HOW TO RECOGNIZE SERIES by Harry C. Lindinger; HOW TO RECOGNIZE EGYPTIAN ART byGiorgio Lise; HOW TO RECOGNIZE GREEK ART by Flavio Conti; HOW TO RECOGNIZE ROMANART by Malcolm Colledge; HOW TO RECOGNIZE ISLAMIC ART by Gabriele Mandel; HOW TORECOGNIZE GOTHIC ART by Marcia Christina; HOW TO RECOGNIZE RENAISSANCE ART; HOWTO RECOGNIZE BAROQUE ARTReview by: Lois Swan JonesARLIS/NA Newsletter, Vol. 8, No. 6 (OCTOBER 1980), p. 184Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27946399 .

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184 ARLIS/NA Newsletter, October 1980

to lead from Trinity to a specific illustration in the Coronation of the Virgin. Instead, all of the coronations must be searched

visually to turn up the one example that has been cross referenced. The Index Iconologicus viewed as a whole is an occasionally

useful source for locating Baroque iconographie types. They are not illustrated unless they appear in Bartsch. It can confirm the

general iconographie appearance of a subject or theme, but it is not as useful or extensive as it might be or should be. The illustrations and sources are too limited. While it is probably useful for a

research institution, it would not be necessary to have duplicate copies in one geographic area.

Sara Jane Pearman Cleveland Museum of Art

THE LIBRARIANS PHONE BOOK 1980. Edited by Jaques Cattell Press. New York; London: Bowker, 1979. 445 p. ISBN

0-8352-1254-8; ISSN 0I95-332X. $17.95 plus shipping and handling.

We are in great haste to construct a magnetic telegraph from Maine to Texas; but Maine and Texas, it may be, have nothing important to communicate.

?Thoreau

Garbage in, garbage out.

?Anonymous Computer Programmer The existence of this book demonstrates near-perfect lack of

judgment: simply because it is possible for the Bowker Company to merge and shuffle automatically personnel listed in its various

directory-type publications (which publications are included??

they don't say), it does not follow that the result is useful, or even

that the effort was desirable. The preface states:

[this book] is an alphabetical listing of 51,412 librarians, heads of library networks and consortia, and deans and chairmen of

library schools and departments of library science in the United States and Canada. Public library branch librarians and academic department librarians are also included.

Each individual's name is followed by the institution name, institu tional address (only city and state, or in a few noted instances, state

only?unless there is a town in California named Research Librar ies Group), and a telephone number. There are no geographical or

institutional cross-references. If you don't know the name, forget it. The Librarians Phone Book 1980 won't tell you job titles, either.

This list generated from the Bowker Company's data bases (for an unknown list of publications of unknown dates) is only as good as its unspecified sources. The preface is dated October 1979, the

publication date was January 4, 1980, the review copy was received in June, after requests in February and May. Some of the informa tion spot-checked in The Librarians Phone Book 1980 is at least two years old, and some is older than that. At the same time, much of the information is irrelevant for art librarians. Since the list is

composed (presumably) from individuals listed in other Bowker

books, it is heavy on administrators and very short on all other

professional staff. It probably won't help you to "get in touch with that librarian you met at last week's conference," as it says on the back cover, unless s/he is a library director who has been in the same place for at least two years, and whose library has assiduously completed all Bowker questionnaires for a very long time. Some

people spot-checked are omitted who do appear in other Bowker

publications and who have been around for a while?up to seven

years in their current jobs. Comparison with the most recent

ARLIS/NA Directory, now almost three years old, or with any other special organization directory is perhaps unfair because

many listed in it are not professional librarians. Nevertheless, there are 31 in the ARLIS Directory: 9 appear in TLPB80; 9 don't; 13 don't meet Bowker's criteria or are questionable.

The Librarians Phone Book 1980 as it stands is certainly a waste of time and money for art libraries; its value for any library is

questionable. If the publishers wish to make what threatens to

become a continuing item (note ISSN above) useful, they should: 1 ) make an effort to list all professional staff?which would require

a separate massive questionnaire or changes in those they now send out for the presumed sources of TLPB80, and some editorial effort; 2) provide an institutional and/or geographic index; 3) indicate sources and timeliness of their information; 4) give complete

addresses. These things would require work, however, not just the

massaging of existing information for a few extra dollars, regard less of the utility of the "product." I realize this would result in a

directory, not a phone book, but it might be useful. I assume

information willingly provided to the Bowker Company for a specific publication becomes their property to use in any way they deem desirable, but might that not be questioned?

J.P.B.

Lindinger, Harry C, general editor. HOW TO RECOGNIZE SERIES. New York: Penguin Books, 1979. Average of 64 p., 38 color plates

+ 38 line drawings, $2.95 each:

HOW TO RECOGNIZE EGYPTIAN ART by Giorgio Lise. ISBN 0-1400-5237-2.

HOW TO RECOGNIZE GREEK ART by Flavio Conti. Trans. Erica and Arthur Propper. ISBN 0-1400-5234-8.

HOW TO RECOGNIZE ROMAN ART, by Malcolm Colledge ISBN 0-1400-5239-9.

HOW TO RECOGNIZE ISLAMIC ART, by Gabriele Mandel. Trans. Erica and Arthur Propper. ISBN 0-1400-5238-0

HOW TO RECOGNIZE GOTHIC ART, by Marcia Christina Gozzoli. Trans. Erica and Arthur Propper. ISBN 0-1400-5233-X.

HOW TO RECOGNIZE RENAISSANCE ART, no author pro vided. ISBN 0-1400-5235-6.

HOW TO RECOGNIZE BAROQUE ART, no author provided. ISBN 0-1400-5232-1.

Originally published in Italy by Rizzoli Editore, this series of seven pamphlets does not have a clearly defined audience. The text is too confusing and covers too much material superficially for the

beginning art student. Although the traveler to Greece or Rome

might find these particular booklets of interest, there are better art

history books from which to choose. Each pamphlet consists of a short glossary of terms, a brief

bibliography, and about 38 good color photographs of art works.

Unfortunately, the sizes of the works depicted are seldom pro vided. Each illustration is accompanied by a line drawing which is

supposed to help illustrate a specific point; however, the line

drawings only take up valuable space. For instance, the Gothic booklet does not contain either a floor plan of a Gothic church or an outline drawing illustrating such terms as archivolt, tympanum, and trumeau. The word archivolt is not even defined in the glos sary, and the ubiquitous Gothic pinnacle with its crockets and finial is not even mentioned.

Because each pamphlet has a different author, the booklets vary as to the quality of the text. However, the format in each pamphlet consists of a very brief historical introduction followed by a discus sion of the style's main features in architecture, sculpture, painting, and some of the applied arts. The architectural section usually includes more than just ecclesiastical buildings; for instance, the Renaissance booklet mentions churches, villas, houses, fortresses, and piazzas plus Italian, French, Spanish, and English Renais sance architecture. By trying to be all-inclusive in just 64 fully illustrated pages, these booklets only succeed in being something for no one.

Lois Swan Jones North Texas State University

National Trust for Historie Preservation. DIRECTORY OF PRIVATE, NONPROFIT PRESERVATION ORGANIZATIONS: STATE & LOCAL LEVELS. Washington, D.C: The Preservation Press, National Trust for Historic Preser vation, 1980. 129 p. LC 79-93037. $6.95 paper.

Supplementing the National Trust's Guide to Federal Programs: Programs and Activities Related to Historic Preservation (1974) with its 1976 Supplement, and the Guide to State Historic Preser vation Programs (1976), this directory lists private, nonprofit organizations concerned with preservation at regional, state, and local levels. Unlike the other guides pubished by the National

Trust, this one lists only basic information, consisting of the organ

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