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scientist. Finally, once the Nakamura family was allowed to move to Toronto, the young artist entered and completed studics in the art department of Central Technical High School, which also advocated an association between art and science. These catalogues admirably tackle the mathematics of Nakamuras work and begin to suggest a relationship between internment and his paintings. Thus we support Kanbara’s and Sakamoto’s call for other, broader, analyses and interprétations of Nakamuras work. If anything, historically, Nakamuras art has been too closely bracketed by his involvement with Painters Eleven, and now that he is being studied for the first time outsidc the history of that group, he is possibly being marginalized by the apparent dominance of mathematics per se in his art. For example, one area of Nakamuras oeuvre that has virtually never been discussed is his sculpture. The presence of twelve excellent photographs of sculptural work at the end of the last catalogue without more than passing comment in any of the accompanying essays is a telling example of the incomplète state of scholarship regarding him. Such research might be a useful small step toward a deeper acknowledgement of Nakamuras contribution to Canadian art.

Malcolm Thurlby, Romanesque Architecture and Sculpture in Wales. Almeley, Herefs., Logaston Press, 2006, 384 pp., 503 figs. and 15 plates, £17.50