Version classiqueVersion mobile

Piety in Pieces

Kathryn M. Rudy

Notes to the reader

Texte intégral

1This book grew out of an Arbeitsgespräch titled Manuscripts Changing Hands: Handschriften wechseln von Hand zu Hand, held at the Herzog August Bibliothek, Wolfenbüttel, from 20–22 June 2012. It was organized by Dr Volker Schier (Arizona Center for Medieval and Renaissance Studies) and Professor Dr Corine Schleif (Arizona State University), to whom I am grateful. The study, which at that time was titled “Pimp my Manuscript,” also benefitted from helpful comments by others present at this event.

2This study also developed thanks to Martin Kauffmann at the Bodleian Library, who invited me to Oxford to give a masterclass on this topic. This event invigorated me intellectually and socially at a time when my batteries were running low.

3The work was funded by a Leverhulme Trust Research Fellowship; I thank the Trust heartily, as the fellowship allowed me to spend time in Cambridge and Oxford to conduct research and also to buy the relevant images. This work would not have been possible without their support. I also thank the School of Art History, University of St. Andrews, for supplementing the image budget for this study. The University of St. Andrews Library Open Access Fund supported Open Access publication. I thank Alessandra Tosi, Marc Mierowsky, and Bianca Gualandi at Open Book for the hundreds of small ways in which they enabled the production of this book.

4Years ago I held a grant from the Dutch Research Council (NWO) that allowed me to study medieval manuscripts in libraries across the Low Countries nearly every day for three years. During these stimulating years, I gathered ideas and materials that have fed into every project I have subsequently done, including this one. Thank you, NWO, for making it possible for me to collect material for a decade’s worth of ideas. My gratitude goes out to Erik Geleijns, Kate Greenspan, Peter Gumbert, Marlene Hennessy, Klaas van der Hoek, Erik Inglis, Erik Kwakkel, James Marrow, Johan Oosterman, Katharina Smeyers, and Mark Trowbridge who provided images or helped shape my thinking. I thank Lisa Regan and Jeffrey Hamburger for comments on drafts and Emily Savage for her perspicacious reading. I am also indebted to individuals from manuscript repositories around Europe, the UK and North America, who have granted me access to manuscript and provided me with invaluable information, especially Karin Zimmermann (Heidelberg), Ann Kelders (Brussels), Suzanne Paul (Cambridge), and Martin Kauffmann (Oxford).

5Finally, I thank the two anonymous peer reviewers who made valuable suggestions, all of which I have taken up.

6A note about the images: I have told the story in this book with words and pictures. Words are cheap. Pictures cost. Their price varies considerably from one institution to the next. As of this writing, high-resolution digital images from the Koninklijke Bibliotheek in The Hague cost about € 5, about as much as an artisanal latte. Those from the Fitzwilliam Museum in Cambridge cost £ 40 for the tiff, plus £ 35 for new photography, plus VAT. Thus, ten images from the Fitzwilliam cost more than my car. Financial considerations and not just intellectual ones have, by necessity, dictated my choice of examples.

7Institutions that do not allow hand-held photography make it difficult to me to develop ideas, because it often takes me weeks or months to make sense of a manuscript’s structure, and doing so usually involves building diagrams and models based on notes and photographs. Institutions that currently prohibit photography include Trinity College Dublin, the Fitzwilliam Museum, and Lambeth Palace Library. As a result of these policies, I find myself avoiding those libraries and throwing my intellectual efforts at materials held in libraries that do allow photography in the reading room. Institutions with policies that encourage and facilitate research are those that are well-represented in my study.

8In order to contain publication costs (so that this book can be free for you) while presenting all the necessary images, I have decided to concentrate on reproducing those images that are not otherwise available on the Web, and to provide links to those that are. Furthermore, Cambridge University Library and I are also conducting an experiment in this book: I used part of my Leverhulme fellowship funds to pay for the digitization of folios from manuscripts in their collection. They have agreed to mount these images on their own website so that readers of this book (and in fact, anybody) can view them. That way, you can see them in higher resolution, and you can use the images in your own study (if, for example, you should disagree with me vociferously and feel the need to write an illustrated counterargument). And I can use the publication budget to reproduce more obscure items, or items in collections that have no digitization plans (such as the Koninklijke Bibliotheek van België in Brussels).

9All translations from Latin and Middle Dutch are mine, as are the Middle Dutch transcriptions and interpunctuations.


Rechercher dans OpenEdition Search

Vous allez être redirigé vers OpenEdition Search