La prueba de Sakai (1983b) era inducir el índice de cambio de las consonantes con 1554 hipocorísticos. Por ejemplo, cuando Jesüs cambia en Chus, ocurre un cambio consonántico de x>ch, con lo cual la x cuenta -1 y la ch, +1 en cada índice.
En Sakai (1983 a), tratando los 181 hipocorísticos en que se reduplican ciertas consonantes, hemos propuesto una fórmula para crearlos; - (C1V1) -C2V2XC3V3- (C4V4) - (S) [±m]. Allí ha resultado que el índice de cambio o de asimilación afecta propensamente a la dirección de la asimilación; progresiva o regresiva.
Ahora comparamos primero el índice de cambio que hemos visto en Sakai (1983b) con el de asimilación que se encuentra en Sakai (1983a). En resumidas cuentas podríamos decir que las ch, y y l son las consonantes resistentes, las s, c, r, d y x son las perdidosas y las p, ñ, sh, g, ll, m, rr y b se quedan en medio en la formación de hipocorísticos españoles (figura 1, 2).
Si vemos la frecuencia de cada consonante que nos presenta Navarro (1966), podemos observar que el índice de cambio o de asimilación de una consonante está en razón inversa a su frecuencia en general. A saber, cuanto más frecuencia tiene una consonante, más se pierde en los hipocorísticos y viceversa (figura 1, 3).
En consecuencia llegamos a explicar que la formación de hipocorísticos se basa en el “desvío” no sólo de las vocales, el cual causa la neutralización de género (cf. Sakai 1984), sino de las consonantes, el cual conduce a las palabras comarcanas del español, digamos, auténtico; palabras de niños, onomatopeya, caló, voz india, anglicismo, etc.

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In the Bapitistery of Parma (1196-1216, Emilia, Italy), renowned for the magnific plastic decoration realized by Benedette Antelami School, there are two baptismal fonts. One is a large octagonal font situated in the center, and the another is small circular font placed in the south east nich. The period of their construction, as well as which of the two fonts was at the same time as the Baptistery, has not yet been made clear. On this respect, the author examines a document dated 1225, kept in the Parma Cathedral Chapter Archives. The document, reference to a little part of which is made in sources belonging to the middle of XIXth century, descrives the scenes of baptism represented in the two fonts as corresponding to the way in which baptism was held between the end of XIIth century and the beginning of XIIIth century. From a close investigation of the document, it has turned out that the large octagonal font is coeval to the Baptistery, whereas the small circular font was realized for the Cathedral of Parma, before the construction of the Baptistery. The author futhermore exmines the simbolical meaning of the octagonal form of one of the fonts. This meaming, handed down from the Early Christian period, is to be interpretated within the context of Italian Medieval City-State.

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蘭嶼島には、1948年からプロテスタントの宣教師が布教に訪れ、1954年にはカトリックの布教のため、スイス国籍神父が援助物資（メリケン粉・牛乳）の分配をしながら布教を始めた。多くの住民は、宣教師の話を聞いて、次々とを受け、現在では島にある5つの集落に、かならず複数の教会があり、住民の大半がクリスチャンになっている。キリスト教が伝わり、半世紀を経て、キリスト教の受容も変化をしている。今回の発表では、まったくキリスト教に触れたことのない人々が、どのような契機でを受けたのかという点に焦点を絞って報告したい。

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In the early Christian period, two types of structural system, the basilican and the centralized types, were employed in ecclesiastical architecture. These, it is said, eventually produced the domed basilica. With regard to the history of Western architecture, centralized ecclesiastical architecture plays an important role in the development of style. However, this building type has not been thoroughly elucidated except for the symbolic meaning of the dome. Therefore, the purpose of this paper is to clarify the present state of research by examining existing remains in terms of hypothetically possible reconstructions. The author's point of view is expressed in accordance with the notion in the existence of various enonces deducible from the remains as an archive. The idea of the architecture as originally set forth would thus be thought of as hidden, or covered, by the remains themselves. First of all, the literal concept of the "centralized" type of structure must be defined in clear terms. The author, first of all, defined constituent elements after examining various texts (Table 1) on the history of the architecture of this period. The nave forms considered are either polygons or circles excluding aside the case of the square which is difficult to distinguish from the longitudinal form. The distribution of remains is shown for the entire territory of the Empire in the Early Christian Period (Table 2). Significantly, neither type is restricted to a particular district. Instead, each must have been employed as an universal form of architecture in the Empire. Through further typological examination (Table 2), the architectural composition may be distinguished in several ways. From the previous distinction, we may isolate a binary contrast between octagonal and circular nave plans. Other such contrastive pairs include employment or absence of the nave columns, pillars, pilasters as well as the presence or absence of an apse toward the east. These typical configuration suggests an architectural principle inclined to reduce the difference between the remains in unity and simplicity of composition. The binary categories referred to above regard the interior nave elevation. In term of composition (Table 3) hypothetical reconstructions yield the following generalizations about architectural compositions. The interior elevation is divided into three tiers, one third of which corresponds to the dome; the interior is lighted mainly from the upper part of the exterior wall; finishing materials are differentiated in each tier. The elevation is synthesized, so to speak, from the system of linear composition, which corresponds to the system of column arrangement, and the planar composition, which corresponds to the walling system. As regards linear composition, a structural-type composition is replaced by a decorative-type composition. That is, the structural system is disguised as a decorative composition and might not function as the load-bearing system. Therefore, the linear composition indicates an ambivalent system in baptisteries. This visual system which controls the total composition functions as the chief architectural principle in the centralized baptisteries of the Early Christian Period.

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