Rising 3776 meters above the Kanto plain, the volcanic cone of Mt. Fuji is Japan's tallest mountain. Its size, location, and its striking symmetry have all contributed to its standing, since at least the medieval period, as a paradigmatic mountain in Japanese religion and aesthetics, inspiring religious observances, poetry and the graphic arts. As Byron Earhart demonstrates, however, the significance of a symbol lies in the history of its employment, of the ways its meaning is appropriated and contested over time. Surveying the imagery of Mt. Fuji in propaganda, advertising and popular culture over roughly four decades, he suggests the ways in which this mountain — as a symbolic representation of Japan itself — was employed by both the Japanese government and the Allies as a symbol of the Japanese homeland. During the occupation, images of Fuji were initially censored by the Allies, who were wary of its nationalist implications, while American troops employed the image in their insignia, symbolically capturing the Mountain as the Allies had captured Japan itself. Eventually, of course, images of the mountain returned to the public sphere, serving again as a symbolic stand-in for Japan, but now as a peacetime commercial power.