This, the tenth, volume of the Corpus will be welcomed by the readers of this Journal. It covers the five west midland counties with 271 stones from 103 locations, but the distribution is far from even with the majority from Gloucestershire (164) and Worcestershire (43) and the least from Warwickshire (12). While the region has abundant stone sources, the Cotswold oolite and sandstone to the north and west, the distribution might have been affected by the existence of a tradition of wood carving. The distribution is also remarkable in that the major late Saxon foundations, which considerably influenced the region's economy, do not feature prominently. Instead a wide variety of places are represented and the importance of their material is reflected in a more extended documentary section (Michael Hare) where it is suggested that the material can contribute to the current discussions about the nature and structure of the English Church. The stone collection is also used to reflect political developments in the region, for example the importance of central Mercia in the later eighth and ninth centuries: and the lack of Scandinavian influence on art styles until the early eleventh century is interpreted as reflecting and reinforcing an Anglo-Saxon identity. The chapters deal with the main monument types, including crosses (with a notable seven from Gloucester), grave markers and covers and the unusual collection of church furnishing which include monumental roods and much figural sculpture. Particular workshops are identified, for example that of Cropthorne, probably based in Worcester (or Gloucester), the influence of which can be traced into Wessex (and underpins the claim for an English identity). Another, based round Cirencester in the early eleventh century, uses Ringerike style on grave slabs and is the first indication of Scandinavian influence. Another distinctive aspect of this volume is the reinterpretations which continue the discussion about the significance of English sculpture. Inevitably, much of this is focused on Deerhurst, where eighteen of the pieces are still in situ and where there is a history of several generations of enquiry and fieldwork. The evidence points to a major refurbishment in the early ninth century and many aspects are reviewed with important results – from the font (?Irish workmanship and reviewed in the context of all other known fonts), the (arch)angel and the polygonal apse, the Virgin (inspired from Rome?) to the important scientific analyses of the original paintwork and reconstruction of the decorative schemes. Neither was Odda's chapel ignored, with a reconsideration of the inscriptions and the discovery that ‘Odda's stone’ was probably a reused? Roman carved panel. This volume more than demonstrates the importance of this research project: not only does it make available to all a well-recorded corpus of material with its very high quality illustrations, but it also contributes to ongoing debates about the nature and material remains of the early English Church.