This paper focuses on the position of “Ju-ken” matches and their promoter, Kenji Kano, in Japanese boxing history. A “Ju-ken” match was a match between a judoist and a boxer, and such bouts were held from the middle of the Taisho era to the early Showa era in Kobe, Tokyo and Osaka. The main organizer of these matches was the “International Ju-ken club”, whose owner Kenji Kano was the nephew of Jigoro Kano. This study divides the history of Ju-ken into three periods, each with respective features.
  The first period was from October 1919 to April 1921. Ju-ken at this time was intended to reform judo into a competitive sport through fighting with boxing. Although judo had been well established at that time, it was facing a challenge due to loss of its spirit and form as a martial art during the process of sportification. Jigoro Kano, the founder of Judo, was unhappy with this change. By studying boxing, karate, aikido, stick fighting and other martial arts, he aimed at creating a ‘Martial Art Judo’. His nephew Kenji Kano pursued martial art-oriented judo as well, but his approach to reconstructing judo as a martial art was through mixed martial arts games, the “Ju-ken match”.
  The middle period was from May 1921 to March 1925, when Ju-ken evolved into a spectator sport that encapsulated the struggle for superiority in terms of nationality and ethnicity. Because Kodokan prohibited their members from participating in any mixed-martial arts match from April 1921, Ju-ken became a spectator sport. In addition, after charity matches following the Great Kanto Earthquake, in order to bring more excitement to the game, Ju-ken heightened the opposition and rivalry based on the nationalities and ethnicities of the athletes.
  The final period was from April 1925 to August 1931, when Ju-ken changed into a show that was intended to provoke nationalistic emotions among the audience. After the development of “normal” boxing, Ju-ken held normal boxing matches in their games and adopted new boxing-like rules. These new rules and the point systems put foreign boxers at a disadvantage when fighting against Japanese judoists, ensuring that Japanese would always defeat foreigners.
  Finally, through assimilation of knowledge and focusing on boxing, this study argues that Ju-ken matches created a background for localization of modern boxing in Japan.

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There have been discussions about the ancient Greek sanctuaries before the Hellenistic periodthat they had no principle of site planning. Especially those like Olympia, Delphi, etc., whichhad long tradition in the mainland Greece in fact look like a jumble, mainly because the buildings were laid neither orthogonally nor pararelly each other, compared with Hellenistic reeularplanning. However, the present analyses of the plans would suggest us that the buildings in someof the sanctuaries were related each other through axes and the extended lines of the exterior walls. The building arrangement of this kind would have been predecessors of the Hellenistic symmetrical and axial planning of the sanctuaries.

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In the Pompeian wall-painting, we can see depictions of wild birds, animals, fruits, fishes, bottles, plates etc. These themes are seemingly very similar to the still life motif of our age. But they may have connotation different to ours. In ancient Greece, dining and symposion were held as part of some religious rite. This ceremonial nature is discernible also in the Pompeian wall-painting, where depictions of hanged birds or dedicated fruits are sometimes visible by the side of altars. We can interpret these representations as reminiscent of old tradition of ceremonial dining.
In the Pompeian wall-painting, panel-like flamins were used to array representations of various kind of these themes. Sometimes they are composed to make serial arrangement of still life motifs, located in the series of panel-like pictures of middle zone or in the frize-like area of upper zone of wall.
Serial disposition of still life is often found in the rooms of symposion or dining called as triclinium or oecus. These motifs may be used to demonstrate the variety of different agricultural products or wild creatures of estate of host family. Representation of variety and richness of domestic products is very suitable each to show the generosity and hospitality of hosts, as well as the aesthetic value of their skillful depiction.

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