The purpose of this article is to point out some similar processes of the transition of space treatment in Japanese and Western classic architecture, and to extract common formulae between their spatial developments. Japanese architecture in the seventh century, when it was influenced by Chinese and Korean architecture for the first time, possessed a sculpture-like character in its symmetrical planning and pyramidal arrangement. The character was the same in Greek architecture. Then, Japanese architecture became to possess a picture-like character. This transition was very similar to that from the Greek temple architecture to the Roman one. One of the noticeable features in the course of these transitions is the similarity in treatments of the rear walls. Every shinto shrine since the thirteenth century has the side-screens (waki-shoji), which have just the same character as the closing wall of the side-colonnades of some early Roman temples. Roman sanctuaries, on the other side, often had the cloisters as Japanese ancient Buddhist temples and palatial buildings, and we can find all of three main types of Japanese cloisters in Roman architecture. Japanese architecture, at the same time, gradually developed and articulated its interior space and became to reflect movements of men who acted in it. The development of the interior space and the emphasis of the entrance in Roman buildings coincide with this Japanese transition. Japanese and Western classic architecture, in short, both developed from the stage of sculpture-like character to that of picture-like one.

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From the new viewpoint of picture-processing model by computer, a picture-recognition process should be considered to have not only perceptual but also conceptual aspect analogous to the human activity. A series of experiments extensively show us that the work of art has a deep structure under its surface perceptual texture, and that the conceptual deep structure can be analyzed only by the language which is sensitive to the generativity, in other, words which has a so-called generative grammar. The author now considers that the machanism of this human recognition process of a deep structure corresponds to that of the automaton which has a pushdown memory. Because in their recognition they proceed not only step by step but also changing state by jumping. If it is true, it is deduced that the work of art is discrete in its structure and that art is principally finite. This possibility of finiteness of art, which has been given a clearer light to by the computational liguistic model for the fisrt time, is suggestive for the aesthetic phenomena because of the complementarity between its surface structure and deep one.

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During his Roman period (1624-1665), Nicolas Poussin (1594-1665) visited Paris by invitation of Louis III, but didn't stay there more than two years (1640-42). His original style, built up before this visit, can be characterized as the concentrated circle-composition and makes us look at the sceen naturally from the higher place just like in "the Israelites gathering the Manna" (1638) and "the Seven Sacraments (first series)". But when he was in Paris, he was commissioned to make large size pictures by Louis III, for example, "the Institution of the Eucharist" (1641). Those pictures, however, were not so excellent because of the gap between the commission and the capacity of his original style. This experience inspired him to develop his first original style. After returning to Rome, this struggle continued until he synthesized his first style and the experience at Paris. The creation of his new style, which makes us look at the sceen from the lower place can be seen in "the Seven Sacraments (second series)" and "the Holy Family on the steps" (1648).

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Die Kapelle Karls des Grossen in seiner Pfalz zu Aachen, von Odo von Metz gebaut und im Jahre 800 geweiht, dient als Hofkirche und kaiserliche Kapelle. Der Bau ist ein uberkuppeltes Oktogon mit den sechzehnseitigen Umgangen in zwei Geschossen. Der Entstehung dieser Pfalzkapelle liegen drei Faktoren zugrunde ; die Benutzfahigkeit der seit der Antike uberlieferte Technik und Theorie, der Einfluss des christlichen Zentralbaues und das spezifische frankische Kunstwollen. Karl der Grosse erbaute diese Pfalzkapelle, nicht nur um seine Macht als Konig in der Welt zu demonstrieren, sondern auch um ein Salomon zu sein. Die Umgange um das Oktogon also, insbesondere den oberen, darf man nicht als untergeordnete Nebenraume ansehen. Nach ihrer ursprunglichen Benutzung und Auffassung mogen sie eben eigentliche Hauptraume sein, weil der Thron Karls des Grossen gegenuber dem Salvatoralter auf der Empore steht, so dass der Konig darauf gewissermassen die Liturgie im Innenraum beherrschen konnte. Schmarsow fasst den Urform des Zentralbaues anthropomorphisch als ein sich aufrecht stellendes Individuum, das sich als eine Quelle von der Erscheinung des rhythmischen Gestaltungsprinzips darstellen kann, solange es die sekundare Korper um sich selbst psychisch in eine hohere Einheit verschmelzen kann. Hier erklart sich der enge Zusammenhang des Zentralbaues mit der Struktur einer Basilik.

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