Acknowledgements

Binski, Paul

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Acknowledgements

Paul Binski

Becket’s Crown: Art and Imagination in Gothic England 1170–1300

~Some of the material in this book was first presented to a public audience in the Paul Mellon Lectures which I delivered in 2002–3 at the National Gallery, London, and again at the Yale Center for British Art in New Haven. Since then it has of course been very substantially recast; but I am most grateful for having had the opportunity to share my ideas with...

Author

Paul Binski

PublisherPaul Mellon Centre

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00027.002

Stable URL: https://aaeportal.com/?id=-19395

Acknowledgements

Some of the material in this book was first presented to a public audience in the Paul Mellon Lectures which I delivered in 2002–3 at the National Gallery, London, and again at the Yale Center for British Art in New Haven. Since then it has of course been very substantially recast; but I am most grateful for having had the opportunity to share my ideas with quick-witted and surprisingly tenacious audiences on either side of the Atlantic. In particular, I would like to extend my warmest thanks to the staff of the Paul Mellon Centre for Studies in British Art and the Yale Center for British Art for their magnificent hospitality, and for enabling this book to appear in its present form. As well as having the support of the Paul Mellon Centre I must acknowledge the honour extended to me by the award of a British Academy/Leverhulme Trust Senior Research Fellowship for 2003–4, which has allowed me to bring the book satisfactorily to completion. I am extremely grateful to my colleagues in the Department of the History of Art at Cambridge for tolerating my absence on leave, and to the Master and Fellows of Caius College for releasing me from my college duties for the duration.

My debts to my friends and fellow medievalists are many. I owe particular thanks to Paul Crossley, whose positive and trenchant criticisms of a draft of the book were delivered with characteristic cheer and enthusiasm. Julian Luxford was kind enough to offer valuable and detailed notes on the text, and Christopher Wilson offered moral and practical support. All my students have helped in various ways, though I would like to thank especially Matthew Reeve, Christopher Moule and Laura Williams for pointing things out and generally for keeping me on my toes. At Caius, John Casey discussed with me various aspects of Cardinal Newman, Hegel and Sartre, and Peter Stacey offered fresh and perceptive criticism of the discussion of affect in Part IV. Help has also been rendered over the years by Adelaide Bennett, Christopher Brooke, Anne Duggan, Lindy Grant, Sandy Heslop, Håkan Lindberg, Nigel Morgan, Christopher Norton, Unn Plahter, Miri Rubin, Tim Tatton-Brown and Nicholas Vincent. Assistance beyond the call of duty was provided by John Crook, Glyn Davies and Jerry Sampson in providing illustrations, and pictures were also provided by Øystein Ekroll, Elly Miller and Sebastian Strobl. I am also grateful to the staff of the many institutions which have facilitated my research, and particularly to the University Library in Cambridge, an institution almost uniquely suited to the kind of academic legwork involved. Gillian Malpass and Ruth Thackeray made the book as well as it could be made, and Anne Page helped in all sorts of ways. I hope it will not come as a surprise to those who know us that she is the dedicatee of this book.

King’s Parade
Cambridge
All Saints Day 2003

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