The shape of the dagger refers to a Persian typology that dates back to the Arab jambiya, a dagger with a curved blade with two cuts. The blade is of a fine steel, wootz damascus, produced in a few locations between northern India and Persia with a complex casting process. The decoration that covers the handle and the case is made in enamel. The flowers depicted, with delicate pink and purple hues, are mostly lotus flowers that wind from golden racemes that compose arabesques. Particularly elegant is the composition placed on the two sides of the handle in which the lotus, with its characteristic pointed petals, rests on a stylized blue leaf. The scabbard bears an illegible signature and the date "1230" of the Muslim era in Arabic characters.

The Japanese armor is composed of an assembly of heterogeneous materials: metal, leather, fabric, lacquer, silk, golden metal plates. Its parts, joined by silk ribbons, are articulated in a sturdy but flexible whole that did not force the samurai's body into a rigid structure, to ensure, in addition to protection, a considerable freedom of movement. The armor is made according to the do-maru type, a light defensive equipment attested in the thirteenth-sixteenth centuries for the battle on foot. It was intended for a high-ranking person, as evidenced by the use of precious materials such as silk and lacquer which, thanks to the characteristics of resistance, elasticity and impermeability, help to make it a combination of elegance and functionality. It is one of the three complete Japanese armours that became part of the oriental collection of the Royal Armory within the second half of the nineteenth century. It was donated in 1869 to King Vittorio Emanuele II by Emperor Meiji following the signing of the friendship and trade treaty between the Kingdom of Italy and Japan. In anticipation of the rearrangement in the Armory Rotunda (2016), the armor was subjected to a careful restoration and equipped with a special support structure, designed to distribute the weight of the various elements in a calibrated way and to avoid the deterioration of the different elements. materials.

The shield comes from the collection of Prince Eugene of Savoy Soissons. In the center, five medallions, linked by a band that continues on the edge, tell the story of Jugurta, king of Numidia, and the conflict that opposed him to the Romans (112-105 BC). In the largest plaque, Mario's victory over the African king is represented. The remaining space is occupied by telamons, ancient figures, grotesque masks, trophies of arms and prisons. Long Latin inscriptions explain the meaning of the story. Due to its fine workmanship, the plaque was long attributed to Benvenuto Cellini or Giulio Romano. On the other hand, the reference to the graphic models of Etienne Delaune (1518 / 1519-1583), who worked at the court of Henry II of France (referred to on the crescent shield, his insignia), is more pertinent, as well as to the models of the Italian Mannerist culture.

The corselet is the set of plates that protect the warrior from head to hips. This, not complete, is the work of the famous Milanese armoraro Pompeo della Cesa, who engraved his signature in a scroll on the upper part of the chest. The etching engraved decoration covers the entire surface, according to a "fabric" style that particularly recalls velvets and is typical of the advanced stage of the master's production. Floral motifs, some stylized others with a more free course, welcome folders with figurines of warriors and grotesques. The armor must have been gilded, as mentioned in the first catalog of the museum of 1840. On the right side of the chest is visible a bullet hole from a light firearm.