'STONE SCULPTURE BY DIRECT CARVING'Author(s): C. d'o. PILKINGTON-JACKSONSource: Journal of the Royal Society of Arts, Vol. 106, No. 5021 (APRIL 1958), p. 379Published by: Royal Society for the Encouragement of Arts, Manufactures and CommerceStable URL: http://www.jstor.org/stable/41366257 .

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APRIL 1958 CORRESPONDENCE as one approaches the 'later-middle' and 'old age' periods of life, and then the end results of falls are often very severe.

Other things being equal, the abolition of artificial heels would prevent certain ills and accidents happening to young, middle-aged and old alike. No sudden abolition should be considered except for the very young. For the rest, a gradual diminishing of the height of the heels, spread over many months, or even years, should be practised. Younger, more active and athletic people should take shorter periods. At the same time, the footgear should be much widened at the fore parts and the toes - particularly in respect to the big toes - and the flexibility of the footgear - especially that of the heel part of their soles - should be much increased.

'stone sculpture by direct carving'

г CLnnj rum MR. C. d'O. PI LKINGTON -JACKSON, A.R.S.A., F.R.B.S., 4 POLWARTH TERRACE , г rum EDIN BURGH 11.

In a letter in the Journal (i6th August, 1957, p. 795) Mr. Mark Batten, P.R.B. S., protests that your reviewer of his recent book went beyond the bounds of propriety ( Journal , 19th July, 1957, p. 722).

Having now reviewed this book for another editor, I feel constrained to add my support to Mr. Batten's protest. While it is true that some of your reviewer's criticism was pertinent, his general condemnation was not.

Writing as one who has carved and worked among carvers and stone-masons for upwards of forty years, I consider that Mr. Batten's book, though perforce limited in scope, has a great deal to recommend it ; that it should be in every reference library a id may be read with profit by experienced as well as novitiate sculptors, professional and amateur.

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modern publicity, 1957-58. Edited by Frank A. Mercer. Londonf The Studio , 1957. 425 net

There is an ever-increasing awareness in the world to-day of the growing importance of good design in advertising. In the past such design work has tended to be regarded as a Cinderella. The designer and his ideas were tolerated rather than appreciated. Many advertisers failed to recognize that in beguiling the public the aesthetic value of this art of communication raises not only sales but also public taste. This is now seen to be the best form of public relations for a company. It bears out the dictum of the Council of Industrial Design: 'Good design is good business'.

Those who are interested in the improvement of techniques in advertising expression will find much pleasure in studying the current edition of Modern Publicity. Examination of this volume, which comprises 123 pages of illustrations (with some 114 examples in colour), clearly demonstrates the advances in imaginative design and in graphic techniques which are taking place to-day.

Entries are shown from thirty-three countries, as wide apart as Australia, Japan, Rhodesia, India, the United States, South Africa and many European countries, including several from behind the 'Iron Curtain'. This illustrates forcibly that imaginative advertising is not confined to any one country or even continent, and that the design interpretation of one part of the world can be just as easily understood and appreciated in another. It would be an aid to readers who are interested in studying the work of individual countries in order to compare them readily if the designers' names were listed in the index pages grouped under countries instead of the present alphabetical list for the world.

The Editor is to be congratulated on the large collection of illustrations, which

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