'The Atheist's Bible: Diderot's 'Elements de physiologie' by Caroline Warman is the winner (jointly) of the R. Gapper Book Prize 2021 for best book in French Studies.

Image, Knife, and Gluepot: Early Assemblage in Manuscript and Print

Image, Knife, and Gluepot: Early Assemblage in Manuscript and Print Kathryn M. Rudy
Paperback ISBN: 978-1-78374-516-6 £22.95
Hardback (Deluxe) ISBN: 978-1-78374-517-3 £59.95
PDF ISBN: 978-1-78374-518-0 £0.00
epub ISBN: 978-1-78374-519-7 £5.99
mobi ISBN: 978-1-78374-520-3 £5.99
XML ISBN: 978-1-78374-725-2 £0.00

Click here to read the PDF online for free Click here to read the HTML online for free

This is an extraordinary book about extraordinary books. Kate Rudy's recent study challenges the boundaries of academic books both in its format, a freely available e-book (as well as paperback and hardback versions) containing QR codes and a digital appendix, and in its contents, moving seamlessly between in-depth manuscript analysis, a "methodological self-portrait" (7), and an honest assessment of the ability to conduct research in the twenty-first century. 
Eyal Poleg, School of History, Queen Mary University of London, The Medieval Review, 2020, available online.

Avec 'Image, Knife, and Gluepot', K.R. a pris le parti de ne pas séparer le récit de la recherche des résultats auxquels celle-ci a donné lieu. On suit chronologiquement l’A. dans ses découvertes et sa compréhension progressive de l’objet comme dans ses errements et ses espérances déçues. Le proceed donne à réfléchir sur les avantages d’une littérature scientifique moins impersonnelle.
—Antoine Brix, Le Moyen Âge, CXXVI, 2020, available online.

This review concerns a very original book that deserves to be read by all students and scholars in the history of manuscripts and early printed books… the book is informative at several levels, it is highly readable, it is funny, and it is richly illustrated, partly with reproductions, partly with thumbnails linking through to online images… Art historian Kathryn Rudy, whose writing style makes this multi-layered study into a genuine page turner, leads us through three interwoven storylines.
—Hanno Wijsman, Fragmentology 3(2020), 177–182, available online.

This book is a history of collections, as well as of nascent hybrid manuscript production, and also elaborates on Rudy’s own research methods, offering a case study on the difficulty of conducting and publishing discipline-melding research on such a grand scale. Her methodological introduction situates the work within the burgeoning field of material, or rather, functional print history, and touches on themes she addressed in her August 2019 Times Higher Education article on the hidden costs of art history. This serves in part to explain her striking use of the first person, and the many years of travel and hundreds of reference photos required to research this book.
—Suzanne Karr Schmidt, Newberry Library, Speculum 96/1, January 2021, 250–252.

In this ingenious study, Kathryn Rudy takes the reader on a journey to trace the birth, life and afterlife of a Netherlandish book of hours made in 1500. Image, Knife, and Gluepot painstakingly reconstructs the process by which this manuscript was created and discusses its significance as a text at the forefront of fifteenth-century book production, when the invention of mechanically-produced images led to the creation of new multimedia objects. Rudy then travels to the nineteenth century to examine the phenomenon of manuscript books being pillaged for their prints and drawings: she has diligently tracked down the dismembered parts of this book of hours for the first time. Image, Knife, and Gluepot also documents Rudy’s twenty-first-century research process, as she hunts through archives while grappling with the logistics and occasionally the limits of academic research.

This is a timely volume, focusing on questions of materiality at the forefront of medieval and literary studies. Beautifully illustrated throughout, its use of original material and its striking interdisciplinary approach, combining book and art history, make it a significant academic achievement.

Image, Knife, and Gluepot is a valuable text for any scholar in the fields of medieval studies, the history of early books and publishing, cultural history or material culture. Written in Rudy’s inimitable style, it will also be rewarding for any student enrolled in a course on manuscript production, as well as non-specialists interested in the afterlives of manuscripts and prints.

 The Royal Society of Edinburgh has generously contributed to this Open Access publication.

Due to the number and quality of the images in this book, we have provided the option of a more expensive hardback edition, printed on the best quality paper available, in order to present the images as clearly and beautifully as possible. We hope this range of options — the freely available PDF, HTML and XML editions; the economically priced EPUB, MOBI and paperback editions; and the more expensively printed hardback — will satisfy everyone.
Furthermore the HTML edition allows readers to magnify the images of the manuscripts displayed in the book.

Image, Knife, and Gluepot: Early Assemblage in Manuscript and Print
Kathryn M. Rudy | July 2019
374 pp. | 137 color illustrations | 6.14" x 9.21" (234 x 156 mm)
ISBN Paperback: 9781783745166
ISBN Hardback: 9781783745173
ISBN Digital (PDF): 9781783745180
ISBN Digital ebook (epub): 9781783745197
ISBN Digital ebook (mobi): 9781783745203
ISBN Digital XML: 9781783747252
DOI: 10.11647/OBP.0145
Subject codes: BIC: DSBB (Literary studies: classical, early & medieval), HRLC (Sacred texts); BISAC: LIT011000 (LITERARY CRITICISM / Medieval); OCLC Number: 1193079598.

You may also be interested in:

Bibliographical Note
A Note on Images

Introduction: Hybrid Books in Flux

  1. Cut, Pasted, and Cut Again:
    The Fate of 140 German and Netherlandish Single-Leaf Prints at the Hands of a Limburg Franciscan and a Modern Connoisseur
    1. The Beghards of Maastricht and their Commercial Pursuits
    2. Israhel’s Roundels
    3. The Logic of Accession Numbers
    4. The Knife as a Tool for Creativity
    5. Silhouettes and Doubles
    6. The Thin Red Line
    7. Foliation
    8. A Group of Woodcuts, Possibly Netherlandish
    9. Appropriating German Engravings
    10. Painted Prints from the Circle of Israhel van Meckenem
    11. Monogrammist A
    12. Attributions
    13. Recapitulation
    14. Book Production
    15. A Sheaf of Drawings
    16. Revolutionary Upheavals and the Dispersal of the Prints
    17. The Missing Images: In Paris?
    18. Rothschild
    19. Tross, Again
    20. Holes and Patterns
    21. Conclusions
  2. A Novel Function for the Calendar in Add. Ms. 24332
    1. Calendars and the Principle of Interchangeable Parts
    2. Book Technologies and Social Networks
    3. A Book for Children
    4. Jan van Emmerick
    5. Conclusions
  3. The Beghards in the Sixteenth Century
    1. Another Hoard of Prints From Maastricht
    2. The Calendar of Add. 31002
    3. Similarities Between Add. 24332 and Add. 31002
    4. 25 Years Later
    5. Dating the Later Manuscript
    6. Israhel van Meckenem
    7. Conclusion: Changes Over Three Decades
  4. Manuscripts with Prints: A Sticky Idea
    1. Patterns
    2. Hiding in Plain Sight: Prints from Another Drugulin Manuscript
    3. The Dregs in Paris
    4. Berlin
    5. Bleeding into a Chalice
    6. Manuscripts Still Intact
    7. Israhel van Meckenem as a Master of Self-Promotion
    8. Conclusions: Some Assembly Required

List of Illustrations
General Index
Index of Manuscripts and Prints

Kathryn M. Rudy is Professor in art history at the University of St Andrews. She has written extensively about late medieval manuscripts and is best known for her work on ‘Dirty Books’, for which she measured signs of wear in manuscript margins in order to quantify reader reception. See her TED talk on this topic. Before coming to academia in 2011, she was curator of illuminated manuscripts at the National Library of The Netherlands. She holds degrees from Cornell, Columbia, and Toronto, and she has held fellowships, inter alia, at the Center for Advanced Study in the Visual Arts, the Warburg, the Bodleian Library, the Getty, the Bauhaus University Weimar, and Trinity College Dublin. Among her recent books are: Postcards on Parchment: The Social Lives of Medieval Books (2015) and Rubrics, Images and Indulgences in Late Medieval Netherlandish Manuscripts (2017). For OBP she has also written Piety in Pieces: How Medieval Readers Customized their Manuscripts (2016).

1. Cut, Pasted, and Cut Again: The Fate of 140 German and Netherlandish Single-Leaf Prints at the Hands of a Limburg Franciscan and a Modern Connoisseur

Chapter 1 reconstructs a manuscript by beghards in Maastricht. (Beghards were men who followed St Francis, considered themselves to be Franciscans, and who lived in community in towns and cities. They did not beg but made their living through their trade and labour.) By reconstructing this book, I can show how the beghards learned to integrate the new technology of printed images into the making of their manuscript. That book straddles the two technological moments and sees the creators adapting midstream.

2. A Novel Function for the Calendar in Add. Ms. 24332

A short Chapter 2 discusses the significance of the unusual calendar the beghards constructed, which goes some distance to help us understand how they thought in terms of fungible categories: these innovators in the realm of print technology were also inventing new ways of organising information. They experimented with how the book could be reordered to accommodate prints. These ideas speak to a larger concern in the era, one of reducing labour by using fungibility. What is surprising is that the beghards applied this idea to several different endeavours. This chapter will appeal to those who are interested in the history of organisational and indexing systems. I have given the subject a separate chapter because it is more technical than the other material.

3. The Beghards in the Sixteenth Century

Chapter 3 analyses a second book that the beghards made, several decades later. The snapshot it provides reveals how the beghards changed over the turbulent early sixteenth century, how much the print market had shifted in 25 years, and how the book makers increasingly absorbed and normalised the new technology of single-leaf prints.

4. Manuscripts with Prints: A Sticky Idea

Chapter 4 departs from the beghards to consider many other manuscripts and the prints they formerly held, and assesses the extent of this practice of pasting prints in the fifteenth and early sixteenth centuries, as the archives have destroyed most of the examples and given us a diminished sense of the importance of this development in book history.

Appendix with manuscript sources: Download (xls format)