From an academic point of view, there is barely a paragraph that could not inspire further thought or even original research. The Megaws present the reader with the varying ideas about some aspects of the subject when the current evidence is sparse. Although the writers are leading experts in this field, we never feel that we are being lectured to in a pedantic fashion, but instead are sharing with them the ongoing discovery of an often-elusive art form. If one could have only one book on Celtic art, this should be that book.

This is a revised and expanded edition of the 1989 title presenting not only new discoveries of Celtic art, but recent thoughts about the subject generally.

The production quality of the book is high – a permanent paperback with hard card covers printed on heavy coated stock and sewn in signatures.

E. M. Jope was Paul Jacobsthal’s assistant and worked with him on Early Celtic Art, a two-volume corpus on the Celtic Art of Europe. Early Celtic Art in the British Isles follows in this tradition and is the only corpus of British Celtic art since Sir Cyril Fox published Pattern and Purpose in 1958.

This is thus a highly important work and is the crowning achievement of the life of E. M. Jope. Sadly, he passed away before the book went to print. No serious student of Celtic art or the Iron Age archaeology of Britain can afford to be without this impressive work. If Jacobsthal’s work is anything to go on, then once Early Celtic Art in the British Isles goes out of print, it will soon be virtually impossible to find.

I first learned of this work before it was completed, about ten years ago, in correspondence with the author. Martyn Jope told me he "was finishing" the book, so every year since then I inquired about the publication date. Like a carrot in front of my nose, the bookshops said it would be out "next year". Eventually it was published and I bought a copy.

It was worth the wait. The first volume consists of the text: a discussion of the subject over nine chapters; the tenth chapter includes an annotated list of the items illustrated and an anatomy of insular early Celtic ornament. There are three appendices, including an important element analysis of the Battersea Shield red "enamel". These are followed by an extensive bibliography, a very useful glossary of terms and finally, and Index of Places. The second volume consists of 320 plates of the artifacts, most often with many illustrations to each plate. The illustrations consist of photographs and line drawings. Following in the tradition of Jacobsthal, Jope then provides over nine hundred line drawings of the patterns found on insular Celtic art arranged over another 12 plates.

The books are large format, and should be read at a large desk or table where you can have both volumes open to read the text and refer to the pertinent illustrations. Despite the importance of this work, and the level of understanding that it imparts, Jope’s writing style is not only easy to read, but also it sparkles. His enthusiasm for his subject is infectious.