We fund there are various pictographs corresponding to an item as they have been exhibited in international gatherings or made for international organizations. We are interested in the fact that they differ from one another while representing one and same item. Our interest comes from the supposition that the differences may have connections with the images people have about their res- pective circumstances in international gatherings or organizations. Therefore, we compared three kinds of pictographs corresponding to the same item in various examples and investigated them to know if we can feel any differences in the following four points : (1) national character (2) sense of the times (3) intelligiblity (4) pleasure or displeasure caused. As tue result of our investigation, a half of the materials we used proved that the factors that produced the differences are (1), (2), and (4) rather than (3) mentioned above. So we have come to conclude that our above supposition is quite reasonable.

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The products that people have manufactured, in their original intention, have two elements, One of them, that is, is the physical use value and the other is the semantic of symbolization. In this study of armour, I searched a series of the semantic of symbolization, the structure and the process In the second place, I have tried out the relativity between the use value and the symbolization. The swords, which have acted a host of life and death, have brought people to the supernatural impression on them. At first, people recognized that swords were symbolic of life. And then they regarded them as the symbolization of God who give life. In the fioal stage, swords were God itself, they concluded. From time immemorial, it is why people have substituted the imitations of the practical swords, In the second place, people took swords into consideration in its actionary elements as weapons fighting against harmfed devils, so them people considered them to be sym- bolic of the courage or righteousness. The possibility and credibility of the swords that people were dependent upon their whole life were put in the same line with their individual lives in value. Under the condition of the swords guaranteing their own creditability, the possibility of educing it were open only to the trainning in its skill of the users. This fact led the users to the spiritual intercourse, extremely close and dense. In consequence, many a well-knewn sword-makers came into existence, while the users used it as their own souls, put a deep meaning onit. The people sculptured in sword the constellation or the cloudings that they believed to keep its owner from devils. Swords were considered to give people the happiness and lonevity, without being confined merely to the original function to be a weapon. Sword, enshrined such meaning, often were dedicated to God. In case of Samurais, warriors in the fuedal periods, aii that they prayed were the luck in the war and the security of the country. The weapons necessities of Samurais dependent upon their lives, were loved to be gorgeous, only because Samurais wanted to be with a victory much more glorified, in the bloody scene. To be gorgeous and to be practical were always incompatible. Toward the end of 16 th century, Hideyoshi banned the farmers' possession of weapons Since them, these tools, whicht distinguished the beened from the permitted, became the status symbol, of cast system of men all ranks and classes. The practibility were all the more esteemed because the military tools were cruel. And at that same time, they had been made use with a deep significance. They give us good examples from the stand-point of our understanding the interrelation between human-beings and tools, and the use value of tools and the symbolization.

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Design in life means Envilonment design, Product design, Arts and Crafts, and Fashion desi, The aim of this article is to define the mutual relation between Design in life in future Life itself, in human life hereafter. What will he do, if a man is given plenty of time and money ? Perhaps he will enjoy his favc objects when the fancy takes him. Those who have large sphere of such activity will suit Post-industrial society. Fig. 2 explains this relation.

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Paul Klee's "Pedagogical Sketchbook" is his own textbook at the Bauhaus. It is only a small book which consists of over 60 pages at most, including appropriate introduction by Sibyl Moholy-Nagy. Klee's sentences are rather brief and fragmentary, but we can read his fundamental theories of artistic creation and his own view of the plastic education among them. He manifested such a thought, by starting from geometrical grasping of lines, then by considering the dimension and balance, and the relationship of the tension in the gravitational space, and finally by having a glimpse at the kinetic and chromatic energy. Through such a description, he seems to intend to find the cosmetic principles of functional mechanism in small familiar things, to produce the plastic creations equivalent to them, and to transmit frankly such a thought to his young students. Thus we can read in this small book Klee's intention of the earnest communication about the formative education.

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The Origin of Ainu Pattern Seen from Literature The oldest literature that transcribes the patterns of Ainu clothes is Hakuseki Arai's "Appended Plan" to Ezo-shi. Although there are various manuscripts of this book and the pattern itself is different according to each variety, Fig. 7 of "the Book of Costume," Ainu Arts seems to be akin to the existing Moreu Pattern. The Remains of Ainu Clothes Old Ainu clothes shown in museums now are exclusively of the end of the Tokugawa Era. It became clear, however, that something like kosode or a wadded silk garment, which was found under the body of Motohira Fujiwara of Oshu might be Atushi clothes of the Ainu. And if this presumption is correct, it naturally follows that, by the end of 11 th century at the latest, there were Atushi clothes and Ainu pattern and the pattern can be traced back to good many centuries before. The Composition of Ainu Pattern In most cases, the pattern of old Ainu clothes consists of embroidery of Aiushi pattern alone, and its composition begins from continuous patterns of shik-noka, and as their links, variations of shik-noka like temple-bell or floral patterns are adopted. And another, on the contrary, consists of variations of shik-noka and on hems alone remains the original pattern of Aiushi. In variations of shik-noka, shik-noka is stretched out, smashed, drawn in, distorted and so on, which reminds us that the techniques of designing as they are today had already been adopted at that time. And when they are further developed, they make torsels and, then, knots, which form Uren Moreu. Then, on the next stage, these are consciously shaped into a form and Moreu pattern is being composed. Consequently, Atushi pattern seems to be transformed into Moreu pattern. Arabesque and Ainu pattern There are many who insist that Ainu patterns comes from keppaku pattern of northern peoples, but Alois Riegl's theory can be appropriate or we must also make an investigation into the relation between Ainu pattern and Jomon and Totetsu patterns. Moreover, it is too important a fact to overlook that the wavy arabesque of Mycenae and Aiushi uren Moreu closely resemble.

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Studies on the decoloration of organic pigments have been examined by various researchers, however, only a few papers refer to molecular structure change. Visible ray irradiation tests using the weather-o-meter or mercury arc lamp, and the exterior exposure tests have been performed by various authers from different points of view. Dispersing the xenon-lamp light through quartz prism and measuring the fading rate for various wave lengths, the authers analized the molecular structure change of organic pigments by infrared spectrophotometry and we discussed the correlation between fading phenomenum and molecular structure change on the basis of experimental results. We investigated suppression effect using some anti-oxidants and ultraviolet absorption agents as a fading inhibition, and besides we investigated their mutual effects. We have obtained such an experimental result, that the sufficient suppresion effect can be expected by using together two inhibitions adequately selected.

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