The Art of Papier-Mâché by Carla, John B. Kenny, and: Design in Papier-Mâché by Carla, John B. Kenny (review)

352 Books line blocks. The reproductions of paintings, sculpture and sepulchral effigies are well chosen and have a certain dim charm when compared with the highly coloured, though not necessarily accurate, plates to which we have become accustomed. Rings probably originated in seals and the persistence of cylinder seals in Babylon and Assyria perhaps explains the rarity of rings in Assyrian art. Another possible origin is in the knotted cord or piece of wire twisted into a knot, that was a favourite charm in primitive times. Pliny remarked that there was no mention of rings in Homer, although we have concrete evidence that they were known before that time in the ancient Greek world. This seems strange in view of the prevalence of rings in myth and legend but is probably due to the fact that Homer was more interested in weapons and armour. Poison rings were not fabulous. Some still exist, but their purpose was often suicidal rather than murderous, to save the wearer from disgrace or a worse death, as in the case of Hannibal. Others had cavities intended for perfume or disinfectant rather than for poison. ’he Art of Papier-Machi?. Carla and John B. Kenny. Chilton, Philadelphia, Penn., 1968. 143 pp., illus. Paper, $12.50. Design in Papier-Miche. Carla and John B. Kenny. Chilton, Philadelphia, Penn., 1971. 190 pp., illus. Paper, $12.50. Reviewed by Maurice W.Lang* If one is inclined to think of papier-mache asa medium that can offer only a limited scope to artists, one needs only to thumb through these two books to note the different techniques and materials that may be employed and the interesting shapes and unusual finishes or textures that can be produced. The authors are evidently very competent in their art. They describe effectively the construction of various types of objects and present helpful photographs to illustrate the stages in the operations. Photographs in color show each of the completed objects. My sole complaint is that but few photographs of works by other artists are given. Both books are well planned and easy to follow. They are suitable both for teaching and for reference. Endweard Muybridge: The Stanford Years, 1872-1882. Exhibition catalogue. Dept. of Art, Stanford Univ., Stanford, Calif., 1972. 136 pp., illus. Paper. Reviewed by Jacques J. Halber** This is the catalogue that accompanied the travelling exhibition of Muybridge photographs and related materials successively shown at the Stanford University Museum of Art, the E. B. Crocker Art Gallery (Sacramento) and the University Galleries of the University of Southern California at Los Angeles toward the end of 1972 and the early part of 1973 to celebrate the 100th anniversary of the historic meeting and association between Leland Stanford and the photographer Muybridge. The book is divided into six sections, including an Introduction, and a ‘Catalogue and Notes on the Work’, i.e. the photographs by Muybridge covering the period from 1872 to 1880 (both sections were written by Anita Ventura Mozley). Robert Bartlett Haas, author of the book Muybridge, Man in Motion, has contributed a biography of Muybridge (b. 18304. 1904). This section is divided into six periods that define Muybridge’s life and work. Francoise Forster-Hahn contributes a long chapter on ‘Marey, Muybridge and Meissonier: The Study of Movement in Science and Art’. An extensive section is devoted to Documents and a Bibliography completes this tribute. The catalogue opens with two reproductions, one a Portrait of Leland Stanford by Meissonier in Paris in 1881 *37 Rue de Chartres, 92200 Neuilly sur Seine, France. **I4 Rue des Tongres, B-1040 Brussels, Belgium. and the other a photograph of Muybridge taken at about the same time. The confrontation of these two portraits is very well chosen for within them lies the story of the beginnings of an important part of modern photography, cinematography and, to a lesser extent, an influence on modern painting. The first thought that strikes the reader is that both of these men, in their own way, were men of outstanding intelligence and character. Leland Stanford was an exGovernor of California and president of the Central Pacific Railroad. This very wealthy man had a passion for raising, training and racing horses. He...