Untitled

50
THE WONDERFUL CITY OF TOKIO.
a policeman could be found, the rascals had vanished,
so Fitz
gave up all hopes of recovering his property.
They entered the yashiki by a side gate which was kept in
the same manner as it had been when the place was owned by
the Lord of Kaga. On the right of the mom-ban's quarters
was an upright frame containing three extraordinary-looking
instruments that stood out black against the moonlit sky.
The porch of the building was shaded by a curtain hung
from a pole, and inside the door lounged three men, who were
watching the approach of a tall Japanese.
"That is a Satsuma man," whispered Oto. "Look at the
crest on his haori (short jacket). I wonder what he is doing
in the Kaga-yashiki? "
" I suppose he is on a visit to the mom-ban" said the Pro-
fessor.
"No, he must be stirring up mischief," cautiously replied
Oto.
" No doubt he is a spy sent to ascertain how the people
like the new order of things."
"For what did they use those pitchforks?" demanded Fitz,
pointing to the weapons.
" For this," said Oto.
" In the old time, if a stranger en-
deavored to pass the guard-house without giving his name and
stating his business, the soldiers would seize those mitsu-dogu
and either entangle them in his clothes or trip him up with
them. You will observe that the prongs are covered with lit-
tle hooks."
" I wonder the mom-ban did not keep them inside the
house," remarked Johnnie.
'The mitsu-dogu were put there more to scare people
than anything else," said Oto. "Indeed, for some years, they
have only been retained as ornaments."
"What is that hour-glass shaped structure on the left? "in-
quired
the Professor.