Читать книгу Picturing Experience in the Early Printed Book - Elizabeth Ross - Страница 7

ACKNOWLEDGMENTS

Breydenbach may have called the Peregrinatio his little book (bůchlyn), but it has spawned an outsized library of literature. The work of those scholars made this book possible, although the view of the Peregrinatio offered here, one outlook from a particular vantage, cannot presume to encompass the entirety of their contributions.

Some of the material presented in chapters 1 and 3 first appeared in articles published in Cultural Exchange between the Netherlands and Italy, 1400–1600, edited by Ingrid Alexander-Skipnes for Brepols in 2007, and The Books of Venice / Il libro veneziano, edited by Lisa Pon and Craig Kallendorf for Biblioteca Nazionale Marciana, La Musa Talìa, and Oak Knoll Press in 2008. I would like to thank Brepols and the editors of The Books of Venice for permission to incorporate elements of those essays in this work.

My interest in German art circa 1500 was first stirred by the intellectual charisma of two scholars in the field, Joseph Leo Koerner and Christopher S. Wood. As teachers, they both ask unexpected questions that led to better answers. Year in, year out, Henri Zerner’s office was open for counsel, and David Roxburgh introduced me to the Umayyads and their successors and shaped my thinking about Jerusalem. Susan Merriam played the role of mentor before her time. Many have praised the geniuses of Scott Rothkopf, but his greatest gift may be his generosity as a friend. Graham Bader, David Drogin, Emine Fetvaci, Sean Keller, Aden Kumler, Amanda Luyster, Cammie McAtee, Christine Mehring, Benjamin Paul, Lisa Pon, and Alexis Sornin all offered intellectual exchange that helped bring this work to better completion.

The University of Florida Office of Research Scholarship Enhancement Fund allowed me to develop the project substantially through an extended stay in Jerusalem and travel to libraries and print collections in Europe, and it has provided a subvention for acquiring and publishing images. That was augmented by a semester’s stay at the Paris Research Center of the University of Florida at the invitation of its director, Gayle Zachmann. Gila Yudkin navigated my first walk around the Mount of Olives and other parts of Jerusalem with exceptional enthusiasm. Lisa DeCesare agreed to photograph the Gart in a pinch. And Gretchen Oberfranc provided skilled editorial services right when needed.

Melissa Hyde, Katerie Gladdys, Joyce Tsai, and Glenn Willumson have all gone well beyond the call of duty to support my work in Gainesville. The company of such colleagues is one of the pleasures of life at the University of Florida. I know I am lucky to have fallen in with such a collegial group, in particular, Barbara Barletta, Oaklianna Brown, Lea Cline, Ben Devane, Richard Heipp, Ashley Jones, Howard Louthan, Victoria Masters, Scott Nygren, Robin Poynor, Maria Rogal, Vicki Rovine, Maya Stanfield-Mazzi, and Maureen Turim. Pamela Brekka, Choi Jong Chul, and Denise Reso provided particular research and administrative assistance. The conversation that started when Rebecca Zorach visited our campus helped refine many elements of the text.

Carrie and Danielle Zublatt seem to grow fuller in empathy with each passing year, and the strength of their relationship is an inspiration. During the course of this project, my brother Matthew found Wendy, and they brought us Madison and Ethan, who helped in their own special way. My mother has waited patiently at the bottom of Mount Sinai while I climbed to the top to take in one view, and my father has tromped with me across the Mount of Olives as I searched out another. They have read drafts and continually championed art-historical life in deeds large and small. Of course, my father learned all this from his father, Papa Sol, whose memory is one of our great blessings.