As an African proverb astutely points out, "It takes a village to raise a child." Well, it took two villages to digitize the St Chad Gospels and Lichfield Cathedral's Wycliffe New Testament: the village of Lichfield Cathedral and that of the University of Kentucky. I am grateful to the people of both for making something extraordinary happen. The countless tasks connected to a digitization project are daunting in their own right, but the unpredictable places where those countless tasks go astray (sometimes comically) is where these two villages constantly showed their mettle: whether it was Jo Burkinshaw finding an industrial grade dehumidifier when the humidity reached a height in the confined area of the server's vestry and halted our work, to Matt Fields and Dan Stanley working out near impossible issues of light diffusion, to our massive shipping crate disappearing and the Vergers—Chris, Cathy, and Simon—helping me in a panicked rush to find it before the crate was reduced to salvaged wood. My favorite, however, was when the person delivering an Amazon order of extension cords, line conditioners, and adapters was not able to find the Cathedral (I still marvel at this one). Through the ingenuity, dedication, and good spirit of the people from Lichfield and Kentucky, we overcame the expected and unexpected and now have these irreplaceable and treasured manuscripts digitally preserved and their images accessible.

First and foremost, I would like to thank Canon Chancellor Pete Wilcox. It is through his desire that these manuscripts receive the scholarly attention that they deserve, trust in the project from its early stages, and goal to share these important manuscripts with the world that this project had a chance to take root. But Pete's vision is a shared vision at the Cathedral--there is much desire at Lichfield to share these treasured manuscripts and facilitate scholarly understanding, and with the kind permission of the Chapter of Lichfield Cathedral, the imaging of these two significant manuscripts became possible and happened.

At the Cathedral, the people who we taxed most during our two weeks of imaging were the Vergers: Chris Craddock, Simon Ferguson, Chris Gray, and Cathy Potter. They were always helpful and gracious, no matter the request or how many groups of school children were visiting on those warm summer days. I owe them eternal gratitude. However, not far behind the Vergers was Jo Burkinshaw, the Education and Outreach Officer, who constantly rose far above the call of duty, even soliciting her husband's aid in meeting one of our unexpected needs. I am also most grateful to Pat Bancroft, the Librarian, who offered me exceptional help in my research and without whom this project would have been much slower in developing.

A remarkable group of people to whom I am deeply thankful became affectionately known as the "babysitters." They were community members who signed up for shifts to accompany us during the imaging of the St Chad Gospels, as representatives of the Cathedral. Some took multiple two-hour shifts. Pete had been concerned that sitting for two hours in the dark while we imaged might prove tiresome, the LED lighting flashing through multiple bands of light time and again. But tiresome was far from the case for these energetic, curious, and engaged folks—during imaging, we had marvelous dialogue. I answered questions and pointed out features of the Chad Gospels. They spoke about their interests in the gospelbook and told stories about the Cathedral and Staffordshire area. My interactions with them became one of my highlights of the project, whether I listened to tales of riding ponies in the field where the Staffordshire Hoard was found or witnessed the joy in the face of Lyneth, one of the babysitters, whose face filled with light when I asked her if she would like to hold the St Chad Gospels when technical difficulties required the removal of the manuscript from the book cradle. The babysitters were an absolute delight (thank you!) and included Diana Arthur, Cheryl Baxter, Anita Caithness, Gay Cox, Margaret Davies, Mary Harris, Adam Johns, Brian Jones, Liz Kendrick, Lyneth Lockwood, Pat Scaife, Clare Townsend, Arleen Trickett, and Ann Waller.

Part of the funding for this project—requiring that it proceed quickly—resulted from unfortunate circumstances. These funds came from a grant in which Ross Scaife, a well-known scholar of Digital Humanities, was a Principle Investigators (PI). In 2008, Ross died unexpectedly. Ross was the sole humanities scholar on the EDUCE grant from the National Science Foundation (IIS-0535003). I became connected to this grant through a fellow PI of Ross's, Brent Seales, Director of the University of Kentucky's Center for Visualization and Virtual Environments. Brent learned about my potential project with Lichfield and approached me, at first needing a backup plan because a scholar from another university with whom he was working was having difficulties finalizing an agreement for an imaging project. Without Ross, the grant needed a scholar like myself who had knowledge of manuscripts that warranted imaging and who could put together a digital project. The imaging at Lichfield Cathedral is a fitting way to honor the memory of Ross, particularly with me recently arriving to the University of Kentucky at that time. Ross might best be remembered at the University of Kentucky for his kind heart, generous spirit and advocacy for the Digital Humanities. His memory lives on in this project.

The other part of the funding came from the University of Kentucky and the College of Arts & Sciences. I owe much to them. Without these funds, particularly at crucial moments, this project never would have happened or been completed. Through this funding, I traveled to Lichfield four times: first, to work out the contract; second, to lead the imaging activities at the Cathedral; third, to give a lecture and deliver the final images (however, the post-processing was delayed); and fourth, to deliver the final post-processed images. The project proceeded frugally, with me performing countless functions. For instance, a photographer was not hired and I filled this role, working with the software engineers and approving final decisions about exposure, positioning of lighting, and focus. Furthermore, because ultraviolet light damages vellum, during imaging I worked with the conservator and justified pages that required ultraviolet imaging—when we had the manuscript opened to a page and could discuss its merits. Finally, when the project's low priority with the EDUCE grant delayed post-processing of the images for nearly two years, I was able to secure funds for the return trip to Lichfield and deliver the final images. I cannot thank my College enough.

The technical support for the project rested on the shoulders of Matt Fields and Daniel Stanley, who wrote the application to capture the 3D data and interface for the multispectral imaging. Their constant grace under pressure had me thinking that if I ever return to Antarctica, I would take both of them with me (I did support work for the National Science Foundation in Antarctica for six months). Their ability to meet any challenge, whether it involved the MegaVision camera and its software, networking, or generating images on the fly for quick proofs, was the work of legend. Unfortunately, their fellow computer scientist, Ryan Baumann, did not accompany us to Lichfield, but he has done impressive work with generating the multispectral visualizations. Thanks to Christopher and Amy Blackwell, who were with us for a short time and did not participate in the imaging of the St Chad Gospels—friends of Brent whom he invited to Lichfield to help set up the book cradle before they headed to Spain to try to finalize the contract for imaging two Iliads, the second planned imaging stop that summer connected to the Vis Center. They brought their two lovely children, Zoe (eight) and Will (five). And finally, special thanks to David Jacobs, senior conservator at the British Library, who brought irreplaceable knowledge to the project.

This online version of the St Chad Gospels and Wycliffe New Testament resides as the first project in the new, state of the art digital repository at the University of Kentucky. I am grateful to Eric Weig, Technical Adviser & Director of Digital Library Services, and his team for their assistance in bringing this project online as part of the new repository. Special thanks to Michael Slone, a programmer for the digital repository, who through his expertise, inventiveness and attentiveness to detail solved multiple issues with the software for ingesting the data into the new database. But I would like to thank everyone who has played a role in envisioning and making this repository happen. It is a spectacular accomplishment, and I am grateful for present and future support.

While the images for this project are safely preserved in the University of Kentucky's digital repository, this website is hosted through the College of Arts & Sciences (as part of the dynamic access to the data which resides in the digital repository). I want to say a special thanks to Christian Ecker, Director of A&S Computing, for his and his group's expertise and work on the site. I am particularly grateful to Noah Adler (who solved countless technical issues), Charlie Campbell, and Scott Horn.

In 2014, I received a grant from the West Semitic Research Project (University of Southern California). This grant included training in Reflectance Transformation Imaging (RTI) and loan of equipment for a project. I captured dry-point glosses and the state of pigment in the St Chad Gospels, some of the results (including previously unknown dry-point glosses) available in the RTI Gallery. This grant also allowed me to capture various medieval manuscripts at the National Library of Wales, Aberystwyth, and early Christian stone carvings in Ireland. The work was also supported by grants from the University of Kentucky's College of Arts & Sciences.

Finally, and perhaps most importantly, I wish to thank Mark Kornbluh, Dean of the College of Arts & Sciences. His support throughout this project has been immense. Behind the scenes, Mark has made much happen that otherwise would not have occurred or been possible.