Nikoraido (Nicholas' house), the Cathedral of the Holy Resurrection, built on Surugada Hill

This second treatment of the Cathedral of the Holy Resurrection demonstrates Oda's practice of returning to favored Tokyo subjects across compositions, seasons, or hours of day. The variant likely differs in vantage point—a closer view of the bell tower, a side approach from the Surugadai streets, or a nocturnal rendering—with the cruciform volumes of the church anchoring the design. Compared with the companion print, this version may employ a tighter palette or a more pronounced bokashi gradation in the sky to register weather or time of day, exploiting the sōsaku-hanga preference for atmospheric mood over topographic precision. Oda's paired treatments parallel the practice of the French lithographers he admired—Bonnard, Vuillard, Toulouse-Lautrec—who reworked the same Parisian motifs in serial form. The result locates Tokyo's Russian Orthodox cathedral within a comparative print discourse, treating the modern city as a layered subject that rewards repeated looking rather than a single fixed view in the older meisho-e tradition.