Great art and fantastic photography evoke London's finest hour, 29 Oct 2008
Really, truly, you don't need to be an art fan to love this book. It is a fantastic read for people who have an interest in modern history, photography and, dare I say, nostalgia as well.

This book is ripe with beautifully chosen illustrations - these fab pics are allowed to rule. The text, enjoyable and starightforward, guide you through the images - which are always the star.

From secretive trips to north Wales to mesmerising concerts by Myra Hess, this is a rewarding journey!

Great art and fantastic photography evoke London's finest hour, 29 Oct 2008
Really, truly, you don't need to be an art fan to love this book. It is a fantastic read for people who have an interest in modern history, photography and, dare I say, nostalgia as well.

This book is ripe with beautifully chosen illustrations - these fab pics are allowed to rule. The text, enjoyable and starightforward, guide you through the images - which are always the star.

From secretive trips to north Wales to mesmerising concerts by Myra Hess, this is a rewarding journey!

Nationalistic??, 12 Jul 2008
The introduction of the term "universal museum" is obviously done to cover and to justify the reality that the museums in question have indeed collected in many cases artefacts from various countries under dubious if not purely illegal circumstances. Branding the call for repatriation of artefacts to their originating countries as "nationalistic" is simply pathetic. When and by whom was it decided that the museums in question should assume the role of "universal museums"? Was the local population where the artefacts were taken from consulted for this?

Great art and fantastic photography evoke London's finest hour, 29 Oct 2008
Really, truly, you don't need to be an art fan to love this book. It is a fantastic read for people who have an interest in modern history, photography and, dare I say, nostalgia as well.

This book is ripe with beautifully chosen illustrations - these fab pics are allowed to rule. The text, enjoyable and starightforward, guide you through the images - which are always the star.

From secretive trips to north Wales to mesmerising concerts by Myra Hess, this is a rewarding journey!

Nationalistic??, 12 Jul 2008
The introduction of the term "universal museum" is obviously done to cover and to justify the reality that the museums in question have indeed collected in many cases artefacts from various countries under dubious if not purely illegal circumstances. Branding the call for repatriation of artefacts to their originating countries as "nationalistic" is simply pathetic. When and by whom was it decided that the museums in question should assume the role of "universal museums"? Was the local population where the artefacts were taken from consulted for this?

Appelbaum's treatment methodology, 04 Oct 2008
A recent publication and an interesting and certainly thought provoking read. Appelbaums attempt to 'characterize' historic objects into a grid format using four quadrants is an interesting concpet that does work (reminded me in some ways of Caple's RIP balance triangle) but is presented in an over complicated manner that becomes tedious. I did not like the constant reference to the conservator as 'her / she' and the owner/curator as 'he / his'. This left me with a sense of "us & them" and is irritating. Overall however, quite good.

Great art and fantastic photography evoke London's finest hour, 29 Oct 2008
Really, truly, you don't need to be an art fan to love this book. It is a fantastic read for people who have an interest in modern history, photography and, dare I say, nostalgia as well.

This book is ripe with beautifully chosen illustrations - these fab pics are allowed to rule. The text, enjoyable and starightforward, guide you through the images - which are always the star.

From secretive trips to north Wales to mesmerising concerts by Myra Hess, this is a rewarding journey!

Nationalistic??, 12 Jul 2008
The introduction of the term "universal museum" is obviously done to cover and to justify the reality that the museums in question have indeed collected in many cases artefacts from various countries under dubious if not purely illegal circumstances. Branding the call for repatriation of artefacts to their originating countries as "nationalistic" is simply pathetic. When and by whom was it decided that the museums in question should assume the role of "universal museums"? Was the local population where the artefacts were taken from consulted for this?

Appelbaum's treatment methodology, 04 Oct 2008
A recent publication and an interesting and certainly thought provoking read. Appelbaums attempt to 'characterize' historic objects into a grid format using four quadrants is an interesting concpet that does work (reminded me in some ways of Caple's RIP balance triangle) but is presented in an over complicated manner that becomes tedious. I did not like the constant reference to the conservator as 'her / she' and the owner/curator as 'he / his'. This left me with a sense of "us & them" and is irritating. Overall however, quite good.

An excellent technical handbook for stone conservators, 09 Dec 1998
This book, which is in two parts, is an excellent resource for anyone involved in the conservation of ancient stone buildings. It's a technical handbook and covers everything from structural failure to repointing ashlar joints. There is also good coverage of the pros and cons of cleaning and surface treatments. Whilst some of the technology has moved on (it was published in 1990), it's still a useful resource to have in your library.

Great art and fantastic photography evoke London's finest hour, 29 Oct 2008
Really, truly, you don't need to be an art fan to love this book. It is a fantastic read for people who have an interest in modern history, photography and, dare I say, nostalgia as well.

This book is ripe with beautifully chosen illustrations - these fab pics are allowed to rule. The text, enjoyable and starightforward, guide you through the images - which are always the star.

From secretive trips to north Wales to mesmerising concerts by Myra Hess, this is a rewarding journey!

Nationalistic??, 12 Jul 2008
The introduction of the term "universal museum" is obviously done to cover and to justify the reality that the museums in question have indeed collected in many cases artefacts from various countries under dubious if not purely illegal circumstances. Branding the call for repatriation of artefacts to their originating countries as "nationalistic" is simply pathetic. When and by whom was it decided that the museums in question should assume the role of "universal museums"? Was the local population where the artefacts were taken from consulted for this?

Appelbaum's treatment methodology, 04 Oct 2008
A recent publication and an interesting and certainly thought provoking read. Appelbaums attempt to 'characterize' historic objects into a grid format using four quadrants is an interesting concpet that does work (reminded me in some ways of Caple's RIP balance triangle) but is presented in an over complicated manner that becomes tedious. I did not like the constant reference to the conservator as 'her / she' and the owner/curator as 'he / his'. This left me with a sense of "us & them" and is irritating. Overall however, quite good.

An excellent technical handbook for stone conservators, 09 Dec 1998
This book, which is in two parts, is an excellent resource for anyone involved in the conservation of ancient stone buildings. It's a technical handbook and covers everything from structural failure to repointing ashlar joints. There is also good coverage of the pros and cons of cleaning and surface treatments. Whilst some of the technology has moved on (it was published in 1990), it's still a useful resource to have in your library.

The father of museum studies lays down the fundamentals, 01 Oct 2000
As a third-year student of "Museologia" (museum science) in Italy, i have found finding research material very difficult. As a very "young" field in itself (only being recognised in 1955) Museum Science has few textbooks as such. So, after hearing about "The Museum Environment" i managed to obtain a very beaten copy of it, (having left my promise to the owner to not lose it on pain of death!). It soon became clear why he was so anxious about the copy going missing, this book is a fountain of wisdom for those in the Museum, Conservation or restoration fields. It is divided into two sections, the first more technical and the second more concerned with the practicalities involved in the exposition of a work of art. There are several aspects to this process, from the physics involved in finding and maintaining the exact light and humidity levels relevent for an object on display, to the psycology behind displaying an object to appeal to the maximum range of human perception. There are also interesting passages on the practical organisation of space, and the movement and flow of people "en masse" through an exhibition. If you are involved directly in Museum work or related areas, this book will be most interesting to you, and may even surprise you. However, if you are not directly interested in these fields, the book is too specific to be generally read. I have ordered my own copy and am sure it will very well thumbed through!

Great art and fantastic photography evoke London's finest hour, 29 Oct 2008
Really, truly, you don't need to be an art fan to love this book. It is a fantastic read for people who have an interest in modern history, photography and, dare I say, nostalgia as well.

This book is ripe with beautifully chosen illustrations - these fab pics are allowed to rule. The text, enjoyable and starightforward, guide you through the images - which are always the star.

From secretive trips to north Wales to mesmerising concerts by Myra Hess, this is a rewarding journey!

Nationalistic??, 12 Jul 2008
The introduction of the term "universal museum" is obviously done to cover and to justify the reality that the museums in question have indeed collected in many cases artefacts from various countries under dubious if not purely illegal circumstances. Branding the call for repatriation of artefacts to their originating countries as "nationalistic" is simply pathetic. When and by whom was it decided that the museums in question should assume the role of "universal museums"? Was the local population where the artefacts were taken from consulted for this?

Appelbaum's treatment methodology, 04 Oct 2008
A recent publication and an interesting and certainly thought provoking read. Appelbaums attempt to 'characterize' historic objects into a grid format using four quadrants is an interesting concpet that does work (reminded me in some ways of Caple's RIP balance triangle) but is presented in an over complicated manner that becomes tedious. I did not like the constant reference to the conservator as 'her / she' and the owner/curator as 'he / his'. This left me with a sense of "us & them" and is irritating. Overall however, quite good.

An excellent technical handbook for stone conservators, 09 Dec 1998
This book, which is in two parts, is an excellent resource for anyone involved in the conservation of ancient stone buildings. It's a technical handbook and covers everything from structural failure to repointing ashlar joints. There is also good coverage of the pros and cons of cleaning and surface treatments. Whilst some of the technology has moved on (it was published in 1990), it's still a useful resource to have in your library.

The father of museum studies lays down the fundamentals, 01 Oct 2000
As a third-year student of "Museologia" (museum science) in Italy, i have found finding research material very difficult. As a very "young" field in itself (only being recognised in 1955) Museum Science has few textbooks as such. So, after hearing about "The Museum Environment" i managed to obtain a very beaten copy of it, (having left my promise to the owner to not lose it on pain of death!). It soon became clear why he was so anxious about the copy going missing, this book is a fountain of wisdom for those in the Museum, Conservation or restoration fields. It is divided into two sections, the first more technical and the second more concerned with the practicalities involved in the exposition of a work of art. There are several aspects to this process, from the physics involved in finding and maintaining the exact light and humidity levels relevent for an object on display, to the psycology behind displaying an object to appeal to the maximum range of human perception. There are also interesting passages on the practical organisation of space, and the movement and flow of people "en masse" through an exhibition. If you are involved directly in Museum work or related areas, this book will be most interesting to you, and may even surprise you. However, if you are not directly interested in these fields, the book is too specific to be generally read. I have ordered my own copy and am sure it will very well thumbed through!

Interesting but not accurate, 04 Jan 2008
A somewhat interesting account of the fire and restoration but unfortunately the book has several areas of factual inaccuracy and the odd typo. This starts from the first diagram of the area damaged by fire, which is actually a map of the area completed after the restoration. The picture on page 22 apparently shows the salvage of the carpet of St George's Hall (carpet was damaged beyond repair in the fire) when this is actually the carpet of the Waterloo Chamber. These are just examples but I am wondering who authorised or proofed this account of the events that took place in 1992. Pictures are of poor quality and seem to be of a press preview. If you are after the 'official' account of the fire and restoration then seek out a copy of Adam Nicolson's book 'Restoration'. Or even better - visit the castle, see the magnificent results of restoration for yourself and get the official guidebook.

Great art and fantastic photography evoke London's finest hour, 29 Oct 2008
Really, truly, you don't need to be an art fan to love this book. It is a fantastic read for people who have an interest in modern history, photography and, dare I say, nostalgia as well.

This book is ripe with beautifully chosen illustrations - these fab pics are allowed to rule. The text, enjoyable and starightforward, guide you through the images - which are always the star.

From secretive trips to north Wales to mesmerising concerts by Myra Hess, this is a rewarding journey!

Nationalistic??, 12 Jul 2008
The introduction of the term "universal museum" is obviously done to cover and to justify the reality that the museums in question have indeed collected in many cases artefacts from various countries under dubious if not purely illegal circumstances. Branding the call for repatriation of artefacts to their originating countries as "nationalistic" is simply pathetic. When and by whom was it decided that the museums in question should assume the role of "universal museums"? Was the local population where the artefacts were taken from consulted for this?

Appelbaum's treatment methodology, 04 Oct 2008
A recent publication and an interesting and certainly thought provoking read. Appelbaums attempt to 'characterize' historic objects into a grid format using four quadrants is an interesting concpet that does work (reminded me in some ways of Caple's RIP balance triangle) but is presented in an over complicated manner that becomes tedious. I did not like the constant reference to the conservator as 'her / she' and the owner/curator as 'he / his'. This left me with a sense of "us & them" and is irritating. Overall however, quite good.

An excellent technical handbook for stone conservators, 09 Dec 1998
This book, which is in two parts, is an excellent resource for anyone involved in the conservation of ancient stone buildings. It's a technical handbook and covers everything from structural failure to repointing ashlar joints. There is also good coverage of the pros and cons of cleaning and surface treatments. Whilst some of the technology has moved on (it was published in 1990), it's still a useful resource to have in your library.

The father of museum studies lays down the fundamentals, 01 Oct 2000
As a third-year student of "Museologia" (museum science) in Italy, i have found finding research material very difficult. As a very "young" field in itself (only being recognised in 1955) Museum Science has few textbooks as such. So, after hearing about "The Museum Environment" i managed to obtain a very beaten copy of it, (having left my promise to the owner to not lose it on pain of death!). It soon became clear why he was so anxious about the copy going missing, this book is a fountain of wisdom for those in the Museum, Conservation or restoration fields. It is divided into two sections, the first more technical and the second more concerned with the practicalities involved in the exposition of a work of art. There are several aspects to this process, from the physics involved in finding and maintaining the exact light and humidity levels relevent for an object on display, to the psycology behind displaying an object to appeal to the maximum range of human perception. There are also interesting passages on the practical organisation of space, and the movement and flow of people "en masse" through an exhibition. If you are involved directly in Museum work or related areas, this book will be most interesting to you, and may even surprise you. However, if you are not directly interested in these fields, the book is too specific to be generally read. I have ordered my own copy and am sure it will very well thumbed through!

Interesting but not accurate, 04 Jan 2008
A somewhat interesting account of the fire and restoration but unfortunately the book has several areas of factual inaccuracy and the odd typo. This starts from the first diagram of the area damaged by fire, which is actually a map of the area completed after the restoration. The picture on page 22 apparently shows the salvage of the carpet of St George's Hall (carpet was damaged beyond repair in the fire) when this is actually the carpet of the Waterloo Chamber. These are just examples but I am wondering who authorised or proofed this account of the events that took place in 1992. Pictures are of poor quality and seem to be of a press preview. If you are after the 'official' account of the fire and restoration then seek out a copy of Adam Nicolson's book 'Restoration'. Or even better - visit the castle, see the magnificent results of restoration for yourself and get the official guidebook.


Extremely comprehensive study of finishing techniques, 27 Jul 2002
There are two traditions to this book, Asian lacquers (true urushiol lacquer) and Western attempts to copy them. It's hard to judge which is the more interesting, and students of Western furniture who think they have no interest in lacquer might find themselves pleasantly surprised.

The main topics covered are the history of lacquer and its techniques, and modern needs for conservation and restoration of artefacts. It's not intended as a guide to applying lacquer and although lacquer artists would find this a valuable resource, it's not going to teach you the skills on its own.

Throughout the book there is an air of knowledgeable competence. This is not some vague historical text, it's rooted in the work of a skilled conservator and their research. Despite all this, it's a well-written and enjoyable read, without the dryness that might have been expected or even gladly accepted, given the immense detail contained in it.

Lose one star for the high price. It's worth it, but it does limit those who might have access to this important book.

Great art and fantastic photography evoke London's finest hour, 29 Oct 2008
Really, truly, you don't need to be an art fan to love this book. It is a fantastic read for people who have an interest in modern history, photography and, dare I say, nostalgia as well.

This book is ripe with beautifully chosen illustrations - these fab pics are allowed to rule. The text, enjoyable and starightforward, guide you through the images - which are always the star.

From secretive trips to north Wales to mesmerising concerts by Myra Hess, this is a rewarding journey!

Nationalistic??, 12 Jul 2008
The introduction of the term "universal museum" is obviously done to cover and to justify the reality that the museums in question have indeed collected in many cases artefacts from various countries under dubious if not purely illegal circumstances. Branding the call for repatriation of artefacts to their originating countries as "nationalistic" is simply pathetic. When and by whom was it decided that the museums in question should assume the role of "universal museums"? Was the local population where the artefacts were taken from consulted for this?

Appelbaum's treatment methodology, 04 Oct 2008
A recent publication and an interesting and certainly thought provoking read. Appelbaums attempt to 'characterize' historic objects into a grid format using four quadrants is an interesting concpet that does work (reminded me in some ways of Caple's RIP balance triangle) but is presented in an over complicated manner that becomes tedious. I did not like the constant reference to the conservator as 'her / she' and the owner/curator as 'he / his'. This left me with a sense of "us & them" and is irritating. Overall however, quite good.

An excellent technical handbook for stone conservators, 09 Dec 1998
This book, which is in two parts, is an excellent resource for anyone involved in the conservation of ancient stone buildings. It's a technical handbook and covers everything from structural failure to repointing ashlar joints. There is also good coverage of the pros and cons of cleaning and surface treatments. Whilst some of the technology has moved on (it was published in 1990), it's still a useful resource to have in your library.

The father of museum studies lays down the fundamentals, 01 Oct 2000
As a third-year student of "Museologia" (museum science) in Italy, i have found finding research material very difficult. As a very "young" field in itself (only being recognised in 1955) Museum Science has few textbooks as such. So, after hearing about "The Museum Environment" i managed to obtain a very beaten copy of it, (having left my promise to the owner to not lose it on pain of death!). It soon became clear why he was so anxious about the copy going missing, this book is a fountain of wisdom for those in the Museum, Conservation or restoration fields. It is divided into two sections, the first more technical and the second more concerned with the practicalities involved in the exposition of a work of art. There are several aspects to this process, from the physics involved in finding and maintaining the exact light and humidity levels relevent for an object on display, to the psycology behind displaying an object to appeal to the maximum range of human perception. There are also interesting passages on the practical organisation of space, and the movement and flow of people "en masse" through an exhibition. If you are involved directly in Museum work or related areas, this book will be most interesting to you, and may even surprise you. However, if you are not directly interested in these fields, the book is too specific to be generally read. I have ordered my own copy and am sure it will very well thumbed through!

Interesting but not accurate, 04 Jan 2008
A somewhat interesting account of the fire and restoration but unfortunately the book has several areas of factual inaccuracy and the odd typo. This starts from the first diagram of the area damaged by fire, which is actually a map of the area completed after the restoration. The picture on page 22 apparently shows the salvage of the carpet of St George's Hall (carpet was damaged beyond repair in the fire) when this is actually the carpet of the Waterloo Chamber. These are just examples but I am wondering who authorised or proofed this account of the events that took place in 1992. Pictures are of poor quality and seem to be of a press preview. If you are after the 'official' account of the fire and restoration then seek out a copy of Adam Nicolson's book 'Restoration'. Or even better - visit the castle, see the magnificent results of restoration for yourself and get the official guidebook.


Extremely comprehensive study of finishing techniques, 27 Jul 2002
There are two traditions to this book, Asian lacquers (true urushiol lacquer) and Western attempts to copy them. It's hard to judge which is the more interesting, and students of Western furniture who think they have no interest in lacquer might find themselves pleasantly surprised.

The main topics covered are the history of lacquer and its techniques, and modern needs for conservation and restoration of artefacts. It's not intended as a guide to applying lacquer and although lacquer artists would find this a valuable resource, it's not going to teach you the skills on its own.

Throughout the book there is an air of knowledgeable competence. This is not some vague historical text, it's rooted in the work of a skilled conservator and their research. Despite all this, it's a well-written and enjoyable read, without the dryness that might have been expected or even gladly accepted, given the immense detail contained in it.

Lose one star for the high price. It's worth it, but it does limit those who might have access to this important book.

Scrovegni frescoes, 25 May 2004
This is a magnificent book. Anyone who has visited the chapel will have been overwhelmed by the force of the images and the extraordinary beauty of the colour, but the 15 minute time limit on any visit means that a more leisurely view of these astonishing masterpieces can only be had through a book. and this one is exemplary. All the paintings are included, and all are presented in edited details so that one gets closer to the paintings than one can in real life. Quite wonderful, and frankly indespensible for anyone wishing to get to know the paintings better. I could not recommend this too strongly.