The kata-kiri-bori style depended for its effect not on the inlay of different metals but on designs in relief or intaglio. Often the design was defined by piercing, and the detail brought out by chasing and modelling in relief. In most cases the work was entirely that of the chisel and the hammer, untouched by any subsequent grinding or polishing.

In the kata-kiri-bori-zogan style—figured, sculptured, and encrusted work—we find the latest and most elaborate productions of the more modern schools, enamels being also used to add richness to the effect.

The iron, which forms the most usual material, is of exceedingly fine quality and of unusual softness. In many cases it was left rough from the hammer and punch, the marks, seemingly so careless, forming essential parts of the decoration. Etching with acids was sometimes adopted to bring out into greater prominence the twists and foldings of the wrought iron. In some cases, also, a surface grained like wood was obtained by welding together many strips of iron of different qualities and then treating with acid, which, of course, affected more strongly the softer layers.

It is doubtful when the tsuba first began to be an object of art, no specimens of an earlier date than the fourteenth century existing even in representations. Most of the tsubas on the older swords are much more modern than the blades to which they are attached. In the olden times, when the Samurai fell into evil days, he sometimes stripped off and sold the rich embellishments of his sword, retaining only the trusty blade.

Kaneiye, who worked about the end of the fourteenth century, is regarded as the first maker of tsubas artistically ornamented.

In the fifteenth century were produced many iron tsubas decorated with saw-cut silhouettes of birds, leaves, or animals, and with hammer or punch marks. Those last were probably the work of armourers, as in the case of Nobuiye of the Miochin family, whose iron tsubas were greatly valued. Some of these are of openwork, some with heads or masks in relief, others with punch marks. Another of the most famous workers in iron is Umetada, who lived about the middle of the seventeenth century.

Another of the fathers of the art was Goto Yujo, the founder of the Goto school, who lived between 1434 and 1512, and often worked from the designs of the painter Kano Motonobu. By this school, it is said, was introduced the peculiar ground of raised dots known as manako, or fish roe ground, and also the free use of gold, the excess of which marred so much their later work.

To the sixteenth century belong most of the beautiful specimens of saw-cut work in iron, chrysanthemums, kiri, and other crests being the favourite motives, though a number of conventional floral designs showing a strong Portuguese influence are also found.

In the early part of the seventeenth century the use of enamel in the ornament of the tsuba was introduced by Hirata Donin, and continued to be characteristic of the work of the Hirata family till the present century.

The time which produced much of the finest work of all is known as the Joken-in period, 1681-1708—the rule of the Shogun Tokugawa Tsuneyoshi—perhaps the most famous artist being Somin, who worked largely from the designs of the Kano painter Hanabusa Itcho. About this time the wonderful palette of colours in metal came into full use, and the range of subjects became more and more varied. As in the case of netsuké, so in tsuba one may read the whole history, legends, and mythology of Japan.

But the art had now passed its zenith, and a gradual degeneration set in, the work produced in later years being rich and ornate, but lacking the distinction of the earlier schools.

A few words must be said of the kozuka, the handle of the small knife, called the ko-katana, which is sheathed in the scabbard of the wakizashi, or short sword. The kozuka contains much beautiful ornamentation, and from its more sheltered position this is often of greater delicacy than that applied to the tsuba. The manner in which the problem of filling the long, narrow field is solved is a perpetual source of charm to the student of design.

The fuchi, or ferule, at the lower end of the handle of the sword, and the kashira, its lozenge-shaped cap, are also finely ornamented, the two combined usually forming one design.

South Kensington Museum has a varied collection of sword furniture, including many fine specimens, but, unfortunately, probably from lack of space, the objects are arranged in tall cases placed so closely face to face as to render the study of their contents almost impossible without the help of a candle.

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