日光とその周辺

ROUTE 16. NIKKŌ AND NEIGHBOURHOOD. 1. GENERAL INFORMATION. 2. CHIEF OBJECTS OF INTEREST. MAUSOLEA OF IEYASU AND IEMITSU. 3. OBJECTS OF MINOR INTEREST. 4. WALKS IN THE NEIGHBOURHOOD. 5. KEGON-NO-TAKI, CHŪZENJI, NANTAI-ZAN, YUMOTO. 6. ASCENT OF Ō-MANAGO AND NANTAI-ZAN FROM YUMOTO.

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1.—GENERAL INFORMATION. Properly speaking, Nikkō is the name, not of any single place, but of a whole mountainous district lying about 100 miles to the N. of Tōkyō. Nevertheless, when people speak of going to Nikkō, they generally mean going to the village of Hachi-ishi, close to which are the celebrated Mausolea of Ieyasu and Iemitsu, the 1st and 3rd Shōguns of the Tokugawa dynasty. Lying 2,000 ft. above the sea, Nikkō is a delightful summer resort, for which reason many foreign residents of Tōkyō have villas there, or else at Chūzenji (4,375 ft.) 7½ m. further on. The only drawback to the climate is the frequent rain.

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There is probably no other place in Japan which combines in so eminent a degree the beauties of art and the beauties of nature. Within a radius of 15 m. there are no less than twenty-five or thirty pretty cascades. Nikkō is noted, among other things, for the glorious tints of its autumn foliage. Nikkō is reached in 5 hrs. from Tōkyō by the Northern Railway, changing carriages at Utsunomiya, where the Nikkō branch diverges. NIKKŌ BRANCH LINE. Names of Stations. Remarks. TŌKYŌ (Ueno). UTSUNOMIYA, 65¾ m. See Northern Railway, Route 24. Togami, 69¾ m. Kanuma, 74¾ m. Fubasami, 79½ m. Imaichi, 86¾ m. NIKKŌ (Hachi-ishi), 90¾ m.

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For a considerable distance, the railway runs close to the grand avenue of cryptomerias lining the ancient highway. As the traveller approaches Imaichi, he will notice on the l. a second avenue of cryptomerias converging towards the railway line. This is the Reiheishi Kaidō, so called because in old days the Reiheishi, or Envoy of the Mikado, used to travel along it, bearing gifts from his Imperial master to be offered at the Mausoleum of Ieyasu. The village of Nikkō being a very long one, and the railway only touching its lower end, there remains a stretch of about 2 m. to be done by jinrikisha from the station to the hotel.

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Hotels.—Nikkō Hotel (foreign), in Irimachi beyond the village; Konishi-ya, Aizu-ya, in the vill. A second large hotel in foreign style is being built near the upper end of the village. Guides are in attendance at the Hotels, and will arrange for the purchase of tickets of admittance to the Mausolea. Additional small

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charges are made at various points within the buildings. Means of conveyance.—Chairs, kagos, or pack-horses can be taken to such places as are not accessible by jinrikisha. There is a fixed scale of charges. Nikkō produces skins, and various pretty articles made of a black fossil wood brought from Sendai in the north. History.— The range of mountains known as Nikkō-zan lies on the N.W. boundary of the province of Shimotsuke. The original name was Futa-ara-yama, which, when written with Chinese ideographs, may also be pronounced Ni-kō-zan.

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According to the popular account, the name was derived from periodical hurricanes in spring and autumn, which issued from a great cavern on Nantai-zan, the mountain to the N.E. of Chūzenji. In A.D. 820 Kōbō Daishi visited the spot, made a road to the neighbourhood of the cavern, and changed the name of the range to Nikkō-zan, or ‘ Mountains of the Sun’s Brightness,’ from which moment the storms ceased to devastate the country. Up to the end of the 17th century, a family of Shintō priests named Ono used to visit the cavern twice yearly to perform certain exorcisms, the secret of which had been imparted to their ancestor by Kōbō Daishi.

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A cavern situated high up on the face of an inaccessible cliff, just beyond the hamlet of Uma-gaeshi on the way to Chūzenji, is pointed out as the cave in question. Another explanation of the name Futa-ara-yama, is that it means ‘The Two Raging Mountains,’ in allusion to the two volcanoes which form part of it, viz., Nantai-zan and Shirane-san beyond Yumoto. But though the latter breaks out at frequent intervals, no eruptions have taken place from Nantai-zan within memory of man. From the earliest ages of which any trustworthy record remains, a Shintō temple existed at Nikkō, which was afterwards removed to Utsunomiya. In the year 767, the first Buddhist temple was erected by the saint Shōdō Shōnin.

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Later on, in the beginning of the 8th century, Kōbō Daishi, and in the middle of the same century the abbot Jigaku Daishi, added to the holy places. The following account of Shōdō Shōnin is summarised from a memoir written by his disciples the year after his death. He was born at Takaoka near the E. boundary of Shimotsuke, in the year 735. His parents had long desired to have a son, and at last their wish was granted by the 'Thousand-Handed Kwannon of the Izuru caves, to whom they had prayed for offspring. Various portents accompanied his birth : loud thunder was heard, a miraculous cloud hung over the cottage, flowers fell from heaven into the courtyard, and a strange perfume filled the air.

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From his earliest years the saint was devoted to the worship of the gods, and amused himself by raising toy pagodas and shrines of earth and stones, which gained for him the nickname of ‘ temple-builder among his companions. In his twentieth year he secretly quitted his father’s house, and took up his abode in the cave of the Thousand-Handed Kwannon at Izuru. After passing three years in prayer and meditation, he dreamt in mid-winter of a great mountain N. of Izuru, on the top of which lay a sword more than 8 ft. in length. On awaking, he left the cave, and endeavoured to make his way in the direction indicated ; but the deep snow opposed difficulties almost insurmountable.

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Vowing to sacrifice his life rather than abandon the enterprise, he persevered, and at last reached a point from which he beheld the object of his search. Ascending to the top of the mountain, he gave himself up to austere discipline, living on fruits which were brought to him by a supernatural being. After thus passing three more years, he returned to Izuru, and in 762 visited the temple of Yakushiji, not far from Ishibashi on the Ōshū Kaidō, where meeting some Chinese priests, he was admitted by them as a novice. He remained in the monastery for five years, and then returned to the mountain now called Kōbu-gahara.

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From its summit he beheld, on the range to the N., four miraculous clouds of different colours rising straight up into the sky, and he at once set off to reach them, carrying his holy books and images in a bundle on his back. On reaching the spot whence the clouds had seemed to ascend, he found his advance barred by a broad river, which poured its torrent over huge rocks and looked utterly impassable. The saint fell upon his knees and prayed, whereupon there appeared on the opposite bank a divine being of colossal size, dressed in blue and black robes, and having a string of skulls hung round his neck.

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This being cried out that he would help him to pass the stream, as he had once helped the Chinese pilgrim Hsüan Chuang across the River of Flowing Sand. With this promise, he flung across the river two green and blue snakes which he held in his right hand, and in an instant a long bridge was seen to span the waters, like a rainbow floating among the hills; but when the saint crossed it and reached the northern bank, both the god and the snake-bridge suddenly vanished. Having thus attained the object of his desires, Shōdō Shōnin built himself a hut wherein to practise his religious exercises.

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One night a man appeared to him in a vision, and told him that the hill rising to the north was called ‘the Mount of the Four Gods,’ and

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was inhabited by the Azure Dragon, the Vermilion Bird, the White Tiger, and the Sombre Warrior, who respectively occupied its E., S., W. and N. peaks. He climbed the hill, and found that he had arrived at the goal of his journey; for there were the four clouds which he had originally set out to seek, rising up around him. He proceeded accordingly to build a shrine, which he named the Monastery of the Four Dragons (Shi-hon-ryū-ji). In the year 767 he resolved to ascend the highest peak of the group, and after duly preparing himself by religious exercises, he set out upon this new enterprise.

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After ascending for a distance of over 40 ri (probably the ancient ri, of which 4 = 1 mile), he came to a great lake (Chūzenji) on the flank of the mountain (Nantai-zan); but in spite of his prayers found it impossible to proceed any further, on account of the deep snow and the terrific peals of thunder which roared about the mountain-top. He therefore retraced his steps to Nikkō, where he spent fourteen years in fitting himself, by the repetition of countless prayers and the performance of penances, for the task which he was unwilling to abandon. In 781 he renewed the attempt unsuccessfully, but in the following year he finally reached the summit, accompanied by some of his disciples.

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It seemed to him a region such as gods and other supernatural beings would naturally choose for their residence, and he therefore erected a Buddhist temple called Chūzenji, in which he placed a life-size image of the Thousand-Handed Kwannon, and close by it a Shintō temple in honour of the Gongen of Nikkō. He also built a shrine to the ‘Great King of the Deep Sand’ (Jinja Dai-ō) at the point where he had crossed the stream. Shōdō Shōnin died in 817 in the odour of sanctity. Mangwanji is the modern name of the monastery founded by him at Nikkō. In A.D.

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1616, when Jigen Daishi was abbot, the second Shōgun of the Tokugawa dynasty, acting on the dying injunctions of his father Ieyasu, sent two high officials to Nikkō to choose a resting-place for his father’s body, which had been temporarily interred at Kunō-zan, a beautiful spot near Shizuoka on the Tokaido. They selected a site on a hill called Hotoke-iwa, and the mausoleum was commenced in December of the same year. The mortuary chapel and some of the surrounding edifices were completed in the spring of the succeeding year, and on the 20th April the procession bearing the corpse started from Kunō-zan, reaching Nikkō on the 8th May.

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The coffin was deposited in the tomb, with impressive Buddhist services in which both the living Shōgun and an envoy from the Mikado took part. In the year 1644 Jigen Daishi died. The next abbot was a court noble, the next to him was a son of the Emperor Go-Mizuno-o, since which time down to the revolution of 1868 the abbot of Nikkō was always a prince of the Imperial blood. He usually resided in Yedo, and visited Nikkō three times annually. In 1868 the prince-abbot was carried off to the north, and proclaimed Mikado by the remnants of the Tokugawa party.

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After the capture of the castle of Wakamatsu in Aizu in November of the same year, he surrendered to the Imperial forces, and, having been subsequently readmitted to Imperial favour, was sent to Germany to study. His present title is Prince Kita Shirakawa.—The great annual festival is held on the 1st and 2nd June.

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2.—CHIEF OBJECTS OF INTEREST. On issuing from the upper end of the village, one of the first objects that attract attention is the Mi Hashi, a Red Bridge spanning the Daiyagawa, about 40 ft. wide between the stone walls which here confine its course. The bridge is supported on stone piers of great solidity, fixed into the rocks between which the stream flows, and its colour forms a striking contrast to the deep green of the cryptomerias on the opposite bank. It was formerly closed to all persons except the Shōguns, save twice a year when it was opened to pilgrims. It stands on the spot where, according to the legend above related, Shōdō Shōnin crossed the river.

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The present structure, which is 84 ft. long and 18 ft. wide, was built in 1638, and is said not to have required any repairs of importance since that time. At each end there are gates which are kept constantly closed. Forty yards or so lower down the stream, is the so-called ‘temporary bridge,’ which is open to ordinary mortals. Crossing this and turning to the 1., the visitor ascends the Naga-saka through a grove of cryptomerias, and reaches Mangwanji, a monastery occupying the site of the former Hombō, or Abbot’s residence, a magnificent building destroyed by fire in 1871. On the r. is a monastery called Jōdō-in. The road to be followed passes along the S. wall of the Mangwanji enclosure, and up its W. side.

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In the N. part of this enclosure

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stands the Sambutsu-dō, or Hall of the Three Buddhas, viz., the Thousand-Handed Kwannon, the Horse-Headed Kwannon, and Amida Nyorai; with them is a wooden statue of Shōdō Shōnin. Close by is a pillar called the Sōrintō, erected in 1643, and consisting of a cylindrical copper column 42 ft. high, of a black colour, supported by horizontal bars crossing through its centre, which rest on shorter columns of the same material. The top is adorned with a series of six cups shaped like lotus-flowers, from the petals of which depend small bells. Just beneath the lowest of these cups are four small medallions, with the Tokugawa crest of three Asarum leaves. Mausoleum of Ieyasu.

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Ascending some broad steps between two rows of cryptomerias, we come to the granite torii presented by the prince of Chikuzen from his own quarries in the year 1618. Its total height is 27 ft. 6 in., and the diameter of the columns is 3 ft. 6 in. The inscription on the columns merely records the fact of their presentation and the name of the donor. On the left is a five-storied pagoda of graceful form, painted in harmonious colours. It rises to a height of 104 ft., and the roofs measure 18 ft. on each side. This monument was the offering in 1650 of Sakai Wakasa-no-Kami, one of the chief supporters of the Tokugawa family. Round the lower storey are life-like painted carvings of the twelve signs of the zodiac.

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From the torii, a pavement leads to the bottom of the steps crowned by the Niō-mon, or Gate of the Two Kings. The two gigantic figures of these gods, which formerly occupied the niches on the outside of this gate, have been removed, and their places taken by gilt Ama-inu and Koma-inu. The carvings adorning this gateway are extremely varied. On the tops of the pillars at the four external angles are tapirs, representations of which are in China supposed to act as charms against pestilence.

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The heads on the central pillars of the two outer ends of the structure are lions; in the niches right and left of the lion at one end are unicorns, and in the corresponding niches at the other end are fabulous beasts called takujū, which are supposed to be endowed with the power of speech, and only to appear in the world when a virtuous sovereign occupies the throne. The doorways are ornamented with elephants’ heads, the first portico has lions and peonies, and the second tigers. The interiors of the niches on the outside of the gateway are decorated with tapirs and peonies, those on the inside niches with bamboos. The carvings of tigers under the eaves on the interior side of the gateway are excellent.

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Passing through the gateway, the visitor finds himself in a courtyard raised high above the approach, and enclosed by a timber wall painted bright red. The three handsome buildings arranged in a zigzag are storehouses, in which various utensils employed in the religious ceremonies performed in honour of Ieyasu, pictures, furniture, and other articles used by him during his life-time, and many other treasures belonging to the temple, are deposited. The third is remarkable for two curious painted carvings of elephants in relief in the gable of the nearest end, which are ascribed to Hidari Jingorō, the drawings having been made by the celebrated artist Tanyū.

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It will be noticed that the joints of the hind-legs are represented bent in the wrong direction. On the left of the gate stands a conifer of the species called kōya-maki, surrounded by a stone railing. Some say that this is the identical tree which Ieyasu was in the habit of carrying about with him in his palanquin, when it was still small enough to be contained in a flower-pot. Close to this tree is a stable for the sacred white pony kept for the use of the god.

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Over the doors are some cleverly executed groups of monkeys, severally represented as closing their ears and mouth and shading their eyes with their hands. They are called san-goku no saru, ‘the monkeys of the three countries,’ viz. India, China, and Japan. A very interesting object is the On Chōzuya, containing a holy-water cistern made of a solid piece of granite, and protected by a roof supported on twelve square pillars of the same stone. It was erected in 1618. The pediment of the roof contains a pair of winged dragons, carved in wood and painted.

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The beautifully decorated building beyond the holy-water basin is called the Kyōzō, and is the depository of a complete collection of the Buddhist scriptures, contained in a fine revolving octagonal bookcase with red lacquer panels and gilt pillars. In front stand figures of Fu Daishi and his sons. Paintings of angels on a gilt ground occupy the clerestory of the interior. In the centre of the court stands a fine bronze torii, with the Tokugawa crest in gold on the tops of the pillars and on the tie-beam. A flight of steps gives access to another court, along the front of which runs a stone balustrade. Just inside are two stone lions in the act of leaping down, presented by Iemitsu.

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On the right stand a bell-tower, a bronze candelabrum presented by the King of Loochoo, and a bell given by the King of Korea, called the ‘Moth-eaten Bell,’ because of there being a hole in the top just under the ring by which it is suspended. On the left stand a bronze lantern from Korea, a candelabrum from Holland, a drum-tower, no unworthy companion to the bell-tower opposite, and behind these again a temple originally dedicated to the Buddhist god Yakushi Nyorai. (Be it remarked that Holland, Korea, and Loochoo were considered to be Japan’s three vassal States.) The groups of carved birds adorning the temple of Yakushi are excellently done.

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The lantern is a fine and solid piece of workmanship; but its style and construction indicate that it does not owe its origin to Korea. The two candelabra and the lantern, as well as the bronze candle-brackets fixed upon the interior wall of the court, right and left of the steps, probably came from Europe through Dutch or Portuguese traders. Two iron standard lanterns on the right of the steps, presented by Date Masamune, Prince of Sendai, and the same number on the left given by the prince of Satsuma, merit attention. They are dated 1641. The total number of lanterns contributed by various Daimyōs is one hundred and eighteen.

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We next ascend a flight of steps to the platform on which stands the exquisitely beautiful gate called Yōmei-mon. The columns supporting it are carved with a minute geometrical pattern, and painted white. The pillar next beyond has the pattern carved upside down, which was done purposely, lest the flawless perfection of the whole structure should bring misfortune on the House of Tokugawa, by exciting the jealousy of Heaven. It is called the Ma-yoke no Hashira, or Evil-Averting Pillar.

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The side niches are lined with a pattern of graceful arabesques founded upon the peony; those on the outside contain the images called Sadaijin and Udaijin, armed with bows and carrying quivers full of arrows at their backs; the inner niches have Ama-inu and Koma-inu. The capitals of the columns are formed of unicorns’ heads. The architrave of the second storey is adorned with white dragons’ heads where the cross-beams intersect, and in the centre of each side and end is a magnificently involved dragon with golden claws. Above the architrave of the lower storey, projects a balcony which runs all round the building. The railing is

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formed of children at play and other subjects. Below again are groups of Chinese sages and immortals. The roof is supported by gilt dragons’ heads with gaping crimson throats, and from the top a demon looks down. The Indian-ink drawings of dragons on the ceilings of the two porticos are by Kanō Motonobu. Right and left extends a long cloister, the outer walls of which are decorated with carvings of trees, birds, and flowers, coloured after nature, fifteen compartments on the right and eight on the left. Passing through the gate, we enter a second court, enclosed on three sides by the above-mentioned cloister. In this the Buddhist priests used to repeat their prayers at the two great annual festivals.

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On the fourth side, is a high stone wall built against the face of the hill. Of the two buildings on the right, one contains a stage for the performance of sacred kagura dances, and in the other, called Goma-dō, was an altar for burning the fragrant cedar while prayers were recited. On the left is a building containing the cars carried in procession on the 1st June, when the deified spirits of Ieyasu, Hideyoshi, and Yoritomo are supposed to occupy them. In the midst stands the enclosure surrounded by the tamagaki, or fence, containing the haiden, or oratory and the honden, or chapel.

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The tamagaki forms a quadrangle each side of which is 50 yds. long, and is constructed of gilt trellis with borders of coloured geometrical decorations. Above and beneath these again are carvings of birds in groups, about 8 in. high and 6 ft. long, with backgrounds of grass, carved in relief and gilt. The gate, called karamon, through which this enclosure is entered, is composed of Chinese woods inlaid with great skill. The folding-doors of the oratory are lavishly decorated with arabesques of peonies in gilt relief.

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Over the door and windows of the front are nine compartments filled with birds carved in relief, four on each side of the building; and there are four more at the back on each side of the corridor leading to the chapel. The interior is a large matted room, 42 ft. long by 27 ft. deep, with an antechamber at each end. That on the right, which was intended for the Shōgun, contains pictures of unicorns on a gold ground, and four carved oak panels of phoenixes which at first sight seem to be in low relief; but closer examination shows that the figures are formed of various woods glued on to the surface of the panel.

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The rear compartment of the ceiling is of carved wood, with the Tokugawa crest in the centre surrounded by phoenixes and chrysanthemums. The opposite ante-chamber has the same number of panels, the subjects of which are eagles very spiritedly executed, and a carved and painted ceiling with an angel surrounded by chrysanthemums. The gold paper gohei at the back of the oratory, and a circular mirror are the only ornaments left, the Buddhist paraphernalia of bells, gongs, prayer-books, and so forth, having been removed when the Shintō form of worship was introduced. Two wide steps at the back lead down into the Stone Chamber, so called because paved with stone under the matted wooden floor.

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The ceiling consists of square panels, with gold dragons on a blue ground. Beyond are the gilt doors of the chapel, which is divided into four apartments not accessible to visitors. The first, called the Heiden; where the offerings are presented, is a beautifully decorated chamber having a coffered ceiling with phoenixes diversely designed, and carved beams and pillars of plain wood. In it stand gilt and silken gohei presented by H.I.M. the Emperor. To reach the Tomb, we issue again from the Kara-mon, and pass between the Goma-dō and Kagura-dō to a door in the E. side of the gallery.

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Over this door is a carving called the Nemuri no neko, or ‘ sleeping cat,’ one of Hidari Jingorō’s most famous works. From this a moss-grown stone gallery and several steep flights, of about two hundred steps altogether, lead to the tomb on the hill behind. After passing through the torii at the top of the last flight, we reach another oratory used only when that below is undergoing repairs. The tomb, shaped like a small pagoda, is a single bronze casting of a light colour, produced, it is said, by the admixture of gold. In front stands a low stone table, bearing an immense bronze stork with a brass candle in its mouth, an incense-burner of bronze, and a vase with artificial lotus-flowers and leaves in brass.

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The whole is surrounded by a stone wall surmounted by a balustrade, the entrance being through a bronze gate not open to the public, the roof of which, as well as the gate itself, is a solid casting. Before it sit bronze Koma-inu and Ama-inu. On leaving the Mausoleum of Ieyasu, the guide will turn to the r. at the bottom of the steps, and pass along the avenue under the wall to the open space through the torii, where stands on the right the Shintō temple of Futa-ara no Jinja, dedicated to the god Ōnamuji. When Shōdō Shōnin in A.D. 782 reached the top of Nantai-zan, the tutelary deities of the region appeared to him, and promised to watch over the welfare of human beings and the progress of Buddhism.

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These were the god Ōnamuji, the goddess Tagori-hime his wife, and their son Ajisuki-taka-hikone. Japan is believed to have been saved on many occasions from the perils of civil war and invasion by the intervention of these divine beings, who are styled the Three Original Gongen of Nikkō; and local tradition says that it was owing to the efficacy of the prayers here offered, that the Mongol invaders in the second half of the 13th century were repulsed with such terrible loss.

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In one corner of the chapel enclosure stands a bronze lantern called the Bakemono Tōrō, presented in 1292, which is said to have formerly had the power of taking the form of a demon, and annoying the inhabitants of the locality on dark nights, until a courageous man attacked it, and with his sword gave it a wound which is still visible on the cap. Turning to the left and descending, we perceive two red lacquered buildings, standing together and connected by a covered gallery. The former is dedicated to Kishi Bojin and Fugen Bosatsu, the latter to Amida. Here are preserved the bones of Yoritomo, which were discovered near the site of the Niō-mon gate of Ieyasu’s mausoleum about the year 1617.

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Round the sides of the interior are ranged a number of Buddhist images. Mausoleum of Iemitsu. Turning to the r. before reaching the red-lacquered buildings just mentioned, we approach the gate of the mausoleum of Iemitsu. This is a Niō-mon, the side niches of which are occupied by a gigantic pair of wooden figures. In the niches on the inner side of the gateway, stand the Niō which once adorned the gate of Ieyasu’s mausoleum. Under a beautiful shed on the right on entering the court, stands a massive stone water-basin. A flight of steps leads to the gate called Niten-mon.

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The niches on the side contain a red statue of Bishamon on the left, and on the right a green one of Ida-Ten (Sanskrit, Véda Raja), a mythological protector of Buddhism. The niches on the inside are occupied by the Gods of Wind and Thunder. Three more flights conduct us to the Yasha-mon, or Demon Gate, whose niches contain the Shi Tennō. Turning round just inside the gate, we have before us an exquisite view of foliage. Directly opposite is the Hotoke-iwa, completely clad up to the summit with trees of various tints. Of the mausoleum which stands on it, only a narrow piece can be seen between the avenue of cryptomerias lining the last flight of steps ascended. This vignette is

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the gem of Nikkō. The oratory and chapel are less magnificent than those of Ieyasu. The former is crowded with the insignia of Buddhism. Two large horn lanterns pointed out as Korean are evidently Dutch. The tomb is reached by flights of steps up the side of the hill on the right of the chapel. It is of bronze, and in the same style as that of Ieyasu, but of a darker hue. The gates in front are of bronze, and are covered with large Sanskrit characters in shining brass.

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After descending a flight of steps, and passing under the gallery connecting the temples of Kishi Bojin and Amida, we come to the resting-place of Jigen Daishi, otherwise called Tenkai Daisōjō, archbishop of Nikkō at the time of Ieyasu’s interment. The chapel contains some interesting paintings, and is finely decorated on the outside. Two white phoenixes above the entrance are particularly worthy of notice. The tomb behind is constructed of stone, and consists of a cube on which rests a globe surmounted by a pyramidal top, with the corners turned up, standing altogether about 12 ft. high. Six stone effigies of Buddhist gods, life-size stand in rows, three on either side.

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Before quitting this spot, it is worth while ascending a few steps on the left, which lead to the tombs of the prince-abbots. They are thirteen in number, arranged round three sides of a square, and their mean appearance contrasts curiously with the splendour of the tombs of Ieyasu and Iemitsu. In no gorgeous chapel are litanies chanted to their memory; all we see is a rough shed supported on four wooden posts. “No visitor should fail to see a certain chamber at Nikkō if he desires to carry away a clear idea of the magnificent care lavished by the men of old on the mausolea of their ancestors.

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It is a chamber in the iron store-room attached to the Tama-ya of the third Shōgun, Iemitsu, and on its walls are hung about twenty of the finest examples of decorative painting that could be achieved by the Japanese artists of the seventeenth century, working without the smallest concern for time and expense. The subjects depicted are all Buddhistic. Gold is profusely used, and used with a firmness, directness and fineness of stroke that are absolutely marvellous. The colours are wonderfully rich and mellow; indeed, the best of the pictures seem to radiate a perfect glow of brilliancy, without, however, the slightest approach to garishness or obtrusiveness.

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The original silk on which the picture is painted is not suffered to appear at all, being completely covered with microscopic illumination, or beautifully designed brocades in glorious colours. The borders, which in ordinary pictures consist of rich fabrics, are here replaced by hand-painting inconceivably accurate and minute. The artist, in fact, took a single piece of seamless silk, specially woven for the purpose, perhaps 8 feet long and 4 wide, and covered the entire surface with illuminated painting, from the elaborate border of scrolls and diapers to the central deity clothed in raiment of gold cloth, every line and mesh of which is faithfully reproduced.

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To attempt to describe such works verbally is entirely futile. In the same storeroom are many other objects of beauty and interest; for example, a number of illuminated scrolls enclosed in a lacquer case that is itself a marvel; some boxes of the most exquisite filigree metal-work; the norimono in which the mortuary tablet of Iemitsu was carried to the shrine; and so forth. The conclusion at which every one visiting this store-room must inevitably arrive is that few of the much-vaunted illuminated missals of medieval Europe will endure comparison for a moment with the similar work of contemporaneous

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Japanese artists. Special steps must be taken to gain access to the store-room where these treasures are preserved. The best way to procure admission to all the objects of interest is to become a member of the Hokō-kwai, or Nikkō Preservation Society, by payment of a subscription of $5.”—Japan Mail.

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3.—Objects of Minor Interest. Besides the mausolea of the Shōguns, there are various objects at Nikkō having a lesser degree of interest. All are within a short distance of the great temples. One of these is the Hongū, a temple dedicated to the Shintō god Ajisuki-taka-hikone, whose name implies that he was mighty with the spade. This temple was built by Shōdō Shōnin in A.D. 808, close to the Buddhist monastery which he had founded. It is reached by ascending the stone steps that face the end of the bridge, and then turning to the right. Near the Hongū stands the San-no-miya, a small red chapel surrounded by a stone balustrade.

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It is believed that women may obtain safe delivery by here offering up pieces of wood, such as are used in the Japanese game of chess, and correspond to our rook. Close by is the Kaisan-dō, a red lacquered building 36 ft. square, dedicated to Shōdō Shōnin, the ‘pioneer of the mountain,’ as the name implies. Peeping through the grating which forms the window on the E. side, we see an image of Jizō occupying a lofty position, with ‘the effigy of the saint below, and those of ten disciples ranged right and left Behind are the tombs of the saint and three of his disciples.

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At the base of the rugged and precipitous rock at the back of the Kaisan-dō are some rough Buddhist images, from which the hill takes its name of Hotoke-iwa. Further on we pass a small shrine dedicated to Tenjin. A large stone close to the path on the right, just beyond this, is called the Te-kake-ishi, or Hand-touched Stone, said to have been sanctified by the imposition of Kōbō Daishi’s hands. Fragments of it are valued as a protection against noxious influences. Opposite stand a row of stone images of Emma-Ō, the Regent of Hell. Further on is a stone bearing a half-effaced inscription, erected over the spot where lies the horse which carried Ieyasu at the decisive battle of Seki-ga-hara, in the year 1600.

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After the death of the master whom he had borne to victory, the horse was set free in the mountains of Nikkō, and died in 1630. The next object to be noticed is an immense cryptomeria, 7 ft. in diameter a little above the base, called the Ii-mori no sugi, from the supposed resemblance to a heap of boiled rice which its pendent branches present. The tree is said to have been planted by a deputation representing 800 Buddhist nuns of the province of Wakasa. Close to the path on the left, as we turn a corner, is the Sōmen no taki, or Vermicelli Cascade, so called from a fancied likeness to a bowl of that food. Another and prettier name given to it is Shira-ito, ‘ White Thread.’

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4.—WALKS IN THE NEIGHBOURHOOD. 1. Kwannon-yama is the name of the bluff behind the upper end of the village. A fine view of the river and surrounding country is obtained from the tea-sheds overlooking the street. 2. Kamman-ga-fuchi. About 20 min. walk from the bridge, along the course of the Daiyagawa, is a deep pool called Kamman-ga-fuchi. A hut has been erected here close to the boiling eddies, opposite to a precipitous rock on which is engraved the Sanskrit word Hāmmam. It seems impossible that any one should have been able to get across to perform the work, and so it is ascribed to Kōbō Daishi, who accomplished the feat by throwing

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his pen at the rock. There is, however, authority for attributing it to a disciple of Jigen Daishi, only two centuries ago. On the bank of the river stand a large number of images of Amida ranged in a long row. It is believed that they always count up differently however often the attempt be made,—a belief bearing a curious resemblance to the superstition which prevailed regarding the Druidical stones in various parts of England. It was supposed that no two persons could number the stones alike, and that nobody could ever find a second counting to confirm the first. The largest of these images was some years ago washed down the river by a flood as far as Imaichi, arriving there in perfect safety.

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It now stands at the E. end of that town, with its face towards Nikkō. 3. Hontō Sōmen-ga-taki, or the Real Vermicelli Cascade, so called to distinguish it from the one mentioned on p. 160, is about 1/2 hr. walk up the valley nearest to Kamman-ga-fuchi. It consists of a series of three cascades, not large, but very pretty after rain. As we approach the first fall on going up the valley, a small trickle of water coming over the face of the hill is perceived on the left. This streamlet often becomes a clear fall of about 40 ft. 4. Dainichi-dō, just beyond Kamman-ga-fuchi on the opposite side of the river, merits a visit for the sake of its prettily arranged garden.

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The water rising from a spring in one of the artificial ponds is deliciously cool, and is considered the purest in the neighbourhood of Nikkō.

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5. Toyama. The nearest eminence from which an extensive view of the plain can be obtained is Toyama, a hill rising up somewhat in the form of a huge animal couchant on the left bank of the Inari-kawa, which flows down by the side of the temples. From the bridge to the top is 3/4 hr. climb. The last bit of the ascent is steep, but the view is a sufficient reward. The large mountain on the extreme left is Keichō-zan, also called Takahara-yama. Right opposite is the long ridge of Haguro-yama. Tsukuba's double peak is unmistakable. Turning round we see the whole of the magnificent range formed by Nantai-zan, Ō-Manago, Ko-Manago, Nyohō-zan, and Akanagi. 6. Kirifuri-no-taki, or the Mist-Falling Cascade.

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By taking a wide sweep round the base of Toyama and over undulating country to the south, this cascade may be reached in 1 1/4 hr. A tea-house on the hill above commands a picturesque view of the fall, and from the top of a knoll just beyond the tea-house, a grand view is obtained of the country towards the E., S., and W. A steep and very rough path leads down to the foot, where the fall is seen to better advantage. The rare fern Aspidium tripteron grows by the wayside; it is also found at the foot of the E. side of the Hotoke-iwa. 7. Makura-no-taki, or the Pillow Cascade. On leaving Kirifuri we retrace the path for a few steps, and then follow another to the right for about 2 miles.

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This path crosses the stream above Kirifuri three times, and then crossing two hills, leads to another stream. Here we leave the path and plunge into a thicket, keeping the stream on the right, a rough climb of 3 or 4 chō bringing us to the Makura-no-taki, a fall of about 60 ft. in height. The best view is obtained from a point a few yards up the hill to the left. The fall shows very prettily through the trees as it is approached, and altogether well repays the toil of reaching it. As the path is easily mistaken, it is advisable to procure a guide, who will also be able to lead one a different way back to Nikkō, instead of returning via Kirifuri. 8. Jakkō. To the site of the temple of Jakkō and to Nana-taki

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(cascade), which lies in a recess behind Iemitsu's mausoleum at the base of Nyohō-zan, is a pleasant walk of 1 hr. from Nikkō. The way lies through the village of Irimachi beyond the temples, and turns off at right angles just before descending the hill. The temple that stood here was burnt in 1876, and the splendid avenue of pines and cryptomerias which formed the approach has been ruthlessly cut down. Behind the site of the temples is a cascade, a series of falls of about 100 ft. in height. It goes by various names, one being Nana-taki, and must not be confounded with the other falls of the same name in the chasm overlooked by the summit of Nyohō-zan. 9. Jakkō Ichi-no-taki.

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Shortly before reaching the base of the hill on which the temple of Jakkō stands, we cross a bridge over a small stream, where a path leads off right around the base of the hill. Less than 1/2 mile up a beautiful ravine lies the waterfall of Ichi-no-taki. About half way up, the stream is again crossed, and a few yards further we gain the first view of the fall. The path thence to the bottom is steep. As the way is very muddy after rain, and only a log bridge spans the stream, this excursion may sometimes be found awkward for ladies. 10. The Deer Park (Go Ryōchi). About half-way to Jakkō from Irimachi, a narrow path turns off right, leading up a small valley in which the Deer Park is situated.

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Five min. walk takes one to the keeper's house, where a permit to enter the park, obtainable from the local authorities, must be presented. Within the precincts of the park are two pretty cascades. 11. Urami-ga-taki, or the Back View Cascade, derives its name from the possibility of passing behind and under the fall. It lies on the right, some distance from the old Chūzenji road, and beyond the path to Jakkō. Turning to the right by a fairly broad path shortly after crossing an affluent of the Daiyagawa, the path rises on to a moor, and after 1 1/2 hr. walk reaches several tea-houses by the side of a stream, whence the remainder of the way is an easy climb of 5 chō.

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The view of the cascade, which is about 50 ft. high, is at first rather disappointing, as the spectator sees it from a level not far below the point where it shoots out from the rocks; but those venturesome enough to pass behind the fall and up the ravine on the other side will be well repaid for their trouble and the slight inconvenience of a wetting from the spray. On reaching the other side of the fall, there is a picturesque view of the rocky basin overhung with trees, of the cascade, and of the deep pool into which it tumbles. On the right and left of the principal fall are two smaller ones, while above is a shrine dedicated to Fudō.

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A walk of 5 or 10 min. beyond Fudō leads to another basin with a small cascade falling into it. Urami may also be conveniently visited on the way back from Chūzenji, by taking the road which branches off left a little below Uma-gaeshi, and by turning to the left again at Kiyotaka, where a very muddy path leads through the woods for a distance of about 1 ri to the tea-houses above-mentioned. 12. Jikan-no-taki (cascade). Crossing the stream by the side of the tea-houses below Urami, a path will be found right a few steps beyond. It leads up the hill, mostly through a wood for a little over 1 ri, the first part of which is rather steep.

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At Jikan there is a pretty effect of water falling in a dozen streams over a ledge of rock. The view from the top of the fall down the valley is very fine, and the place a charming one for picnics. About 1 mile below Jikan, and visible from a small clearing at the edge of the hill on the way up, is another fall called Jikan Ni.

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13. Ascent of Nyohō-zan via Nana-taki, or the Seven Cascades. This is a whole day's excursion, and an early start should consequently be made. The ascent of Nyohō-zan is the best of all the mountain climbs near Nikkō. With a good guide, 4 1/2 hrs. will suffice for the actual ascent, and 2 1/2 for the descent. Nyohō-zan can be ascended as late as the middle of November. The way for pedestrians lies past the temple of Futa-ara-no-jinja and a minor shrine called the Gyōja-dō.

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Here take a narrow track to the left through the wood, and after 3/4 hr. easy walking with a short climb at the end, a large stone known as the Sesshō-seki is reached, which bears an inscription to notify that killing game is prohibited on these hills. (The best way for horses and kagos leads a short distance over the Jakkō road to a zigzag path clearly visible on the hill to the right, and joins the path already mentioned at the Sesshō-seki.) Right ahead rises a peak called Akappori, conspicuous by its precipitous face of red volcanic strata. The path continues up the grassy spur in front.

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In 1 hr. from the Sesshō-seki we arrive at a hut called Happō, and 5 min. later we come to the edge of a precipice overlooking a gigantic chasm, apparently the remains of an ancient crater that has been broken away by water on the S.E. side, where the Inari-kawa has its source. From Akanagi-san an almost unbroken crater wall extends westward to Akappori. This secondary crater appears not to have been very deep, as its present floor, out of which descends one of the seven cascades that supply the Inari-kawa, is high above the greater chasm immediately in front of us. A projecting spur divides the upper from the lower crater, and above it on the left rises a lesser peak named Shakujō-ga-take.

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The falls are viewed from the edge of the precipice. They consist of seven cascades, which seem to issue from the side of the mountain, and are not remarkable for either size or beauty; but the walk to this point is one of the most delightful in the neighbourhood and affords entrancing views. The excursion as far as Nana-taki and back occupies from 5 to 6 hrs. Nyohō-zan, which may be seen from the moor, is invisible from this point. The path hence winds to the left not far from the edge of the chasm, at first very steeply, and then through the wood to the Karasawa hut in about 1 1/2 hr. We are now at the foot of Nyohō-zan, the ascent of which will occupy not more than 3/4 hr. The summit is about 8,130 ft. high.

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To the N. it commands an extensive view over a sea of lower mountains, among which lie the secluded valleys of Kuriyama-gō; to the N.E., Nasu-no-yama is rendered conspicuous by the smoke rising from its crater, and further N. is seen Bandai-san; to the E. is Takahara-yama, which also has the appearance of a volcano. On the immediate W. of the spectator is Akakura, merely a continuation of Nyohō-zan, then Ko-Manago, Ō-Manago, and Nantai-zan. Between Akakura and Ko-Manago we look across to Tarō-zan. Akanuma-ga-hara is partly visible, and beyond it the bare volcanic summit of Shirane. Further to the S.W. are seen Asama-yama, Yatsu-ga-take, and numerous other peaks probably belonging to the Hida-Shinshū range.

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The upper half of Fuji rises S. over the long horizontal line of the Chichibu mountains. Away in the plain to the E. and S. are perceived the broad and deep Kinugawa, stretches of the Tonegawa, the village of Nikkō with the parallel rows of dark trees marking the main roads, and far away on the horizon, Tsukuba-san. 14. Ascent of Nantai-zan via Urami. Just beyond the tea-houses below Urami, the path descends to the left, crosses the

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stream and turns at once to the right, climbing up through a wood, on emerging from which Nantai-zan, Ō-Manago, Nyohō-zan, and Akanagi are seen in front. After ascending a grassy valley for about 20 min., a sign-post is reached where a path to the right diverges to Nyohō-zan and Akanagi, while the left branch ascends a hill and gradually winds to the right. Entering a wood, it follows up a deep thickly wooded gully, and at last reaches a torii in the middle of the wood occupying the depression between Nantai-zan and Ō-Manago.

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Here the path forks, the right branch passing the spot from which Ō-Manago is ascended, and continuing on towards Yumoto, while the left climbs up to the Shizu no Iwaya (5,600 ft.), where the back ascent of Nantai-zan commences. Horses may be taken from Nikkō to this place. The time on foot from Nikkō is 3 hrs. From here to Chūzenji round the base of Nantai-zan is also a good 3 hrs. walk. The route for some distance follows the path to Yumoto, and about 1 ri after crossing the bed of a stream, diverges to the left, shortly afterwards issuing on the open plain of Akanuma-ga-hara, from which moment the path cannot be missed. 5. Kegon-no-taki, Chūzenji, and Yumoto.

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One of the principal points of interest near Nikkō is the beautiful lake of Chūzenji. The road is practicable for jinrikishas, not only to the village of Chūzenji, 3 ri 12 chō from Nikkō, but for 2 ri 27 chō further on to the hot-springs of Yumoto. But owing to the steepness of the hill which has to be passed on the way, ladies and others unable to walk are recommended to take chairs or horses. The walk from Nikkō to Chūzenji and back in one day is a favourite excursion. Indeed sturdy pedestrians are able, by making an early start, to do the whole distance to Yumoto and back within the limits of a day; but this is neither advisable nor necessary.

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Leaving Nikkō, we follow the Ashio road along the course of the Daiyagawa as far as Futamiya (1 1/2 ri), where the road to Chūzenji branches off right through a wood, still continuing by the river-side. This river, which issues from Lake Chūzenji, is for most of the year a small and quiet stream; but at times it becomes a dangerous torrent carrying away embankments and roads. The ascent is gradual and easy up to the hamlet of Uma-gaeshi, where there is a good tea-house. Just before reaching this hamlet, the old path from Nikkō, still much traversed by pedestrians, joins the new road. Beyond Uma-gaeshi three men should be taken for each jinrikisha.

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The road thence for some distance is cut out of the side of the overhanging cliffs close by the brawling stream, and owing to landslips is difficult to maintain in order. Formerly the path climbed along the face of the precipitous cliff to the right, and was impassable even for horses; a later road can be traced as it ascends the ravine and crosses over the rushing waters of the Daiyagawa on faggot bridges. The scenery between Uma-gaeshi and the small cluster of houses at the foot of the real ascent, 3 hr. walk, is wild and picturesque. Leaving the rugged gorge, a winding path leads up to a narrow ridge, where a resting-hut commands a pretty view of two cascades at the head of the ravine to the right.

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From this point the ascent to the top, which occupies about 3/4 hr., is arduous. At the charmingly situated tea-house called Naka no Chaya half-way up, the coolies usually make a short halt. On the summit, the road passes through a wood of pines and oaks, many of which are covered with the long trailing moss called Sarugase (Lycopodium sieboldi). A path to the left leads to a platform which commands a fine view of the cascade of

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Kegon-no-taki. The height of the fall is about 350 ft. In the earlier part of the year it is occasionally almost dry; but after the heavy summer rains it shoots out over the edge of the overhanging precipice in considerable volume. The best view is obtained by descending the side of the precipice to the look-out which has been erected just opposite the fall. The road onwards soon reaches the shore of the lake, and enters the singularly deserted village of Chūzenji, which is only occupied by pilgrims in July and August. The houses stand in long rows, containing for the most part two rooms, one above and one below.

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Comfortable accommodation can be had at the inns, Kome-ya and Izumi-ya, which have pleasant rooms looking out on the lake. European food can generally be obtained during the summer months. The temple here is said to have been founded by Shōdō Shōnin, in A.D. 816, after his ascent of Nantai-zan. The space between the bronze torii and the temple itself is considered holy ground, and persons in jinrikishas or kagos had better go along the lower road if they object to being required to alight in order to pass through. Close to the temple is the gate of Nantai-zan, which is closed except during the pilgrim season.

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The ascent, occupying about 2 hrs., is extremely steep; but the view from the summit (8,150 ft.) well repays the exertion. On the S.E. lies the plain stretching towards Tōkyō; on the W. rises the lofty cone of Shirane-san; further S. is Kōshin-zan; below lies the marshy basin of Senjō-ga-hara with the stream meandering through it, the blue lake of Chūzenji, a glimpse of Lake Yumoto, and N. of Shirane, the peaks of Tarō-zan, Ō-Manago, Ko-Manago, and Nyohō-zan. The ascent can also be made from Yumoto in about 3 1/2 hrs. (see p. 167). Lake Chūzenji lies at the foot of Nantai-zan, being surrounded on the other sides by comparatively low hills covered with trees to their very summit.

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Its greatest length from E. to W. is estimated at 3 ri, its breadth at 1 ri. The lake abounds with excellent salmon-trout and other fish. Its height above the sea is 4,375 ft. The road to Yumoto lies for about 1 ri along the N. shore, at the edge of the forest covering the base of Nantai-zan, to a promontory called Senju-ga-saki. Boats may be taken to this point from the village of Chūzenji. Far away on the opposite side of the lake is a tiny islet called Kōzuke-shima. [At the far end of the lake stands a small shrine close to a brook remarkable for the icy coldness of its water.

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This is a pleasant spot for a picnic, and is within 1/2 hr. walk of the Nishi no umi, a tarn nestling beneath the wooded hills which, at this end, recede from the larger lake.] Number and description of fish put into Lake Chūzenji by the Japanese Government from 1873 to 1890: salmon 283,000; salmon trout 555,000; iwana, a species of white trout, 137,500; carp 22,000; akahara 300; shrimps 15,000. Caught during the years 1886-89: salmon 149, salmon trout 3,669, iwana 31,483, carp 158, akahara 40,702. Weight: salmon 277 lbs.; salmon trout 7,334 lbs.; iwana 49,634 lbs.; carp 454 lbs.; akahara 2,545 lbs.

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Just beyond the promontory the road turns away from the lake, and soon crosses the Jigoku no kawa, a slender stream which hurries over smooth rocks. Rest and shelter may be had at the hut close by. A little further on, a path branches off right through the grass to the cave called Jigoku no kama, Hell's Cauldron, at the base of Nantai-zan. The road ascends slightly after leaving the hut, and a few steps away to the left bring us to the foot of the Ryūzu-ga-taki, or Dragon's Head Cascade, the most curious of all the cascades in this neighbourhood. It consists of a series of small falls rushing over steep black rocks and forming two streams. In order to obtain a full view, the first stream must be crossed.

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On the left, the second stream plunges down through deep, dark hollows in the rock, and loses itself in hidden windings. The maples at this spot, during the month of October, display the loveliest tints that can be imagined. Beyond this, the road is through a desolate forest which was ravaged by fire some years ago, until it emerges on the Akanuma-ga-hara, or Moor of the Red Swamp, probably so named from the colour of the dying grass in autumn. It is also called Senjō-ga-hara, or Moor of the Battle-field, on account of an engagement that took place here in A.D. 1389 between the partisans of the Ashikaga Shōguns and those of the Southern dynasty of Mikados (see p. 37).

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This wide solitude is bounded on all sides by forests, above which rise the peaks of Nantai-zan, Ō-Manago, Ko-Manago, and Tarō-zan. Far away on the left is a wooded elevation, in the centre of which the cascade of Yu-no-taki appears like a silver thread. Above this rises the volcano of Shirane-san, the only bare peak in the vicinity. The road crosses the plain to a point not far from the Yu-no-taki where it begins to rise through a wood of oaks. The bottom of the ascent is 21 chō from Yumoto.

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Half-way through the wood, a path diverges left to the foot of the cascade, which rushes over a smooth black rock between the trees at an angle of 60°, forming a stream that feeds the Ryūzu-ga-taki, and finally falls into Lake Chūzenji. Its perpendicular height must be about 200 ft. A narrow steep path by its side leads up to the top, some 60 yds. from the shore of Lake Yumoto, so called from the hot springs at its further end. This lake, though smaller than Lake Chūzenji, is more beautiful. The road winds through the wood along the E. side of the lake to the small village of Yumoto, 5,000 ft. above the sea. Here the water is partially discoloured by the sulphur springs.

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The inn kept by Namma Shinjurō close to the entrance of the village on the right is recommended, as the temperature of the baths is not too high for Europeans. Another good inn is the Yamada-ya in the centre of the village. There are altogether ten springs, some under cover, others exposed to the open air, all open to the public and frequented by both sexes promiscuously. Shirane-san may be ascended from Yumoto, but the ascent from Higashi-Ogawa (see p. 170) is to be preferred. 6. Ascent of Ō-Manago and Nantai-zan from Yumoto. The ascent of Ō-Manago is made by returning to the Akanuma-ga-hara, and turning to the left close by a well-known cold spring.

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We skirt the moor, passing through a thick wood, and after 2 1/4 hrs. from Yumoto, arrive at a shrine containing a stone image of Shōzuka-no-Baba, with a strange medley of ex-votos hanging outside. Shortly afterwards we turn to the left over a rustic bridge, and in 1/2 hr. reach the torii of Ō-Manago. The distance to the summit is 1 ri 8 chō, the real ascent beginning at a bronze image of Fudō on a large stone pedestal. Three-quarters of the way up, we come to another bronze image erected in honour of the mountain-god of Ontake in Shinshū; and the last bit of the ascent is over precipitous rocks, where chains are fixed to assist the climber.

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On the top stands a wooden shrine, with a bronze image behind it, said to be Kunitoko-tachi, the Earth-god. The view is less extensive than that from Nantai-zan. Nantai-zan can be ascended from the back with much greater ease than from Chūzenji, by starting from a hut called the Ozawa no shuku. Chains at one point enable a small difficulty to be surmounted. In this way the ascent can easily be made in about 3 1/2 hrs. from Yumoto. Japanese pilgrims make the round of the various mountains near Nikkō by ascending first Nyohō-zan, then Ko-Manago, descending to a place called Sabusawa, and ascending Ō-Manago from the back.

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They sleep at a hut called the Shizu-no-Iwaya, climb Tarō-zan in the forenoon, Nantai-zan in the afternoon, and descend to Chūzenji.

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