Timothy took the express bus from Shinjuku to get there. He got on the Kiso Fukushima Line Keio Express Bus at the massive Busta Shinjuku bus terminal and got off at the Narai-juku bus stop, where he joined Mr. Morita.

Morita inquired, "How was your bus ride?"

Timothy replied with enthusiasm, "The view of Lake Suwa was absolutely stunning. The trip took a little over four hours, which, to be honest, wasn't bad at all."

Morita then went on to share some interesting insights, saying, "Shiojiri actually sits right atop the tunnel you pass through after you've gone past Lake Suwa. It's from there that it connects to the Nakasendo. You see, the Nakasendo used to connect Edo with Kyoto, much like the Tokaido."

He continued, explaining the historical significance, "Now, the Tokaido Shinkansen follows the Tokaido route, which runs along the coast, whereas the Nakasendo takes you through the mountains. Along these major highways, there were numerous inn towns, and when you count from Nihonbashi, Narai-juku happened to be the 34th town on the Nakasendo route."

Narai-juku, nestled within Shiojiri City, Nagano Prefecture, boasts a unique charm. Here, approximately 1 km of the main street of this historic inn town has been meticulously preserved, offering a captivating glimpse into the Edo period.

As you meander through these streets, which have been designated as a preservation area for significant traditional structures, you can't help but feel transported back in time. This is precisely the kind of scenery that piques the imagination of foreigners intrigued by Japan, evoking images of what life must have been like during the Edo era.

Timothy couldn't help but exclaim, "This street really encapsulates the image of Old Japan that we Westerners often imagine. I love it here."

Morita nodded in agreement and added, "Indeed, this is the very image of Japan that Isabella Bird and Lafcadio Hearn portrayed to the Western world. Around 150 years ago, it's quite likely that towns all across Japan resembled this charming setting. The atmosphere here, particularly during dusk, is truly enchanting."

Once upon a time, Narai-juku held the esteemed title of being the most flourishing inn town along the Nakasendo route, earning itself the illustrious name of "Narai Sengen (Narai of the Thousand Shops)."

Today, this historic town still preserves its heritage, with around 70 accommodation facilities, restaurants, and souvenir shops. Many of these establishments continue to operate within the very same Edo-period buildings that once thrived in this bustling hub.

Echigoya, founded during the Kansei years (1789-1800), is a long-established inn operating for 230 years since the Edo period. At the entrance (misenoma), there is a Hatago Andon, an oil lampstand with a wood frame and paper shade made entirely of zelkova during the Edo period.

Upon their arrival, Mr. Nagai, the ninth-generation proprietor, extended a warm and formal welcome to Mr. Morita and Timothy.

Morita couldn't help but marvel, remarking, "The structure remains unchanged from its original construction during the Edo period. Back then, a guest would take a seat here, slip off their zori sandals, and carefully wipe their feet clean."

Echigoya has been in business since the Kansei Years, all the while maintaining the upkeep of the building. Only two parties of up to six guests in total can be accommodated each night. You can enjoy the seasonal Kisoji cuisine consisting of wild vegetable dishes and river fish dishes in the morning and evening.

When the windows in the rooms on the first floor were left open during summer in order to let in the cool air, it was called kunpuro. Kunpu means "balmy breeze," and ro means "tower."

The guest room has a lacquered table that has been used for over 100 years, and you can experience the traditional Japanese style of sitting on tatami mats and cushions. In winter, guests would warm themselves by sitting at a kotatsu or near a hibachi [brazier].

A kotatsu is a low, wooden table frame covered by a futon or heavy blanket on which a tabletop is placed. Inside is a heat source which in olden times was a charcoal brazier.

Mr. Nagai shared an interesting tidbit, saying, "Lately, we've noticed that around a third of our guests are coming from overseas."

Timothy chimed in with enthusiasm, remarking, "I'm not surprised at all. I can imagine that staying at such an authentic Japanese inn is a real treat for them. It's easy to see why many Westerners would be drawn to this place."

After enjoy the charming streets of Narai-juku, the next adventure beckoned: a journey into the Nakasendo of the Edo period. The path led them to the Torii Pass, a challenging 6-kilometer mountain trail renowned as one of the most formidable stretches along the Nakasendo since ancient times.

To embark on this trek, they hopped on a train at Narai Station bound for Yabuhara Station, which was just a single stop away, heading in the direction opposite to Nagoya. From Yabuhara Station, they would then begin their walk back towards Narai, ready to explore the historical wonders of the Nakasendo.

After walking about 10 minutes along the street from Yabuhara Station, you will come upon the mountain path.

Morita continued, delving into the historical significance of the Nakasendo:

"Back during the Edo period," he explained, "this highway held immense importance. It served as a crucial route for Sankin-kōtai, a system where feudal lords were obliged to travel between their domains and Edo every other year. It was a grand undertaking, this Sankin-kōtai."

He went on, "Imagine, every year, feudal lords from all corners of the country embarked on this monumental journey. It was a boon for inn towns like Narai, as it brought in a steady stream of travelers and revenue. These inn towns truly thrived during those times, bustling with life and activity."

Timothy, clearly intrigued by the imposing Torii gate, sought more information from Morita.

"So this Mitake Shrine?" Timothy inquired. "The Torii gate is pretty impressive."

Morita, eager to share the story behind it, replied, "Indeed, the Torii gate is quite a sight. It's said that the Torii Pass got its name from this very gate. You see, in the past, the feudal lord who controlled this area found himself in a fierce battle with the feudal lord of Matsumoto. Before marching into battle, he came here to this spot and prayed to Mt. Ontake, seeking victory. And, as luck would have it, he emerged victorious. In gratitude for his triumph, he had the Mitake Shrine and that enormous Torii gate constructed right here."

As they continued their journey along the Nakasendo, Timothy reflected on the experience.

"Walking along this road in the footsteps of people from the Edo period," he mused, "was truly moving. You get this profound sense of unity with nature that's incredibly satisfying."

After crossing the Torii Pass and trekking for about three hours on the mountain path, they found themselves back at Narai-juku once more. Their arrival marked the end of their activities for the day.

Following their extensive hike along the Nakasendo, much like people did during the Edo period, they were finally able to enjoy a restful night, reaping the rewards of their adventurous day.

On the second day of their adventure, Timothy and Morita decided to rent a car and explore the Suwa region. Their first stop was the Hiraide Heritage.

As they approached the site, Morita provided some historical context. "Hiraide Heritage isn't far from Shiojiri Station," he explained. "People have been living here since the Jomon period, and they've uncovered around 290 pit dwellings and structures dating from the Jomon period to the Heian period in this area."

Once they arrived, Mr. Nakajima, an expert who worked at the site, kindly agreed to guide them around and share his knowledge.

As Mr. Nakajima began their guided tour of the Hiraide Heritage site, he shared some fascinating historical insights.

"People have called this land their home since time immemorial," he began. "The majority of the structures you see here date back approximately 5,000 years."

Morita, always keen to draw connections to other ancient marvels, chimed in, "That would be around 3,000 BC, roughly the same time when the pyramids were under construction in Egypt and Stonehenge was taking shape in England. It's remarkable to think about. The ruins here are being meticulously restored to provide us with a glimpse of how they must have appeared all those millennia ago, thanks to the diligent work of experts."

Hiraide Heritage had a captivating theme centered around "the land of Hiraide from 5,000 years ago." This concept was brought to life through the meticulous restoration of three distinct villages: a Jomon Village, a Kofun Era Village, and a Heian Era Village. Remarkably, visitors were encouraged to freely explore each of these historically significant sites.

As Timothy observed the interior of one of the restored dwellings at Hiraide Heritage, he couldn't help but share his thoughts.

"So they built fires inside," he remarked, "and it looks like the kitchen setup is quite sophisticated. Considering the thatched roof, I suppose the smoke from the fires would have served a dual purpose—keeping insects at bay, much like the gassho-zukuri homes of Shirakawa-go did."

Morita nodded in agreement. "Yes," he concurred, "it probably had the added benefit of keeping the interior warm as well."

As Timothy continued to explore and make connections between different periods of history, he shared his observation.

"The kitchen system here seems to be quite similar to what we saw in the Kofun period," he noted.

Morita, always ready to provide historical context, explained further, "This is known as a kamado, essentially an oven. It was designed in such a way that the smoke would pass through an underground chimney system, effectively directing it outside the house. This clever design not only prevented the interior from becoming smoky but also allowed for efficient cooking. It's fascinating to see how this technology evolved over time."

At Hiraide Heritage, there is a building where you can experience making fire and making magatama jewels. You can enter the dwellings freely when the park is open, and some guides will tell you about the history of the archaeological sites.

Their next stop was the Jinchokan Moriya Historical Museum, a place with a rich history and a significant collection of documents from various eras, all of which had been passed down through generations in the Moriya Family. Members of this family had held esteemed positions as high-ranking priests of the Suwa Grand Shrine.

Timothy couldn't help but admire the museum's architectural features as they approached. "The facade pillars supporting the overhanging roof are truly impressive," he observed.

Morita provided some context about the building and its architect. "This structure is the brainchild of Terunobu Fujimori, a renowned architect who is also a professor at the University of Tokyo, specializing in architectural history," he explained. "Prof. Fujimori's unique architectural style is often referred to as Jomon architecture."

He delved deeper into the historical significance of the area, saying, "This land was once under the control of the Moriya Clan, who held Mt. Moriya in high reverence as a deity. However, it was later invaded by a clan from Izumo, whose leader assumed the role of king. Interestingly, despite their rule, they respected the local religion centered around the worship of Mt. Moriya and even went on to establish the Suwa Grand Shrine. In doing so, they recognized Moriya, who had held the position of king for generations, as the Jinchokan, or head priest."

Inside there is a display of the most important festival of the Suwa Grand Shrine called Ontosai. The heads of 25 deer (including wild boars) dedicated to the god are something of a surprising sight.

Morita then directed their attention to a unique exhibit within the museum.

"This is a reconstruction of the Ontosai ceremony," he explained, "a ritual performed to express gratitude to the gods for the blessings received. The reconstruction is based on detailed observations made during the latter half of the Edo period by Sugae Masumi, a traveler who extensively explored Hokkaido and the farthest reaches of Tohoku. During his visit to Suwa, he had the opportunity to witness the Ontosai ritual and meticulously recorded his observations."

After exploring the museum and its fascinating exhibits, they ventured outside, where Morita pointed out something else of interest. "Not far from here," he mentioned, "you'll find three intriguing buildings designed by Terunobu Fujimori."

They are called the Flying Mud Boat, Takasugi-an, and Hikusugi-an, the latter two floating tea ceremony rooms. It seems that many students studying architecture come from overseas to see these structures.

Following their visit to the Jinchokan Moriya Historical Museum, Morita and Timothy made their way to the Suwa Grand Shrine Kamisha Hongu, which was once used by the Jinchokan.

The Suwa Grand Shrine's expansive precincts included several shrines located in four distinct areas around Lake Suwa. On this occasion, Mr. Morita and Timothy decided to explore the Kamisha Hongu, the upper main shrine, situated on the southern shore of Lake Suwa.

Morita proceeded to provide some insightful information about the Suwa Grand Shrine.

"The Suwa Grand Shrine," he explained, "is actually made up of four distinct shrines: the Lower Shrines of Harumiya and Akimiya, and the Upper Shrines of Honmiya and Maemiya. The Upper Shrines are dedicated to Takeminakata no Kami, who happens to be one of the sons of Ōkuninushi, the god associated with Izumo Province."

Timothy marveled at the imposing wooden columns that adorned the Suwa Grand Shrine.

"The wood columns are absolutely massive!" he exclaimed.

Morita nodded with pride, emphasizing the uniqueness of the shrine's design. "Indeed," he replied, "these columns are what truly set the Suwa Grand Shrine apart. It almost feels as though these four pillars were constructed to safeguard the shrine. In Japanese, we refer to them as 'onbashira,' and the kanji characters used to write this term mean 'honorable columns.'"

Morita went on to share a captivating tradition. "Every seven years," he explained, "a grand festival takes place at the Suwa Grand Shrine. During this event, the onbashira columns are replaced with new ones crafted from massive trees that are felled in the mountains by a large group of people. These newly fashioned columns are then sent sliding down the steep mountainside. It's quite the spectacle, with men astride the onbashira as they descend. This festival holds great significance for the local communities."

Timothy, who had seen images of this remarkable event before, chimed in, "I've seen pictures of that festival. The reverence for these large trees really seems to run deep in this region."

As they continued their exploration of the Suwa Grand Shrine and its rich cultural context, Morita shared an intriguing tidbit of Japanese folklore with Timothy.

"By the way, Timothy," Morita began, "in Japan, the month of October was traditionally called 'Kannazuki.' The three kanji characters that compose its name mean 'month with no gods,' because during October, all the gods were said to gather in Izumo for their annual meeting."

Timothy, ever curious, responded, "But isn't Izumo the hometown of Takeminakata, right?"

Morita confirmed, "You're absolutely right. Izumo is indeed associated with Takeminakata, the god of the Suwa Grand Shrine."

Morita went on to provide additional insight, "On the other hand, the people in Izumo don't call October 'Kannazuki.' Instead, they refer to it as 'Kamiarizuki,' which means 'the month in which there are gods.' Interestingly, here in Suwa, the locals also use 'Kamiarizuki' to describe October, just like the people in Izumo. The reason for this is quite fascinating: Takeminakata, who hails from Izumo, was exiled to Suwa and, as a result, he's never invited to the annual gathering of gods in Izumo."

Timothy expressed his fascination with the enduring mythology, saying, "That's really interesting! I love how this kind of mythology continues to thrive in the hearts of many Japanese even today, especially considering the connection to Takeminakata and the Suwa Grand Shrine."

After their visit to the Suwa Grand Shrine and absorbing its rich cultural history, our intrepid trekkers decided it was time for a well-deserved break.

Their next destination was Tokoro Terrace, a charming shop and cafe situated right next to a tokoroten factory. As they entered, they couldn't help but notice a large glass partition near the entrance, allowing them to observe the fascinating manufacturing process of tokoroten, a traditional Japanese food made from seaweed.

Nagano had its own culinary specialties, and among them were the famous products of tokoroten and agar. Visitors to the cafe in the rear of Tokoro Terrace were treated to a delightful array of dishes and desserts featuring these regional delicacies.

Mr. Morita, eager to savor the local flavors, placed an order for the Original Tokoroten, a dish made exclusively from tengusa, a type of red algae known for its unique texture and taste.

Timothy ordered the Espresso Anmitsu; espresso poured over ice cream and agar like an affogato.

Timothy, intrigued by the idea of Suwa being renowned for a product made from seaweed despite its distance from the ocean, couldn't help but inquire further.

"I had heard that tokoroten is a specialty of Suwa," he began, "but this area is rather far from the ocean. So how is it that Suwa became famous for something made from seaweed?"

Morita, always ready with an interesting historical tidbit, began to unravel the mystery. "It's a bit peculiar," he admitted, "but the story goes like this: a Suwa merchant, during a business trip to Kyoto, came across agar, which was still relatively unusual at that time. He learned about it from a chef in Kyoto who used it, and this sparked an idea in his mind. He believed that agar could potentially become a lucrative winter business for the Suwa region."

Morita continued, "It appears that he dedicated three years to mastering the art of agar production and refining the technique. Through his diligent efforts, he managed to spread this technology throughout the Suwa area, ultimately making Suwa famous for a product made from seaweed, despite its landlocked location."

Morita continued to share the insight into the Suwa merchant's clever thinking.

"What the Suwa merchant realized," he explained, "was that the Suwa region experienced extremely cold winters, but it also had many sunny and dry days. This unique combination of climate conditions made it particularly well-suited for the production of agar."

He further elaborated, "In the old days, it was common for farmers in the Suwa area to seek employment in Edo during the winter months. This was because, back then, there wasn't much agricultural work to be done at home during the winter season. So, it's quite easy to imagine why the merchant seized the opportunity to introduce agar production to Suwa—making the most of the region's climate and the available labor force."

Inside the shop, you can purchase Original Tokoroten made with 100% tengusa, Domestically Produced Natural Agar Squares, for which the Suwa region is famous, and sweets made with agar.

After departing from the Tokoro Terrace, they continued their journey along the scenic north shore of Lake Suwa until they arrived at the Harmo Museum. From this vantage point, they enjoyed a breathtaking view that allowed them to glimpse Mt. Fuji amidst the surrounding mountains. Upon their arrival, they had the opportunity to engage in conversation with the museum's director, Mr. Seki, and the curator, Mr. Mori.

Morita, struck by the beauty of the location, commented, "The view from the museum is truly magnificent."

Director Seki enthusiastically agreed, saying, "Indeed, here at the Harmo Museum, we wanted our guests to not only appreciate the artwork but also relish the stunning view. We've even created a special café space precisely for that purpose."

Timothy, appreciating the thoughtful design, chimed in, "Being able to leisurely enjoy a cup of coffee while taking in such a breathtaking view is a brilliant idea."

Director Seki eagerly shared more about the Harmo Museum's unique focus and collection.

"The museum's theme," he explained, "is 'art and simplicity,' and in pursuit of that theme, we've gathered a remarkable collection of naïve artwork, including pieces by the likes of Henri Rousseau. In fact, we're proud to have nine works by Henri Rousseau in our collection."

He went on to elaborate, "In addition to Rousseau's work, you'll find creations by artists like Grandma Moses, who embarked on her painting journey in earnest at the age of 70, and André Bauchant, a gardener who found his true calling as a painter."

Timothy, drawing from his own experiences, contributed to the conversation about the museum's theme and artworks.

"The concept of the 'harmony of man and nature' seems to fit Grandma Moses' works perfectly," he remarked. "Hailing from Upstate New York myself, I've always found her paintings of rustic scenes from the eastern United States to be incredibly nostalgic."

Mr. Mori, the curator, offered a deeper perspective on the unique qualities of the artworks they displayed.

"If you examine their works closely," he pointed out, "you might notice peculiarities, like unusually large flowers in the background or inconsistencies in shadow placement. From a traditional perspective, these elements might appear unusual, but that's precisely what adds to their charm and makes them so captivating."

Morita, further emphasizing the richness of the experience, encouraged others to visit the Suwa district and the museum nestled by the lake's edge.

"Come to the Suwa district," he warmly suggested, "immerse yourself in Japanese myths, and take a moment to visit the museum with its stunning lakeside location. Admiring the naive artwork from around the world while gazing upon the breathtaking scenery here truly offers a profound and enriching experience."

For their final stop in Suwa, they arrived at the Katakurakan, an impressive retro Western-style building nestled along the eastern shore of Lake Suwa.

Morita, ever the historian, shared the rich history of the region with Timothy. "Sericulture and the silk industry once thrived in the Suwa area," he explained, "particularly around Okaya City. It was here that Kentaro Katakura (1862-1934) established a spinning company catering to the sericulture industry. He not only built but also managed the largest spinning company in the Orient, earning him the title of the 'silk emperor.'"

Morita continued, "During his travels around the world, Kentaro Katakura was profoundly impressed by the welfare facilities he encountered in Karlsberg, the Czech Republic. Inspired by this, he envisioned using the profits from his business not only for the well-being of his employees but also for the local community. As a result, in 1928, he undertook the construction of the Katakurakan, a grand bathhouse that would serve both as a community welfare facility and a social hub."

The Katakurakan wasn't just a bathhouse; it was a place designed for the greater good of the community, with ample amenities for socializing. Among its features was a 1.1-meter deep pool called Senninburo, meaning "Thousand-person bath," as well as spacious rooms in the annex building for various communal activities.

The director, Mr. Yamazaki, showed them around the hall annex. Every part of the interior has been decorated with elaborate designs by skilled craftsmen.

Mr. Yamazaki, adding an intriguing historical layer to the conversation, shared a remarkable detail about the Katakurakan.

"Marshal-Admiral Togo Heihachiro," he revealed, "personally penned a congratulatory message when the construction of this building was completed."

Morita, connecting the dots to the broader historical context, recalled, "I believe I've heard that the silk industry played a role in earning the foreign currency used to purchase the warships that defeated the Russian navy."

Mr. Yamazaki affirmed, "Indeed, you're absolutely right. It's quite likely that Togo Heihachiro expressed his gratitude to Kentaro Katakura in his message, recognizing the significant contributions made by the silk industry to the country's naval strength."

Mr. Yamazaki shared more about the Katakurakan's architectural marvels. "This expansive room," he explained, "boasts a total of 204 tatami mats. What truly sets it apart is the absence of any supporting columns, making it an exceptionally unique space, I believe."

Timothy, who had spent considerable time in Tokyo's bustling urban environment, was duly impressed. "Without a doubt," he remarked, "I might have grown accustomed to the crowded spaces of Tokyo, so witnessing a room of this size is genuinely spectacular."

Katakurakan is famous for its Sennin bath, but unfortunately, there was not enough time to take a bath because it was getting close to the time to take the express bus back to the city.

Mr. Yamazaki expressed his regret that Timothy and Morita didn't have enough time to enjoy the bath fully. "I'm sorry you didn't have the opportunity to experience our bath," he mentioned. "It's 1.1 meters deep, and the bottom is adorned with smooth round pebbles. And, despite its name, it can accommodate about one hundred people at a time."

Timothy, clearly enticed by the idea, responded enthusiastically, "I'd absolutely love to visit again in the near future and make the most of that unique bathing experience!"

Though with a hint of a disappointment for being unable to take a dip in the Katakurakan's 1000-person bath this time, Mr. Morita and Timothy safely made their way to Kamisuwa Station, where they boarded the Suwa Okaya Line Keio Express Bus going back to Shinjuku.

Their leisurely stroll through the Suwa region had been nothing short of exceptional. They had witnessed the rich tapestry of attractions that this area had to offer, each representing a distinct era in history.

From the ancient ruins of the Jomon period to the charming street scenes along the Nakasendo, evoking the spirit of the Edo period, they had delved deep into the region's historical layers. They marveled at the state-of-the-art bathhouse of the Meiji period, a testament to innovation and progress during that era. And they had immersed themselves in artwork that celebrated the inherent beauty of nature.

Along the way, they also gained valuable insights into the enduring tradition of worshiping giant trees, a practice dating back to the Jomon period, which continued to thrive around Lake Suwa. They had uncovered the intriguing narrative of the struggle for dominance over the region, a power struggle between the Moriya Clan and the gods that had arrived from Izumo, all eventually culminating in a uniquely Japanese-style reconciliation.

Their journey had been a captivating blend of history, culture, and natural beauty, leaving them with a deeper appreciation for the Suwa region and its multifaceted heritage.