In 1584, the first Japanese delegation to Europe, known as the Tenshō Embassy, arrived in Spain. This embassy was the first direct contact with Japan on European soil. It was intended to showcase the missionary work of the Society of Jesus with well-selected emissaries capable of captivating King Philip II, the Pope and Christian princes, to obtain resources and consolidate the power and prestige of the order. As a diplomatic gift, Philip II was presented with a collection of exquisitely crafted arms and armour. Among these was one suit of armour, complete with a kabuto - the iconic Japanese war helmet. Like contemporary Western helmets, kabutos were the most important element of the armour, and their manufacture would reflect the owner's social status and power.

The kabuto in the Spanish Royal Armory is among Europe's oldest collections of Japanese armour. Two photographs taken by Jean Laurent in the mid-19th century, along with a contemporary lateral-view drawing, are the only visual records of the kabuto before a devastating fire in the Royal Armoury of Madrid on 10 July 1884. Aside from written chronicles and historical catalogue descriptions, these images serve as the only references for reconstructing the helmet and restoring it to its original state. With so few visual references available, reconstructing an accurate model was a significant challenge for Factum Arte.

The scanning of the kabuto by Factum’s Imran Khan took place at the Royal Armory in August 2024, using photogrammetry. However, due to the reflective nature of the satin-finished steel, the resulting 3D model was flawed – its smooth surface distorted into rough textures by the scanning process. Following a meticulous clean-up, the reconstruction process began, drawing upon as many direct historical sources as possible.

Álvaro Soler del Campo, Director of the Spanish Royal Armory, provided invaluable access to these archival materials. Certain sections of the kabuto, presumably lost in the 1884 fire, required reconstruction. Much of the helmet’s detailing had originally been modelled in traditional Japanese lacquer (urushi), leaving only the underlying metal framework intact.

The eyes, pupils, and other detachable elements had also been lost. Using the 3D sculpting software ZBrush, the missing elements – including the forehead, eyes, and the shikoro (the neck and shoulder protection made of overlapping plates of metal), which had been severely deformed by fire, were meticulously remodelled. The occipital structure was also remodelled. 

Once the digital reconstruction was approved, the entire helmet was 3D printed in 316 stainless steel using Selective Laser Sintering (SLS), a technique that offers unparalleled precision compared to other manufacturing methods.

Following printing, the next crucial decision was determining the appropriate urushi lacquer colour and overall restoration approach. This phase involved extensive discussions, including experts in Japanese art from the Museo Stibbert, to determine how the kabuto would have appeared when it first arrived at Philip II’s court. The earliest known visual records date from nearly 300 years later, meaning any conclusions had to be carefully considered. A comparable kabuto gifted to the Spanish court, which still retained its original red lacquer, served as a key reference.

From this point onwards, the project evolved through continuous exchanges with the Royal Armoury, as Factum sought contemporary references from the Azuchi-Momoyama era (1573-1603) with similar aesthetic characteristics. It became clear that this kabuto was a truly exceptional piece, unparalleled in craftsmanship and unlike any other surviving example.

Final workshop additions, led by Factum Arte’s Silvia Álvarez and Almudena Casado, included all hair elements (eyebrows, moustache, goatee, and full head of hair), as well as the silk braiding that connects the shikoro. The braiding pattern was cross-referenced with similar pieces from the Royal Armoury’s collection, while the hairstyle was recreated in accordance with 16th- and 19th-century catalogue descriptions.

At every stage of the process, the project was guided by a commitment to historical accuracy over contemporary aesthetic sensibilities. The aim was not to create an object pleasing to the modern eye, but rather to ensure a reconstruction that was as faithful as possible to the available evidence and scholarly interpretations.

This meticulous reconstruction effort has not only revived a historical artifact, but also ensured its accessibility in the digital age. In collaboration with Ubisoft and Patrimonio Nacional, the kabuto has been integrated into the Cultural Codex of Assassin's Creed Shadows, where players can explore its history and significance within the context of Feudal Japan.

By incorporating this relic into a widely recognised gaming franchise, this initiative bridges historical research with modern technology, allowing global audiences to engage with cultural heritage in an immersive and interactive way.

The reconstructed kabuto is also on display at the Galería de las Colecciones Reales in Madrid, where visitors can appreciate its craftsmanship until April 6, 2025, after which it will join the collection of the Royal Armory upon its reopening.

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