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    A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times
    A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times
    A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times
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    A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times

    By George Cameron Stone

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    Widely considered the classic book in the field, George Cameron Stone's A Glossary of the Construction, Decoration and Use of Arms and Armor in All Countries and in All Times is an indispensable resource and reference tool for anyone interested in arms and armor. Originally published in 1934, it remains an essential guide to the field. To describe the worldwide range and variety of weaponry, Stone drew upon the more than 4,000 items in his private collection of Eastern arms and armor, as well as the European arms collection of New York's Metropolitan Museum of Art, and a variety of other sources. Since the author subsequently bequeathed his entire collection to the Metropolitan Museum, this volume serves as an abbreviated visual reference to that institution's Arms and Armor collection.
    By profession a metallurgist, the author focused on techniques of manufacture and workmanship to derive his method of codifying the typology of weapons, relying on an alphabetized dictionary format to avoid the confusions he found in a field without standardized nomenclature. This "glossary" format makes it easy for anyone to locate material on the astonishing variety of weapons covered. These include arquebuses, blunderbusses, flintlocks, wheel locks, matchlocks, and other antique guns; German armor; French rapiers; Roman short swords; Turkish crossbows; all the Japanese bladed weapons (katana, wakizashi, naginata, etc.); the East Asian kris in its countless permutations; and many more.
    Illustrated with 875 detailed figures, incorporating thousands of individual photographs and drawings, the book was written from the unique viewpoint of an expert who devoted a lifetime to the field. Hard to locate today (original editions are worth hundreds of dollars), Stone's Glossary represents a peerless resource for scholars, experts, collectors, students, hobbyists, and institutions — any student of the long history and development of weapons and armor around the world.
    LanguageEnglish
    PublisherDover Publications
    Release dateMar 13, 2013
    ISBN9780486131290
    A Glossary of the Construction, Decoration and Use of Arms and Armor: in All Countries and in All Times

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      A Glossary of the Construction, Decoration and Use of Arms and Armor - George Cameron Stone

      Bibliography

      Introduction

      THIS book started as a series of notes for my own information. I had for years been collecting Oriental arms and armor, and had found the published accounts both widely scattered and very contradictory. I also found that while the development of arms East and West often paralleled each other, practically no attention had been paid to this by those who had written about either.

      As with other subjects the pioneer writers made many mistakes, most of which have been corrected by those who came later; but many have been copied and reprinted as though proved. Much has been published about arms and armor that is very contradictory. Not only do different writers disagree with each other, but they frequently disagree with themselves and call the same things by different names, and different things by the same one. I know of no book that treats of arms as a whole or attempts to point out the relationship between those of different times and places.

      Very few of those who have written on the subject give consideration to the conditions under which armor and weapons were used, which is usually the controlling factor. Those who have written about European armor are usually scornful of the Oriental because much of it is unsuitable for the method of fighting used in Europe in the early times; the converse is also true but that they ignore.

      The dating of arms and armor is very difficult. Most of the experts tell us that anyone familiar with European specimens should be able to date a piece within ten or fifteen years. This is both true and false. It is quite true that they usually agree; but they do not consider that changes did not occur everywhere at the same time. A particular type might have been made, say at Milan, at a certain time, then copied at the main points of manufacture in other countries and finally produced as something new at a small and remote place fifty, or more, years later. The present method of dating is probably as good as is possible; but it would be more correct to give more latitude and say not earlier than the date given.

      The dating of oriental armor is more difficult. In the East styles changed less often and the same styles were worn for centuries and over much larger areas and by a greater variety of races. Also they spread more irregularly. The best makers and workers of metals in the middle East were Persians, and the best work done in Persia, the Turkish Empire and Northern and Central India was by them. This has led to considerable confusion of styles and often makes it difficult to say to what country a given piece should be attributed.

      The Japanese is also difficult to date. Not that we do not know the different forms and when they originated, but much armor of early forms was made and worn in the Tokugawa period. At this time, from the middle of the 17th to the middle of the 19th century, every daimio was obliged to spend a part of each year at the Shogun’s court, where they vied with each other in the elaborateness of their equipment. As the Tokugawa organization was feudal, arms and armor formed the most conspicuous items. It became the fashion to wear at court armor copied from the old suits preserved in the temples. These were made by men who, at the same time, were making armor for contemporary use. Most of it gives a much better idea of how the old armor looked than the faded and ragged remnants preserved in the temples and museums. Then, too, in Japanese armor the elements of each part, as well as the parts, were laced together with silk cords which chafed badly and soon wore out, so that they had to be frequently renewed, making it impossible to say whether a suit was an early one that had been re-laced, or a later one, when both were of the same style. The Japanese experts who have carefully studied the most minute details can do it but few others are able to do so.

      The experts and museums have never agreed on any system of classification, and many do not seem to consider that one is necessary or desirable. In this they are a depressing contrast to the biological museums all of which are arranged on the same system which is logical, extensible and flexible, being based on ascertainable physical characteristics. It has the added advantage of providing for any new and peculiar specimens which at once take their proper places.

      The same confusion exists in the photographic departments. No attempt is usually made to take the objects to the same or any definite scale. Usually everything is taken as large as possible on the plate used. They all appear to think that the larger the picture the better. They need to take a course under some microscopist who would teach them that magnification without definition is worse than waste, in other words that the smallest picture that will show the desired detail is the best. It would be no more trouble to take things to definite scales than the present haphazard fashion. All that is needed is to have a fixed position for the object to be taken and to mark circles on the floor at suitable distances on which to place the camera. Plain screens should always be used for backgrounds; decorated backgrounds are very confusing. The longer the focus of the lens used the less it will distort the perspective.

      In this book I have endeavored to bring together descriptions, methods of constructing, decorating and using the weapons of all countries and all times. Unfortunately the information with regard to many of them is very meagre. It was impossible to arrange it by classes as there is no agreement on, or definition of, the classes to be used. To propose a new one was only to add to the present confusion. I have therefore arranged it alphabetically—first giving the English name, if there was one—or the name most used by English writers—or the name used in the country of its origin as the main heading. I have followed this by all of the synonyms I could find, and cross referenced the latter. This has involved a certain amount of repetition but is, I believe, the easiest for the reader.

      In the course of time I have accumulated a fairly complete library of books on the subject. This not only includes those devoted exclusively to arms and armor but many more that only mention them occasionally and give short, but frequently important, items of information regarding them. I have also visited the principal museums, and many private collections, in most parts of the world. I have given particular attention to the methods of making arms and armor in various countries. Whenever possible I have watched and talked to the workers. In several cases I have bought the special tools used and specimens of unfinished work showing the methods of construction. I believe that I am better qualified to do this than many of those who have written about it. I am a metallurgist and have made and studied metals during the greater part of my life. For many years I was in charge of shops working metals and am therefore familiar with most of the materials, tools and methods used.

      I have included a number of subjects that seemed to me closely enough allied to the main one to warrant it. These include fencing, fortification, early military organization, hawking, and, to a limited extent, hunting, and the capture of the larger marine mammals.

      The illustrations are mostly from my own photographs, some from my drawings; many are from various museums, and a few from books. In all cases all of the objects in any figure are to scale unless the contrary is stated. Where the provenance is not given the objects are from my own collection.

      There is not, and could not be, any consistency in the spelling as most of the names are quotations. Many are transliterations from many languages, many of which are into languages other than English. They are made in all sorts of systems, or in none at all. I had to take them as I found them. In all cases they are followed by all of the synonyms that I could find, all of which have been cross referenced.

      I am fully aware that this book is far from complete or perfect, but I trust that it may be an incentive to some one better qualified than I to write another on similar lines that will give more accurate information.

      In conclusion I wish to express my thanks to the following institutions and individuals for pictures and information that have been of the greatest assistance to me: The American Museum of Natural History, for several pictures; The Field Museum of Chicago, for pictures; Mr. S. V. Grancsay, Curator of Armor, Metropolitan Museum of Art, who has selected and described most of the European specimens illustrated; Mr. C.O. Kienbusch who has given me pictures, lent me books and given much information; Mr. L. W. Jenkins, Director of the Peabody Museum, Salem, who has given me many pictures and much valuable information; The Metropolitan Museum of Art, for many pictures; The Museum of the American Indian, for pictures; Mr. W. Renwick for many pictures of objects in his unique collection of late firearms; Mr. Robert H. Rucker who has placed his unequalled knowledge of things Japanese at my disposal and who has given me valuable suggestions and most helpful criticism; The Smithsonian Institution, U. S. National Museum, for many pictures; The Ameria Reale, Turin, for pictures from its unique collections; The e Victoria and Albert Museum, South Kensington, which has taken a number of pictures especially for me; The Wallace Collection, London, for pictures; Mr. A. McM. Welch, for pictures from his very complete collection of Scottish weapons.

      A GLOSSARY OF THE

      Construction, Decoration and Use of Arms and Armor in All Countries and in All Times

      ’ABBASI. A straight-bladed Rajput sword strengthened at the back by perforated supports. (Egerton 400, 401).

      A Persian scimeter. (Wallace Orient).

      ’ABBASAI TALWAR. A Punjabi sabre with a slightly curved blade. (Egerton 653).

      FIGURE 1. Abumi. 1. Pre-Yamato type with hooded toes. 2. Frames only. Iron inlaid with brass vines; originally they were filled in with wood. 3. Early and simple type; all iron. 4. Gold lacquer with hawks in relief. Late Tokugawa. 5. Suiba abumi. Perforated treads. 18th century. 6. Iron inlaid with silver. Tokugawa. 7. All iron, early type. It has a stay, from the foot plate up to the loop for the stirrup leather, to keep the foot from slipping out sideways.

      ABUMI, BATTO. A stirrup, Japan. The very early Japanese stirrups had hooded toes and quite long iron straps for the stirrup leathers. Some had long foot plates, like the later ones, of which some were perforated to let out water picked up when crossing rivers. These were called suiba abumi, literally crossing a river on horseback stirrups.

      The later stirrups differed from all others in having no sides. In rare cases there is a rod from the upper end of the front to the foot plate near the heel; this prevents the foot from slipping out sideways. The foot plate is large enough for the entire foot to rest on, and curves up and back at the front so as to bring the loop for the stirrup leather over the instep. They are usually made entirely of iron, but sometimes have iron frames filled in with wood. Occasionally they have perforated foot plates. Fig. 1.

      ABUMI-ZURE. A leather guard fastened to the inner side of the Japanese suneate (shin guard) to protect the leg from the stirrup. (Garbutt 140). Fig. 759.

      FIGURE 2. Adaga. 1. Steel, 15th century. 2. Spanish, 1590, guard of Philip II. 3. Spanish, 15th century. 1 and 3. Collection of Dr. Bashford Dean. 2. Metropolitan Museum. Not to scale.

      FIGURE 3. Adaga, after Jubinal, Armeria Real, Madrid

      ACHICO. A bolas with three balls. See Bolas.

      ACIES. Roman steel; or, more properly, the steel edge of a weapon or tool the body of which is made of iron. (Burton Sword 107).

      ACINACES, AKINAKES. A short, straight-bladed, double-edged dagger worn at the right side by the Persians, 500–400 B.C. (Burton Sword 210, 212, 227).

      ACLYS. A Roman weapon usually described as a dart. Burton, however, considers it to have been a species of throwing stick or boomerang. (Burton Sword 35).

      ACTON. See Aketon.

      ADAGA, ADARGA, ADARGUE. A shield or parrying weapon. It is of Arabic origin and the name is derived from the Arabic el-darakah, a shield.

      The weapon usually called by this name is a shield made of two ellipses with their longer sides overlapping. Frequently it is made of two oval plates riveted to a straight bar, 1 fig. 2. It is made of metal, leather or wood covered with leather. It was used, mainly in Spain, from the latter part of the 14th to well into the 16th century. Fig. 2.

      Under this name Jubinal illustrates a weapon of quite different character, fig. 3, which, he says, was used by the Moors in the 15th century.

      ADAYA. An arrow that has missed its mark, Japan.

      ADSCRIPTII. One of the divisions of the Roman light infantry. They were irregular troops and not considered trustworthy. (Burton Sword 245).

      ADZE. The adze is a carpenter’s tool something like an axe but with the edge at right angles to the handle. The Maoris were the only people who used it regularly as a weapon. Their war adzes had jade blades and elaborately carved handles, while those used as tools had plain ones. Fig. 4.

      ADZE-AXE. An implement with an adze blade on one side of the head and an axe blade on the other. One was found in a Frankish grave at Parfondeval by the Abbé Cochet. It is uncertain whether it is a tool or a weapon, probably the former. (Hewitt I, 45, 48).

      FIGURE 4. Maori Fighting Adze. American Museum of Natural History.

      AEN. Zinc, Japan.

      AFGAN KNIFE. See Khyber Knife.

      AFGAN STOCK. The very much curved gun stock with a very deep, narrow butt, used particularly in Sind. It received its name from the English because Sind was under Afgan rule at the time they first entered it. Fig. 5.

      FIGURE 5. Guns from Sind with Afgan Stocks

      AFUT, AFUST. A gun carriage. (ffoulkes Armourer 153).

      FIGURE 6. Age-Maki. Purple silk cords and tassels on a Japanese brigandine of the 17th century.

      AGE-MAKI. Heavy silk cords with tassels worn as ornaments on Japanese armor. They were usually red but sometimes purple for the higher ranks. They were generally tied in a peculiar bow, fig. 6, but sometimes with other knots. The largest was on the back and to its loops cords from the sode (shoulder guards) were tied to keep the latter from swinging forward when the wearer stooped over. (Conder 267).

      AGGER. Mounds of earth which the Romans raised in front of positions that they were attacking to give commanding locations for their projectile engines; and also as a shelter for the troops forming for an attack. (Violet le Duc, Hist. 361).

      AGLET. See Aiguilette.

      AGLIGAK, AGILIGAK. A seal harpoon with a bone point, Point Barrow. (Murdoch 214).

      AGNY ASTRA. A rocket, or fire tipped dart, used by the early Hindus. It was discharged horizontally from a bamboo tube and used against cavalry. (Egerton, p. 10).

      AGRAPES, AGGRAPES. Hooks and eyes used with ordinary dress or with armor. (Fairholt 408).

      AHIR. A curved Mahratta sword (Sinclair, I.A. II, 216).

      AIGOTE. Kote, Japanese armored sleeves, connected by cloth or leather. See Kote. There are several varieties. (Garbutt 140). Fig. 7.

      FIGURE 7. Aigote, connected armor sleeves, Japan. There are several varieties, this is probably the one called Kogusoku-kote (little armor-like kote) because it is so complete. The sleeves and body are of brigandine. Late 15th century. Metropolitan Museum.

      AIGUILETTE, AGLET, AIGLET, ANGLET. The metal tag on the end of a point or lace, sometimes the point itself. Points were used during the middle ages to fasten together the pieces of plate armor, and also the portions of the civil dress. At first the armor for the arm was supported by points fastening to the shoulders of the arming doublet, later the arm pieces were hung from pins on the gorget. Fig. 8.

      FIGURE 8. Aiguilettes. 1. From the effigy of a knight of the Pembridge family. Temp. Ed. II. 2. The same, larger scale. 3. End of the 15th century. 4. From the Harlein MSS. 4826. After Planche.

      AIGUNIA. Machines, or engines, of war. (ffoulkes Armourer 153).

      AJIRO GAKE. See Anda Tsudzumi.

      FIGURE 9. Aikuchi. 1. Blade 8.75 inches long, unsigned. Scabbard and hilt mountings of iron inlaid with gold. Kozuka and kogai of shakudo with shishi partly of gold. 2. Blade signed Tomohide, 17th century. All mounts of silver carved with waves and inlaid with gold dragon flies. Scabbard of black lacquer with incised snow crystals. 3. Blade 9 inches long of diamond section, signed Nagamichi, 16th century. All mounts of gold. Menuki peonies, others with trees in relief in shakudo and silver. 4. Finely watered blade signed Kaneuji. Same hilt with gold menuki. Hilt and scabbard fittings black horn or lacquer of fine quality. Kozuka, shakudo nanako with borders and flowers in relief in gold. 5. Silver mounts finely engraved. Scabbard and hilt of fine gold lacquer with a tree, flower vases, storks, etc., in high relief in shell and lacquer. A cabinet piece and not for use. 6. Blade 9.625 inches long, engraved with a ken and bonji characters. Hilt and mountings all silver waves. Scabbard covered with shibuichi chased with a wave design with fish, lobsters, etc., in high relief in gold, silver, shakudo and copper.

      AIKUCHI, KUSUNGOBU. A dagger without a guard, Japan. The second name is the older and refers to the length of the blade which was originally—ku (nine) sun, go (five) bu, 0.95 of a Japanese foot, equal to about 10.8 English inches. Apparently this type of knife was not carried by persons of rank until the later Tokugawa times; it then became popular and was used by old men, by men living in semi-religious retirement, and by those rewarded with the titles of Hoin, Hokyo, Hogen, etc. In the early part of the Tokugawa period the end of the scabbard was usually protected by a ring of buffalo horn which had a shoulder on it that locked into a similar ring on the hilt. Later, when this kind of knife became more popular with the higher classes, these pieces were often made of metal decorated like the other fittings. The decoration was partly on each so that the two appeared as one when the knife was sheathed. The ring on the hilt was sometimes called the fuchi, and the one on the scabbard the koi-guchi kanagu. Usually the two, collectively, were called the koi-guchi. Sometimes the koi-guchi was a special fitting with a projecting flange, if it was attached to the hilt the flange fitted over a plain cap on the scabbard; if it was attached to the scabbard a plain cap on the hilt fitted into it. See Koi-Guchi.

      These knives were used in committing ceremonial suicide, harakiri or seppuku. When used for this purpose they were fitted with hilts and scabbards of plain white wood. (Joly, Naunton xvii).

      The aikuchi was carried by those whose fighting days were over, apparently as a notice that while the wearer was no longer seeking trouble, he was still prepared to defend himself. One of the old meanings of the name is a pleasant companion. Another derivation, which appears to be more probable, is that the open end of the scabbard is called the koi-guchi (literally carp mouth), and the opening in the end of the hilt for the tang the tsuka-guchi (hilt mouth), the knife is called ai-kuchi (meet mouth), the two not being separated by a guard as with other knives. Fig. 9.

      AILETES, ALETES. Square, round, pentagonal, shield or cross-shaped guards worn on the shoulders from the latter part of the 13th to the middle of the 14th century. They were held in place by laces and were usually decorated, frequently with the coat of arms of the wearer. Fig. 10.

      No example of this defense is known to be in existence.

      AINAKA-GOTE. A variety of kote, Japanese armored sleeve.

      AKAGANE. Copper, Japanese. It was frequently used in making and decorating sword fittings; and was often pickled so as to give it a brilliant red patine.

      AKAGANE-GASA. A hat-shaped copper helmet worn by the lower classes of Japanese retainers. Like the tin hat of the late war it was often used as a cooking pot.

      There is said to have been a special kind worn in the eastern provinces which had a loose piece on the crown that revolved when struck by a weapon or missile. (Conder 280).

      AKEDAMA. The rim of the hachimanza.

      AKETON, ACTON, AUQUETON, GAMBESON, HACKETON, HAQUETON, WAMBAIS, WAMBESIUM, WAMS. A quilted garment much used as armor in the 12th and 13th centuries. The knights wore it under their hauberks, and it was the sole defense of the foot soldiers. When worn under armor it was sometimes without sleeves.

      FIGURE 10. Ailettes. 1, 2, 3, 4. From contemporary manuscripts. 5. From an ivory carving. 6. From the brass of a Septvans, Chartham, Kent. After Planche.

      AKINAKES. See Acinaces.

      AKURIO. Evil demon, a type of Japanese menpo.

      ALAMANI. An Indian sabre like the old German hussar sword. It was probably used by Hyder’s German cavalry in the 17th century. (Egerton, 745 and p. 11).

      A LA POULAINE SOLERETS. Foot guards (solerets) with very long pointed toes. They were worn with Gothic armor in the 15th century. (ffoulkes 70). Fig. 11.

      ALBLAST. See Arbalest.

      ALBORIUM. A bow made of hazel, 11th century. (ffoulkes Armourer 153).

      ALCATO. A collar or gorget, 13th century. (Planche 5).

      ALFANGE. The Spanish form of the Persian word khanjar, a knife or dagger. (Burton Sword 29).

      ALI-ALI. A kind of Malay knife. (Skeat & Blagden II, 643).

      ALKINDE. The Spanish name for Indian watered steel, wootz. (Burton Sword 110).

      ALKIR. See Kalka.

      ALLECRET, HALECRET. Body armor of the 16th century of uncertain character. Some authorities describe it as a light back and breast. (Planche 5).

      ALLIGOLES. Rohilla mercenaries much employed in the Indian wars. (Tod I, 558).

      ALLONGE. A thrust with a rapier or small sword.

      A long rein used for exercising horses. (Hoyt 351).

      FIGURE 11. A la Poulaine Solerets. Probably German, 15th century. Metropolitan Museum. Not to scale.

      ALMAIN RIVETS. Modern writers frequently use this name for sliding rivets, that is, rivets that slide in slots in one or both of the pieces that they join, thus allowing a considerable amount of flexibility. In the early inventories, however, it always indicates a suit of light armor. 2000 complete harnesses called Almayn rivets according to a pattern in the hands of John Dawney, accounting always a salet, a gorget, a breastplate, a backplate and a pair of splints for every complete harness at 18s. the set. Payment for them was made in the King’s behalf to a certain merchant of Florence, Sept. 13th, 1512. (ffoulkes Armouries 49).

      ALVAU-UL. See Bo-Un.

      AMA-GOI-KEN. A Japanese sword in the form of the ancient one used by Kobo Daishi. It represents the Amakurikara, or rain dragon. (Jap. Ex. 71).

      AMAKURIKARA. A dragon wound around a sword. Used as a decoration on Japanese blades. Fig. 12.

      AMA NO MURAKUMO TSURUGI. The mythical sword that was drawn from the tail of the eight-headed dragon by Susano-O no Mikoto, and was kept in the temple of Ise until given to Yamato Dake. He was once trapped by his enemies in a field of burning grass, but mowed a space clear with his sword and so escaped. After this the sword was called the Kusunagi no Tsurugi, or grass quelling sword. Yamato Dake consecrated it to the temple of Atsuta, where it is still said to be. (Joly Leg. 345, 367, 395).

      AMAOI. Stiffening plates on the edges of the scabbard of a tachi. They are held in place by bands. (Joly Int. 8). Fig. 386.

      AMBALANG. The sling of the Toba Battaks, Sumatra. (Arc. f. Eth. VI, 121).

      AMENTUM, ANKULE, MESANKULE. The first is the Latin name, the others are Greek. A loop of cord attached to the shaft of a spear to assist in throwing it. The Greeks fastened it close to the butt end of the spear; but, in parts of Central Africa where it is still used, it is placed near the middle of the shaft. (Cowper 229).

      FIGURE 12. Amakurikara. Japanese temple sword. Straight, double-edged blade 13 inches long, with a dragon carved winding around it. Vajra hilt. Tibetan scabbard set with coral, turquoise and shell.

      AMERA. A kind of spear thrower used by the Arunta, Luritja, Urmatjera and Kaitish tribes of Australia. It consists of a broad lanceolate blade of mulga wood (Acacia Aneura), tapering off at both ends. It is almost always decidedly concave, but sometimes nearly flat. At one end it has a small wooden point attached by means of a lump of resin firmly bound by sinew. At the opposite end there is a still larger mass of the same material which not only makes a handle, but holds a flake of flint which forms the most useful cutting implement of the tribes that use this form of thrower. The broad surface makes it inefficient as a thrower, but, on the other hand it serves a treble purpose. First as a thrower, second as a cutting implement, and third as a receptacle for certain things, such as decorative materials and blood, used during ceremonies. (Spencer & Gillen 687). See Spear Throwers 2, fig. 744.

      AMIDA TAGANE, AMIDA YASURIME. Decorations of radiating lines on a Japanese guard, fig. 13. Frequently it is used in connection with other forms of ornament.

      FIGURE 13. Amida Tagane. Tsuba decorated with radiating lines.

      AMUKTA. One of the divisions, or classes, of weapons recognized by the ancient Hindus. It means the unthrown, and comprises 20 species.

      According to Hindu tradition "Jaya a daughter of primeval Daksha (one of the Rishis or sacred sages), became, according to a promise of Brahma, the creator, the mother of all weapons, including missiles. They are divided into four great classes. The Yantramukta (thrown by machines); the Panimukta (hand thrown); the Muktasandharita (thrown and drawn back) and the Mantramukta (thrown by spells, and numbering six species), form the Mukta or thrown class of twelve species. This is opposed by the A mukta (unthrown) of twenty species, to the Muktamukta (either thrown or not) of ninety-eight varieties, and to the Bahuyuddha (weapons which the body provides for personal struggles). All are personified." (Burton Sword 214).

      AMUSETTE. A gun mounted like a cannon but fired like a musket. It is said to have been invented by Marshal Saxe and used by the French horse artillery. (Hoyt 352).

      AN, KURA. A saddle, Japan. The Japanese saddles had wooden trees made of four pieces laced together and shaped much like our army saddles. The wood was almost always decorated with lacquer. 1, 11 Fig. 680.

      ANAK, PANAH. An arrow, Malay.

      ANAK TOUMIANG. The inner tube of the blowpipe of the Orang Mantra of the Malay Peninsula. (Arc. f. Eth. IV, 266). See Toumiang.

      ANCUS, ANKUS, FURSI, GUSBAR, HENDOO. The Indian elephant goad. It is shaped much like a modern boathook, with a spike on the end and a sharp hook on the side.

      When used by a man riding on the elephant the handles are comparatively short and the hooks vary much in size; when carried by a man walking beside the elephant the handles are about five feet long and the hooks always small. Most are plain and solely for use; but many are mainly for display and are finely chiseled, or have handles of ivory or jade, or are covered with goldsmith’s work and jewels. They vary in length from about fifteen inches to nearly four feet. Figs. 14, 15.

      ANDANICUM, ANDAINE. A name for Indian watered steel used by Marco Polo. See Ondanique.

      ANDARMA, BAR-NGA. A spear with a bamboo shaft and a head of acacia. Princess Charlotte Bay. (Roth, Aust. Mus. VII, 194).

      ANDA TSUDZUMI, AJIRO GAKE. Japanese corselets covered with cane work. The two are different. (Conder 263).

      ANDREA FERRARA. A celebrated Italian swordsmith, 1550–1583. The Highland broadswords are often called Andrea Ferrara because his blades were so much used and highly valued in Scotland.

      ANELEC, ANALACE. See Cinquedea.

      ANGIRK’HA. A surcoat, a long robe worn over armor in India in the 16th century. (Egerton, p. 23).

      ANGLET. See Aiguilette.

      ANGON. The barbed spear or javelin of the Franks in the 7th century. (Hewitt I, 25).

      AN-GORA. A club with a broad, square end and sharp edges. It is used for killing fish at night when they are attracted by a light by the Koko-Minni blacks of Queensland.

      FIGURE 14. Decorated Ancus. The whole is practically covered with diamonds, only the point and hook being bare. Part of the decoration on the handle is in enamel. South Kensington Museum.

      FIGURE 15. Ancus. 1. Tanjore XVII. Steel head and wooden handle. 2. Java XVIII. Head only, all steel. 3. Ceylon XVII. Steel head inlaid with brass and silver, wood shaft. 4. Ceylon, head only. Steel inlaid with silver. 5. Central India. Carved steel head and shaft with a brass monster on the end. 6. Southern India XVII. Steel head, ivory handle, shaft carved and fluted cylinders of crystal separated by gilt rings. 7. Rajput XVIII. Blackened steel inlaid with gold. 8. Ceylon, head only, all steel. 9. Silver plated head and ivory handle. 10. Southern India. Carved steel head and wooden handle separated by an ivory ornament. 11. Ceylon XVIII. Steel head, handle painted with bands of bright colored lac. 12. India. Steel head, flat shaft and butt forged in one piece; wood covers riveted to the shaft. 13. All steel inlaid with silver. 14. Mysore. Very rough iron forging. 15. Very small, probably made for some mahout’s child. Steel socketed with a ring on the back, short wooden handle painted red. The points have been rebated so that it could not injure the elephant. Length 10 inches. 16. Central India, XVIII. Steel head, carved ivory handle.

      FIGURE 16. Anime (Venetian?), second half of 16th the century. Metropolitan Museum.

      ANGUSHTANA. An archer’s ring, India. (South Kensington). See Archer’s Ring.

      ANGUVIGANG. A whale lance, Cumberland Sound Eskimo. (U. S. N. M. 1900, 265).

      ANIME. Laminated body armor of the late 16th century. The plates are horizontal and lap so that the open joints are upwards. While this makes it very flexible it is not good as a defence. Fig. 16.

      ANKULE. See Amentum.

      ANNEAU. A ring guard. It was used on one, or both, sides of the guards of swords and knives in the early 16th century and later. (Dean Handbook 67).

      ANLAS. Burton says, Sword 263: The peculiarly English anelace or anlas, more or less conical and sharp-pointed. This description is totally unlike that of the weapon commonly called an anelace; which, moreover, is Italian and not English. See Cinquedea.

      ANTEPILANI. The first two lines of the Roman heavy infantry. They were so called because they were placed before the three divisions called Pilus. (Burton Sword 247).

      ANTESIGNANI. Roman light infantry who preceded the standards. (Burton Sword 247).

      ANTIA. The iron handle of a shield. (Fairholt 412).

      AOBIE. A short bamboo sword, Japan.

      AOI TSUBA. A form of guard much in vogue in the 12th century in Japan. It is made up of four lobes like the heart-shaped leaves of the Aoi (Assarum), or has heart-shaped openings in it, or both. Fig. 17.

      FIGURE 17. Aoi Tsuba. 1. Iron mokume (wood grain) surface. Collection of Mr. C. O. Kienbusch. 2. Iron plain.

      AOR. One of the Homeric names for the sword. (Burton Sword 222).

      AORI. A shape of tsuba parallel top and bottom with the former considerably shorter than the latter. (Weber I, 202). 17, fig. 805.

      Saddle flaps, Japan. (M. M. S. II, 234).

      APNINIAP, CHINININIAP. An Ainu fish spear with a forked shaft, each branch of which is fitted with a barbed head loosely fastened to the shaft by a long cord. The butt end of the shaft has a short fork in which the line is laid when the spear is thrown. (Batchelor 154). Fig. 18.

      APPELS. In fencing, accentuating a feint by a slight movement of the foot. (Castle 155).

      APRON. In gunnery, a square plate of lead covering the vent of a cannon to keep the charge dry and the vent clean and open. (Hoyt 353).

      APSARAS. Hindu goddesses who summon the chosen from the field of battle and convey them to the ‘mansions of the sun.’ (Tod I, 461).

      AQUANDE-DA. The leather bracer of the Omaha. (Dorsey 287).

      FIGURE 18. Apniniap. Ainu salmon spear. U. S. National Museum, 1890, p. 70.

      ARABAS. A kind of arquebus, India. (Tod I, 220).

      ARAI-I. A kind of spear thrower that is also used as a spear guard on the Pennyfather River, Queensland. The blade varies greatly in width. It is made of any one of five kinds of hard wood which has been seasoned by burying it in the ground for two or three months to prevent its splitting. The peg is a cylindrical piece of ironwood fixed in the vertical edge of the end of the blade, which is split to receive it. It is fastened by twine passing through holes in the blade, and is covered with resin. The shell haft is made of two pieces of pera shell (Melo diadema) attached by beeswax. The handle is called to-o, the opposite end kwanna, the blade a-rar, the peg ko-kan, the edge of the blade bu-ni, the shell shaft pe-ra, and the extreme end beyond the shell teriwan (tail). (Roth, Aust. Mus. VII, 197. See Spear Throwers 18, fig. 744).

      ARAI-KAWA-ODOSHI. Cords of light red leather used for lacing together the parts of Japanese armor.

      ARAME. An unfinished sword blade, Japan.

      ARBALEST, ARBALETE, ALBLAST, ARBLAST. The European crossbow of the middle ages. All of the varieties consist essentially of a heavy bow mounted on a stock with a groove in the top for the arrow, and a mechanical arrangement for holding and releasing the string. The earlier bows were made of wood or whalebone; the later of steel. Sometimes they had wood backs and bellies separated by about twenty thin plates of horn or whalebone; these were so placed that they were bent in the direction of their greatest width, not like a leaf spring. The entire bow was covered with a wrapping of sinew.

      The earliest crossbows had comparatively light bows that could be drawn by hand, the stock being braced against the body. As they became stronger the bow was placed on the ground, and the feet on it holding it down, while both arms and back were used to pull the string. Up to this time the bow had been lashed to the end of the stock; later it was passed through a mortise a few inches from the end of the stock and a metal stirrup was added to place the foot in when drawing the bow. The stirrup was also used in drawing the bow with the cord and pulley, belt and claw (graffle), or by the windlass. When using the cord and pulley—one end of the cord was fastened to the belt and the other hooked to the stock, the user then stooped down, bending his knees, and fastened the hook on the pulley to the string. He bent the bow by rising and straightening his legs. By belt and claw—a long hook, the graffle, was fastened to the belt and hooked to the string, the bow was drawn by pushing with the leg, the foot being placed in the stirrup. When using the windlass the stirrup was merely used to steady the arbalest while the bow was drawn by a windlass and pair of tackles hooked to the stock. Very powerful bows were sometimes drawn by a screw passing through a hole in the rear end of the stock and hooked to the string, a wing nut on the screw being turned to draw the bow. A rack and pinion turned by a crank (cranequin or cric), or the windlass and tackles (moulinet) was carried hung from the belt. The most, popular arrangement for the lighter crossbows was the goat’s foot, or pied de biche, an arrangement of articulated levers that hooked to the string and stock. Sometimes it was permanently attached to the stock, more often it was separate and was carried hung from the belt. Fig. 305.

      FIGURE 19. Arbalestes. 1. German, 15th century. 2. German, dated 1584. 3. German, about 1550. 4. French(?) wall crossbow, 16th century. 5. French stirrup crossbow with its windlass, 16th century. 6. Flemish, 16th century. Metropolitan Museum. Not to scale.

      The largest crossbows had very complicated locks; some having as many as six scears between the trigger and the nut (catch for the string). Either, or both, ends of this train could be locked by a pin inserted in a hole in the stock.

      In order to put the string on the bow the latter had to be partially bent which was done by means of a bastard string. This was a cord shorter than the regular string with clamps on the ends by means of which it could be fastened to the bow. By its use the bow could be sufficiently bent to permit of putting the regular string in its place.

      FIGURE 20. Arbalestes a Jalets. 1. German, about 1520. 2. Italian, 16th century. 3. Italian, end of the 16th century. 4. French, early 17th century. 5. German, about 1700. Metropolitan Museum. Not to scale.

      The large crossbows were much more powerful than any long bow, but could not be fired as rapidly and were more difficult to protect from damage by rain or dampness. They were mainly used in the attack and defense of fortified places, the attacking crossbowmen being protected by large shields, pavis or mantlet, carried by attendants. The lighter crossbows were used in the field by men protected only by their armor. Crossbows were largely used in the English army in the time of Elizabeth, and were said to have been used by the English at the attack of the Isle of Rhee in 1627. Light crossbows shooting either bolts, stones, clay pellets or bullets were used for shooting game until the end of the 18th century.

      The stock of the crossbow was called the tiller or arbrier, and the catch for holding the string the nut. The arrows were called bolts or quarrels, and were much shorter and heavier than those used with the long bow. Fig. 19.

      ARBALETE A CRIC. A crossbow drawn by a rack and pinion, or cric. Fig. 19, nos. 1, 2, 3 and 6.

      ARBALETE A JALET, PELLET CROSS-BOW, PRODD. A crossbow with a long, light wooden stock, frequently ending in a ball or knob, and arranged to shoot stones or bullets instead of bolts. The string was double and had a small pouch in the middle to hold the missile. Many were elaborately decorated with carving and inlaying as they were intended mainly for sport. They were used for game until well into the 18th century. Fig. 20.

      The Chinese used, and still use, crossbows firing clay balls that are surprisingly like some of the European forms, even to the front sights, a bead on a string stretched across a wire arch. The Chinese back sights are, however, very much larger than the European. The trigger mechanism is also different, being composed of two levers that lock together without a spring and are held in place by the pressure of the string until the trigger is pulled. Fig. 21.

      FIGURE 21. Chinese pellet crossbows. 1. Stock 27.5 inches long, of dark brown wood with horn mountings. Horn bow. 2. Light wood stock 27 inches long, horn bow.

      ARBALEST A TOUR. A crossbow drawn by a windlass. 5, fig. 19.

      ARBALESTINA. A cross-shaped opening in a wall from which to shoot with a crossbow. (Payne-Gallwey, The Crossbow 9).

      ARBRIER. The stock of a crossbow. (Boutell 138).

      ARCHER’S GUARD. See Bracer.

      ARCHER’S RING. Throughout the greater part of the East the method of drawing and loosing the bow differs radically from those used in Europe. In it the thumb is put around the string and a ring is worn on it to protect it from the pressure and friction of the string when it is drawn and released. It also allows of bringing the pressure on the string at a single point close to the nock which makes the bow much more effective than the European method where three-or four fingers are used to pull the bow.

      These rings vary considerably in shape in different countries, and even in the same one. In Turkey, Persia, India and Korea the part that bears on the string is much wider than the other parts. In some of the Indian rings it is also wider on the back of the thumb than at the sides. In India the part of the ring on which the string slides is quite convex. In some of the Indian rings the upper end turns out in a hook. In Turkey, Persia and the few Chinese rings of this shape it is almost always highly convex. Nearly all Chinese rings are cylindrical with one end convex and the other concave. Some Chinese rings are of D section like the old Assyrian. Many of the cylindrical Chinese rings are not for archers but were worn as ornaments, many of these are much smaller than the archer’s rings. The Korean rings are much wider where the string bears than any others. They are always made of cow horn. It is uncertain whether the Japanese ever wore rings. As far back as we have information they wore gloves with an extra thickness of leather where the string bears; or they lined the thumb with some hard material which practically forms a ring.

      FIGURE 22. Archer’s Rings. 1. Turkey. Gray jade. 2. Turkey. Light jade. 3. Turkey. Very large ring of bone inlaid with brass. 4. Turkey. Bone with a leather guard. 5. Turkey. Red and white agate. 6. Turkey. Tortoise shell with a leather guard.. 7. Turkey. Ivory with a leather guard. 8. Turkey. Bone with a flat end. 9. Persia. Carved gray-green jade. 10. Persia. Carved white jade. 11. Persia. Carved dark green jade. 12. Persia. Carved white jade. 13. Indo-Persia. Gray jade. 14. Indo-Persia. Jade. 15. Indo-Persia. White jade. 16. Indo-Persia. Jade inlaid with gold. 17. Indo-Persia. Yellow and white agate. 18. Indo-Persia. Yellow, brown and white translucent agate. 19. India, side and back. Light jade inlaid with jewels set in gold. 20. India. Light jade with dark veins. Very high arch, upturned end and large ridge at the back. 21. India. Light jade similar to the preceding. 22. India. Rock crystal. It has been set with jewels which have been picked out. 23. India, side and back. Ivory with a heart-shaped ornament on the back. 24. India, turned up end. Gray agate with curved white lines. 25. India. Gray agate with straight white lines. 26. India, end and side. White jade, flat inlay of gold, three jewels on the back. 27. India. Mottled green jade. 28, 29, 30. Korea. Black and white cow’s horn. 31. Probably Chinese, ivory. 32. Probably Chinese, ivory with incised rings at the back. 33. Ivory with a very high arch. 34. Probably Chinese. Gray jade. 35. Probably Chinese. Black and white stone.

      FIGURE 23. Chinese Archer’s Rings. The first six are of D section; the upper line shows the sides and the second the ends. 1 a, b. Light jade, curved red face. 2 a, b. White jade with a flat, red face inclined to the axis. 3 a, b. Green jade vertical red face. 4 a, b. Small ring of translucent jade with a carved vertical face. 5 a, b. White jade vertical face. The curved side is carved with waves. 6 a, b. Very large ring of mottled jade with the vertical face carved in high relief. 7. Agate with a white band in the middle. 8. Agate(?) with black ends. 9. Yellow and white stone with concave sides. 10. Stag horn, unusually narrow. 11. Stag horn. 12. Stag horn. 13. Pottery pierced. 14. Metal enameled in colors, blue ends. 15. Metal pierced and enameled in colors, gilt ends. 16. Silver, sides woven wires. 17. Ivory with characters in relief. 18. Ivory, very finely carved with an incised landscape and inscription. 19. Wood carved in high relief. 20. Wood with a silver lining. 21. Wood, very narrow. 22. Wood, inlaid with silver flowers and an inscription. 23. Composition, carved and lined with silver. 24. Yellow and brown mottled wood with a horn lining. 25. Amber. 26. Jet. 27. Rock crystal. 28. Tomb jade. 29. White jade with a very finely incised poem. 30. White jade with yellow spots. 31. Gray stone. 32. Whitt jade carved in low relief. 33. Black stone with a kirin in high relief. 34. Very small ring of dark green jade. 35. Mottled white jade carved in low relief. 36. Greenish jade carved in low relief. 37. White jade carved in high relief. 38. Black glass. 39. Stone. 40. White jade. 41. White jade with a green spot. 42. Stone green, yellow and red. 43. Gray jade.

      All of the varieties of archer’s rings are not used by bowmen. At the present time only those made of deer horn or wood are used in shooting. Amiot says, p. 387, anneau de corne ou de cerf ou de quelque pierre precieuse (presumably jade). The much decorated rings are worn simply as ornaments.

      Archer’s rings are made of any hard, tough material — metals, horn, bone, ivory, jet, amber, tortoise shell and many kinds of stone, jade being the most popular. Some are ornamented with inlaying and jewels, occasionally to such an extent as to render them useless for their legitimate purpose. This type was worn only as an ornament for parade. Figs. 22, 23.

      The Chinese sometimes carried their rings in small cases of ivory or embroidered materials; the cover slides on the suspension cords. They were carried hung from the belt. Fig. 24.

      In use the point is turned towards the end of the thumb and not towards the hand as some descriptions would indicate. The shapes of some of them show this to have been impossible. The Chinese cylindrical rings are worn with the convex end towards the hand.

      ARCIONES. The high peaks, back and front, of the war saddles of the middle ages. They were covered with steel plates which were often forged so as to be highly decorative. Fig. 679.

      ARMED. In the middle ages, and up to the 17th century, armed meant wearing armor and had no reference to carrying arms. A man without armor was said to be unarmed, even though carrying a number of weapons.

      ARMET. A type of closed helmet that conforms to the shape of the head and covers it completely. It first appeared on the Continent in the third quarter of the 15th century, and was a very distinct advance on any of its predecessors, being lighter and at the same time completely protecting the head, face and neck. It was soon further improved by adding a gorget wide enough to bring the weight on the shoulders instead of the head. As it fitted closely to the shape of the head it was necessary to open it in order to put it on. In the earliest forms this was accomplished by hinging the cheek pieces immediately below the visor pivots so that they could open outwards. The cheek pieces joined in front of the chin, and the visor fitted over them when lowered. The skull piece was continued down the back in a strip about an inch wide which was overlapped by the cheek pieces when closed. A short stem with a disk or roundel, sometimes called a volet, on it projected from the back of the helmet. This was probably intended to protect the joint. A specimen in the Churburg has a crescent-shaped piece fastened to the skull at the back of the neck so as to overlap both cheek pieces and hold them in place. The roundel gave the name of armet a rondelle to this type. Fig. 25.

      FIGURE 24. Cases for archer’s rings. 1. Box covered with blue silk studded with bright steel disks. It has a gilded hook by which to hang it from the belt, 17th century. 2. Box for two rings; it is divided in the middle and has two caps. Covered with brocade, 19th century. 3. Embroidered silk case for a single ring, 18th century. 4. Carved ivory box for one ring. The bottom is in two pieces and must be taken apart to get the ring out, 18th century.

      The English armet was somewhat different, being modeled more closely to the shape of the head. The skull piece covered the back of the head and ears while the movable chinpiece revolved on the same pivots as the visor. It was firmly closed by a hook or spring bolt on the side. This type gradually displaced the armet a rondelle. Fig. 26.

      The buffe, a reinforcing piece covering the chin and lower part of the face, was often worn with early armets. It was fastened in place by a strap, or straps, passing around the neck and buckling below the rondelle. As no means were provided in the early armets for holding the visor down the buffe projected above it and prevented its being forced up by a lance or sword thrust. 3 fig. 25, fig. 195.

      Although the armet did not come into use rapidly it had nearly displaced the other types of helmet by the year 1500. Some time before this the gorget had become large enough to transfer the weight of the headpiece to the shoulders. Later it was made a separate piece with a bead at its upper edge which fitted into a corresponding bead on the lower edge of the helmet. This made a joint that was perfectly tight at the neck and allowed the head to be turned freely while the weight of the helmet was supported by the shoulders, a combination never found in any other helmet. It continued to be the most popular type for both war and the tournament until the end of the 16th century. (Laking Armour II, 71).

      ARMET A RONDELLE. See Armet.

      ARMIL, ARMILAUSA, ARMYLL. Believed to have been a garment worn over armor, its exact nature is uncertain. (Planche 12).

      ARMINS. Velvet or cloth coverings for the shafts of pikes, halbards and similar weapons. They were primarily intended to keep the hand from slipping, but were later used mainly for ornament.

      ARMING DOUBLET. A padded garment of some heavy material, usually leather, worn under armor to protect the person and ordinary clothes from stains and chafing. It was padded to act as a cushion to blows struck on the armor. When mail gussets were worn to protect the joints they were fastened to the arming doublet; aiguilettes for holding the arm pieces in place were also attached to it. (ffoulkes 61). See Pourpoint.

      ARMING GIRDLE. The sword belt worn with armor. (Planche 13).

      ARMING HOSE. Heavy hose worn with armor. (Planche 13).

      ARMING POINTS. Laces, or cords, for fastening the parts of the armor together, or for supporting it from the doublet. (ffoulkes 38).

      ARMING SPURS. Spurs worn with armor. When the horses wore plate armor the spurs had to have very long shanks in order to reach the animal under the flanchards.

      ARMING SWORD. The estoc. (Planche 14).

      A short sword worn at the right side. (ffoulkes Armourer 154).

      ARM KNIFE. A small knife carried on the left arm near the shoulder by many Sudanese tribes. It has a blade about six inches long, straight and double-edged. A loop fastened to the scabbard passes around the arm and holds the knife in place. Fig. 27.

      The Tuaregs carry a longer knife on the left wrist. See Telek.

      ARMLET. Armlets are used as weapons in many parts of the world. The Tankuls of Assam wear heavy brass armlets with which they are said to strike crushing blows downwards. (Hodson 37).

      In addition to his other weapons a Tewarik usually wears a heavy stone ring on his right arm above his elbow. This weapon, if such it can be called, is intended to give greater weight to his arm when wielding sword or lance, and is also used, when he gets to close quarters and enfolds his enemy in a kind of bear’s hug, to press against his head in order to crush in his temples. (King 272). 3, 4 fig. 28.

      The Irengas of the Upper Nile wear disk-shaped arm rings, the sharp edges of which are covered with leather sheaths except when fighting. (Ratzel I, 100, 102). 1, fig. 28. Of a similar nature are the rings of their neighbors the Jurs, which are fitted with a pair of spikes. (Ratzel I, 100). 1, fig. 461.

      The natives of the Nuhr and the Latookas (Central African tribes from the vicinity of Gondokoro) wear an ugly iron bracelet armed with knife blades about four inches long by half an inch broad; the latter is used to strike with if disarmed and to tear with when wrestling with an enemy. (Baket, Albert Nyanza 143). ... the men wear . . . a horrible kind of bracelet of massive iron with spikes about an inch in length, like leopard’s claws, which they use for a similar purpose . . . He (the chief of the Neuhr) exhibited his wife’s arms and back covered with jagged scars, in reply to my question as to the use of the spiked bracelet. (Baker, loc. cit. 42, 43).

      FIGURE 25. Armets a Rondelles. 1, 2. Italian, about 1480. 3. Armet and buffe. Italian, about 1475. Arms of the Piombini family of Treviso. 4. Italian, 1475-1500. Metropolitan Museum. Not to scale.

      FIGURE 26. Armets. 1. German, 1540. 2. German, 1535. 3. French, 16th century. 4. French, 1600. 5. German, 1520. 6. Italian, 1580. 7-8. German, 1515. 9. French, 17th century. 10. Pisan, 17th century. 11-12. German, about 1500. Metropolitan Museum. Not to scale.

      FIGURE 27. Arm Knives. 1. Sudan. Blade 7.5 inches long, wood hilt. Red leather scabbard with a braided arm loop. 2. Blade 6.5 inches long, ebony hilt. Scabbard of black stamped leather with filigree silver mounts. 3. Sudan. Blade 7.75 inches long. Hilt and scabbard covered with stamped leather and snakeskin. 4. Sudan. Blade 4.875 inches long, wood hilt. Scabbard leather, with a flat arm loop. 5. Sudan. Blade and hilt forged in one piece, hilt covered with leather. Stamped leather scabbard and arm loop. 6. Sudan. Blade 6.5 inches long, wood hilt with cross guard. Scabbard of brown and white leather, round arm loop.

      FIGURE 28. Armlets. 1. Irenga, Upper Nile. Circular steel knife with a leather sheath covered with iron and brass. 2. Ouled Nail woman’s fighting bracelet. Silver, 1.875 inches wide with 13 spikes three-sixteenths of an inch square and thirteen-sixteenths long. 3. Tuareg armlet of black and white obsidian. Inside diameter 3.375 inches. 4. Tuareg armlet of granite. Inside diameter 3.25 inches.

      The women of the Ouled nail, a North African Arab tribe, usually become prostitutes as soon as they are old enough and continue until they have accumulated enough to make an attractive dowry, and then marry and no stigma is attached to the life they have been leading. Not unnaturally they have frequent quarrels among themselves and on such occasions wear fighting bracelets until peace returns. These bracelets are wide bands of silver quite well decorated and armed with a number of spikes about an inch long and over an eighth of an inch square, making quite effective weapons. 2, fig. 28.

      Even in India arm guards are sometimes found with semicircular knives on the wrists. 3, fig. 59.

      FIGURE 29. Ring and Scale Armor. 1. Sitka, Alaska. Made of three layers of tanned hide hardened, and with the front and part of the back covered with modern Chinese and Japanese coins. U. S. N. M. No. 18,927. 2. Chinese corselet of brass scales sewed on heavy cotton cloth. 3. Corselet from northeastern Asia(?). The base is padded leather on which rings are fastened by narrow strips of leather. The center ornament and the three rings nearest to it are of brass, all of the others are of iron. The last two only are to scale.

      ARMOR. Armor has been worn by all nations with any pretentions to civilization, and its evolution has been along the same lines everywhere, but has not gone equally far in all countries. The first armor was undoubtedly the skins of beasts, and such armor has been used within a very few years in the Philippines, 1, fig. 82. The next step was probably to fasten scales or rings of some harder material on it, fig. 29. In the earlier armor of this

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