I have examined the relations between shear stresses〜strains by simple shear tests on 4 sorts of muds, plastered in wood-frames, inserted a set of bamboo or wood meshes. One of 4 muds was dug at Fukakusa, in Kyoto city, and was used in full-scale experiments, too. For elemental experiments on mud plasterd wall, I have used 3 sorts of frames A, B and C. Frame C has one mesh of 4.5 cm square in left and right side of central shear frame, frame B has 9 meshes of 4.5cm square in both side. Frame A is the same size as frame B, but inserted meshes of bamboo. Meshes of frame B and C are all made of wood. On Fukakusa mud, the shear strengths at γ=1/120[rad] of all frames are from 0.1 to 0.5[kgf/cm^2], but maximum shear strengths of frame C, B and A are respectively near 4.5, 1.9, 1.5[kgf/cm^2].

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　石膏析出後の酸性硫酸塩土と，土質試験の一斉試験などでしばしば用いられる深草土の両者に対して，消石灰を異なる混合率で混ぜ合わせ，pH試験と一軸圧縮試験を各養生日数で実施した．これらの実験結果から，両安定処理土のpHおよび強度特性（特に強度発現速度）を比較し，その差異を明らかにした上で，石灰混合による酸性硫酸塩土の安定処理効果について詳細に検討した．また，実験に用いた供試体を走査型電子顕微鏡（SEM）で可視化し，土と石灰・石膏の水和反応によって形成されたエトリンガイトと土の強度特性が密接に関係していることを理解した．

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The purpose of this paper is to examine the concept of time introduced by Fujiwara no Shunzei. Focusing on Shunzei's critical judgments of the poetic games uta-awase, the author of this paper analyses Shunzei's attitude toward poems including place names (Uta-makura) taken from Ise-monogatari. The author demonstrates that Shunzei praises highly the recollection of Ise-monogatari through the reading of those poems. Shunzei emphasizes that quoting Ise-monogatari introduces the modality of narrative time into the poem on the condition that its attempt in disclosing the fact that the narrative itself was lost, disclosing its absence, has succeeded. It can be concluded that Shunzei reveals the modality of the present time lived as past, which differs from the modality represented by honkadori in creating a state of occurrences particularly characteristic of the narratives

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The Plio-Pleistocene Osaka Group distributed in Fukakusa, at the eastern part of the Kyoto basin, can be divide into four depositional facies. They are (1) fluvial channel gravelly sand with tabular and trough cross-stratifications, (2) inter-channel or abandoned channel sand and mud with inverse grading and rootlets, (3) massive gravel and ill-sorted gravelly mud of debris flow origin, and (4) bay floor mud with plant debris and burrows. The mud beds of (4), so called “marine clay beds” are repeatedly interbedded between fluvial deposits of (1) to (3). The fluvial deposits of (1) to (3) are in braided river system developed at the lowstand of sea-level, and in contrary the marine mud of (4) was deposited at the highstand during glacio-eustatic changes.

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This study partially clarified the contents and daily use of the palace garden of Reizei Tominokoji-dono residence during the mid-Kamakura period. The study method was a literature review using “The Dairy of Nakatsukasa no Naishi” with a focus on descriptions of the garden and use of the garden in the daily life of Emperor Fushimi, etc. It was found from this study that the basic structure of the garden of Reizei Tominokoji-dono residence was a basic Shinden-zukuri garden, where yarimizu (artificial stream in a garden) was running from the northeast side into a pond on the south side. The plants in the garden were a cherry tree (Sakon no Sakura) on the southeast side in front of the Shinden and a mandarin orange tree (Ukon no Tachibana) on the southwest side. In the north garden, Henon bamboo existed. The daily casual usage of the garden was entertainment including moon viewing, boating, viewing of the sky and scenery of the garden, composing poem and playing music. The garden and sky were mostly viewed from each room of the buildings and boats. The views of the garden and sky were not just beautiful but often cheerless. The members including Emperor Fushimi, who were all well-versed in creating Japanese poem, appreciated the garden view by finding beauty in various natural phenomena and shared the feeling among the members.

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