Colophon

About this site

What wrote it, how much you should trust it, how it is built, and where the pictures came from.

A peacock perched on a maple branch, its tail trailing down the tall narrow format of the print.
A Peacock Perched on a Maple Tree Utagawa Hiroshige, ca. 1833. The Met, public domain (CC0)

Nobody wrote this

Every chapter, guide, caption and image description on this site was generated by Claude, a large language model made by Anthropic. It was produced in a handful of sittings at a keyboard belonging to someone who was not writing it, and published by scripts in the same repository. No historian was consulted. No editor read it. Nothing on this site has been checked against a source.

That is worth stating plainly, because the prose is designed to sound like a person who knows the subject — unhurried, specific, willing to say when something is disputed. It reads like authority and it is not. A language model produces the shape of a well-informed sentence whether or not the fact inside it is right, and it is at its most convincing exactly where it is wrong: a date shifted by a decade, a temple attributed to the wrong shogun, a rail pass that stopped existing last year. Nothing here flags itself when it does that.

The site is named for and made for Jack Cowley, which is where the domain comes from. He did not write it either — it was made as a gift. An earlier version of this page credited him as the author, which was a nice gesture and completely untrue, so it has been corrected.

Claude (Anthropic)

Generated the text of Japan Through Time. Not a person, not an expert, and not reviewed by either.

How it is built

Deliberately plainly. It is a static site: plain HTML and one stylesheet, assembled from content fragments by a small PowerShell build script. There is no framework, no bundler, no analytics, no cookies, no third-party requests and no JavaScript required to read anything. The images are served from this domain rather than hotlinked from anyone else's.

The reason for the build step is the archive. When a guide is added, every existing page has to learn about it — navigation, footer, sitemap. One template regenerated from one manifest makes that reliable instead of tedious.

How the archive grows

The guides are short pieces on single subjects — a station, a dish, a shrine, a walk. Each one is written into the same template as everything else, added to the footer and listed in the sitemap.

Nothing publishes unless somebody asks for it. Jack signs in with the account button at the top right of any page and types what the next piece should be about; a scheduled job picks that up and publishes it. With an empty queue the job runs, finds nothing requested, writes a line in its log and stops. It used to help itself to the next entry on a standing list of topics every half hour, which meant the archive grew whether or not anyone wanted it to. It no longer does that.

On accuracy

Do not rely on this site for anything that matters. The history is a language model's recollection of the standard account rather than a reading of it, and the travel material is worse: fares, entry fees, opening hours and rules change, often at the start of the Japanese fiscal year in April, and a model trained months or years ago will state the old rule with complete confidence. Every page is a starting point for your own checking — confirm anything you are going to act on with the operator, the museum, or the relevant official tourism body.

Artwork credits

The pictures are the one part of this site that is genuinely old and genuinely verified. Every image is a Japanese woodblock print in the public domain, released under Creative Commons Zero (CC0) through The Metropolitan Museum of Art's Open Access programme. The files were downloaded once and are served from this domain; the museum is credited here and in the caption beside each print.

The artist, title and date in the table below come from the museum's own catalogue record and were fetched from its API, not recalled by a model. Anything else said about a print — the descriptions, the alt text, the connections drawn between an image and the page it sits on — is AI-written like the rest of the site, and carries the same warning.

This list is generated from the same manifest the download script writes, so it cannot drift out of step with what is actually on the site.

26 works, all released under CC0 1.0 Universal (Public Domain Dedication) via The Metropolitan Museum of Art Open Access.
WorkArtistDateCredit line
Under the Wave off Kanagawa (Kanagawa oki nami ura), also known as The Great Wave, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) Katsushika Hokusaica. 1830–32H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
South Wind, Clear Sky (Gaifū kaisei), also known as Red Fuji, from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) Katsushika Hokusaica. 1830–32Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939
Storm below Mount Fuji (Sanka no haku u), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) Katsushika Hokusaica. 1830–32Rogers Fund, 1914
Onna San no Miya (the Third Princess) Suzuki Harunobu1768–70H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Matching Shells (Kai-awase), “Kisen Hōshi,” from the series Modern Parodies of the Six Poetic Immortals (Yatsushi rokkasen: Kisen Hōshi) Chōbunsai Eishica. 1796–98H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Minamoto Yoshitsune and His Retainer, the Monk Benkei, Putting to Flight the Ghost of Taira no Tomomori Kuwagata Keisailate 18th centuryGift of Estate of Samuel Isham, 1914
Ghosts of the Taira at Daimotsu Bay Utagawa Kuniyoshi1843–47Fletcher Fund, 1929
Horimoto Gidayū Takatoshi Utagawa Kuniyoshica. 1848Purchase, Arnold Weinstein Gift, 2001
Portrait of Oboshi Yuranosuke Yoshio (The Leader) Utagawa Kuniyoshi1852Fletcher Fund, 1929
“The Waterfall Where Yoshitsune Washed His Horse at Yoshino in Yamato Province,” from the series A Tour of Waterfalls in Various Provinces Katsushika Hokusaica. 1832Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939
Stations One: Morning View of Nihonbashi Utagawa Hiroshigeca. 1833–34Rogers Fund, 1918
Sunshower at Nihonbashi Utagawa Hiroshige1833–34Rogers Fund, 1918
Two Women Kitagawa Utamaroca. 1790The Howard Mansfield Collection, Purchase, Rogers Fund, 1936
Set of Utensils for the Tea Ceremony Kubo Shunman 窪俊満1810sH. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929
Street in Kyoto Utagawa Hiroshigeca. 1840Gift of Estate of Samuel Isham, 1914
Kiyomizu Temple (Kiyomizu), from the series Famous Views of Kyoto (Kyōto meisho no uchi) Utagawa Hiroshigeca. 1834Rogers Fund, 1922
The Kinryusan Temple at Asakusa Utagawa Hiroshige1856Gift of Estate of Samuel Isham, 1914
Ōtsu, from the series The Fifty-Three Stations of the Tōkaidō Road (Tōkaidō gojūsan tsugi, Ōtsu) Utagawa Hiroshige1841–44Purchase, Joseph Pulitzer Bequest, 1918
Night Rain at Karasaki, from the series Eight Views of Ōmi (Ōmi hakkei no uchi) Utagawa Hiroshigeca. 1835Rogers Fund, 1914
Evening Cherry Blossoms at Gotenyama Utagawa Hiroshige1831The Howard Mansfield Collection, Purchase, Rogers Fund, 1936
Cherry Blossoms at Arashiyama, from the series Famous Places of Kyōto Utagawa Hiroshigeca. 1834Rogers Fund, 1914
Maples at Mama, from the series One Hundred Famous Views of Edo Utagawa Hiroshigeca. 1857Purchase, Joseph Pulitzer Bequest, 1918
Evening Snow Utagawa Hiroshige1797–1861Henry L. Phillips Collection, Bequest of Henry L. Phillips, 1939
A Peacock Perched on a Maple Tree Utagawa Hiroshigeca. 1833Purchase, Joseph Pulitzer Bequest, 1918
Wild Geese Flying under the Full Moon Utagawa Hiroshigeca. 1833Purchase, Joseph Pulitzer Bequest, 1918
Fuji from Miura, Sagami (Soshu Miura no Kaijo), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei) Utagawa Hiroshige1858Rogers Fund, 1919

Corrections

There is no editor watching this site, so nothing corrects itself and no one is checking behind the model. If a page here contradicts a museum, an operator, a rail company or a historian, believe them. An image whose public-domain status turns out to be wrongly recorded upstream would be removed — that one is worth flagging to whoever runs the domain.

Editor sign in

Sign in to set the subject of the next guide the site publishes.