This is a fascinating and valuable book, and a very substantial one. Graham is already known for his edition of The Litoměřice Gradual of 1517 (Lovosice, Státni okresní archiv Litoměřice, IV C 1) (Prague 1999). He says that his new project took twelve years, and one can well believe it. On over 450 pages Graham describes 134 graduals, most of them now preserved in the Czech Republic, some in other countries, such as six in Vienna. The descriptions are preceded by introductory chapters delineating the religious upheavals of the early fifteenth century and the subsequent religious and political context, up to the Battle of the White Mountain in 1620. Hence the chronological boundaries of the catalogue. It is usually easy to distinguish between Catholic and Hussite books, and Graham provides information about the characteristic contents of the various types. As he explains, many of the graduals are richly decorated and contain plenty of evidence about who commissioned and made them, some for members of the nobility, some for gilds, fraternities or civic authorities, many for affluent burghers. There are informative chapters on book production and iconography, and many of the Latin and the corresponding Czech chant texts are edited and translated. The individual descriptions are dominated by codicological and paleographical information but also list the feasts in short form (for example, ‘All Saints – Katherine: 205v–208r’). Each concludes with a bibliography. The great majority of the manuscripts are practically unknown to the wider scholarly community, and Graham's almost missionary zeal for his task shines through his descriptions. It is true that they are rather wordy, in rounded prose rather than the abbreviated notices usual in manuscript catalogues. But they are full of fascinating information. Somewhat surprisingly, since graduals are music books, there is rather little detail about the chants and their melodies. In fact, the catalogue rather bypasses modern chant research. The fairly large number of colour reproductions (of small dimensions, especially considering the large size of the originals) could have been complemented by a systematically illustrated survey of the notations. As a music historian, instead of long descriptions of the appearance of the books, I would have preferred lists of the sequences and ordinary of mass melodies, keyed to the usual editions and catalogues. Lists of such diagnostic series as the alleluias for the summer Sundays are useful for tracing the affiliations of sources. Melodic readings for selected chants are also a useful method of comparison. However, there can be no complaints about Graham's generosity, and those with different interests have a rich foundation upon which to base further research.