Acknowledgements
This book was more than three decades in the making. Many scholars, teachers, librarians, and friends have helped me along the way, to say nothing of family. To Jos van Heel of The Hague’s Huis van het boek (at that time, the Rijksmuseum Meermanno-Westreenianum) I owe my introduction to Ms. 10 A 14. Rickey Tax, Head of Collections at the Huis van het boek, most graciously granted me access to the manuscript and facilitated my work on many days during the years of my research. Likewise, Petra Luijkx of the Huis van het boek assisted me on multiple occasions. Anne Korteweg assisted me in my work in the Koninklijke Bibliotheek, The Hague. Others at many libraries in Europe, the United Kingdom, and the United States also have assisted me over the years; however, I am especially grateful to the staff of the James B. Duke Library at Furman University, in particular, to Elaina Griffith, Robyn Andrews, and Jimmy Quinn, for invaluable help over the years in facilitating my access to materials essential to this project. The expertise of my colleague Mary Wolinski, who shared with me her musicological research on manuscripts of the Rummen group, greatly helped to contextualize, expand, and correct my ideas. Barbara Haggh-Huglo offered helpful commentary on the Rummen group’s two antiphonals. Daniel Sheerin helped with the colophons and inscriptions. Celia Chazelle and Eric Palazzo answered questions related to the Eucharistic dimensions of iconography. Furman University has generously supported this project through grants awarded me by the Committee for Research and Professional Growth, the Humanities Center, and the Office of Academic Affairs. To Richard Gameson, editor-in-chief of Brill’s Manuscript World series, I am deeply indebted for advice and comments and for his professional, careful, and patient editorial work. I am truly grateful to the specialist readers (identities unknown to me) who read and commented extensively on the earlier draft of my manuscript. Their perspectives helped me to broaden my own.
From very early on, I benefited greatly from Jaroslav Folda’s example of high excellence in scholarship. I owe to Mary Coker Joslin, my mother now deceased, the introduction to fourteenth-century illumination through my collaborative work with her on the Egerton Genesis. And finally, Ann Killough, Nell Joslin, Stella Self, and Snowy Albright for their support of this project and for their work in proofreading; and I thank my husband Randal Watson for his consistent and patient support and encouragement.