With Hokusai and Hiroshige, around 1830, meisho-e (pictures from famous places) reached a level of unparalleled quality. The aspect of two of the most important bridges of Edo, especially Ryōgoku bridge – a theme in his work – appears in some of his series from 1831 to the recent one, the masterpiece A Hundred Views of Edo in 1856-58. In this work, he adopts the vertical format (tate), which is quite rare for landscapes in his works, particularly long and narrow. He also selects an unusual framing, with pieces from two bridges, the centre of Ryōgoku and the beginning of Μoto-Yanagi, with the first of its well known willows. Small human figures walking on the bridges or working on boats, integrated in their great environment, liven up the view in Z shape, with the traditional Japanese perspective (bird’s eye view).