This comprehensive introduction to the art of the Celtic peoples of Europe and the British Isles from the C5th BC to about AD 1200, offers an excellent perspective on the art styles and decorated artefacts from a wide range of contexts. To take the term Celtic in such a broad populist sense may cause some eyebrows to rise; the book covers the art of the prehistoric tribes of north-western Europe in the Iron Age, the distinctive British and Irish contribution also in prehistoric times, as well as the Insular art of Christian inspiration in Ireland and Scotland. There is a school of thought which sees these three strands as discrete topics, the study of which should be kept separate. The Laings are right, however, to offer this broad introduction, for readers will find it a clear picture of how the chronologically or geographically distinct areas of Celtic art fit together. Many will appreciate for the first time the chronological depth and indebtedness of Celtic art to influences from other styles, be they eastern or Gallo-Roman. The Laings are interesting too on the ways of appreciating artistic objects and styles that are at variance with Classical traditions.

Following a short introduction on the art of Hallstatt Europe, the volume is divided into three main sections of roughly equal size. The first charts the development of the styles of La Tene Europe, with a helpful discussion of the origin of classification of Early Style, Waldalgesheim, Plastic and Sword styles - all illustrated by dramatic photographs in monochrome and in colour. There are particularly thoughtful discussions of sculpture and coinage.

The art of the Iron Age communities of Britain and Ireland is comprehensively illustrated in the second section. The Witham shield is shown in colour in a way that allows ready appreciation of the outline of the long-legged applique figure of a boar that was the first feature of its decoration. Those interested in Celtic craftsmanship will find a range of plastic and linear motifs on insular metalwork, as well as rich enamel work.

The third main section summarises the art of Scotland and Ireland between about AD 400 and AD 1200. The difficulties of nomenclature (Celtic, Insular, Pictish, for example) and of inspiration and new influences are not glossed over. The stunning range of material manuscripts, metalwork and sculpture - is concisely set into broad contexts. If the enthusiast for things Pictish might have preferred a longer discussion and a higher quality of illustration of Pictish material, it is the placing of Pictish art into a wider pattern of influences and traditions that is here important.

Finally, there is an engaging chapter on Celtic revivals, as well as a helpful glossary of terms and motifs. The volume is handsomely produced and is excellent value.

J N Graham Ritchie