Stained Glass Lamps and Terrariums by Luciano; Stained Glass Window Art by LucianoReview by: Helen WeisARLIS/NA Newsletter, Vol. 3, No. 6 (OCTOBER 1975), p. S9Published by: The University of Chicago Press on behalf of the Art Libraries Society of NorthAmericaStable URL: http://www.jstor.org/stable/27945510 .

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For the average art library, these reference books are needed only in cases of last resort, when the librarian cannot satisfy his patron's request from his own collection. In these cases, Picture Sources 3 will be adequate for most American libraries.

?Christina Bostick Art Index

Luciano. Stained Glass Lamps and Terrariums. Palo

Alto; New York, Hidden House/Flash Books, 1973. $4.95

Luciano. Stained Glass Window Art. Palo Alto; New

York, Hidden House/Flash Books, 1974. $5.95 ISBN 0-8256-3802-X.

These paperback notebook-sized volumes, intended as textbooks for beginners in the medium, describe leaded stained glass and copper foil techniques. The texts are basic and resemble class notes which have been beautifully copied in italic script and illustrated with line drawings.

The lamp book gives instructions for making twelve objects, and it includes illustrations, patterns, a list of necessary materials and a section on wiring lamps. The window book contains directions for six

similarly illustrated panels, two of which are accom

panied by full-size patterns; it has as well nine color

pages and thirty-six black and white diagrams of 19th century domestic stained glass window designs. Both volumes include glossaries, bibliographies and lists of suppliers.

Since making even the simplest stained glass panel requires practice, a novice with no previous experience and without an instructor would have a difficult time completing a functional window or

lamp relying on these sources. The books will be most useful to the experienced amateur and to the craftsman in a small shop which makes and restores domestic windows.

?Helen Weis Willet Stained Glass Studio

Subject Directory of Special Libraries and Informa tion Centers. 1st ed. Edited by Margaret Young, Harold Young, and Anthony Kruzas. Detroit, Gale Research Co., 1975. CIP: LC 74-23778 ISBN 0-8103-0286-1.

Vol. 4: Social Sciences and Humanities Libraries

If one is looking for a current, accurate, and easy to-use directory of art libraries, volume 4 of the

Subject Directory of Special Libraries and Infor mation Centers will not satisfy the need. In this

compilation of special libraries arranged loosely by subject, Gale Research Co. has chosen merely to reissue the third edition of its Directory in a dif ferent format. Thus, much of the information contained therein is up to two years out of date, particularly in terms of personnel and holdings. Volume 4 deals only with social sciences and

humanities, and includes area/ethnic, geography/ map, history, music, religion/theology, theater, and urban/regional planning libraries, in addition to art libraries. This review, however, will be restricted to the art section.

"Art Libraries" is divided into two geographical units?the United States and Canada. It includes museum, academic, and public libraries with hol

dings in art and/or architecture, with a few pri

vate firms (such as publishers, movie studios, and architectural firms) throw in as well. This reviewer noted one glaring error: the inclusion of the

Wheeling-Pittsburgh Steel Corp. Library, which has

nothing whatsoever to do with art libraries. Only 29 Canadian art libraries are included, mostly universities and muse.ums.

There are no cross-references contained within the section. For instance, the San Francisco Art Institute is listed as the College of the San Fran cisco Art Institute?Anne Bremer Memorial Library, with no cross references from San Francisco Art Institute or Bremer Memorial Library. Also, there is often no distinction made in the primary heading between institutions with similar names, so that one must read further into the listing to discover whether the entry is for the Museum of Fine Arts, Boston or

the Museum of Fine Arts, St. Petersburg. Since the Museum of Fine Arts, Boston has three separate listings (school of art, slide library, Hunt Memorial

Library), the confusion is compounded. The filing is strictly alphabetical, so that the University of Arizona is listed under "U" rather than "A".

However, the National Gallery of Canada is filed as Canada?National Gallery of Canada. Again, no cross reference is provided to lead the searcher to the correct entry.

As for the physical appearance of the volume, it is uninspiring at best. While it is "library bound," the printing is simple atrocious?the intensity of tone varies from very light to very dark, on the same page. The only distinction between entries is that the name

of tie library is all capitalized. To this reviewer, the purchase of this volume

would have a very low priority, since it is only a new

arrangement of already out-dated information, and its $25.00 cost ($90.00 for the full 5-volume set) is unjustified for the limited use it would receive in an art library.

?Amy R. Navratil

Venturi, Adolfo. Storia dell'Arte Italiana. Index.

Compiled by Jacqueline D. Sisson. Nendeln, Liechtenstein, Kraus-Thomson Organization, 1975.2 v. $85.00 6-9698

This two-volume index to what Chamberlain called "The definitive history of Italian art" is a monumen tal work in itself. The indexing is clear and accurate for a tool on which art historians have depended since its original publication seventy years ago.

Mrs. Sisson gives a good introduction to the set by explaining not only the procedure used, but also the alternative methods which were considered.

There are three sections to the index: a location

index, an artist index, and the Venturi Tables of Contents. The location index, based on Venturi's individual volume indexes, has been corrected, ex

panded, and reorganized. They are in alphabetical order, each subdivided by up to eight categories architectural drawing, architectural ornament, architecture, drawing, graphics, minor arts, painting and sculpture?then further arranged by the name of

the building, chronologically by century if the artist is unknown, artist, title or description of the work, volume number and page. The entry then appears:

S9

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