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ill-proportioned'. It was highly sophisticated and elegant and its distortions were a form of idealism. That Henry Wilson was not always 'sensible and serviceable' is demonstrated by his chalice at St Bartholomew's, Brighton. Greek vases do not neglect craftsmen at work, for instance, the 'Foundry Painter' in Berlin shows workshop scenes with furnace, bellows, tools and intaglio matrices. Hughes jumps about rather confusingly in time but he is probably not to blame for faults in production such as the often chaotic arrangement of the illustrations. For example, pre-Columbian American and Moghul work are displayed on facing pages and Rococo in the middle of a passage on Art Nouveau, while the captions are frequently on different pages from the photographs. However, only a polymath could hope to achieve perfection in such an encyclopaedic work and one must congratulate Hughes on having done so well. Von Neumann is a member of the faculty of the University of Illinois and his jewelry was selected to represent America at the World's Fair in Brussels in 1958. The fact that a second edition of his book is called for is in itself a recommendation. It has been expanded, corrected and given new chapters on historic and contemporary techniques. Processes are clearly described and illustrated by simple diagrams. There are appendices on weights and measures, an extensive bibliography and a list of suppliers (all in America). Choate's book is minutely detailed and instructive but less stimulating to read. Many of the works illustrated as examplars are of poor design and an apparent deficiency in historical background is suggested by such statements as: 'Niello is another surface inlay often found in silver jewelry made in Thailand.' As the book covers much the same ground as von Neumann's, and costs more, one questions what special needs it fulfils. It is perhaps worth buying for the sake of its comprehensive tables and formulae, which seem to anticipate every contingency.
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