The Symbolist Prints of Edvard Munch: The Vivian and David Campbell Collection by Elizabeth Prelinger, Michael Parke-Taylor, and Peter Schjeldahl (review)

HUMANITIES 257 law on one page, is elsewhere wrongly credited with being Dawson's father-in-law; and Murchison and Ramsay were directors ofthe Geological Survey of Great Britain, not of Canada. The account of Dawson's career in its public dimension, at McGill (notably including the establishment of the Redpath Museum), in the RSC, and in the BAAS, is a convincing one. Science, and especially scientific research, was part of the core ofDawson's being as well as his achievement, and we learn here of the importance of his Acadian Geology in its several editions; it would have been useful to have more information about the content of that volume. We do later in the book get a neat account of Dawson's views on glaciers, a controversial topic then. The general primacy of geology in North American science is one of the points convincingly established bySheets-Pyenson. She alsohandles Dawson's successinfundraising with skill; in that context, and in view of the importance of geology for mining, it would have been useful to learn more about the value of Dawson's work for the mining industry in Nov~ Scotia and elsewhere in what was to become Canada. Dawso·n's Protestantism is clearly shown to be an important part of who he was. We are told that Dawson's church was the Canada Presbyterian Church, not the Presbyterian Church of Canada, but we do not learn what doctrinal or social difference this might imply. This is a useful study, sympathetic and informative, but not definitive. (TREVOR LEVERE) Elizabeth Prelinger, Michael Parke-Taylor, and Peter Schjeldahl. The Symbolist Prints ofEdvard Munch: The Vivian and David Campbell Collection Art Gallery of Ontario and Yale University Press. 236, illus. $50.00 The innovative manner in which Edvard MWlch experimented with print media is the focus of this exhibition catalogue published by the Art Gallery of Ontario. Munch's print