At first glance, it might appear that this book has a limited appeal to those interested in the Picts, but when you delve deeper, you find a fascinating account of a wide range of topics.

For the general reader, the chapter yy Miranda Aldhouse Green on: 'The Symbolic Horse in Pagan Celtic Europe' gives a detailed account of subjects such as Celestial Horsemen and the multifunctional goddess Epona, depicted in the form of a horse. This chapter is rich in detail and gives a thorough exploration of the role of the horse in Pagan culture.

Nerys Ann Jones' chapter 'Horses in Medieval Welsh Court Poetry' brings the images to life. The horses received by Cynddelw are described as (85): 'Splendid grey steeds/ of the colour of young salmon, grey stall-fed ones .../ Steeds fettered [and fed] on oats, / Journeying afar, fine, magnificent ones running together.' A far cry from the image of small, rough, sturdy ponies often associated with this period.

The existence of well-bred horses is further borne out in the chapter 'Horses in the Early Historic Period: Evidence from the Pictish ScuIptured Stones' by Irene Hughson. This chapter is of particular interest to those interested in Pictish studies as it draws on stones well-known to us. The hunting scene on the Hilton of Cadboll stone is used as an example which indirectlv provides a source of much information relating to the use of horses. A very sophisticated level of horsemanship is shown to have been present in this culture. The conclusions in this chapter make a valuable contribution to this topic, which has hitherto perhaps not received the attention it merits.

More specific topics covered in the book include 'The Earliest Words for horse' in the Celtic Languages, 'Horses in the Mabinogion' and 'The Horse in the Welsh Law Texts'. A scholar with an interest in these areas would find this book invaluable.

The Horse in Celtic Culture is a book well worth a look if you have general interest in horses, language, folklore and, of course, the Picts.

Stephanie A A Primrose