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The afterword returns to the concept of perfecting incomplete books, and surveys its rich afterlife in the eighteenth, nineteenth, and twentieth centuries. It considers the emergence of new technologies for reproducing medieval images and texts in the modern era, suggesting that the desire for complete and perfected manuscripts has increasingly been displaced from medieval artefacts and onto their printed and digital surrogates. It concludes by suggesting that early modern readers who perfected medieval manuscripts, their nineteenth-century successors, and today’s digital medievalists may operate in divergent historical circumstances but their activities of collating, annotating, and reconfiguring old books share much common ground.
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