Edited by Sheila Harvey LDT monographs, 1998, 175pp, p/b, ISBN: 0-9518377-3-7 I recommend this book not only to the "students and emerging professionals" at whom it is principally aimed, but also to Jellicoe connoisseurs, who will surely gain even more of an insight. It will also be useful to professionals like me, who knew of him, but not that much about him. Hal Moggridge's section on working with Jellicoe in the 1960s provides an excellent start. Not only is it very readable, but it also paints a clear picture of the fabric of the building, the sociable nature of the staff, the projects, the management style in the office and of Jellicoe himself — designer and businessman. It is refreshing that Moggridge is seemingly frank about Jellicoe's strengths and weaknesses. He builds a convincing image of the inspired designer, sketching prolifically at weekends, pioneering design processes and asserting himself with other professionals, but disliking the managerial aspects of running a practice. Annabel Downs takes the reader on a fascinating chronological description of Jellicoe's drawing techniques. They range from "sketchy speedily executed drawings" to "carefully composed, intricately drawn and delightful plans". The chapter is well-illustrated with examples that are referred to in the text. A captivating account is given by John Stuart-Murray and Kristine Miller of Jellicoe's relationship with modern art, which moves from a position of early lack of interest and repugnance to one of immense inspiration. Ian Kitson's chapter on Jellicoe's fascination with Italian gardens of the Renaissance is hard going; full of long, grammatically complicated sentences, making re-reading essential for full digestion. It is a shame that this section does not include photographs of some of the inspirational Italian gardens and more of Jellicoe's implemented designs. Carl Jung's influence on Jellicoe is revealed in Tom Turner's exploration of the less tangible influences on Jellicoe's designs and writings. In particular, the significance to his book, 'The landscape of man' is stimulating. Illustrated only by photographs of Jellicoe as a baby and a portrait from later in life, this chapter ably draws connections with much of the rest of the monograph. In the final chapter, Kathryn Moore manages the difficult task of relating all the influences on his life with remarkable clarity. In addition, there are several informative appendices, including a comprehensive bibliography, a chronology of works, a timeline and information about the authors. The timeline is pleasingly presented and relevant to much of the text, but would have been better placed near the start of the book.