Spherical Models by Magnus J. Wenninger (review)

Books 83 presentation is organized with the theme of understanding objects from the point of view of material science rather than specific types of art .... This book is an outgrowth of lectures presented to the students of art conservation in the University of Delaware-Winterthur Museum graduate program.' The scope of the book is large, and it is amply illustrated with graphs and tables. The topics include the properties of light and ultraviolet radiation, light sources, physical optics (polarization, reflection, interference), absorption, a brief introduction to color, the optical appearance of materials (opaque and transparent films, metal colors, glazes, glasses, fabrics), source of color in organic and inorganic compounds, pigments and colored glass, photographic light-sensitive materials. The author is thorough in his review of pertinent topics in chemistry and physics. More pages are devoted to the 'good' effects of light than to the 'bad' ones, which somewhat reflects the state of knowledge. The book should prove to be a valuable aid for instruction in art conservation and a useful reference in the domain of art materials generally. Artists who do not have the technical background needed for reading the whole book will nevertheless be able to find here and there information of real value. There is a good index, and each chapter is followed by an ample bibliography. An odd feature is the author's use of Gothic (?) style lettering in labeling his graphs and tables. Spherical Models. Magnus J. Wenninger. Cambridge Univ. Press, Cambridge, England, 1979. 147 pp., illus. Paper, £4.95. ISBN: 0-521-29432-0. Reviewed by David W. Brisson* As a teacher of professional design students I somewhat question the usefulness of texts that offer design solutions, rather than presenting questions to be grappled with. On the other hand, such a beautiful, clear and expository study of the class of forms presented by Wenninger is a delight. The beautiful drawings, excellent photographs and the clear text make the book an artwork in itself. The value of such a work to a design student is the fact of its being an outstanding example of what can be done! As a teacher, I would want my students to read this book, not so much to learn how to construct the models, but rather to gain some insight into how such a study may be conducted and organized. I would also want them to experience the sense of devotion to clear exposition and craftsmanship that this work radiates, as well as the value of the enormous and tedious labor that such a work entails, for it is only through such labor that such results are possible. For younger general students at the secondary school level, there is no doubt in my mind that constructing even a few ofthese models will generate a desirable enthusiasm for mathematics by the embodiment in tangible form of ideas that are very often treated only abstractly. For many students such a process will intrigue and entice by its appeal to the senses in a way that abstraction alone cannot, It is such an experience that may well bring otherwise reluctant students to a new enthusiasm for mathematics. Magnifications: Photography with the Scanning Electron Microscope. David Scharf. Frederick Muller, London, 1979. 119 pp., illus. Paper, £5.50. Reviewed by Gwyneth Thurgood** In this book Scharf leads one on a unique voyage of discovery. Usual perception of the environment is based on the limited experience of what is seen with unaided eyes. Instruments afford glimpses of the inner structures of insects, plants, etc. The scanning electron microscope at the lower magnification range of optical instruments resolves structures in more detail. Scharf, using his own special techniques and sensitivity of approach, preserves the natural qualities of his specimens in the *Box 85, Rehoboth, MA 02769, U.S.A. **Serengetl, Pilgrim's Way, Harrietsham, near Maidstone, Kent, England. photographs. His 'journey into microspace' often begins with a walk through fields, where he selects insects and plants to investigate. He describes the revelations of seeing uncoated samples, of exploring their structures using magnifications ranging from 10,000 to 100,000X and the decision he makes as to when to stop and to record an image. At the stage...