142 Book Reviews TECHNOLOGY AND CULTURE Elements ofNatural Philosophy, confirm’d by Experiments, or an Introduc tion to Sir Isaac Newton’s Philosophy. Other customers ranged from an anonymous burgemeesterto the stadholderWilliam IV and his educated wife, Anne of Hanover. Most of the Musschenbroek’s customers were in the Netherlands, but some were in Sweden, Germany, Italy, and Russia (but apparently none in France or Great Britain). The air pump was the most emblematic instrument of the new natural philosophy and, not surprisingly, the Musschenbroeks’ most important product. Although very few shop records survive, de Clercq has unearthed evidence of about forty Musschenbroek air pumps and estimates that this represents about one-third to onehalf of the firm’s total production. He also argues that by 1700 the Musschenbroeks were the leading purveyor of air pumps in Europe. This aspect of the story began in 1675 when Samuel made an air pump for Burchard de Voider, the first Leiden professor to teach natural philosophy. Voider had recently made a trip to England, seen the air pump that Robert Hooke had made for Robert Boyle, and desired a similar one for his own use. This instrument is now in the collections of the Museum Boerhaave. In 1679 Volder’s suc cessor, Wolferd Senguerd, asked Samuel to build an air pump of a somewhat different form; this design proved to be substantially eas ier to manipulate than the English model. It is clear that the Musschenbroeks had close collaborations with academics and that several Musschenbroek instruments incorpo rated important innovations, but there are few records indicating who invented what. De Clercq’s answer to the credit question, which I believe to be correct, is that scholars and craftsmen often possessed overlapping skills and an appreciation for one another. Deborah Warner Ms. Warner is curator of the physical sciences collections at the National Museum of American History and editor of Rittenhouse, a quarterlyjournal focusing on the history of the American scientific instrument enterprise. African Material Culture. Edited by Mary Jo Arnoldi, Christraud M. Geary, and Kris L. Hardin. Bloomington: Indiana University Press, 1996. Pp. xii+ 369; illustrations, maps, figures, tables, notes, index. $49.95 (cloth); $24.50 (paper). As the rubric “material culture” becomes increasingly fashion able, it also becomes more difficult to define. This collection of pa pers, originally presented at a conference in Bellagio, Italy, in 1988, exemplifies some of the contradictory problems posed in using such a category. While it may seem useful for bringing together scholars of different academic disciplines who study objects, there is always tin rloncror rx-f 1 ex ci r-| q* ---------------------- — ,1.-1 1 .1 TECHNOLOGY AND CULTURE Book Reviews 143 disciplines and then floating aimlessly, without a direction or desti nation in mind. In some respects this book indicates that the confer ence, which was intended specifically to address just these kinds of problems, did not entirely meet its objectives. The authors represent the disciplines of archaeology, history of art and architecture, anthropology, linguistics, and history. In their research, they have analyzed all sorts of material evidence, pursuing questions having to do with consumerism and patterns of consumpfion , ideas about objects, visual imagery in popular and elite culture, and technological change. Much ofwhat is valuable in the most suc cessful papers is the wealth of detail and precise description they offer, something Africanist scholarship still needs desperately. But if there was any fertile exchange of ideas and perspectives across disciplines at the conference, it is not very much in evidence here. The introductory essay, especially, seems to have been written in iso lation, disregarding among other things the problems of identifying cultural and ethnic groupings in Africa. Moreover, it should not be necessary anymore to argue in favor of an “Africa-centered ap proach to African material culture” or to expose the false dichotomy of cultural context versus aesthetics and visual imagery (p. 10). Readers can safely pass up the introduction and find in a number of these papers answers to questions they might have about why ob jects matter and deserve scrutiny. I focus here on several selected examples, works likely to be of greatest interest to readers of this journal. Philip Ravenhill...