制作：大正12（1923）年
制作者：山口彌三郎
前の屋台（寛政5年新造）と同じ形式とされ、白木の囃子屋台であるが、記録によれば、前の屋台は大きく、日覆いの屋根の向きも違っていたとのことである。
飾り台は能舞台に見立てた造りとし、日覆いの屋根は入母屋で屋根の妻は格子とし、中央に束を立てている。破風板は飾りなしである。囃子台の屋根は切妻としている。
見送りには三番叟につきもので長寿を表す松の若木としている。
車は八つ割りで朱溜塗（しゅだめぬり）である。
一層囃子台は柱6本二間造りである。前の柱の雲形の虹梁桁で囃子台の屋根を受けている。
囃子台と楽屋台の境の中の柱には格子の妻飾りと彫刻欄間を設ける。擬宝珠柱は角直立、正面階は3段、登り高欄を設ける。二層飾り台は四角直立の擬宝珠柱に架木と平桁を巡らしている。

Year of Construction: 1923 (Taisho 12)
Craftsman: Yamaguchi Yasaburo

This float follows the same structural style as its predecessor (built in 1793) and is a hayashi-yatai (musical float) made of unpainted wood. According to records, the earlier float was larger and had a differently oriented roof.

The upper stage is designed to resemble a Noh stage. The roof covering is in the irimoya (hip-and-gable) style, with lattice gables and a central supporting post. The bargeboards are left undecorated, while the roof over the musicians’ platform is of a simple gabled form.

The rear display (miokuri) features a young pine tree, symbolizing longevity and associated with the Sanbasō performance. The wheels are divided into eight sections and finished in shudame (a deep reddish lacquer).

The first level is a two-bay structure supported by six pillars. The roof of the musicians’ platform is supported by a curved beam with cloud-shaped brackets. Between the musicians’ area and the backstage, lattice gable decorations and carved transoms are installed.

The giboshi finials on the first level are supported by straight square pillars. The front staircase has three steps and includes railings. On the second level, square pillars support beams that run around the decorative stage.

「三番叟」屋台そのものが能舞台を見立てた造りになっている。

能楽の祝言曲であったが、のちに歌舞伎、人形浄瑠璃に移入し、序幕の前に祝儀として舞うもの。現在行われている式三番は、千歳舞、翁舞、三番叟舞からなる。三番叟に先だって舞われる翁の舞は天下泰平を祈るもので、三番叟は五穀豊穣を祝ぐと言われているが、当初は延命の願いを込めた祝禱の舞であった。回り舞うことで魂を招き、踏み踊ることで地霊を鎮める、招魂と鎮魂の舞踊は、祭りの原型形態を残したものである。
　細工町が三番叟を乗せ物に選んだわけは、単にめでたく縁起よい舞のみでなく、祝祷の舞としての意を汲んだ上のことてあったと推測される。

Sanbasō

The float itself is constructed in the style of a Noh stage.

Originally a celebratory piece in Noh theater, Sanbasō was later incorporated into kabuki and puppet theater (bunraku), where it is performed as an auspicious dance before the main program. The formal performance known as Shiki Sanbasō consists of three parts: the dance of Senzai, the Okina dance, and the Sanbasō dance.

The Okina dance, performed before Sanbasō, is said to pray for peace and stability in the world, while Sanbasō celebrates a rich harvest. In its earliest form, however, it was a ritual dance offering prayers for longevity. Through its circular movements, it is believed to invite spirits, and through its stamping steps, to calm the spirits of the earth. As such, it preserves the original form of ritual performance rooted in both invocation and pacification of spirits.

It is thought that the people of Saikumachi chose Sanbasō as the mounted figure not only for its auspicious nature, but also for its deeper meaning as a ritual dance of prayer and blessing.

大紋は町名の「細」の字、地模様はレンガ柄のように「工」の字を配列した構成で、町名を前面にした法被となっている。裾柄は山道を配する。

The main crest features the character “Hoso” (細), derived from the name of the district.

The base pattern consists of a brick-like arrangement of the character “Kō” (工), creating a design that prominently reflects the district name.

The hem pattern is based on a mountain path motif.