The book developed from the treatment of paintings at the Hamilton Kerr Institute (HKI), examination of manuscripts at the Fitzwilliam Museum, public talks at the Fitzwilliam Museum and lectures at the International Summer School, University of Cambridge. Thanks are due to Sarah Ormrod and her students, including Lucile Andre-Hottinguer, Ashlee Branham, Frances Brown, Ludmilla Delorme, Moira Feinsilver, Jessica Galea, Richard Johns, Immie van Kalken, Ellen Kozakiewicz, Moira Langley, Julia Musgrave, Joan Nelson, Marie Purdy, Raphaela Rohrhofer, Everett Rush, Ariel Smart, April Swieconek, Sydney Sims and Nabil Syed Nahar.
Thanks are also due to Simon Schaffer, Michael Leaman and an anonymous reader. Thanks also to my family, to HKI students and interns too numerous to name, to Fabio Barry, Peter Carl, Tao-Tao Chang, Sarah Eastwood, Penny and Stephen Elliott, Rupert Featherstone, Helen Glanville, Abby Granville, Trevor Jameson, Trevor Hart, Sigrid Holmwood, Susanne Jennings, Martin Kay, Christine Slottved Kimbriel and Samuel Kimbriel, John Lancaster, Karen Lang, Sally Lewis, Samir Mahmoud, Onya McCausland, M. A. Michael, Rose Miller and Neal Jones, John Mitchell, Shaun Osborne, Stella Panayotova, Sue Rhodes, Paola Ricciardi, Rosamond Richardson, Kristine Rose, Jeremy Skepper, Jonathan Ashley Smith, Pamela Smith, Pamela Tudor-Craig, Ian Tyers, Sally and the late Tom Vernon, Juliet Venter, Lucy Wrapson and the late Renate Woudhuysen. Most of all I wish to thank my family.
The Metz Pontifical was examined by the author along with Trevor Emmett and Chris Titmus under the guidance of Stella Panayotova. The Macclesfield Psalter was examined by the author along with the MOLAB team led by Bruno Brunetti (under the auspices of FP6 EU-ARTECH), Debbie Stokes and Chris Titmus. It was guided by Stella Panayotova and accompanied Bob Proctor’s conservation which was supported by H.H.J. Colin Colston QC and Mrs Edith Colston. The Westminster Retable was examined by the author and others during its conservation at the HKI. Conservation was supported by grants from the National Heritage Lottery and the Getty Grant Program. Photogrammetric monitoring was undertaken by Stuart Robson, University College London. The Thornham Parva Retable was examined by the author and others during its conservation at the HKI. Conservation was supported by grants from the National Heritage Memorial Fund, the Samuel H. Kress Foundation and the World Monuments Fund.
The author would like to thank the following for their kind permission to reproduce images; the Syndics of the Fitzwilliam Museum (for the Metz Pontifical and Macclesfield Psalter), the National Gallery Picture Library (for the Wilton Diptych), the HKI and St Mary’s Church PCC, Thornham Parva (for the Thornham Parva Retable), the HKI and Westminster Abbey (for the Westminster Retable) and Westminster Abbey (for the Cosmati pavement and Coronation Chair, copyright Dean and Chapter of Westminster).
The author would like to thank the Monument Trust and the Marlay Group of the Fitzwilliam Museum, University of Cambridge, for their financial support.