Hiroshige. Mikhail Uspensky

largest bridge and one of the oldest across the Sumidagawa. It was constructed in 1698. The panorama from the bridge developed into one of the traditional themes of Japanese poetry in the Edo period. The bridge was frequently damaged by floods and had to be repaired at considerable expense. Finally, the government decided to give up the struggle and abandon the Eitaibashi.

      Tsukudajima Island from the Eitaibashi Bridge

      Eitaibashi Tsukudajima

      February 1857

      Colour woodblock print, 36 × 24 cm

      Gift of Anna Ferris, Brooklyn Museum of Art, New York

      The white summit of Mount Fuji rises from a scarlet strip of dawn sky. The even line of houses belonging to common people that forms the background of the print is disrupted only by the slight curve of the bridge built across the Yagenbori canal, at the point where it joins the Sumidagawa. This bridge is known as Moto-Yanagibashi – the “True Willow Bridge”. At this early hour, boats are passing along the Sumidagawa loaded with goods for the numerous markets that open while it is still dark.

      The Ekoin Monastery at Ryogoku and the Moto-Yanagibashi Bridge

      Ryogoku Ekoin Motoyanagibashi

      May 1857

      Colour woodblock print, 36 × 24 cm

      Gift of Anna Ferris, Brooklyn Museum of Art, New York

      In the early Edo period this spot, like the whole of the Bakurocho quarter, was the scene of lively horse-dealing. In front of the area of hostelries lay the Hatsune-no baba racetrack, the oldest in Edo. The site was directly connected with the Battle of Sekigahara in 1600 that brought the Tokugawa house to power. With time, the character of the place changed. Together with Bakurocho, it became a centre for working and selling fabrics.

      The Hatsune-no baba Racetrack in the Bakurocho Quarter

      Bakurocho Hatsune-no baba

      September 1857

      Colour woodblock print, 36 × 24 cm

      Gift of Anna Ferris, Brooklyn Museum of Art, New York

      From the second half of the seventeenth century, merchants trading in fabrics began to concentrate their businesses in this quarter. Hiroshige shows us First Street from the gate which closed off the quarter. From the moment the new capital was founded, gates like these were installed in all the quarters of Edo for crime prevention and, most importantly, fire prevention.

      The Street of Fabric Shops in the Odemmacho Quarter

      Odemmacho momendana

      April 1858

      Colour woodblock print, 36 × 24 cm

      Gift of Anna Ferris, Brooklyn Museum of Art, New York

      A street straight as an arrow runs right to the very foot of Mount Fuji, which is depicted in the centre of the print. The mountain is separated from the cityscape by a strip of stylised clouds that Hiroshige “borrowed” from the repertoire of classical painting: Fuji seems to exist in a different world. It reigns above the urban bustle of the commercial quarter near the Nihonbashi, without coming into contact with it.

      The Surugacho Quarter

      Surugacho

      September 1856

      Colour woodblock print, 36 × 24 cm

      Gift of Anna Ferris, Brooklyn Museum of Art, New York

      In 1636, the Sujikai-gomon gate was constructed on the road leading from the Nihonbashi bridge to Ueno, for the inspection of travellers. Next to a daimyo’s mansion is a small guardhouse, which Hiroshige depicted in the upper left-hand part of the print. Quite possibly this mansion is the destination of a procession consisting of several palanquins (kago), servants carrying luggage baskets and samurai guards. On the other side of the Kandagawa we can see the majestic buildings of the Kanda-myojin, one of the most popular Shinto holy places among those born and bred in the city.

      Yatsukoji Square seen from the Sujikai Gate

      Sujikai-uchi Yatsukoji

      November 1857

      Colour woodblock print, 34 × 23 cm

      Brooklyn Museum of Art, New York

      This print takes the viewer onto the grounds of the Kanda-myojin shrine. The shrine was one of the most ancient in Edo. It had been founded in the year 730 in the village of Shibasaki (the present-day Otemachi quarter). The shrine was held to be the dwelling-place of the spirits, who guarded the capital. Perhaps for that reason the Kanda-matsuri temple festival was the most popular holiday among the natives of the city. The print, though, depicts something different – the quiet start to a day of noise and bustle, which all days were in the Eastern Capital’s most frequently-visited holy place.

      The Kanda-myojin Shrine at Daybreak

      Kanda-myojin akebono-no kei

      September 1857

      Colour woodblock print, 34 × 23 cm

      Gift of Anna Ferris, Brooklyn Museum of Art, New York

      Kiyomizudo was the most important of the temples of the Kanyeiji monastery, one of the main Buddhist centres in the Eastern Capital.

      In the print Hiroshige has placed the red terrace wreathed in the cherry blossom of spring in the foreground. From it there is a view of the Shinobazu-no ike. Hiroshige depicted Kiyomizudo in spring, when it is literally swimming in white cherry blossom. The cherry trees, which had already been planted by the third shogun, Iemitsu, were a local prodigy and brought Ueno fame as the best place for the admiration of the spring blossom (hanami).

      The Kiyomizudo Temple and Shinobazu Pond at Ueno

      Ueno Kiyomizudo Shinobazu-no ike

      April 1856

      Colour woodblock print, 33.7 × 22.5 cm

      Gift of Theodore Lande, Art Gallery of Greater Victoria, Vancouver

      Yamashita, literally “below the hill”, was an area of wasteland at the foot of Ueno hill. It was supposed to serve as a fire-break and was deliberately created in 1737. In overpopulated Edo empty spaces were at a very high premium. Soon various eating-houses, wine-shops and restaurants appeared here (one of which is depicted on the right-hand side of the engraving). Directly beneath the suyarigasumi (white and pink stylised clouds), surrounded by trees lower down the slope stands a fairly small structure heralded by a torii gate. This is Gojo-tenjin, a Shinto shrine dedicated to Sugawara-no Mitizane (845–903), a minister and poet, the deified patron of scholars and students.

      Yamashita at Ueno

      Ueno Yamashita

      August 1858

      Colour woodblock print, 36 × 23 cm

      Gift of Anna Ferris, Brooklyn Museum of Art, New York

      Ueno hill was one of the main centres of attraction in the Eastern Capital.