. ⁣
⁣
⁣
⁣
Hew Locke. Trophy 3. Fiberglass, stainless steel, gilding and oil-based paint.⁣
⁣
Saber with Scabbard. Grip, Indian, 18th or 19th century; guard and scabbard, Turkish, 19th century; blade, Iranian, dated A.H. 1099/A.D. 1688; decoration on blade, 19th century. Gift of Giulia P. Morosini, in memory of her father, Giovanni P. Morosini, 1923 (23.232.2a, b)⁣
⁣
Flintlock Blunderbuss (detail). Indian, Seringapatam, dated Mauludi era 1222/A.D. 1793–94. Bequest of George C. Stone, 1935 (36.25.2227)

09/29/2022

In celebration of Hispanic/Latinx Heritage Month, we are pleased to share this special web feature, Collection Insights – Mexican, South and Central American Equestrian Equipment. Check it out via the link in comments!

Marina Viallon, the Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow, recatalogued the department's holdings of equestrian equipment from 2016 to 2017—nearly eight-hundred objects in total, from Europe, Asia, Africa, and the Americas—increasing the visibility and adding fresh depth to our understanding of this fascinating and lesser-known category of the Arms and Armor collection.

This Collection Insight spotlights her research on The Met’s equestrian equipment made in present-day Mexico, Peru, Chile, Guatemala, and Argentina. Beautiful for its design variety and fine craftsmanship, the group of twenty-three spurs, bits, and stirrups illuminates the prominent roles horses and horsemanship played in certain cultures throughout Mexico, South and Central America during the eighteenth and nineteenth centuries. Browse the group online by following the link in comments. A selection of exceptional examples are on view in Gallery 749.


Detail of “El Hacendero Y Su Mayordomo”. Lithograph. Carl Nebel (1805–1855) (del.). Émile Lassalle (1811 – 1871) (lith.). Originally published in Carl Nebel, Voyage pittoresque et archéologique dans la partie la plus intéressante du Mexique. Paris: M. Moench, printed by Paul Renouard, 1836.

Inscribed by Manuel Casco (Mexican, active 18th century). Pair of Rowel Spurs, dated 1738. Iron, L. of each 13 1/4 in. (33.7 cm); spread of sides of each 2 3/4 in. (7 cm); Diam. of each rowel 7 1/4 in. (18.4 cm); Wt. of each 1 lb. 14 oz. (850.5 g). Bashford Dean Memorial Collection, Funds from various donors, 1929 (29.158.515a, b).

Pair of Stirrups. Mapuche, 19th century. Wood, iron, 42.50.440; H. 10 in. (25.4 cm); W. 9 in. (22.9 cm); D. 4 in. (10.2 cm); Wt. 2 lb. 13.4 oz. (1287.1 g); 42.50.441; H. 10 in. (25.4 cm); W. 9 in. (22.9 cm); D. 4 1/2 in. (11.4 cm); Wt. 2 lb. 13.6 oz. (1292.7 g). Gift of Stephen V. Grancsay, 19

09/21/2022

Immaterial: Metals, Part One

Dive into the magic of iron, bronze, lead, and copper in this Met podcast episode "Immaterial: Metals, Part One."

This special two-part episode of Immaterial about metals takes a cue from alchemy, the ancient exploration of turning ordinary matter into gold. Metals are about making change, creating something new—sometimes almost magically.

The episode begins in the Armor Lab with Armorer and Conservator Edward Hunter discussing materials in the collection. Click to hear the episode and explore the whole series!

Dive into the magic of iron, bronze, lead, and copper.

09/16/2022

Immaterial—Metals I

This two-part episode of The Met's podcast Immaterial features Armorer and Conservator Edward Hunter in conversation with other experts discussing metals. Check out a preview here, and explore the series via the link below!

09/15/2022

In celebration of Hispanic/Latinx Heritage Month, we are pleased to share this special web feature, Collection Insights – Mexican, South and Central American Equestrian Equipment, organized by John Byck, Associate Curator in the Department of Arms and Armor!

Marina Viallon, the Sylvan C. Coleman and Pam Coleman Memorial Fund Fellow, recatalogued the department's holdings of equestrian equipment from 2016 to 2017—nearly eight-hundred objects in total, from Europe, Asia, Africa, and the Americas—increasing the visibility and adding fresh depth to our understanding of this fascinating and lesser-known category of the Arms and Armor collection.

This Collection Insight spotlights her research on The Met’s equestrian equipment made in present-day Mexico, Peru, Chile, Guatemala and Argentina. Beautiful for its design variety and fine craftsmanship, the group of twenty-three spurs, bits, and stirrups illuminates the prominent roles horses and horsemanship played in certain cultures throughout Mexico, South and Central America during the eighteenth and nineteenth centuries. Browse the group online by clicking here, and a selection of exceptional examples are on view in Gallery 749.

https://www.metmuseum.org/about-the-met/collection-areas/arms-and-armor/collection-insights

09/09/2022

Blade and Mounting for a Short Sword ( Wakizashi ) | Japanese | The Metropolitan Museum of Art

The fittings of this mounting are decorated with images of old coins, an auspicious symbol. The maker created the ribbed effect on the scabbard by coiling a strong around it, coating it with lacquer, then removing the string before the lacquer was completely dry. The method results in fine striations that appear to have been carved. The wide tip of the scabbard, referred to as denchū-kojiri or omeshi-kojiri, echoes a style used in equestrian sports of earlier periods, particularly falconry and the hunt.

Visit gallery 380 and see it on view in "Samurai Splendor: Sword Fittings from Edo Japan."



Blade and Mounting for a Short Sword (Wakizashi). Japanese, blade, 16th century; mounting, 19th century. Steel, wood, brass, lacquer, copper-gold alloy (shakudō), ray skin (same), silk, silver, L. 30 1/4 in. (76.9 cm); L. of blade 27 3/16 in. (69.1 cm); L. of cutting edge 21 11/16 in. (55.1 cm); D. of curvature 3/4 in. (1.9 cm). Gift of Brayton Ives and W. T. Walters, 1891 (91.2.52).

Inscription: Inscribed on tang of the blade: 兼則 (Kanenori); on the knife blade (kogatana): 江州佐々木一峯 (Gōshū Sasaki Ippō) (Sasaki Ippō, Ōmi Province [present-day Shiga Prefecture])