Ars Nova is the title of an important musical treatise written by Philippe de Vitry about 1320. The first part of this treatise consists of discussions on intervals, the gamut, accidentals and the system of hexachords and mutations, in a conservative way. He sometimes quotes from statements of his precursors, such as Boethius, Lambertus, etc. It is, however, its latter part that is really significant. For it presents a thorough explanation of both binary and ternary mensuration and introduces a complete system of time signatures. Thus, this treatise has two contrasting aspects-the speculative and conservative and the practical and progressive. The curious harmony of this important musical treatise shows a remarkable feature of music at the beginning of the 14th century.

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Il marmo busto della "Gentildonna dalle belle mani" nel Museo Nazionale del Bargello di Firenze, la introdusse nella storia dell'arte come un capolavolo del Verrocchio dal Bode (1882). Questo attribuzione al Verrocchio, per il presente, e accolta dal tanti critici. La persona rappresentata, una distinta gentildonna dall' apparente eta di prima trent'anni e dal corpo ben formato, in attitudine sciolta e naturale e in veste elegantissima, si stringe al seno un mazzolino di fiori. Ma sul volto, sulla piccola cuffia, sulle veste e mani del questo busto di forme del tutto simile si trovano nella tavoletta mutilata oggi nella galleria nazionale di Washington, nel ritratto "Ginevra Benci" di Leonardo del primo periodo fiorentino. Il suo studio delle mani di Windsor No. 12558 per questa tavoletta mutilata attesta attraverso la mano in riposo, il rilievo della struttira della polpa del pollice e la flessione palmare dell'altra mano, il maestro del nostro busto. Inoltre Leonardo e evidentemente imparato scultura del marmo nel primo periodo fiorentino. Cosi scrive Leonardo : "Item conducero in sculptura di mamore, di bronzo e di terra." al Moro. Percio, sul busto del Bargello, penso ad un lavoro in comune di Leonardo e del Verrocchio.

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In this paper, at first, I try to re-examine the traditional view about the biography of Unkoku TOGAN (1547-1618). For we know little about the reason why and sources from which that traditional view is admitted so widely and the dates of his works are, in most cases, merely deduced from the dates of edifices where his works exist now. The second step of this paper is the stylistic examination to make clearer the development of his works than before. The author is happy if this paper might be the preparation for a further systematic study of Togan.

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S. Giedion says that the true intentions of the modern architectural movement, which began around 1890 in many countries in Europe, were the demands rather for morality than for aesthetic impetus. Such an interpretation contains an important view that architecture should be essentially grasped as a creative activity to purify the "infected atmosphere" (H. van de Velde). But among most historians who try to explain "Modern architecture of the 20th century" such a pertinent criticism as "demands for morality" has been neglected and a new catchphrase, "Art and Technology-a New Unity", comes to the front in order to explain one or two partings of architectural development. Doesn't the wide consensus of this concept mean that it has a merit of concealing a "mythology of technology" behind itself? When we think of this problem, we become to the recognition that it is necessary for us to investigate missing trends during 1920s, especially, the so-called Utopianism or Expressionism and to re-interpret modern architecture from the new point of view based on Giedion's criticism. This new interpretation, when it can take shape as the theory, may be called "Anthropology of Architecture".

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Sofern sich Kants Asthetik als ein Mittelglied der Transzendentalphilosophie entwickelte, ist sie unter dem Gesichtspunkt ihres Systems und ihrer Methodik-namlich unter ihrem Dualismus-zu betrachten. Der dualistische Gegensatz zwischen Natur und Freiheit kann nach Kant durch den Begriff der Zweckmassigkeit der Natur nicht wirklich aufgelost werden. Ihre Vermittlung ist aber ein unvermeidliches Bedurfnis der menschlichen Vernunft. Dass die Probleme der Asthetik als Vermittler in der Transzendentalphilosophie hervorgetreten sind, bedeutet auch, dass der Mensch dort als widerspruchshaftes Wesen, das in sich selbst den dualistischen Gegensatz enthalt, aufgefasst ist. Darin sehen wir einen Charakter der Asthetik Kants.

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Since the presentation in plastic arts is closely connected with visual perception, it can be said that paintings have trodden the history of visual thinkings, attempted and developed by the painters through their experiences. At this point, although it has been paid little attention to for its fugitive quality, ambiguity has taken an important role in paintings, at least at the following two points : the first is the enlargement of space-sence in representation by the enhancement of the colour effect which results from the indistinctness of form, and the second is the admissibility to the coaction of tonalities in a picture, that is, the so-called interaction of colours. It is an important fact that a painting can attain a richer and more involved effect, when it has the coaction of tonality, just as in sfumato, pomo of Indian ink-paintings and some works of Cezanne. Adding to those, in this article, I report a new and interesting colour effect which I would like to call "homomorphism of colour" that ambiguity produces space-sence only by colour when it correlates tonalities with form.

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It is one of the most distinguishing characteristics of sculpture that it visualizes invisible world instead of imitating something visible. For that reason, it is natural in the mordern world of realism that sculpture looked more conservative and stagnant than painting. In such a situation as the exception stood Rodin, who let us remember the splendour of sculpture by ex-pressing human spirits and emotions. From the beginning of the 20th century, however, it has begun to show another aspect that can be said as its change or development from the art of mass volume to that of space by the works of Brancusi, Picasso and Russian Constructivists. Now it can be defined as the art of space-visualization rather than as the representation of God or the expression of human spirits and emotions. This fact, I think, reflects that comtemporary paintings leave off the illusional space-making and aim at the showing of the flatness of plane itself.

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Fukuro-jimbutsu, or "baggy figures", constitute the typical style of figure painting of Kaiho Yusho (1533-1615). His "baggy figure" paintings may be classified into three different styles : shin (真), gyo (行), and so (草). It has been generally assumed that Yusho learned the style of fukuro-jimbutsu painting after Liang Kai's gempitsu (abbreviated brushwork), which is in so style. Yusho's shin style, however, is a product of influence by Kano school. This shows that his style did not develop in the order of shin, gyo, and so, but was formed individually on each occasion. Then it is not appropriate to have a fixed view about stylistic development.

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Obwohl das gut bekannte "erste abstrakte Aquarell" Kandinskys von dem Kunstler eigenhandig 1910 datiert ist, hege ich doch Zweifel uber dieses Datum. Uber die Entstehungszeit dieses Aquarells habe ich hier vor allem durch die Untersuchung seiner Motive aufzuklaren versucht, die seit 1909 immer wieder in "Kompositionen", "Improvisationen" und in deren verschiedenen Skizzen sowie Entwurfen auftreten. Hierdurch hat es sich bestatigt, dass das "Aquarell" eine der Studien zu "Komposition 7" (1913) war, die von einem Glasbild "Jungstes Gericht" (1911) ausging und durch stufenweise Modifikation und Abstrahierung fertiggestellt wurde. Am bedeutendesten in bezug auf diese Bestatigung sind die Motive des zur Schiessscheibe geformten Regenbogens mit zwei Pfeilen und eines vielfaltig modifizierten Bootes, die fast immer an dem Zentrum der Bildflachen der besagten Skizzen oder Entwurfe stehen. Das erste ist ein Symbol fur den Zweiten Zorn Gottes und den "gottlichen Vertrag" ; das letztere stammt aus "routshi" (="Ruderer" im altschwedischen Sinne), das etymologisch der Ursprung des "Russen" sein soll, und deutet wohl eine zu kommende "neue Arche Noah" an. In Zusammenhang mit dem anderen Motiv "die einfalligen zwei Kirchen", die man in "Kleinen Freuden" (1913) z.B. finden kann, glaube ich also in den "Kompositionen" Kandinskys vor dem Ersten Weltkrieg, einschliesslich "Erstes abstraktes Aquarells", auch seinen eigenen "russischen Messianismus" ersehen zu konnen.

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1. Das Thema versteht man gewohnlich als einen wesentlichen Bestandteil des Musikwerkes. Etymologisch bedeutet es aber "das Hingestellte", also auch etwas Ideelles, das ganze Musikwerk beherrscht. Die beiden hangen miteinander in der Weise zusammen, dass das erste, werkimmanente eine Widerspiegelung des letzteren, werktranszendentalen ist. 2. Das Thema als Idee spiegelt sich vorzuglich in der Melodie-Thematik als Melodik-, oft auch im Rhythmus-Thematik als Rhythmik-und noch, obgleich in geringerem Masse, in der Harmonie-Thematik als Harmonik-. 3. Die Thematik als Harmonik steht der klassischen Form der Musik als tonaler Struktur gegenuber. 4. In den Symphonien Bruckners finden wir vier harmonisch gebildete Themen, die wiederum die Haupttonarten verlassen haben. Zwei davon haben trotzdem offenbar die "Hauptmelodien", die eigenartigerweise konstruktionsfahig sind. 5. Diese Tatsache ist nicht als ein Ruckgang zur melodischen Thematik zu verstehen, sondern als ein Ubergang zur atonalen, oder dodekaphonischen Melodiengestaltung, die bald nach dem Tode Bruckners stattfand : Die mannigfaltige Thematik in seinen Symphonien ist eine Zusammenfassung der Musikgeschichte des 19. Jahrhunderts.

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Those who speak of Donatello generally emphasize his influences on some contemporary painters. But looking at the course of mutual relation between Donatello and Masaccio more closely, we, against common views, find three phases in it. 1. The sculptural expression in <<Madonna with S. Anne>> of Masaccio, which can be considered to have been suggested by the effects of light and darkness of <<St. George killing the Dragon>> of Donatello. 2. Donatello was inspired conversely by the excellent results of colour realized by Masaccio, for example, in Pisa altarpiece and in mural Paintings of Brancacci Chapel. 3. After the death of Masaccio, Donatello digested and conquered the techniques of Masaccio and exploited his new and original way of expression.

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Die deutsche Renaissance entstand in der Durerzeit. Im Gegensatz zur heimatlichen Tradition schufen die deutschen Kunstler die neuen Bildformen, die eine Stilerscheinung waren. Aber ein gotisches Gefuhl durchzog die Bildformen; Naturgefuhl lag im Innersten des Wesens der gotischen Malerei, wie es Konrad Witz und die Meister der Bilder <<Maria im Rosenhang>> zeigen, und es sind die Maler der Durerzeit, die die Landschaftsdarstellung zum Hohepunkt ihrer Entwicklung brachten. Hans Holbein d.J., der zur jungeren Generation gehorte, ging nicht mehr in dieser Richtung, an ihm war jenes Naturgefuhl unterdruckt. Er betrat schon die unheimische, hoher klassische Formwelt. Er gab zwar die Landschaft in einigen Bildern wieder, aber sie hatte kein romatisches Gemut wie die Landschaft von den alteren Meistern.

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