We must ascertain the position of Gerard in the 18th-century British aesthetics. Among the contributions Gerard has made to aesthetic theories, the most distinguished is, in our view, his associationist aesthetics. His theory of association is made up of the two renovated conceptions : imagination and association of ideas. First, imagination is, to Addison, a faculty of aesthetic perception, which is identified with Hutcheson's concept of an internal sense of beauty. In contrast, Gerard thinks imagination to be a faculty of an association of ideas. Second, association is, to Locke, a cause of a false judgement, and to Hutchson, it is only an accidental cause of a variety of taste. It means little in aesthetics. But, to Gerard, association has a much more positive significance. It enables us to appreciate the aesthetic by associating some aesthetic quality with its related meaning. Imagination, by associating ideas, makes up for the loss of memory and goes further to produce a whole of images which are not in reality. Thus, according to Gerard, imagination is indispensable both in taste and in genius.

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It is generally known that inspiration and imitation often play very important role in Plato's theory of poiesis. Our task, therefore, is to examine the interrelationship of these two aspects. In the earlier dialogues the allusions to poetical inspiration sound very ironical, but in Phaedrus it is obvious from the first rank of the 'ordinance of Necessity' that poetical madness is identified with the recollection of beauty and love of it. On the other hand, in the sixth rank of the 'ordinance of Necessity' is placed a skilled poet, who engages in imitation. In the Republic X. imitation is said to be thrice removed from the truth. But as far as imitation is 'of something', the poet must pursue after the correctness of his imitation to its object and finally to the truth itself in order that his imitation is successful (the Laws II.). Aristotle says in the Poetics, ch. 9 that poiesis is more philosophical and valuable than history, since poiesis tells rather the universal, history the particular. It is true that the universal is distinguished from both the particular and Plato's Ideas, but if poiesis is to be philosophical, it must approximate to philosophia as far as possible in the very way that Plato indicates.

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Ki-no Tsurayuki, a poet one thousand years ago, defined tanka (Japanese poem in 31 syllables) as the verbal expression of what one bears in mind with a corresponding material which can be seen or heard. This means that a poet needs two subjects to make a poem : one is what he intends to say about, the other is subsidiary material such as flower, snow, moon, etc. Mitate (seeing as is one form of the correspondence between two subjects. We can see three functions of it as follows. 1. Cognitive device-Metaphorical sentence has the implicit instruction to see X as Y in order to know about X. The practice of this instruction brings us imaginary experience of X with such taste or feeling that Y can evoke in us. In this case, metaphor is used not for an intellectual cognition, but for an aesthetic experience through imagination. 2. Symbolism-A man's state of mind (e.g. love) tinges things he sees (e.g. flower or moon) with a certain mood, and they will have some "taste" or "touch" corresponding with his own feeling. Thus, the subsidiary material in tanka becomes a symbol for the inside of the narrator. 3. Ground for presentation-Performing arts represent some imaginary world (e.g. Hamlet's world) in background, and present aesthetic quality in foreground. In kabuki, the present factor is prior to the represent one. But, without the meaning from background, the aesthetic impression would lose its depth. In the same way, at a figurative tanka, the intelligible meaning of the background sustains the word performance of the foreground.

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In this paper I discuss the current status of image art with respect to art and mass-society. At the first, it is argued that the image as technological products is more or less structurized and schematized, for example, as the printing image is screened by the meshes with dots, and the tendency could be strengthen by the most recent developments in the technologies of digital image processing, that would constitute a new system of visual communication. As a result, the more the masses become used to see that kind of image in the new media of visual communication, the more they are standardized. At the end, it is argued that current image arts must play a role as mediator between art space and living space.

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The statues of the Campanile of the Florentine Cathedral in the early 15th century are well-known especially for Donatello's Jeremiah and Zuccone. However, the project for the Campanile 1415-1436 is very problematic. In these periods, I find thirteen documented projects for the statues both for the Campanile and for the facade ; that is <<Prophet I>>(Poggi, Nos.222, 224, 227, 228, 230, 231), <<Prophet II>>(Poggi, Nos.222, 232, 238, 243), <<Prophet III>>(Poggi, Nos.221, 223, 224, 225, 226, 241, 242, 244, 247, 250), <<Prophet IV>>(Poggi, Nos.245, 248, 249, 251), <<Prophet V>>(Poggi, Nos.253, 254, 256, 257, 262), <<Prophet VI>>(Poggi, Nos.258, 261, 268, 269, 270), <<Prophet VII>>(Poggi, Nos.260, 263, 272, 273, 279, 280), <<Prophet VIII>>(Poggi, Nos.284, 316, 320, 322, 323, 324 and Catasto of 1427), <<Statue A>>(Poggi, Nos.233, 234, 235, 236, 237, 239, 240), <<Statue B>>(Poggi, Nos.271, 273, 274, 275, 276, 277, 278, 282, 283, 285, 286, 287, 288, 289, 290, 291, 310, 311, 318), <<Statue C>>(Poggi, No.262), <<Statue D>>(Poggi, Nos.259, 264, 266), <<Statue E>>(Poggi, Nos.292, 298, 299, 300, 301, 302, 303, 304, 305, 306, 308, 312, 313, 314, 315, 317, 319, 320, 321). Based on the analysis of the styles, documents, and sculptural signatures, I identify <<Prophet I>> with the Beardless Prophet, <<Prophet II>> with the Bearded Prophet, <<Prophet III>> with the Nameless Prophet, <<Prophet IV>> with the Abraham and Isaac, <<Statue A>> with the St. John the Baptist, <<Prophet V>> with the Abdia, <<Prophet VII>> with the Jeremiah, <<Prophet VIII>> with the Zuccone. I also identify <<Statue B>> with the Isaiah, <<Statue D>> with the Poggio Bracciolini, <<Statue E>> with the David, all found in the interior of the Cathedral. <<Prophet VI>> is believed not to have been finished.<<Statue C>> is believed to be identical with the doccione sculpture of the Cupola. As for the new identification of <<Statue A>> with the St. John the Baptist, <<Statue D>> with the Poggio Bracciolini (it is believed that the head is not by G. da Poggibonsi but by B. Ciuffagni), see also my documentary and stylistic analysis, The Enigma of the Poggio Bracciolini, in Annual of Miyagi Women's College, 1986.

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