770 Sentences With "copyist" | Random Sentence Generator

He was encouraged to be a copyist of the Antique, and he did it dutifully well.

He became not just a copyist, but he actually lived somehow that style of slide playing.

It tells of a cheerful, underemployed scholar, Ho Yunqing (Shih Chun), who makes a meager living as a copyist.

"The alternative would be that it is a copy by Finson, who was himself an inveterate copyist," Mr. Gash said.

Ancient sources for numerical data (like the size of armies) are notoriously inaccurate, so perhaps a excited copyist simply added a zero.

In February and March this year, he spent one day a week in the Metropolitan Museum of Art's copyist program, creating interpretation of masterpieces with his easel set up in galleries.

Her name was Mathilde Pincus and she'd been given that award in 1976 for her services to theater as a copyist and music supervisor; I was one of her lowermost drudges.

The difference between a designer and a copyist is that a designer makes his source material into something else, something his own; he doesn't just present it, unchanged and unsynthesized, as work he's created himself.

In revivals or editions of obscure operas, it's often necessary to compose missing bits, ranging from a couple of bars accidentally skipped by a copyist back in the day to whole accompaniments for arias whose orchestral scores got lost.

Initially, an adept copyist combining elements of Presley, Gene Vincent and Eddie Cochran on stage, Hallyday's persona encompassed raw rocker, blues shouter and French crooner; his musical catalogue embraced rock, soul, R&B, British pop, heavy metal, country, psychedelia and blues.

The last sections of the exhibition examine lesser-known aspects of Fantin-Latour's working methods, his paintings and lithographs illustrating the music and operas of Berlioz, Wagner and Schumann, and his "imaginary works," inspired by classical myths, which draw on his intimate knowledge of old master painting, especially of the Venetian Renaissance, gained during his many years as a copyist at the Louvre.

Holman infers that the copyist could be a member of the family of composer Bartholomew Isaack, noting that one of his brothers, William, was a professional copyist (William Isaack was the copyist of a large collection of anthems now in the Fitzwilliam Museum as Music MS 117). Wood noted that the copyist, although experienced, was not always accurate.

Although the name of the copyist is unknown, Holman derived information about him from various sources. He noted that it is the same copyist as another volume in the New York Public Library, Drexel 5061 and that the provenance of that volume is similar to Drexel 3976, stemming from William Hayes. Thus he derived information about the copyist of Drexel 3976 from Drexel 5061. Noting that the copyist must have copied works of Henry Purcell directly from the composer's manuscript, Holman hypothesizes that the copyist might have been in direct contact with Locke.

4 (November 1990), p. 614. Holman observed that the copyist was probably working from scores (rather than parts) in creating Drexel 3976. He notes that on a few occasions the copyist erroneously copied the wrong part in to the score, and chose to cross out the score and start again. Holman described the copyist as an experienced copyist who was working "two stages removed" from Locke's manuscript scores.

Also at this time, a music copyist was often employed to hand-copy individual parts (for each performer) from a composer's full score. Neatness, speed, and accuracy were desirable traits of a skilled copyist.

He was also an active copyist of motets and harpsichord music.

Brent Crayon is an American pianist, musical director, orchestrator and copyist.

His brother Paolo Antonio was also a painter and copyist of Guercino.

George Perfect Harding (1781 – 23 December 1853) was an English portrait painter and copyist.

Bill Brown is a "nomadic"The Copyist Conspiracy filmmaker, photographer, and author from Lubbock, Texas.

Raymond Balze (4 May 1818 - 26 February 1909) was a French painter and art copyist.

Wenzel Sukowaty (July 31 1746July 9, 1810) was an Austrian music copyist. His shop was founded 1784, but payment records show that he was the principal music copyist for the Viennese court theatres from 1778 to 1796. Scores he worked with include original performance scores for Die Entführung aus dem Serail, Le nozze di Figaro, Don Giovanni and Così fan tutte. Sukowaty is a character in the film Eroica (2003 film), as a copyist for Beethoven.

Peter Jarvis is an American percussionist, drummer, conductor, composer, music copyist, print music editor and college professor.

Mary Grace (died 1799/1800) was a self-taught professional portrait painter and copyist in the 18th century.

After graduating in 1984 with a double degree majoring in Cello Performance and Composition, Leek moved to Sydney, where he free-lanced as a cellist and as a composer – getting more work as a music copyist than anything else in the initial stages. As a music copyist he was able to work for many of the active composers around Sydney at that time. He also worked as a music copyist and arranger for Musica Viva Australia, the Australian Broadcasting Corporation, and the Midday Show.

As a youth he was enrolled at the National Gallery, London, in 1841 as a copyist (#1072) by William Seguier, the first Keeper of the National Gallery.Foss, Brian. (Canadian Artists Copyists at National Gallery, London), page 113.Accessed 2016-02-29 One of Lock's copyist paintings while at the National Gallery (c.

John Reading (c. 1685/86 – 2 September 1764) was an English composer, organist and copyist (his name, like the town, is pronounced "Redding"a spelling variant of his name which occurs in several documents). His greatest importance lies in his work as a transcriber, arranger, and copyist of a wide variety of music.

Charles Fairfield (1761? – 1805) was an English painter, best known as a copyist. He died in Brompton, London in 1805.

Much like "The Copyist", it connects visual art to love. Bulthaupt's interest in musical theater is documented in several libretti.

The Swan Sequence may be seen as a dramatisation of them.Godman, 71, remarks that it is tied most closely of all the sequences ("children of the liturgy" in the words of Wolfram von den Steinen) to its mother, the liturgy. To one medieval copyist of the text it was an allegory of the fall of man (allegoria ac de cigno ad lapsum hominis), to which Peter Godman adds redemption.This copyist was the Limoges copyist of 930, cf. John Wall (1976), "The Lyric Impulse of the Sequence," Medium Ævum, 45, 247-48.

In 2003 Michael Maul and Peter Wollny settled a mystery about a previously unidentified copyist for BWV 8. He had been described by Göttingen musicologists Alfred Dürr and Yoshitake Kobayashi as the "Doles copyist" ("Schreiber der Doles-Partituren"), because of the association with C.F. Doles, Thomaskantor from 1756 until 1789. discovered that the copyist was Carl Friedrich Barth, born in 1734, the son of a merchant from Glauchau. Barth became a chorister at the Thomasschule in 1746, where he was picked out by Bach for his skills in Latin to become music prefect.

Pastellist Anna Pasetti was active as a copyist in Guarana's studio.Profile of Anna Pasetti at the Dictionary of Pastellists Before 1800.

Peters MC64S1 has Service monitor (additional ROM), fast loading in the RAM frequently used software. Assembler & monitor, test of a video and copyist for tape are included in first version Service monitor. Peters MC64S2 has Service monitor 2, which included of Tetris, test of a video, copyist for tape and text editor. It has a printer slot.

Funeral of Lope de Vega by Paul Balze Paul Jean Étienne Balze (1815 – 24 March 1884) was a French painter and art copyist.

At the time he worked as a copyist. He died in Paris in 1833, the same year in which his son also died.

Jakob BjörckAlternate spelling "Björk" appears in some sources. (1727 or 1728 - February 20th 1793 in Stockholm) was a Swedish portrait painter and copyist.

Lillie Harris (born 1994) is a contemporary British composer, copyist and engraver. Born in Canterbury, she is now based in south-east London.

Attributed to copyist Mary Frederica Dyneley, after Frederick W. Lock. (No Image of Lock's original drawing found.) Copyist image at: Accessed 2016-02-17 Description only at: Accessed 2015-12-28Bytown was renamed Ottawa by Queen Victoria in 1854. Ottawa attained city status January 1, the following year. 1851: The Chaudière Falls from Barrack Hill (Parliament Hill)1850 through 1851 , Bytown, Canada.

She did not like school very much and disappeared into the darkroom. In 1944, he completed her training as a portrait photographer and copyist.

Wright was soon invited to play with Pieces of Peace in Chicago. He would make the move and begin career as a copyist and arranged.

In 2016 she contributed to the making of the experimental photocopy film The Copyist, which debuted at the Palm Springs International Short-fest Animation Competition.

Michael Angelo Immenraet at the Netherlands Institute for Art History She studied with Balthazar van den Bossche and Lucas van Uden. She was active as a painter, copyist and art dealer. The 17th century Flemish biographer Cornelis de Bie refers to her in his Het Gulden Cabinet in the chapter on noteworthy female painters. He describes her as a copyist of Anthony van Dyck and Rubens.

Some editions and recordings may use Davitt Moroney's alternative numbering scheme, which attempts to create suites out of Couperin's dances. The numbering scheme for Couperin's organ pieces also reflects their source, the Oldham manuscript. Here, however, no attempt was made by the copyist to group pieces in any way. The manuscript draws on at least two grands livres d'orgue, and the copyist apparently chose pieces arbitrarily.

Self portrait (1765) Portrait of Maurice Suckling Thomas Bardwell (1704 – 9 September 1767) was an English portrait and figure painter, art copyist, and writer.Thomas Bardwell (answers.com).

He was not ordained a priest, however, until almost a decade later. He became a prolific copyist and writer. Thomas received Holy Orders in 1413Scully, 1912.

Raffaele Ciappa (born Fanno 1760 - died after 1820s) was an Italian painter, active in a Neoclassical style. He was active mostly as a copyist and restorer.

Portrait of twins, 1668. Johanna Vergouwen (also: Jeanne Vergouwen or Joanna Vergouwen) (1630 in Antwerp – 11 March 1714 in Antwerp) was a Flemish Baroque painter and copyist.

In the 1720s he assisted Bach as a copyist, and produced the only known copy of a score of 'O heilges Geist- und Wasserbad, BWV 165 in 1724.

Nathaniel Lloyd, in a painting after Thomas Gibson, in Lincoln College, Oxford. Thomas Gibson (born London, c. 1680; died London, 28 April 1751) was an English painter and copyist.

Linne R. Mooney (2006), "Chaucer's Scribe," Speculum, 81 : 97–138. Ezard, John (20 July 2004). "The scrivener's tale: how Chaucer's sloppy copyist was unmasked after 600 years". The Guardian.

His family members had a long tradition of being Christian priests. In his youth Kraikov was a copyist of Church Slavonic books in the Osogovo Monastery "St. Joakim Osogovski".

That same year he represented Canada at the ISCM in Iceland. In 1976 John submitted his string quartet, Concerto a Quattro, directly to the ISCM and it was chosen by the organization for performance in Boston, Massachusetts. From 1972 to 1974 he augmented his income as a composer by working as a copyist for other composers, several publishers, and the Canadian Music Centre. He would continue working as a copyist into the 1990s.

John Ruskin praised her copies of J.M.W. Turner, having called her "the foremost copyist of Turner of her time." Her strength was as a copyist and as a painter of still life, in oils and watercolors, and she painted many panels featuring flowers on a black background. A panel of goldenrod given to neighbor/mentor Ralph Waldo Emerson still hangs in his study. Several can also be seen at the Orchard House in Concord.

He was not a criminal master forger (this is an intentional malicious one) as his famous contemporary Han van Meegeren, just a mater copyist. Jan Theuns maintained his innocence until his death in 1961 but this affair followed him throughout his life and made him world-famous–especially post- war--- as Rembrandt copyist. Such notoriety translated into many commissions of these “Rembrandt-heads” as he called them (according to his daughter Diny Ladner).

John Franklin, portrait by Derby engraved by James Thomson. William Crotch, portrait by Derby engraved by Thomson, 1822 William Derby (1786–1847) was an English portraitist, miniature painter and copyist.

Matías Moreno; portrait by Carolus-Duran (1867) Matías Moreno González (7 March 1840 - 8 July 1906) was a Spanish painter, sculptor, art restorer and copyist; primarily of works by El Greco.

Nathan's original Judeo-Arabic commentary of the Mishnah served as the basis for a later recension made by a 12th-century anonymous author and copyist,Schlossberg, E. (2005), p. 281Assaf, Simcha (Kiryat Sefer 1933) presumes that the copyist and redactor lived between the years 1105 CE and 1170 CE, based on the fact that the last of the exegetes mentioned by the copyist is Rabbi Isaac Alfasi (1013–1103), while not mentioning at all in his work the explanations given by Maimonides (born 1135), who also compiled a Judeo-Arabic commentary on the Mishnah (see: Nathan ben Abraham (1955), vol. 1, Preface written by Mordecai Yehudah Leib Sachs, appended at the end of the book). believed to be of Yemenite Jewish provenance.

Library and Archives Canada. Attributed to copyist Amelia Frederica Dyneley, after Frederick W. Lock. (No image of Lock's original drawing found.) Copyist image at: Accessed 2016-02-16 Description only at: Accessed 2015-12-28 1850s: End of Canadian Winter - Pile of ice on Wharf at Montreal. Library and Archives Canada. Accessed 2016-02-10 1851: Ice Jam on the St. Lawrence; a false-color image. Blouin Art Sales Index. Accessed 2016-02-13 1853: Posthumous Portrait of Rev.

Francis Tregian the Younger (1574–1618) was an English recusant. Once thought to have been the copyist of a handful of important music manuscripts, his musical activities are the subject of dispute.

Most likely the documents were produced in 1901 by an unidentified copyist for the conductor Georg Schnéevoigt, who conducted the original version of the tone poem during his concert tour of Riga.

It was probably composed in the northeast Midlands of England, although the entire Thornton Manuscript is influenced by the North Yorkshire dialect of its copyist, manor lord and amateur scribe Robert Thornton.

John Reading (c. 1645–1692) was an English composer and organist, and father of John Reading (c. 1685 – 1764) who is remembered as an important music copyist. Little of Reading’s life is known.

Leontiy Semenovich Mitropolsky or Miropol'skii (; 1759According to other data born in 1749—1819) was a Russian painter, portraitist, copyist and an icon painter. He is an academician of the Imperial Academy of Arts.

Johann Christoph Altnickol, or Altnikol, (baptised 1 January 1720, buried 25 July 1759) was a German organist, bass singer, and composer. He was a son-in- law and copyist of Johann Sebastian Bach.

He became a student at the University of Copenhagen in 1820. In 1824 he was employed as copyist in the Ministry of Justice. In 1827, he graduated cand.jur. and took his law degree.

Michael Apostolius (; in Constantinople - after 1474 or 1486, possibly in Venetian Crete) or Apostolius Paroemiographus, i.e. Apostolius the proverb- writer, was a Greek teacher, writer and copyist who lived in the fifteenth century.

"Autograph" can refer to a document transcribed entirely in the handwriting of its author, as opposed to a typeset document or one written by an amanuensis or a copyist. This meaning overlaps that of "holograph".

Jehiel ben Jekuthiel Anav (YeKhiEl ben YeKuSiEl () Anav), also referred to as Jehiel ben Jekuthiel ben Benjamin HaRofe, who lived in Rome during the thirteenth and fourteenth centuries, was a famous scholar, poet, paytonwriter of piyyutim; see and copyist. He is best known as the author of Maalot HaMiddot, a book of piety. He was the copyist of the Leiden Jerusalem Talmud, "the only extant complete manuscript of Jerusalem Talmud." This project, which he did in 1289, also involved correcting errors in the source document, another copy.

The document was written by an unknown copyist. The measurements of the fragment are 219 by 116 mm. The text is written in a large round upright uncial hand. There is a tendency to separate words.

160 His son Giovanni Remigio later became a copyist in Rome, and his daughter Mary also became an artist and married Thomas Streater, the brother of the artist Robert Streater. Remigius van Leemput died in London.

Tsanko Ivanov Lavrenov was born on November 24, 1896 in the city of Plovdiv, Bulgaria. His grandfather Lavrentiy was a bookman, copyist of catholic manuscripts.Tsanko Lavrenov biography at pravoslavieto.com Lavrenov graduated at the French college in Plovdiv.

Hilda is an innocent copyist. She is compared to the Virgin Mary and the white dove. Her simple, unbendable moral principles can make her severe in spite of her tender heart. Miriam and Hilda are often contrasted.

The so-called Great Picture, a triptych portrait of Lady Anne Clifford, attributed to van Belcamp. Now at the Abbot Hall Art Gallery. Jan van Belcamp (1610–1653) was a Flemish painter and copyist, active in England.

There are a number of "strange errors" (Edmundson 1913, lecture VIII) in the Liberian Catalogue, some of which may be the product merely of copyist errors (CE). The texts in the Chronography do display damage in transmission.

The document was written by an unknown copyist. The verso side contains the medical text. The measurements of the fragment are 306 by 87 mm. The text is written in a round upright medium- sized uncial hand.

The document was written by an unknown copyist. The measurements of the fragment are 140 by 120 mm. The text is written in a medium-sized neat uncial hand. It has only a few, unimportant textual variants.

The Map of Céspedes Xeria was of primary importance to Taunay, and he sought to obtain a copy from the General Archive of the Indies in Seville. The facsimile of Céspedes Xeria's map was produced by the copyist Santiago Montero Díaz. Díaz, a copyist with extensive experience with works in the collection of the General Archive in Seville, utilized both versions of the map in the archive: Map 17 of Céspedes Xeria and Map 17bis of Céspedes Xeria. He additionally copied letters from Céspedes Xeria to Philip of Spain.

Clausen moved to Los Angeles, California in 1967 in search of television work, wanting to become a full-time composer. For nine years he did some arrangement work for singers, ghostwriting and other composing jobs such as commercial jingles, as well as working as a teacher, music copyist and a bassist. He worked as a copyist on "Come On Get Happy", the theme song to The Partridge Family. He eventually became a score writer and later the music director and conductor for Donny & Marie between 1976 and 1979.

Since all of the third copyist's work is that of composer Albert Bryne, Klakowich adopted Hendrie's belief and felt that Bryne is the copyist. (Klakowich felt that only the final three works are in Byrne's hand, which explains why some of the preceding works include the title "Mr.") Barry Cooper disagreed with Klakowich because of different forms of the name. Bailey attempted to reconcile the two conflicting viewpoints, noting that both manuscripts have a similar provenance (both are from Oxford), lending much weight to Bryne as the third copyist.

41 [13]–42 [14]. Simcha Assaf and Mordechai A. Friedman are in dispute over whether it was Rabbi Nathan or his Yemenite copyist who quotes from R. David. Three of the author's more extensive commentaries exist for the tractates Berakhot, Shevu'ot and Avot. Since the anonymous copyist makes use of other sources in the original work bequeathed by Rabbi Nathan, it is not uncommon for him to give one explanation for a word in one tractate, but in a different tractate give a different explanation for the same word.

The document was written by an unknown copyist. The measurements of the fragment are 175 by 194 mm. The text is written in a large uncial hand. It is paleographically important because it can be dated relatively accurately.

33 Degas's style reflects his deep respect for the old masters (he was an enthusiastic copyist well into middle age)Baumann, et al. 1994, p. 151 and his great admiration for Jean-Auguste-Dominique Ingres and Eugène Delacroix.

The document was written by an unknown copyist. The measurements of the fragment are 235 by 215 mm. The text is written in a large, heavy, formal uncial hand. The handwriting is similar to the biblical great uncials.

The Leningrad School of Painting. Essays on the History. St Petersburg, ARKA Gallery Publishing, 2019. P.356. In 1940 Semionov graduated from Tavricheskaya Art School. In 1940–1941 he worked as copyist at the LenIzo Leningrad Art Centre.

There is also evidence of Catalanism in his declension, but this may be attributable to the copyist(s) and not Olivier. His affection for James, too, cannot be taken as evidence of Catalan identity in and of itself.

Walker, 6:page cit needed. Conradi probably met Liszt in the early 1840s. He served as Liszt's copyist in Weimar in January and February 1844, and he spent 18 months there in 1848 and 1849 at Liszt's instigation.

Much known of al-Nadim is deduced from his epithets. 'Al-Nadim' (), 'the Court Companion' and 'al-Warrāq () 'the copyist of manuscripts'. Probably born in Baghdad ca. 320/932 he died there on Wednesday, 20th of Shaʿban A.H. 380.

The document was written by an unknown copyist. The verso side contains Homeric scholia on the 21st book of the Iliad. The recto side is known as Papyrus Oxyrhynchus 220. The text is written in an informal uncial hand.

During this period (1951–1956), Hambro also accompanied vocalists at the Paramount Theater, did studio work, worked as a music copyist,Craig's Big Bands & Big Names.Com Interview with Hal Turner. 2002 Accessed 21 Aug 1998. and taught private lessons.

The document was written by an unknown copyist. The measurements of the fragment are 110 by 79 mm. The text is written in a small sloping uncial hand. The handwriting is very similar to that of P. Oxy. 233.

Kane met his seventh wife, Carol Faith, through his friend, Charles Fox, while scoring at Warner Brothers. Faith was Fox's agent. They married in 1976 and divorced on June 4, 1979. In 1981, Kane married JoAnn Johnson, a music copyist.

The most substantial difference was that Snow used MIDI files to save his musical scores and pieces, which would afterward be sent to a copyist who would take it through one of their programs and eventually give it to the orchestrators.

In other instances, the copyist may add text from memory from a similar or parallel text in another location. Otherwise, they may also replace some text of the original with an alternative reading. Spellings occasionally change. Synonyms may be substituted.

In M, it is ("Jerome in chronicles"). This mystifying rubric suggests that the copyist saw a connection between the Table and the Chronicon of Jerome or something in that tradition. A chronicle falsely attributed to Jerome is found in manuscript F.

Giovanni Battista Amigazzi (mid-17th century) was an Italian painter, born and died in Verona. He was a pupil of Carlo Ridolfi. He is mainly known as a copyist and portraitist. He also had a painting in San Procolo, Verona.

419; Martial, Epigrams 2.8; Lucian, Adversus Indoctum 1 as well as plagiarism or forgery, since there was no copyright law. A skilled slave copyist (servus litteratus) could be valued as highly as 100,000 sesterces.According to Seneca, Epistulae 27.6f.Marshall, p. 254.

Accessed November 18, 2007. A copyist by inclination, his piece was most likely based directly on the known princesses, especially the one in the Louvre. A diagrammatic comparison shows just how close the similarities are, down to the missing limbs.Pearman, Anna.

The document was written by an unknown copyist. It contains the text of Against Timocrates (sections 145, 146, 150) by Demosthenes. The measurements of the fragment are 108 by 93 mm. The text is written in a small uncial hand.

For one of them, the exact date is unknown, probably made by the workshop of the copyist and librarian of Louis XIV, André Danican Philidor, and consists of alternating sheets of ballet and texts of the script.Jean-Baptiste Lully et Jean-Baptiste Poquelin, Monsieur de Poursaugnac. Comédie-Ballet. Donné par le Roy a toutte sa cour dans le Chasteau de Chambort au mois d'octobre 1669 fait par Monsieur de Lully sur intendant de la musique du Roy et par le sieur Molliere, 1700-1710, 109 p. The other, probably made in 1706 by the copyist Henri Foucault contains only the ballet score.

Opening chorale of BWV 8 in E major version, copyist C.F. Barth Closing chorale of BWV 8 in E major version, copyist C.F. Barth The opening chorus is a gapped chorale setting of the tune. The alto, tenor, and bass voices sing free counterpoint, while the sopranos sing the chorale unadorned in long notes. Philipp Spitta described the sound of this movement as a "church-yard full of flowers in the springtime". As Alfred Dürr comments, the chorus, with instrumental ensemble of high obbligato flute, two oboes d'amore and plucked arpeggios, presents "a sublime vision of the hour of death".

Lecocq was born in Paris, the son of a copyist at the Commercial Court of the Seine."Charles Lecocq (1832–1918)", Opéra-Comique, Paris. In French. Retrieved 20 September 2018 His father was not highly paid, but supported a family of five children.

Livy, vi.15.12 According to Diodorus, in the Varronian year 386 BC, the Romans sent 500 colonists to Sardinia.Diodorus Siculus, xv.27.4 This could also be a reference to the colonization of Satricum, the name having been corrupted by Diodorus or his copyist.

1 (1800-1850), p.186. The running of Coppin's business in Norwich passed to John Middleton, and upon Middleton's death passed to his son, the Norwich artist John Middleton. Coppin was mentioned by the art writer H.M. Cundall as being "chiefly a copyist".

Gancevici, pp. 364, 365–366 After taking his baccalaureate in June 1892, Dauș entered the civil service as a copyist at the Ministry of Royal Domains.Călinescu, p. 920; Colesnic, p. 210 He subsequently earned a law degree from Bucharest University (1897)Călinescu, p.

Gwilym Tew (fl. 1460 - 1480) was a Welsh language poet and manuscript copyist from Tir Iarll, Glamorgan. It is probable that his father was the poet, Rhys Brydydd, and that another poet of the same family, Rhisiart ap Rhys, was his nephew.

He cannot be regarded as an important artist, or even a very good copyist, but in his pictures the sky and mountains and the distant landscapes are always worthy of consideration, and in these we probably get the painter's best original work.

Joseph became a critic of the bookish learning traditions of the East Syriac church. He was a skilled copyist of Scripture but in his old age he gave up all writing. John took care of his correspondence (in Arabic). Joseph focused on memorizing.

The firm of Bridger & Kay was formed in 1897 or 1898. Bridger and Kay had both been civil servants previously.Kay's appointment as a "Temporary Boy Copyist" in the Civil Service is recorded in The London Gazette, 20 March 1894, p.1663. Link here.

Their assistants include a pingsha (, "level sand") who smooths out the (, "sand table"), a (, "planchette reader") who interprets the characters, and a (, "planchette copyist") who records them. Jiwen (, "planchette writing") is a general reference to texts produced through Chinese fuji spirit-writing.

He received an education in law and graduated as cand.jur. in 1798. From 1801 to 1810 he worked in the Treasury (Rentekammeret), the first two years as copyist, later as proxy. He was appointed bailiff () of Lister in Vest-Agder during 1810.

The document was written by an unknown copyist. It contains the text of the Laches (197a - 198a) of Plato. The measurements of the fragment are 255 by 150 mm. The text is written in an upright square uncial hand of medium size.

The document was written by an unknown copyist. It contains part of the text of the De Corona (40-47) by Demosthenes. The measurements of the fragment are 280 by 210 mm. The text is written in a round, rather irregular uncial hand.

The document was written by an unknown copyist. It contains part of the text of De Corona (227-229) by Demosthenes. The measurements of the fragment are 920 by 730 mm. The text is written in a medium-sized informal uncial hand.

It is therefore unlikely that this version of the Fall of Icarus might be from the hand of a copyist, except perhaps from P. Bruegel the Younger. Conversely, the Van Buuren copy with a different technique cannot be attributed to either Peter Bruegel.

The document was written by an unknown copyist. It contains the end of a lament mourning the loss of a favorite fighting cock. The measurements of the fragment are 122 by 184 mm. The text is written in a rough and rather difficult cursive hand.

Henry Edwin Baker () After earning his law degree, Baker joined the United States Patent Office in 1877 as a copyist. He rose through the ranks to Second Assistant Examiner by 1902. He wrote a book and articles on the history of African- American inventors.

The earliest surviving score and parts, found in a cloister in Augsburg, Germany, were prepared by a copyist, with completions and corrections in Mozart's hand.Green 2002, p. 104 Senn assumes the Mass was composed in 1773, after Mozart had returned from Italy in March.

The fingers have an earthy and fleshy consistency. The style and palette are close to the works of Cornelis De Wael. Hovaert may also have been active as the copyist who created many of the copies after van Dyck that are found in Genoa.

19 His brother Jozef had a successful career as a painter and copyist in Antwerp and Paris. Battle victory against the Turks Jan Pieter trained under his father. After the death of his father he left Antwerp in 1706 to live and work in Prague.

The document was written by an unknown copyist. It contains part of the text of the Phaedo (109 C, D). The measurements of the fragment are 170 by 49 mm. The text is written in a small cramped uncial hand. It uses breathing and accents.

In this section she observed that the copyist must have had access to contemporary modern music of the period including the English Civil War and the Commonwealth of England. She noted that the emphasis placed on dance movements "is new" as is their ordering. Assuming the copyist was Heardson, Bailey observed that the manuscript begins with works by Heardson, Roberts and Facy, the latter two of whom Bailey suggested might have been colleagues. She surmised that Heardson must have had brief access to works of Benjamin Rogers early during the manuscript's compilation, for his works appear (pages 58–60) but then cease while the works by Roberts and Facy continue.

The document was written by an unknown copyist. It is evidently part of a collection of "marvelous stories" (παράδοξα), a genre popular in Alexandria at the time. The measurements of the fragment are 136 by 124 mm. The text is written in a small sloping uncial hand.

The document was written by an unknown copyist. The recto side contains a List of Olympic victors from the years BC 480 to 468 and 456 to 448. The verso side contains an accounting of money. The measurements of the fragment are 180 by 95 mm.

The document was written by an unknown copyist. It contains the text of the fifth book of the Iliad. It is written on the verso side of the Petition of Dionysia. Before it was utilised for the Iliad roll, it had to be patched and strengthened.

The document was written by an unknown copyist. The measurements of the fragment are 334 by 132 mm. It contains a fragment of a lost comedy: the conclusion of Menander's Perikeiromene (The Girl with her Hair Cut Short). The text is written in a round uncial hand.

The text exhibits more numerous and bolder textual variants than usual manuscripts of the four Gospels. Marginal apparatus is given fully. The manuscript was written by an inaccurate copyist, who made a large number of errors. Liturgical books, Synaxarion and Menologion, were added by a later hand.

A detail: original left, 1915 copy by Lady Herringham right Christiana Jane Herringham (Lady Herringham) (1852–1929) was a British artist, copyist, and art patron. She is noted for her part in establishing the National Art Collections Fund in 1903 to help preserve Britain's artistic heritage.

He was born in Saveh (modern Arak province in Iran) in the early 12th century. After serving as a judge in his native city, he went to pursue scholarly interests in Neyshapur. He earned his living by being a copyist of manuscripts, primarily of philosophical texts.

After graduating from drama school, both musical groups were abandoned when Clyde left for Scotland to work for a short period at Dundee Repertory Theatre and Stuart worked in the music industry as a copyist and apprentice arranger. When Clyde returned, the pair resumed their folk act.

The document was written by an unknown copyist. It consists of a letter to a king of Macedon by an unknown author, possibly Aristotle or Theopompus. The measurements of the fragment are 131 by 73 mm. The text is written in an uncial hand similar to Papyrus Oxyrhynchus 23.

Between 1483 and 1486, Jacob Bellaert worked in Haarlem. His books were known for their artistic woodcuts. Haarlem, Gouda, and Delft were all cities with early printing presses. This was because these cities did not have powerful religious institutions or universities, where competing copyist production (scriptoria) took place.

The document was written by an unknown copyist. The recto side consists of fragments of a work on prosody. The verso side consists of Homeric scholia to the Iliad (Papyrus Oxyrhynchus 221). The text on the recto side is written in a round well formed upright uncial hand.

Wilkinson first arrived in Egypt in October 1821 as a young man of 24 years, remaining in the country for a further 12 years continuously. During his stay, Wilkinson visited virtually every known ancient Egyptian site, skillfully recording inscriptions and paintings as a talented copyist and compiling copious notes.

Fu Daokun (fl. 1626), was a Chinese painter during the Ming Dynasty. She was famed foremost for her skill as a copyist and her technique in Chinese Painting. She was, together with Fan Daokun, one of only two female artists to be recognized by her contemporaries as elite artists.

The first mention of the poem itself in modern times occurred when Franciscus Junius (the younger) transcribed a fragment in 1587.Kees Dekker, 'Francis Junius (1591-1677): Copyist or Editor?', Anglo-Saxon England, 29 (2000), 279-96 (p. 289). It was not printed until 1705, by George Hickes.

Although they are not by the same author, the copyist probably intended them to be read together, with the council as a happy epilogue to the unfortunate crusade. The Lateran account in Cod. Marc. Lat. 1990 was almost certainly copied from a manuscript of Burchard of Ursperg's Chronicle.

There are two complete manuscripts of the text: Paris, Bibliothèque nationale, français 2164 (designated A), illustrated, dating from c. 1300; and Paris, Bibliothèque nationale, français 12571 (designated B), an early 14th-century exemplar by an Italian copyist. Five fragments have also survived. Among modern editions, those that use ms.

The document was written by an unknown copyist. It contains text from the History of the Peloponnesian War (II,90-91) of Thucydides. The measurements of the fragment are 130 by 54 mm. The text is written in a good- sized, and handsome but not very formal uncial hand.

Although he claimed to originally be from Sparta, that city no longer existed in the 15th century, so it most likely referred to Mystra, the second largest city in the rapidly decaying Byzantine Empire of the time. Mystra was located in the hills overlooking the ancient ruins of Sparta, was the centre of a major revival in Greek literature at the time, and was the home of Gemistus Pletho. Hermonymus first went to Milan where he worked as a copyist and then to Paris as there was a great need for a Greek teacher and translator at the time. Hermonymus arrived at Paris in 1476, worked as a copyist at the French court.

Peter Jarvis (b. 1959 in Hackensack, New Jersey) is a percussionist, drummer, conductor, composer, music copyist, print music editor and college professor. He is an Associate Director of the Composer Concordance and Co-Director of Composers Concordance Records. He teaches music at William Paterson University, Connecticut College and Bergen Community College.

W. de Wycombe (Wicumbe, and perhaps Whichbury) (late 13th century) was an English composer and copyist of the Medieval era. He was precentor of the priory of Leominster in Herefordshire. It is possible that he was the composer of one the most famous tunes from medieval England, Sumer is icumen in.

A friend of Dionisio Aguado, he cooperated in his guitar method, also arranging its publication in Paris. He was also the copyist of Luigi Boccherini's well-known guitar quintets. In 1826, the Paris firm of Richault published de Fossa's three guitar quartets, opus 19. He died in Paris, aged 73.

He has conducted the background scores to numerous films, including Runaway Jury, Heist, Thirteen Ghosts, Ghost Rider, Bee Season, Millions, Clifford's Really Big Movie, The Gift and Just Visiting. Stern was a music copyist for composers Frank Zappa, David Diamond, Gerhard Samuel and Leonard Rosenman. Stern has resided in Seattle since 1992.

Llywelyn Siôn (1540 – c.1615) was a Welsh language poet. Although remembered as a poet, he was also a professional manuscript copyist. Iolo Morganwg claimed he was the author of Cyfrinach Beirdd Ynys Prydain, used by the Welsh Gorsedd, but it is now known that Iolo himself was the author of that work.

14–15 This story would place young Heraclid in the Republic of Venice or the Papal States.Jurcoi, p. 50; Neculce, p. 15 Antonio Maria Graziani, a diplomat of the Holy See, additionally argues that Heraclid had spent time as a copyist in the Vatican Library, though he may be confusing him with Diassorinos.

This was denied on the grounds that he had been little more than a copyist for thirty years and had not been promoted at the Académie. The last known record of his existence was an exhibition at the Salon in 1796.Société de l’histoire de l’art français, Nouvelles Archives de l’art français, Dir.

Saint Conleth (Old Irish: Conláed ; Modern Irish: Naomh Connlaodh; also Conlaeth; Conlaid; Conlaith; Conlath; Conlian, Hugh the Wise)"Churches of county Kildare", County Kildare Heritage was an Irish hermit and metalworker, also said to have been a copyist and skilled illuminator of manuscripts. He is believed to have come from the Wicklow area.

The author is unknown. In the 10th-century reference manuscript (Parisinus Graecus 2036), the heading reports "Dionysius or Longinus", an ascription by the medieval copyist that was misread as "by Dionysius Longinus." When the manuscript was being prepared for printed publication, the work was initially attributed to Cassius Longinus (c. 213–273 AD).

Although his parents had destined him for an ecclesiastical career, Etterlin never became a clergyman.Müller, p. 397. In 1464, Etterlin was appointed copyist of the city of Lucerne.Müller, p. 397. Etterlin’s military career began in 1468 when he joined the army of the Swiss Confederation at the siege of Waldshut.Müller, p. 397.

Obadiah Shuttleworth (died 1734), English composer, violinist and organist, was the son of Thomas Shuttleworth of Spitalfields in London. Thomas was a professional music copyist and harpsichord player.Hawkins, John (1776/1963). A General History of the Science and Practice of Music. New York: Dover, 791 The exact date of Shuttleworth's birth is uncertain.

At the end of the first book of Irenaeus is a section to all appearance derived from a source different from that just referred to. He here (c. 29) relates the opinions of heretics to whom he himself gives no title, but whom his copyist Theodoret (Haer. Fab. i. 14) calls Ophites.

He has arranged many pieces for Icebreaker and produced or co-produced several of Icebreaker's albums. He also works as a music copyist. He also has a strong interest in politics and is currently treasurer of the Nicaragua Solidarity Campaign, and chair of the West Surrey branch of the Palestinian Solidarity Campaign.

A Vase of Flowers Philips de MarlierMany variant name spellings: Philippe de Marlier, Filip de Marlier, Philip de Marlier, Flips de Marlin, Philips de Marli, Philips de Merlyn (nickname Dicke Lup) (c. 1600 – 1668) was a Flemish Baroque painter and copyist mainly known for his still lifes of flowers and garland paintings.

Today, among the existing copies of the preface, a few outstanding imitations were attributed to Feng Chengsu (617 – 672), Ouyang Xun (557 – 641), Yu Shinan (558 – 638) and Chu Suiliang (596 – 659) from the Tang dynasty. Feng’s version, also called the Shenlong version (Figure 2), was regarded as the closest resemblance to the original. Feng, as the royal copyist, mastered the calligraphy tracing technique which was named Xiang Tuo. The method requires the copyist to stay in a dark room and stick the artwork against a window where the sunlight can shine through the paper to expose every detail of the characters; Another empty paper is then attached to the original piece to trace the outline of each stroke meticulously before filling in with ink.

After studying in Paris, she subsequently divided her time between Boston, London and Paris. Her strength was as a copyist and as a painter of still life, either in oils or watercolors. Her success as a copyist of Turner was such as to command the praise of Mr. Ruskin, and secure the adoption of some of her work for the pupils to copy at the South Kensington schools in London. She published Concord Sketches with a preface by her sister (Boston, 1869). After having studied in Europe, she had become "an accomplished artist" by the 1870s, and her works during that time showed marked improvement compared to the earlier illustrations for Little Women and the "quirky" depiction of Walden Pond in Concord Sketches.

Her understanding of his work is such that she corrects mistakes he has made, while her personality opens a door into his private world. Beethoven is initially skeptical, but he slowly comes to trust Anna's assistance and eventually grows to rely on her and view her with respect, and even with admiration. Anna Holtz (as Beethoven always refers to her) is sent to be his copyist, but due to her gender, is constantly thought less of, and is mistaken for a serving girl, maid, and even prostitute. Pushing past, though quite unhappily, from these assumptions, Anna proves herself to Beethoven, not only as a copyist, but also as his friend, and something of his protégé and heir as far as he is concerned.

A copyist of Pseudo-Hegesippus, however, identified the "Joseph ben Gorion" (Josephum Gorione Genitum), a prefect of Jerusalem, mentioned in iii. 3, 2 et seq., with the historian Josephus ben Mattithiah, at this time governor of the troops in Galilee. This may account for the fact that the chronicle was ascribed to Joseph b. Gorion.

Samuel Zygmuntowicz (born 1956) is an award-winning contemporary luthier. He began his instrument making training at age 13, and studied making and restoration under Peter Prier, Carl Becker and René Morel. Since 1985 he has been based in Brooklyn, New York. His early work demonstrates expert skill as a copyist of classic instruments.

Guidobono was born in Savona as the son of Giovanni Antonio Guidobono, a maiolica painter. His brother Domenico was a decorative fresco painter. Bartolomeo began as a painter of ceramic earthenware with his father, who worked for the royal court of Savoy. He afterwards went to work as a copyist to Parma, Venice, and Genoa.

It is 1824 as Beethoven (Ed Harris) is finishing his Ninth Symphony. He is plagued by deafness, loneliness and personal trauma. A new copyist, Anna Holtz (Diane Kruger) is engaged to help the composer finish preparing the score of his symphony for the first performance. Anna is a young conservatory student and aspiring composer.

Livy used no titles or period names. He or someone close to him wrote summaries, or Periochae, of the contents of each book. Books 1 – 140 have them. Their survival, no doubt, can be attributed to their use as a “little Livy,” as the whole work proved to be far too long for any copyist.

He was a priest in Risan since 1753. After 1766, until his death, he was the abbot of St. George and the parish priest in his native Perast. He translated church songs and religious works into Serbo-Croatian. He is also important as a copyist of the works of writers Vicko Zmajević and Serafin Crijević.

Giovanni Battista da Ponte (1553–1613) was an Italian painter of the Renaissance period, active in Venice and his native Bassano del Grappa. He was the second son of Jacopo da Ponte. He was chiefly known as a copyist of his father's works. Many of his productions now figure, no doubt, under Jacopo's name.

"Nekrasov worked with the Russian folklore Nekrasov not as a copyist but as a real artist... He managed to work the rich and complex multitude of the Russian proverbs and sayings into the vast tapestry guided by ideological lines with great taste," argued Korney Chukovsky. Chukovsky, K.I. Nekrasov the Master. Ed. IV. Moscow, 1962.

In 1835, Calhoun moved to Washington, D.C., to be a copyist for her father, with the notion that she would never marry. In early spring 1838, Calhoun met Thomas Green Clemson. The couple married on November 13, 1838, in Fort Hill, South Carolina. Clemson's job called him to Washington and the newlyweds moved to Philadelphia.

Foucher had several distinctive personal traits. He was so near-sighted, that in Paris he became a standard for comparison: myope comme Paul Foucher. His handwriting was so bad that the journals at which he worked had to employ a special copyist whose sole job was to carry out "Foucher translations". And he was notoriously absent-minded.

Two Polish friends in Paris were also to play important roles in Chopin's life there. His fellow student at the Warsaw Conservatory, Julian Fontana, had originally tried unsuccessfully to establish himself in England; Fontana was to become, in the words of Michałowski and Samson, Chopin's "general factotum and copyist".Michałowski and Samson (n.d), §3, para. 2.

The document was written by an unknown copyist. The measurements of the fragment are 232 by 183 mm. The text is written in an irregular uncial hand; letter epsilon tends to be very large, xi is written with three separate strokes. The author was probably an Epicurean philosopher, possibly, according to Grenfell and Hunt, Epicurus himself.

However, his solos and duets have their origin in Baroque, almost reflecting the work of Johann Sebastian Bach. It is possible to find in it elements of earlier Classicist music. Unsubstantiated speculation asserts that Pascha was not the author of these works, which allegedly were composed by another Franciscan organist, composer, and copyist, Jozef Juraj Zrunek (1736–1789).

F. Wüstenfeld, "Jacut's Reisen" in the Zeitschrift der Deutschen Morgenländischen Gesellschaft, vol xviii. pp. 397–493 In 1194 ‘Askar stopped his salary over some dispute and Yāqūt found work as copyist to support himself. He embarked on a course of study under the grammarian Al-‘Ukbarî. Five years later he was on another mission to Kish for ‘Askar.

She later returned to Maryland to care for her ailing mother. She had the certificate of the Board of Education. In 1878, while still in her late teens, she became the first African-American woman to be employed by the Office of the Recorder of Deeds in Washington, D.C.; she worked as a copyist under George A. Sheridan.

His copyist Jón Ólafsson wrote out the contents of one manuscript from memory after both it and the copy he had made were lost in the fire.Gunnar Karlsson, The History of Iceland, Minneapolis: University of Minnesota, 2000, , p. 159. Árni has been blamed for delaying too long before starting to move his collection.Gunnar, pp. 159–60.

Retrieved 2013-04-21. Fischer met his future wife, Parisa Mansoory, shortly thereafter. Freed from the parental disapproval that had derailed Fischer's romance, the two were married on August 9, 1994. Subject of an eponymous tribute (described by the Fischers' copyist Curt Berg as "complex and beautiful, which is exactly how Brent feels about his better half")Liner Notes.

W.P. Ker, in The Cambridge History of English Literature, vol. 10, 1913:232ff. He was criticised for these actions even at the time, most notably by Joseph Ritson, a fellow antiquary. The folio he worked from seems to have been written by a single copyist and errors such as pan and wale for wan and pale needed correcting.

The failure of the Revolution in the Kingdom of Poland (1905–07) created opportunities for revolutionary activity in Poland. In early 1908 he published a single issue of Rabochii zagovor (Workers' Conspiracy) in Geneva. after which he moved illegally to Cracow in Galicia. Here he assumed the name Jan Kizlo and had low-paid work as a copyist.

Even though it's measurements and appearance match that of a genuine Del Gesù, it was made around 1860 by Samuel Nemessànyi. It is illustrated in "Journal of the Violin Society of America" Vol. II, No. 2 by Herbert Goodkind. As a copyist, Nemessànyi is placed in the ranks of the Voller Brothers, Vuillaume, Lupot and John Lott.

The medical staff provided paramedicine services. In 1842, another building was built. It had specialized units of therapy, surgery, ophthalmology and sexually transmissible diseases. In 1860, the staff consisted of one medical doctor (also the manager), a senior medical assistant, 3 junior medical assistants, 27 nurses, a linen mistress, a clerk, a copyist and a priest.

Tricca was born in Florence. He studied art under the direction of his father, the artist, restorer and copyist Angiolo Tricca, and the professor Michele Gordigiani. he began by painting small canvases of diverse subjects. In Trieste, he exhibited a half-figure depicting: An Odalisque; in Milan in 1880, he displayed a painting titled: Tipi ameni fiorentini.

The original title of Velleius' history is uncertain. The editio princeps styles it C. Vellei Paterculi Historiae Romanae ad M. Vinicium Cos., The Roman Histories of Gaius Velleius Paterculus to the Consul Marcus Vinicius, but this was probably assigned the work by a copyist, or by one of the grammarians.Shipley, introduction to Velleius Paterculus' Roman History, note 2.

Originally named "Classical Gasoline", the tune was envisioned to be "fuel" for the classical guitar repertoire. The title was later inadvertently shortened by a music copyist. Williams was the head writer for The Smothers Brothers Comedy Hour at the time of the piece's release and premiered the composition on the show. Williams performed it several times over several episodes.

Louvre gallery, Paris, 1868. A copyist is a person who makes copies. The term is sometimes used for artists who make copies of other artists' paintings. However, the modern use of the term is almost entirely confined to music copyists, who are employed by the music industry to produce neat copies from a composer or arranger's manuscript.

That year, she was also offered a place on the London Philharmonic's Young Composers Scheme, during which she worked with the composer and conductor James MacMillan. Harris won the Tenso Young Composers Award in 2017. She has also written reviews and articles for Revoice Magazine, and maintains her own blog, The Green Copyist, on printing and preparing music sustainably.

He had settled in London by 1674, the year in which he became a member of the Painter-Stainers Company. He lived in Bow Street, Covent Garden. He was frequently employed to paint draperies for Sir Godfrey Kneller, and was well known as a copyist. His self-portrait showed the scars resulting from injuries received in a street fight.

The document was written by an unknown copyist. It contains the text of the Oeconomicus (VIII,17 – IX,2) of Xenophon. The measurements of the fragment are 260 by 120 mm. The text is written in a round uncial hand resembling that of the British Library Papyrus CCLXXI, which contains the third book of the Odyssey.

Like the Masoretic tradition of Ben Asher, the copyist of the Damascus Pentateuch also writes פצוע דכא in Deut. 23:2 with an aleph, and writes תעשה in Exo. 25:31 in defective scriptum, without a yod, as also the word האפד in Exo. 28:26 is written by him in defective scriptum, without a waw.

Page 32 As a copyist at the Louvre, Morisot met and befriended other artists such as Manet and Monet. In 1861 she was introduced to Jean-Baptiste-Camille Corot, the pivotal landscape painter of the Barbizon school who also excelled in figure painting. Under Corot's influence she took up the plein air (outdoors) method of working.Garb, T. (2003).

21, 23, 65. In early medieval Wales, the regnal list was unknown and one copyist, confronted with a mere list of Roman emperors, converted it into a pedigree.David N. Dumville, "Kingship, Genealogies and Regnal Lists", in Peter H. Sawyer and Ian N. Wood (eds.), Early Medieval Kingship (Leeds: School of History, University of Leeds, 1977), pp. 72–104.

Meanwhile, Lady Dedlock is also a beneficiary under one of the wills. Early in the book, while listening to the reading of an affidavit by the family solicitor, Mr Tulkinghorn, she recognises the handwriting on the copy. The sight affects her so much she almost faints, which Tulkinghorn notices and investigates. He traces the copyist, a pauper known only as "Nemo", in London.

The musical was directed by Alliance Theatre director Susan V. Booth, with musical supervision by T Bone Burnett. The band included Mellencamp's guitarist and musical director, Andy York, as well as Nashville session bassist David Roe. The copyist (transcribing the musical score) and vocal coach was Peggy Still Johnson. The cast included Tony Award winner Shuler Hensley and nominee Emily Skinner.

Frutolf of Michelsberg (died 17 January 1103) was a monk in Michelsberg Abbey in Bamberg, Germany, of which he became prior. He was probably a native of Bavaria. Frutolf was possibly a teacher of the quadrivium in the monastery, but principally a librarian and manuscript copyist. In this capacity he was responsible for a substantial increase in the stock of the Michelsberg library.

In book, magazine, and music publishing, a manuscript is an autograph or copy of a work, written by an author, composer or copyist. Such manuscripts generally follow standardized typographic and formatting rules, in which case they can be called fair copy (whether original or copy). The staff paper commonly used for handwritten music is, for this reason, often called "manuscript paper".

Van Pee finally returned North after eight months time, and when he arrived in Amsterdam he first bought a fish at the market to take to his wife. In 1659 he lived in Amsterdam. Van Pee was specialized as a copyist of Italian paintings and worked for Gerrit van Uylenburgh.Jan van Pee in the RKD when Gerard de Lairesse arrived in 1667.

He painted a Young Jesus disputes doctors at the temple for the church in Bedizzole. A painter by the name Gallo Gallina (1796-1874) was active in Lombardy in the 19th century, but it is unclear if they are related. Pastellist Anna Pasetti was active as a copyist in Gallina's studio.Profile of Anna Pasetti at the Dictionary of Pastellists Before 1800.

The music as it is performed today includes a strange error by a copyist in the 1880s. The curious "trucker's gear change" from G minor to C minor is because the second half of the verse is the same as the first half, but transposed up a fourth. The original never had a Top C.ed. Rutter, J. European Sacred Music.

Sohal is largely self-educated, but received support from composer and teacher Jeremy Dale Roberts. He became a copyist at Boosey and Hawks, the music publishers, and began composing in earnest. He had his first work, Asht Prahar, performed at a Society for the Promotion of New Music (SPNM) concert in 1970. Since then, he has gone on to produce over sixty works.

Robert ap Huw (or Hugh; c.1580 – 1665), was a Welsh harpist and music copyist. He is most notable for compiling a manuscript, now known as the Robert ap Huw manuscript, which is the main extant source of cerdd dant and is a late medieval collection of harp music. It is one of the most important sources of early Welsh music.

He was born in Tottenham, the son of a grocer and was awarded a foundation scholarship to St Albans School in 1894. When he left school, he was appointed a boy copyist in the civil service. He was appointed as a supernumary clerk in the second division (known as a Ridley clerk ) in civil service in 1901. He was assigned to the Admiralty.

Andreas Darmarios or Darmarius (1540 - after 1586) was a copyist and book trader based in Venice.Erika Juhász, Scelus nomine Andreas Darmarius scriptor et veterator nequissimus, Investigatio Fontium, 2014 Aubrey Diller reports in the second paragraph on page 127 in “Two Greek Forgeries of the Sixteenth Century.” that his last name was Darmarius and that he was born around 1560 and died in 1586.

L'Orage (circa 1830) Georges Michel (12 January 1763 - 7 or 8 June 1843) was a French landscape painter. An important precursor of the Barbizon school, Michel was practically unknown during his lifetime, and worked as copyist and restorer. Michel was born in Paris. His father was an employee at Les Halles, a large marketplace in the central part of the city.

He was born in Cento. He is described as a fertile copyist of Guercino works, who painted for churches in Ferrara.The History of Painting in Italy, by Luigi Lanzi, translated by Thomas Roscoe, page 113. He was the son of Giuseppe Maria (1639 – 1703) of Cento, from whom he inherited a studio, and who had trained with Cesare Gennari, Guercino's nephew.

The antiquarian and copyist of Welsh manuscripts John Jones (c.1585-1657/8) was born and brought up in the small mansion of Gellilyfdy in Ysceifiog parish. The poet William Edwards (Wil Ysceifiog) also lived there in the first half of the 19th century, and John Owen (1733-1776), one of the pioneers of Methodism in Flintshire, was a native of Ysceifiog.

Scholarly debate continues as to the possible attribution of manuscripts from the Cavendish circle to Payne: the discussion goes deeper than handwriting, since Payne acted also as a copyist. One work, the Short Tract on First Principles initially thought to be by Hobbes, is now thought by Timothy Raylor and Noel Malcolm to be by Payne. Mordechai Feingold suggests another candidate.

The word scriba might also refer to a man who was a private secretary, but should be distinguished from a copyist (who might be called a "scribe" in English) or bookseller (librarius).Peter White, "Bookshops in the Literary Culture of Rome," in Ancient Literacies: The Culture of Reading in Ancient Greece and Rome (Oxford University Press, 2009), p. 269, note 4.

Born in Dublin, Ireland, his father was a chorister, music teacher and music copyist. He was educated at the National Schools, Marlborough Street, where he received musical instruction from John W. Glover. He attended O'Connell School in North Richmond Street and often sang in the monastery chapel.O'Connells Schools register He came under the influence of Brother Swan and later entered a solicitor's office.

John Christopher Smith was the son of Johann Christoph Schmidt (John Christopher Smith Sr.) (died 1763), Handel's first copyist in London. His father, known to Handel from Halle, was summoned from Germany in 1716. He brought his family to London around 1720. John Christopher Smith Jr. had a few lessons from Handel and Johann Christoph Pepusch but studied mostly with Thomas Roseingrave.

Early in his career he was primarily a portrait painter and a copyist of 17th-century Dutch masters. He was also known as a painter of theatre sets. He initially worked in Alkmaar but later settled in Amsterdam. From about 1722 he focused mainly on "topographical" drawings, to be used as illustrations for atlases, although he also remained active as a portrait painter.

The scriptorium was the workroom of monk copyists; here, books were copied, decorated, rebound, and conserved. The armarius directed the work and played the role of librarian. The role of the copyist was multifaceted: for example, thanks to their work, texts circulated from one monastery to another. Copies also allowed monks to learn texts and to perfect their religious education.

One later passage adds Guthorm. But Guthorm is never mentioned again and is possibly an addition from Norse tradition by the translator or by an early copyist. Hǫgni (German Hagen) appears as their maternal half-brother, fathered on Ode by an elf when Ode once fell asleep in the garden while her husband was drunk. Yet one passage names Hǫgni's father as Aldrian.

In 1864, Stoneman began attending the Albany Normal School (now University of Albany, SUNY) to pursue her goals of becoming a teacher. While at school, she worked for the New York Court of Appeals as a copyist. She graduated in 1866 and began teaching at the Glens Falls Seminary. She later taught at her alma mater, the Albany Normal School.

Koch was born in Mohrin, Prussian Neumark, where his father was a day laborer. Koch started an apprenticeship as a tailor and worked at the same time as a copyist at the local court of Mohrin. He later worked at the Oberlandesgericht of Soldin and the local court of Reppen. Koch then passed his Abitur and studied under Savigny until 1825.

Wiley-Blackwell, Oxford. . Before the printing press, monastic copyists altered words or phrases they thought were odd, under the assumption that the copyist before them had made a mistake. This is what led to so much variety in standard texts like the Bible. After the globalization of the book from 1800 to 1970 came the rise of American writers and editors.

The papal bull was addressed to the bishops of Scotland ordering them to submit to the metropolitan authority of the Archbishop of York; the copyist made two other mistakes in the initials of bishops, so it is not totally reliable.Cockburn, Medieval Bishops, p. 6; Dowden, Bishops, p. 193. Cockburn speculated that M. might stand for Máel Ísu;Cockburn, Medieval Bishops, p.

Marchi did not reside with Reynolds until 1764. Known as a copyist, but unsuccessful in original portraiture, he tried at one time to establish himself at Swansea, but soon returned to the service of Sir Joshua, with whom he remained until the painter's death. Subsequently he was employed in cleaning and restoring paintings. Marchi died in London on 2 April 1808, aged 73.

The early 17th-century head of the house, Begtabeg, was a notable copyist who created one of the best manuscripts of the medieval Georgian epic The Knight in the Panther's Skin by Shota Rustaveli (Manuscript H-54, Georgian National Center of Manuscripts). Tatishvili, Lamara (2000), ბეგთაბეგ თანიაშვილი (მარტიროზაშვილი). In: "ვეფხისტყაოსნის" გადამწერნი. National Parliamentary Library of Georgia. Accessed on December 15, 2007.

Anna Pasetti was an Italian pastellist active between 1800 and 1806. Pasetti, a deafmute, lived in Venice and assisted Lodovico Gallina, Jacopo Guarana, and Pietro Tantin as a copyist of both paintings and engravings. Giovanni Antonio Moschini singled her out among Venetian women pastellists. Two pieces, both copies after prints by John Raphael Smith, are in the collection of the Ca' Rezzonico.

The section containing the Boniface correspondence dates from the ninth century, and was most likely copied in Mainz—Boniface had been appointed archbishop of Mainz in 745, and the copyist used originals of the letters available there.Unterkircher 9. The codex was later moved to Cologne, where it was marked (on 166v) as belonging to the library of the Cologne Cathedral.Unterkircher 13.

For these, which were not found in the x or y codices, the copyist must have had access to the originals in Mainz. An odd insertion is a poem by an unknown cleric to Aldhelm, and four poems by Aldhelm,Unterkircher 33. followed by a selection from Isidore of Seville's De ecclesiasticis officiisMeyvaert 552. and a few prayers (40-48r).

He became a functionary in the Straits Settlements next. He became a scribe and copyist for Sir Stamford Raffles, followed by, in 1815, becoming translator of the Gospels and other text for the London Missionary Society. He also worked with the American Board of Missions. Abdullah set sail for Mecca from Singapore in 1854 with the intention of completing the Hajj pilgrimage.

The only proof offered for such an identification is a note appended to the manuscript of the letter to the effect that "the author afterward became a Christian". This note, not in another manuscript ("Cat. Leyden", pp. 276, 354), was probably added by a later copyist who was misled by the similarity of the names (see Joshua ben Joseph ibn Vives al-Lorqui).

Wallis and her sister traveled to Scotland to visit family. She enrolled in the Edinburgh School of Arts in 1878. While she was a copyist at the Scottish National Gallery she was able to earn a living making copies of famous art works. In 1880, Wallis' mother became ill and the sisters returned home to take care of the farm.

The script, once common all over Spain, was disappearing in central Spain by 1125 and was all but extinct there by the 1140s, replaced by the script called francesa and adopted from France. Since the Visigothic 'a' had an open top, it resembled the French 'u'. The copyist was probably working from a Visigothic original (or faithful copy).Fletcher, 95-96.

In 1855, she moved to Washington D.C. and began work as a clerk in the US Patent Office;Clara Barton, Dictionary of Unitarian & Universalist Biography this was the first time a woman had received a substantial clerkship in the federal government and at a salary equal to a man's salary. For three years, she received much abuse and slander from male clerks. Subsequently, under political opposition to women working in government offices, her position was reduced to that of copyist, and in 1856, under the administration of James Buchanan, she was fired because of her "Black Republicanism". After the election of Abraham Lincoln, having lived with relatives and friends in Massachusetts for three years, she returned to the patent office in the autumn of 1861, now as temporary copyist, in the hope she could make way for more women in government service.

Uncertainty continues over several corruptions in the text that affect key data, such as the structure and size of the Comitia Centuriata in early Rome as described by Scipio in Book II. Another key area of debate is the one corrective hand present in Vat Lat 5757; some scholars believe the corrective hand was a more skilled copyist, perhaps a supervisor, who had access to the same text as the copyist and was correcting the first work; others have concluded that the corrective hand had access to a different version of the text. It is worth noting that in one letter to his friend Atticus, Cicero asks him to make a correction to the copy of De Republica Cicero has sent him. This correction is not present in the Vat Lat 5757 version of the text.

She also created several portraits that were not exhibited: the portraits of Mrs. Oudenarde, the Latour Maubourg Countess, violinist Pierre Rode, and Camille Jordan, whose portrait was engraved by Mullier. Godefroid was one of the many women artists that Empress Joséphine de Beauharnais patronized. She also worked as a copyist and reproduced several works for the French government, including the portraits of Louis XVIII and Charles X.

Once there, Rosario helped support her family by making copies of the Old Masters at the Museo del Prado. She continued her work as a copyist at the Real Academia de Bellas Artes de San Fernando and in various private collections. She also participated in exhibitions there and at the Liceo Artístico y Literario. In 1840, the Academia named her an "Academician of Merit".

Aimoin (died 9 June 889) was a monk of Saint-Germain-des-Prés from before 845. From 872 he was the abbey's chancellor (archivist) and chief copyist, overseeing the scriptorium. He was the teacher of Abbo Cernuus."871. Aimoin, moine de Saint-Germain des Prés" in Auguste Molinier, Les Sources de l'histoire de France – Des origines aux guerres d'Italie, I, Époque primitive, mérovingiens et carolingiens.

The Borghese Venus (Louvre) Borghese Venus, 2nd century CE Roman marble copy of the Aphrodite of Cnidus (Capitoline Venus subtype). Once in the Borghese collection, it now resides in the Louvre Museum thanks to its purchase by Napoleon. The accompanying Cupid and dolphin are both classical attributes of Venus but are probably the addition of the Roman copyist. Its accession number is MR 369 (Ma 335).

New Testament scholar Robert M. Price speculates that Josephus may have considered James a fraternal brother rather than a sibling.Robert M. Price. The Christ Myth Theory and its Problems, Atheist Press, 2011, p. 132, Richard Carrier argues that the words "who was called Christ" likely resulted from the accidental insertion of a marginal note added by copyist between the time of Origen and Eusebius.

1581, leaving the last four Masses incomplete. Forrest's copies of Masses 15–18 were completed by John Baldwin, a singing-man at St George's Chapel, Windsor Castle and later a member of the English Chapel Royal.Bergsagel (1963) 245 Baldwin was a prolific copyist who also copied the Baldwin Partbooks (Oxford, Christ Church MS. Mus. 979–983), part of the Dow Partbooks (Oxford, Christ Church MS. Mus.

After the failure of the stagecoach business, John Mullan moved to San Francisco, and Rebecca moved to be with him. John found a job in a local bank. Rebecca, too, found a job at the bank, working as a copyist, and together the two earned $200 to $300 a month. Mullan also spent part of 1867 working for the Surveyor General of the United States.

It was also suggested that the author was Justo Pastor Justiniani, but evidence later surfaced indicating that he served only as a copyist. Similarly, Juan Espinoza Medrano (aka El Lunarejo), a celebrated mestizo writer of the 17th century, was also considered a possible author. The lack of any documentary evidence supporting these possibilities has been taken to indicate a more likely pre-colonial origin for the play.

For larger scale works, a copyist was often employed to hand-copy individual parts (for each musician) from a composer's musical score. With the advent of the personal computer in the late 1980s and beyond, music typesetting could now be accomplished by a graphics computer software made for this purpose, such as Dorico, Finale or Sibelius, which has reduced the necessity of music manuscripts.

Tejaratchi's zine work was displayed as part of The Copyist Conspiracy: An Exhibition of Zine Art, an exhibition of zine art and zine artists held in San Francisco on November 19, 2005. BoingBoing editor Cory Doctorow said that the title of his first published work, the short story Craphound, was inspired in part by Tejaratchi's zine. Doctorow also registered the domain craphound.com for his personal website.

The two sonatas were composed between May and December 1815. The first copy by Beethoven's copyist Wenzel Rampl was made in late 1815 but was then subject to further alterations by Beethoven. A subsequent ‘good’ copy was supplied in February 1816 to Charles Neate for proposed, though unrealized, publication in London. Beethoven then made further small alterations prior to their eventual publication by Simrock in Bonn.

He learned to paint by working as an art restorer and copyist. He became very skilled at copying older masters such as Annibale Carracci, Titian and Caravaggio. It is said that Poussin could not distinguish Caroselli's copy of a Madonna by Raphael from the original. It was rumored that he was also an art forger and passed some of his copies off as originals.

Jarvis himself has acknowledged about his conclusions and about the general portrayal of Anna Magdalena Bach's role in music history, "My conclusions may not be wholly accurate, but the way in which tradition has put Anna Magdalena into this pathetic role [as merely the copyist] ... is rubbish." Jarvis published the book Written by Mrs Bach in 2011; it was made into a documentary film in 2014.

The document was written by an unknown copyist, although the roughness of the hand suggests that the scribe was a student. The measurements of "fragment a" are 80 by 113 mm and of "fragment b" 78 by 80 mm. The text is written in a large round upright uncial hand. The verso side of the papyrus contains a list of names and amounts of money.

Self Portrait by Irene Parenti Duclos. Irene Parenti Duclos (or Irene Parenti, or her academic nickname Lincasta Ericinia) (1754–1795) was an Italian painter and poet. Her work as an expert copyist of old master paintings was highly valued in her era, and brought her honors from several Italian art academies. Moreover, she achieved particular renown as a pioneer in the revival of encaustic painting.

Treshow was born in Copenhagen, the son of clerk in chatolkassen Andreas Treshow (1794–1846) and Anna Maria Wendel (l) (1797–1864). Treshow was in 1854 employed at Holmen, first as a copyist and from 1861 as a clerk. He was appointed as overkrigskommissær in 1869. In 1891 he was appointed as head of the Royal Dockyard's accounting department, a position otherwise reserved for a navel officer.

The grandmother also constantly took care of the purchase of new books. After her school education Pohl took a job as a reader with a highly gifted but blind lady in Breslau. This attempt to earn money on her own failed because she was homesick. Back in Krappitz she found work and income as a copyist of embroidery patterns in a small carpet factory.

Although a leadership for a medical corp was created, an error by the copyist in the creation of the military regulations of the Confederacy omitted the section for medical officers, and none were mustered into their initial regiments. Many physicians enlisted in the army as privates, and when the error was discovered in April, many of the physicians were pressed into serving as regimental surgeons.

Drexel 5856 dates from 1720-1721. Most of Handel's keyboard music was composed in the decade 1710-1720, an observation we know from a study of his handwriting and paper studies. John Christopher Smith became Handel's copyist beginning in the years 1716-1717. Along with two other manuscript, Terence Best surmises that Drexel 5856 was prepared for a patron who was a friend of the composer.

Constantin Sion (1796-1862) was a Moldavian chronicler. The fifth son of court official (bașceauș) Iordache Sion and his wife Catrina (née Danu), he was the descendant of free peasants (răzeși). He was educated at Iași and knew Greek well. His positions included copyist at the treasury, messenger (ceauș) and guildmaster (staroste) at Focșani, estate manager in the Putna area and head of the Focșani public administration.

If their eye skips to an earlier word, they may create a repetition (error of dittography). If their eye skips to a later word, they may create an omission. They may resort to performing a rearranging of words to retain the overall meaning without compromising the context. In other instances, the copyist may add text from memory from a similar or parallel text in another location.

If their eye skips to a later word, they may create an omission. They may resort to performing a rearranging of words to retain the overall meaning without compromising the context. In other instances, the copyist may add text from memory from a similar or parallel text in another location. Otherwise, they may also replace some text of the original with an alternative reading.

If their eye skips to an earlier word, they may create a repetition (error of dittography). If their eye skips to a later word, they may create an omission. They may resort to performing a rearranging of words to retain the overall meaning without compromising the context. In other instances, the copyist may add text from memory from a similar or parallel text in another location.

Sibelius informed him—the note survives—that the complete manuscript would be about eight times as long as this excerpt, indicating that the symphony might be on a larger scale than any of its seven predecessors. Aino Sibelius later recalled other visits to Voigt that autumn at which Sibelius, whose mood she described as gloomy and taciturn, delivered further piles of music manuscript to the copyist.

If their eye skips to an earlier word, they may create a repetition (error of dittography). If their eye skips to a later word, they may create an omission. They may resort to performing a rearranging of words to retain the overall meaning without compromising the context. In other instances, the copyist may add text from memory from a similar or parallel text in another location.

616 (six hundred [and] sixteen) is the natural number following 615 and preceding 617. While 666 is called the "number of the beast" in most manuscripts of Revelation ,“…a copyist may have intentionally changed the number to 616 under influence from the Latin form of the name Nero, which, transcribed into Hebrew characters…, produces 616.” () a fragment of the earliest papyrus 115 gives the number as 616.

If their eye skips to an earlier word, they may create a repetition (error of dittography). If their eye skips to a later word, they may create an omission. They may resort to performing a rearranging of words to retain the overall meaning without compromising the context. In other instances, the copyist may add text from memory from a similar or parallel text in another location.

Klakowich observed that the manuscript's attributions to Heardson lack the title "Mr." which strongly suggests that Heardson himself was author and copyist. Bailey noted that, although the name Thomas Heardson is associated with the manuscript, there were several people with that name from which to choose. Basing her research on that of Klakowich, Bailey narrowed down the choice to one person, information about whom is elusive.

Morris was born on June 8, 1823 in Salem, Massachusetts. At the age of 15, Morris went to work as a household servant for the abolitionist lawyer, Ellis Gray Loring. When Loring's regular copyist, a white youth, neglected his duties, Morris took over for him. Impressed with Morris's intellect, Loring tutored him in the law, and in 1847 presented him for admission to the Massachusetts bar.

If their eye skips to a later word, they may create an omission. They may resort to performing a rearranging of words to retain the overall meaning without compromising the context. In other instances, the copyist may add text from memory from a similar or parallel text in another location. Otherwise, they may also replace some text of the original with an alternative reading.

He went to Italy in 1774, arriving in Rome by June of that year. In 1777-8 he lived with the sculptor Thomas Banks and his wife in the Casa Sopra Stalla di Mignanelli. As well as attempting to forge a career as a history painter, Durno worked as a copyist in Rome, his productions including a large copy of Raphael's Transfiguration. This was completed by 1779.

Henry Hall was born in Peckham, South London. He won a scholarship to Trinity College of Music where he studied trumpet, piano, harmony and counterpoint. His first job was as copyist at the head office of the Salvation Army for which he wrote several marches. During World War I, Hall served with the Royal Field Artillery and played trumpet and piano in the regimental band.

Amazon Sosicles type (Capitoline Museums). Sosicles (Ancient Greek: Σωσικλῆς) was a Roman sculptor in the mid 2nd century AD. He worked as copyist of ancient Greek masterpieces. He is known from his signature shown on a marble plinth from Tusculum and the column of a marble statue of a wounded Amazon (originally in the collection of Alessandro Albani, Inv. D19; now in the Capitoline Museums, Inv.

Alex Lacamoire (born May 24, 1975) is an American musician, arranger, conductor, musical director, music copyist, and orchestrator who has worked on many shows both on and off Broadway. He is the recipient of multiple Tony and Grammy Awards for his work on shows such as In the Heights (2008), Hamilton (2016), and Dear Evan Hansen (2017). Lacamoire was awarded the Kennedy Center Honor in 2018.

Self-portrait, 1613 Louis Finson, Lodewijk Finson or Ludovicus Finsonius (between 1574 and 1580 – 1617) was a Flemish painter, draughtsman, copyist and art dealer. He painted portraits, religious compositions, allegorical paintings and genre scenes. Moving to Italy early in his career, he became one of the first Flemish followers of Caravaggio whom he knew personally in Naples. He produced a number of copies after works by Caravaggio.

215 Fortunately, he was befriended by the Duke of Westminster, who was a fan of his work, and was given exit papers to go to America, although his money was impounded. He arrived in New York City in December 1914, with only $32. Unable to find work, he resorted to menial jobs such as a copyist for Harms Music Publishing which quickly led him to jobs orchestrating stage musicals.

She was the daughter of Sir Richard Maitland of Lethington and Thirlstane (1496 – 1 August 1586) and Mariotta (or Margaret) (d. March 1586), who was the daughter of Sir Thomas Cranstoun of Corsbie, Berwickshire, Scotland. Mary had three brothers and three sisters The Maitland folio and quarto manuscripts are written in Italic and Secretary hands. John Pinkerton was the first to assert that Mary or Marie Maitland was the copyist.

During 1901/02 he undertook a period of military service, which he was able to do while continuing to be based in Florence. In 1902 he took a job with the Credito Italiano (bank). From there he moved on, in 1904, to a job as a copyist in the offices of the city hospital. Whenever he was not working, night and day, he was studying the visual arts.

It was probably a copyist, thinking that Akairos was a mistake and trying to correct it, that led to the appearance of Eucaerus. Eucaerus translates to "well-timed", while Akairos means "the untimely one". Josephus did not explain the origin of Akairos. Such popular nicknames are never found on coins, but are handed down only through ancient literature; neither Eucaerus or Akairos was used by Demetrius III on his coinage.

Al-Nadim calls the Ash'arites al- Mujbira, and harshly criticises the Sab'iyya doctrine and history. An allusion to a certain Shafi'i scholar as a 'secret Twelver', is said to indicate his possible Twelver affiliation. Within his circle were the theologian Al-Mufid, the da'i Ibn Hamdan, the author Khushkunanadh, and the Jacobite philosopher Yahya ibn 'Adi (d. 363/973) preceptor to Isa bin Ali and a fellow copyist and bookseller (p.

In 1939 Spinner emigrated to England and spent the war years in Yorkshire, working part of the time as a lathe operator in a locomotive factory in Bradford. From 1947 he worked as a music-copyist and arranger for Boosey & Hawkes , moving to London in 1954. In 1958 he succeeded Erwin Stein as editor at Boosey & Hawkes, later becoming Chief Editor . He remained with Boosey & Hawkes until his retirement in 1975.

There he supported himself while composing by working as a music copyist and as bar pianist at the Grand Hotel in Oslo. Bibalo’s international breakthrough came with his opera The Smile at the Foot of the Ladder (1962) based on Henry Miller's novel; the world premiere in Hamburg in 1965 garnered considerable international media attention. Bibalo followed up with another opera, Miss Julie (1975) based on August Strindberg's play.

He received a prize for architectural drawing in 1743. From 1748 to 1749, he lived in Paris and Valenciennes, where he was a copyist for a merchant. After returning to Brugge, he was commissioned to paint a large landscape in the Town Hall at Kortrijk, modeled after the work of the Dutch master, Philips Wouwerman. Later, he created some large murals and bas- reliefs, many featuring horses and battlefields.

The copyist left spaces for illustrations of maps, and then sent it to a painter's workshop to have them inserted. But the painter designed only a partial map, which appears to be what the author believed was the shape of the southwestern Iberian peninsula. The map is incomplete and has no names, and is perhaps the wrong map for the space in the papyrus. This ruined the roll.

Memnon of Heraclea says that King Prusias I of Bithynia (237-192 B.C.) captured from the Heracleans the town of Kieros, united it to his dominions and changed its name to Prusias."Frag. histor. Graec.", coll. Didot, frag. 27 and 47; fragment 41 treats of Kios/Cius or Guemlek, also called Prusias, and not of Kieros, as the copyist has written; this has given rise to numerous confusions.

After training in the Royal Conservatory, he worked in the 1960s and early 1970s as a freelance trombonist in Germany and his home country. In 1972 he founded the Hague Trombone Quartet with Arthur Moore and the brothers Bart and Erik van Lier. In 1980 he played with the Pretoria Symphony Orchestra in Johannesburg, South Africa. In the 1990s he worked as a music copyist for the famous Metropole Orchestra.

'Johann Christoph Schmidt (3 March 1683 – January 1763) was a musician and music copyist to Handel. After settling in London, he anglicized his name to John Christopher Smith; to avoid confusion with his son of the same name, he is referred to as John Christopher Smith sr. He may also be referred to as "John Christopher Smith the elder".Highfill, Philip H.; Burnim, Kalman A.; Langhans, Edward A. (1973).

She had a brother, Emil Diebitsch, who later became the mayor of Nutley, New Jersey, and a sister Miss Marie Diebitsch. Josephine attended Spencerian Business College and graduated as the class valedictorian in 1880. She found herself qualified and on track for a copyist, clerk, and tallyist position at the Smithsonian Institution and the United States Department of the Interior. Josephine wrote My Arctic Journal (1893) during her 1891-1892 expedition.

For discussion see Edge (2001:4). Later in 1787 (17 October), an advertisement in the Wiener Zeitung announced that manuscript copies of the Rondo (price 1 florin) were available from the copyist Johann Traeg, who had previously issued three of Mozart's piano concertos.See Edge (2001:797). Traeg frequently produced unauthorized copies of composers' works; there is no evidence whether or not his version the Rondo was created with Mozart's cooperation.

Remigius van Leemput, known in England simply as Remee,Name variations: Remee van Lemmput, Remi van Lemmput, Remigius van Lemmput, Remee van Lemput, Remi van Lemput, Remigius van Lemput, Remee van Vallemput, Remi van Vallemput, Remigius van Vallemput, Remigeus Vanlimpitt (19 December 1607 – 4 November 1675) was a Flemish portrait painter, copyist, collector and art dealer mainly active in England. Richard Jeffree. "Leemput , Remi van." Grove Art Online.

Eiríkur, p. 90. In addition, his uncle had been a scribe and his grandfather Ketill Jörundsson was a very prolific copyist. When he started collecting, most of the large codices had already been removed from Iceland and were in either the royal collection in Copenhagen or private collections in various Scandinavian countries; only in 1685, at Bartholin's urging, did the king forbid selling Icelandic manuscripts to foreigners and exporting them.

Assisting were Gullers' then wife Ingvor and Magda Persson, a skilled copyist, both recruited from Jan de Meyere's studio. After few years at St. Eriksgatan, Studio Gullers moved into one of the 1906 Kungstorn tower blocks at Kungsgatan 30. Studio Gullers AB Gullers Production Ltd was also a book publisher. On September 1, 1939, Gullers was enlisted at Västerås in 1940 and later was deployed as a war photographer.

In 1920, the Tatar ASSR was established and Kazan became its capital. In 1922, Musa, along with other Tatar poets, moved to Kazan. During this time, verses that he wrote include "The Red Host", "The Red Holyday", "The Red Hero", "The Red Way", "The Red Force", and "The Red Banner". In Kazan, Cälil worked as copyist for the Qızıl Tatarstan newspaper and studied at rabfak of the Oriental Pedagogical Institute.

Forscutt became a close personal friend of Joseph Smith III. Forscutt later served as a full-time missionary for the RLDS Church in England and the Society Islands. He was a copyist in the process that led to the publication of the Joseph Smith Translation of the Bible in 1866. Forscutt composed a number of hymns and was the editor of Saints' Harmony, an RLDS Church hymnal published in 1889.

Casimir Gregory Stapko (March 14, 1913 – March 12, 2006) was a portrait painter and copyist. Many of his copies are from paintings in The National Gallery of Art. He has his paintings in the White House, Blair House, Arlington House, U.S. embassies and government agencies, as well as the walls of businesses and private homes around the world. Casimir Gregory Stapko was born in Milwaukee to Polish immigrants.

Like other manuscript books, herbals were "published" through repeated copying by hand, either by professional scribes or by the readers themselves. In the process of making a copy, the copyist would often translate, expand, adapt, or reorder the content. Most of the original herbals have been lost; many have survived only as later copies (of copies...), and others are known only through references from other texts.Arber, pp. 271–285.

The work is named for its first word, "Tanya", which is Aramaic for "it is stated in a baraita." It is believed to have been authored by Jehiel ben Jekutheil Anav (full name: Jehiel ben Jekutheil ben Benjamin Ha- Rofe Anav), a 13th-century Rabbinic author, manuscript copyist, and liturgical poet. The work was first published in Mantua, and was re-printed in Cremona, 1565, and later in two other editions.

That same year, he and Sewall successfully argued before the Massachusetts Supreme Court in Commonwealth v. Aves that any slave who was brought to a free state by a slaveholder could not be forced to leave. In the late 1830s, Loring hired a 15-year-old African-American youth named Robert Morris as a household servant. When Loring's regular copyist, a white youth, neglected his duties, Morris took over for him.

Concurrently, he was a copyist for arranging and producer legends: Charles Stepney, Donny Hathaway, Gene Barge, Richard Evans – exposing him to wide range of artists and building a strong relationship with Chess Records, Brunswick Records, Curtom Records, Mercury Records, and various artists across the Chicago music scene. Eventually Pieces of Peace disintegrated during a tour of Southeast Asia, mostly due to homesickness and pressure over managerial disputes, amongst other things.

Until 1520, the city flourished, becoming the second largest population centre in the territory of the present Netherlands, after Utrecht. The city was also a center of music, and composers, such as Jheronimus Clibano, received their training at its churches. Others held positions there: Matthaeus Pipelare was musical director at the Confraternity of Our Lady; and renowned Habsburg copyist and composer Pierre Alamire did much of his work at 's-Hertogenbosch.

In 1943, after a brief spell as an insurance clerk, Goodwin joined Campbell, Connelly and Company, a music publisher. His job was a copyist and arranger and went on to work in that role for the BBC. He entered the world of movie music through documentary films, which he said was "a very good training". He worked as a ghostwriter for Phil Green, Stanley Black, Geraldo and Peter Yorke among others.

He started writing songs and plays and proposed them to Sit. His talent was soon being recognized and Sit invited him to join his opera company as playwright. He became famous and arrogant and gave himself a pen name: Mr. Thirteen. He was extremely difficult to work with and no one was willing to serve him until Tang Ti-sheng () came and worked as a copyist and assistant to him.

He painted oil and fresco, and was an expert copyist, an ornate painter and an elegant engraver. He also painted for churches of Turin and Parma. He etched two plates: Portrait of Correggio and Apotheosis of a Princess in which the portrait was by Giovanni Battista Bonacina, the other part of the plate by Besozzi; after Cesare Fiori. He died in Milan on the 6th of October 1706.

Gemzøe was born in Copenhagen, the son of copyist in the Treasury Carl Henrik Peter Gemzøe (1778–1840) and Andriette Frederikke Opitius (c. 1778 – 1830). He was endorsed to pursuit his talent for drawing by Wilhelm Bendz and was admitted to the Royal Danish Academy of Fine Arts in 1829 while in the same time studying privately under Christoffer Wilhelm Eckersberg. He qualified for the Academy's Model School in 1832.

Macray immediately edited and published all three plays together. The handwritten manuscripts of the first two plays consist of twenty folio leaves, and were written imperfectly by a copyist who may have had trouble at times reading his original. A handwritten manuscript of the third play, The Return from Parnassus, or the Scourge of Simony, also exists. It was found in an old family library, according to Macray.

Lakshmikantam worked as a copyist for 2.5 years in the sub-court of Vijayawada. After finishing his BA, he taught at Bandaru Noble School and later at Bandaru Noble College until 1926. After a brief stint at Madras Oriental Manuscript Library as a researcher in 1927. Laksmikantam served as the Head of Telugu department, a division of Andhra University College of Arts and Commerce from 1931 through 1949.

The copyist, Mr. Kauppi, is staying with us > and writing night and day ... It is only because of Janne's [Sibelius] > energy that we are making progress ... We lit a lamp in the dining room, a > chandelier in the living room, it was a festive moment. I didn't dare say a > word. I just checked that the environment was in order. Then I went to bed > and Janne stayed up.

He served as a copyist, translator and interpreter. At the beginning, he helped classify Omaha and Osage artifacts. He advanced to conducting professional-level research with Fletcher, and also acted as her translator and interpreter. He graduated from the National University Law School (now George Washington University Law School) in 1892 and earned a master's degree there in 1893. In 1891 Fletcher had informally adopted the 34-year-old La Flesche.

Transcript A was made by an unidentified professional copyist, while B was made by Thorkelin himself.Beowulf and Judith, pp. xxf The third transcript (MS Junius 105, currently in the Bodleian Library) is of the Judith poem and was made by Franciscus Junius between 1621 and 1651. A careful copy of the poem with only occasional errors, Junius' transcription preserves the text of the poem before it suffered fire damage.

Another variation built out of Diabelli's opening three notes, this one quiet and graceful. Kinderman points out how closely related Variations 11 and 12 are in structure. The opening of this variation appears in the movie Copying Beethoven as the theme of the sonata written by the copyist that Beethoven first ridicules then later, to redeem himself, begins to work on more seriously. Brendel's title for this variation is Innocente' (Bülow).

Collin left the Class Lottery when his father died. His contacts among high-ranking civil servants got him a position as a volunteer in the Treasury (Rentekammeret) where he mainly worked in the agriculture departments. In 801, he was appointed as first copyist and then clerk. In 1807, he was appointed as bank commissioner and in 1812 as Assessor in Finanskollegiet and in 1916 as a finance deputy (deputeret for finanserne).

Haydn's original autograph score has been lost since 1803. A Viennese published score dated 1800 forms the basis of most performances today. The score used for performances by the Tonkünstler-Societät in 1799, with notes in the composer's hand, is kept in the Vienna State Library. There are various other copyist scores such as the Estate, as well as hybrid editions prepared by scholars during the last two centuries.

Scholars have identified three different hands in the manuscript. Their lack of a definitive identity has given musicologists a chance to evaluate and hypothesize based on available evidence. Most scholars suspect that the first scribe (who entered most of the works and the index at the front of the volume) was Thomas Heardson. Klakowich stated that the first copyist was responsible for nos. 1-76 and 78-86.

The earliest sources for attempts of orchestrating the cycle Les quatre élémens are written in the hand of Liszt's copyist, August Conradi, in early 1848.Raabe (1931), p. 70 A score exists in the hand of Liszt's disciple and amanuensis Joachim Raff of an Ouvertüre des Quatre élémens with a four-page correction in Liszt's hand, headed "4 Elements Seite 25", and datable to 1850.Bonner (1986), pp. 101-3.

John Tzetzes, Proleg. in Lycophron Those epigrams of Alcaeus which bear internal evidence of their date were written between the years 219 and 196. Of the 22 epigrams in the Greek Anthology which bear the name of Alcaeus, two are written "Alcaeus of Mytilene"; but most scholars take this to be the addition of some ignorant copyist. Others bear the name of "Alcaeus of Messene," and some of Alcaeus alone.

Carel Beschey was born in Antwerp the son of Jacob Beschey and Maria-Theresia Huaert.Jacob Andries Beschey at the Netherlands Institute for Art History Carel Beschey at the Netherlands Institute for Art History Carel had three brothers who all became painters. The best known was Balthasar who was a landscape, history and portrait painter. His younger brothers were Jacob Andries, a history painter, and Jan Frans, a copyist and art dealer.

It also records the epitaph of Abbot Sichard (died 842), which was only re-discovered in 1959, but which authenticated the Libellus. Although the anonymous author was apparently a good copyist, it is impossible to properly assess his historical accuracy for many details he chronicles, but a comparison with the Regestum Farfense (a massive register of Farfa's charters, compiled by Gregory of Catino) shows that his outlines are correct.

Ohtgaga can be heard as Jutegaga and understood as the area settled by Jutes in and near the Meon Valley of Hampshire. The term'-gaga' is a late copyist mistranscription of the Old English '-wara' (people/ men of) the letter forms of 'w' wynn and the long-tailed 'r' being read as 'g'. A number of territories, such as the Hicca, have only been located by means of place-names evidence.Kirby, Kings, p. 10.

Self-portrait Jacques Ignatius de Roore or Jacobus Ignatius de RooreName variations: Jacobus Ignatius Roere, Jacques Ignatius de Roere, Jacobus Roré, Jacques (Ignace) de Roore, Droré (Antwerp, 20 July 1686 – The Hague, 17 July 1747) was a Flemish painter, copyist, art dealer and art collector who worked in the Southern Netherlands and the Dutch Republic.Jacques Ignatius de Roore at the Netherlands Institute for Art History Dominique Vautier. "Roore, Jacques de." Grove Art Online.

He was a competent copyist, reproducing works such as Cotman's St. Martin's Gate, Norwich and his Yarmouth Jetty, as well as paintings by John Crome and Robert Dixon. His artistic output was influenced by Edward Thomas Daniell's drypoint technique, whose etchings have a dark, rich quality. His works have at times been confused with those of John Sell Cotman, John Crome and John Thirtle. The local Norwich Mercury praised his powers as an amateur artist.

William Blundell (born 1947) is an Australian painter and art copyist. He painted copies, which he called innuendos, for Sydney art dealer Germaine Marie François Toussaint Curvers. Blundell painted works with the style of, among others, Australian artists Charles Blackman, Arthur Boyd, William Dobell, Russell Drysdale, Sidney Nolan, Lloyd Rees, Arthur Streeton, Elioth Gruner, Brett Whiteley and also Claude Monet. According to Blundell, he sold them to Curvers as copies for decorative purposes only.

Upon arrival in London, Ralph unsuccessfully sought to find work as a copyist, editor, or actor (Okie 874). Franklin loaned Ralph money for living expenses, and Ralph eventually found work as a village school master in Berkshire, under Franklin's name. Ralph had taken a milliner for a mistress in London, and when he left for Berkshire he asked Franklin to take care of his mistress. Franklin attempted to do so by making advances to her.

Schoolmaster Meyer, a strict and pedantic man, disliked Hauser's many excuses and apparent lies and their relationship was thus rather strained. In late 1832, Hauser was employed as a copyist in the local law office. Still hoping that Stanhope would take him to England, he was very dissatisfied with his situation, which deteriorated further when his patron, Anselm von Feuerbach, died in May 1833. This certainly was a grievous loss to him.

These manuscripts were copied at either Tel Keppe or Alqosh from a series called Stories of Saints and Martyrs. One manuscript was known to be copied at Alqosh in 1881 by a man named Abraham of the Qāshā (Priest) family. His copy was based on a nineteenth-century manuscript written by master copyist Īsā Aqrūrāiā. Jean Baptiste Abbeloos had compared the manuscript with an older one he had received from Bishop G. Khyyath of Amida.

Gaspar Jacob van Opstal is known for his paintings of portraits and biblical scenes. His father had been a copyist of the works of Rubens and had instilled in Gaspar an admiration for that Flemish artist which influenced his style and subject matter. He was known as a good colorist and had a free brush technique. He drew his figures very accurately and was able to depict their emotional state very well.

Title page of the Hexameron, copied by Vergecio Angelo Vergecio (, ; 1505–1569) was a Greek copyist from Crete active in Venice and France. He became a royal scribe for Francis I of France and his successors, was responsible for copying over fifty Greek manuscripts, and played a role in the dissemination of Greek among the humanist circles in France. His handwriting formed the basis of the grecs du roi typeface designed by Claude Garamond.

Though she spent time in New York and Connecticut, Mellen lived primarily in Massachusetts, and many of her paintings find their source in the Massachusetts and Maine landscapes and seascapes. In 1840, she married the Rev. Charles W. Mellen, a Universalist minister at a number Massachusetts churches prior to his death in 1866. As a copyist, Mellen created studies and copies of the work of her friend and mentor Fitz Henry Lane.

He was born in Venice, the son of Augustus Wolf, a copyist of the works in the Art Gallery of Monaco. His older brother was the Italian composer Ermanno Wolf-Ferrari. Teodoro studied until 1895 at the Academy of Fine Arts of Venice, where he studied with Guglielmo Ciardi and Pietro Fragiacomo. He returned to Monaco in 1896, where he was influenced by the symbolist Arnold Bocklin and he befriended Fritz Erler and Leo Piitz.

Madsen was a paralegal in Esbjerg. He briefly worked for the By- og Herredsret in Sæby and Frederiksberg Birk in 1909-10 before his employment as an assistant in the Ministry of Financial Aggairs later in 1910. He worked as a copyist at the Landsoverret and Hof- og Stadsret-ten from 1015 and as a police accessor in Copenhagen from 1919. He was on 25 July 1919 licensed as a high court attorney (Overretssagfører).

The society was founded with the physician John Gregory, organist Andrew Tait, and music copyist David Young. For almost 60 years, Peacock acted as a director and occasional violinist for the society, with profits from private concerts going to charity. Peacock's teaching career in Aberdeen lasted five decades. Many of his students included the Scottish nobility; Peacock firmly believed that dancing was a vital activity for young people to learn grace and manners.

Either Hippolytus, or an early copyist of his, makes an attempt to solve the mystery of the unspoken names by writing at full length the letters of the name χρειστός; χεῖ, ῥώ, εἴ, ἰῶτα, σίγμα, ταῦ, οὐ, σάν; but we have here only twenty-four letters instead of thirty, so we must be content to remain in ignorance of what would seem to have been one of the most valuable secrets of this sect.

When the copyist ran out of free text space, he listed them on separate pages or in separate works. Today's equivalents are the chapter notes or the notes section at the end of the book. Notes are merely a continuation of the practice of creating or copying scholia in printed works, although the incunabula, the first printed works, duplicated some scholia. The works of Homer have been heavily annotated from their written beginnings.

The manuscript appears to be the work of a single scribe. It is not work of a professional copyist but of a secretarial hand, consistent in its use of italics. Based on the idiosyncratic natures of letters such as "e", "r" and "c," Cutts attributes an Italian influence to the scribe. An unusual attribute of this scribe is that he tends to write v for u, resulting in words such as "thov" (thou).

In regard to the widely reported raid of Hudhayl, Ibn Sayyid al-Nas' transmission is nearly identical to the narrations of Muhammad al-Bukhari himself, save seven small differences, six copyist errors and one difference in a single word.Nicolet Boekhoff- van der Voort, "The Raid of Hudhayl: Ibn Shihab al-Zuhri's Version of the Event." Taken from Analysing Muslim Traditions: Studies in Legal, Exegetical and Maghāzī Ḥadīṯ, pg. 325. Ed. Harald Motzki.

Unsurprisingly, few English composers are represented in his manuscripts. During the 1520s Alamire was a diplomat and courtier in addition to continuing his activity as a music illustrator and copyist. He carried letters between many of the leading humanists of the time. Erasmus described him as "not unwitty", and Alamire's frequent scurrilous commentary on contemporary singers and players bears this out; many of his letters survive, and they are filled with epigrams and clever insults.

The statue is today exhibited at the Archaeological Museum of Olympia. Opposing arguments have been made that the statue is a copy by a Roman copyist, perhaps of a work by Praxiteles that the Romans had purloined.The career of the Olympia Hermes reputation was summed up by R. E. Wycherley, "Pausanias and Praxiteles" Hesperia Supplements 20 (Studies in Spartan Architecture, Sculpture and Topography. Presented to Ion A. Thompson, 1982), pp. 182–191.

Alessandro Mari (1650–1707) was an Italian painter of the Baroque period. While born in Turin, Mari soon left to train under Domenico Piola, next under Pietro Liberi, and again under Lorenzo Pasinelli; always uniting the practice of painting with the cultivation of poetry. He ultimately became a celebrated copyist, and a successful designer of capricci and symbolical representations, by which he established a reputation in Milan, and afterwards in Spain. He died in Madrid.

His popular scenes remained a fundamental component of his artistic activity until his death, granting him commissions from wealthy clients, most belonging to the Roman aristocracy. In addition to genre scenes, he painted sacred themes, such as can be found in altarpieces in Rome. According to Pascoli, Amorosi was also a skilled copyist of Renaissance artists and a restorer. His son Filippo also collaborated in his father's workshop and was a painter of genre scenes.

In Mark, Jesus says this was when Abiathar was high priest, while Samuel says the high priest was Ahimelech, Abiathar's father. Neither Luke and Matthew name the high priest. Mark may have simply made an error or had an incomplete or inaccurate copy of the Books of Samuel. A few early Marcan manuscripts omit this phrase, but most scholars think the name of the priest was originally written by Mark, not a later copyist.

Giovanna Tacconi Messini (1717–1742) was an Italian painter. A native of Florence, Messini was married to the pastellist Ferdinando Messini, sometimes called Messinia. She worked as a copyist and painted in oils and fresco, but was especially known for her talent as a portraitist in pastels. Her work was compared by one contemporary to that of Rembrandt and Jacob Jordaens, and her pastels after Raphael and Titian were highly sought after in her day.

He became the Munich court choirmaster in 1552, replacing Andreas Zauner. Daser earned extra money as a music copyist while he held the Kapellmeister position. In addition to conducting and composing, Daser was responsible for training boys for the choir, and for hiring vocal and instrumental musicians for the chapel. His position afforded him a salary, food and clothing allowances, and monetary bonuses on various occasions, not limited to the New Year.

Hendrik Mande was born in Dordrecht, Holland. While serving as a copyist in the court of Count Willem, he heard the preaching of Geert Groote on the Devotio Moderna, a movement seeking a return to an apostolic faith based on piety, humility, obedience, and simplicity of life. Mande became a convert and joined the Brethren of the Common Life, a group devoted to the principles of Devotio Moderna.Rik Van Nieuwenhove, Robert Faesen, Helen Rolfson, eds.

There he worked hard as a music copyist. The French dissolved the Electoral court of Bonn and disbanded its orchestra, but in the early months of 1803 the penniless Ries managed to reach Vienna, with a letter of introduction written by the Munich-based composer Carl Cannabich on 29 December 1802. Ries was then the pupil of Ludwig van Beethoven, who had received some early instruction at Bonn from Ries's father, Franz Ries.

Worked as copyist for Alexander Sumarokov. Published his fables and satirical poems. Wrote the libretto for the early Russian-language opera by Mikhail Sokolovsky The miller who was a wizard, a cheat and a matchmaker (Мельник - колдун, обманщик и сват — Melnik - koldun, obmanshchik i svat 1779 Moscow, c.1795 St Petersburg), which was popular for three decades, and established a new operatic genre in Russia – a comedy about everyday life with spoken dialogue.

For over 20 years, she was in constant demand as a copyist of famous paintings in the Louvre and other French galleries. Many of her original works and copies hang in collections of the most famous collectors of France and Europe; therefore, her works seldom come up for sale. In 1908, the French Government conferred the Ordre des Palmes Académiques on her. In 1926, she moved to Santa Ana, California with her adopted son.

In a later passage, he interprets "Roman scholar, that is Israel" as meaning a Roman Jew (Iudeus Romanus). This has been taken by some historians, including David Wasserstein, as showing that there was a Jewish scholar at Æthelstan's court, but Lapidge argues that this interpretation was a misunderstanding by the copyist, and his view has been generally accepted by historians.Wasserstein, "The First Jew in England", pp. 283–288; Lapidge, Anglo-Latin Literature, p.

Most of the criticals of his age described him as Horatius-copyist. He often used ancient verse forms and applied them successfully to the Hungarian language. Berzsenyi got classicist inspiration from Horace and the Hungarian Benedek Virág, but he couldn't possibly be successful in forcing the views of ancient poets on himself. Behind the antique verse forms it isn't the classical balance and harmony we can find: it is the longing for these qualities.

In response Pokrovsky only shakes his head and then passes away. Dobroselova's mother dies shortly afterwards, and Dobroselova is left in the care of Anna for a time, but the abuse becomes too much and she goes to live with Fedora across the street. Devushkin works as a lowly copyist, frequently belittled and picked on by his colleagues. His clothing is worn and dirty, and his living conditions are perhaps worse than Dobroselova's.

During his time in the East, he was a student of Khwaja Abdullah Ansari, and worked as a paid copyist for his hand-written editions of the collections of Muhammad al-Bukhari, Muslim ibn al-Hajjaj, Abu Dawood and Ibn Majah.Al-Dhahabi, , vol. 4, pgs. 27-29. Ibn al- Qaisarani died in Baghdad on a Friday while returning from another pilgrimage at Mecca, which he had performed multiple times during his life.

He offered her all his possessions and wept when she rejected him. He was said to continue to love her.Jacob Piatt Dunn, Massacres of the Mountains: A History of the Indian Wars of the Far West, Boston: Harper & Brothers, 1886, accessed 20 Dec 2010Brown, p. 24 Meeker left Colorado shortly after her rescue and went to work in Washington, DC. There she worked for a time as a copyist for the Office of Indian Affairs.

Regardless of what we do not know, Saadia traveled to Tiberias (home of the learned scribes and exegetes) to learn and he chose Abū 'l-Kathīr Yaḥyā ibn Zakariyyāʾ al-Katib al-Tabariya. The extent of Abū ʾl-Kathīr's influence on Saadia's thought cannot be established, however. Abū ʾl-Kathīr's profession is also unclear. al-Masʿūdī calls him a kātib, which has been variously interpreted as secretary, government official, (biblical) scribe, Masorete, and book copyist.

After regaining his freedom, Gama joined a military police force in 1848. After six years, Gama was discharged from the militia for insubordination as he admitted to threatening another officer who insulted him. In addition to being discharged, Gama was also imprisoned for thirty-nine days for insubordination. After being discharged, Gama worked at the police station in São Paulo as a copyist and was eventually promoted to the police secretariat from 1856 to 1868.

The working manuscript of the score of Beethoven's Ninth Symphony is attributed to two copyists, both of whom were male, not a single female as depicted in the film. The character of Anna Holtz is likely based at least partially on Karl Holtz, a young violinist and copyist who befriended Beethoven during the final few years of the composer's life and is said to have influenced decisions on pieces such as the Große Fuge.

Gutmann acted as copyist for a number of Chopin's works, and acted as a courier to take Chopin's letters to his family in Warsaw. Gutmann's own set of Etudes (his Op. 12) is dedicated to Chopin. He was present at Chopin's death bed and preserved the glass from which Chopin took his last drink of water. Both he and Alkan were bequeathed the notes that Chopin had compiled in preparation for a piano teaching method.

Entering the Iași-based provincial administration, he became a copyist at the Justice Department in 1842, followed by work as a clerk at the Interior Department. He became a wanted man for his participation in the 1848 revolution, and so fled to Austrian-ruled Transylvania. He returned to Iași in 1849, working as bureau chief at the Department of Church Property and Public Education. From 1855, he worked at the State Archives.

The Heller Altarpiece was an oil on panel triptych by German Renaissance artists Albrecht Dürer and Matthias Grünewald, executed between 1507 and 1509. The artwork was named after Jakob Heller, who ordered it. Dürer painted the interior, Grünewald the exterior. In 1615, Dürer copyist Jobst Harrich painted a duplicate, which is now at the Städel of Frankfurt.Kunstgeschichtliches Institut der Goethe-Universität Frankfurt am Main, DFG-Projekt »Sandrart.net« Heller-Altar, Kopie des Mittelbildes: Himmelfahrt Mariens.

He also worked as a copyist, so successfully that Sir Thomas Lawrence sent him to copy Michelangelo's frescoes of the Sistine Chapel in Rome in 1826. Upon his return three years later, he worked as a historical and portrait painter. Forced to retire by illness, Bewick spent his last 20 years in north-east England. Bewick's Life and Letters were published by Thomas Landseer, the brother of the famous painter, in 1871.

Adriano, Symphonic Pictures, booklet to Marco Polo CD, p. 1–4. In 1912, Fanelli was seeking work as a musical copyist, and submitted a manuscript to Gabriel Pierné as an example of his neat handwriting. Pierné was intrigued by the music itself, which Fanelli told him was one of his own compositions, Tableaux symphoniques, written nearly 30 years earlier. Pierné found evidence of radical musical innovations anticipating the recent work of Claude Debussy.

For the Gaon of Sura, see: Zemah ben Hayyim. Rav Zemah ben Paltoi, also spelt Tzemach ben Poltoi, Zemaḥ Gaon, (Hebrew: צמח גאון בר מר רב פולטוי) (died 890 CE),. An error in the computation of the Gaon's death befell the copyist of Sefer HaKabbalah, where his date of death was erroneously put at 4633 anno mundi (corresponding with 873 CE). The same error prompted R. Zacuto to emend his copy of Ravad's Sefer HaKabbalah.

Mountainous landscape with a figure reading before a cottage It is not clear when he moved to France. There is mention of him going to France to work in 1725. Here he worked as a copyist and made several copies after Claude Lorrain for Jean-François Leriget de La Faye, an important French art collector.Rochelle Ziskin, Sheltering Art: Collecting and Social Identity in Early Eighteenth-century Paris, Penn State Press, 2012, p.

The Mishnat ha-Middot was discovered in MS 36 of the Munich Library by Moritz Steinschneider in 1862. The manuscript, copied in Constantinople in 1480, goes as far as the end of Chapter V. According to the colophon, the copyist believed the text to be complete. Steinschneider published the work in 1864, in honour of the seventieth birthday of Leopold Zunz. The text was edited and published again by mathematician Hermann Schapira in 1880.

Born in Breslau (Wrocław), Prussian Silesia, he entered the Prussian Academy of Arts in 1886 and, as a student, traveled in Italy and Tunisia in 1890. After graduating from the Academy, he worked first in Berlin as an artist/decorator and then at the Prado in Madrid as a copyist. This period had a great influence on the formation of Tilke's work. After Spain, he worked in Paris as an illustrator in 1900.

Some martyrologies mention against 16 March a Patrick, bishop of Avernia. Avernia was the Latin name for the Auvergne, but no such Patrick is known there. The reference should have been to Saint Patrick, patron saint of Ireland. The mistake is believed to have been made by a copyist who wrote "Avernia" for "Hivernia" or "Hibernia", and once the second saint got into the martyrologies his feast was moved to another day to avoid confusion.

Later in 1901 Spanton sold the family business along with its collections of negatives to Harry Isaac Jarman. Spanton joined his family in Barnet where he began a new career as an artist, portrait painter and copyist in oil. His family were strong supporters of women's suffrage - his artist daughter Helen Margaret Spanton was a prominent militant suffragette; on their census return for 1911 they wrote, "Four members of this family demand Votes for Women".

He was the eldest son of Edward Hyde, 1st Earl of Clarendon, and his second wife, Frances Aylesbury. He was thus a brother of Anne Hyde, and maternal uncle to both Queen Mary II and Queen Anne. Both he and his brother Laurence Hyde were brought up partly at Antwerp and Breda, by their mother. Clarendon before 1660 made use of Henry as copyist, decipherer, and confidential secretary, in his correspondence with distant royalists.

He is shown in his Freikorps uniform, standing under an oak. Stock worked with three favorite media: pastels, oils, and silverpoint. She was a gifted copyist, and according to Siegel "could not keep up with the number of requests for copies of works in the Dresden Paintings Gallery."Siegel 1993, 8 She was a member of the Dresden Academy of Art; her work was exhibited there five times during the years 1800–1813.

Jehiel ben Jekuthiel Anav was the copyist who hand-copied what today is known as the Leiden Jerusalem Talmud. The Leiden Jerusalem Talmud (also known as the Leiden Talmud) is a medieval copy of the Jerusalem Talmud. The manuscript was written in 1289 CE, meaning it is the oldest complete manuscript of the Jerusalem Talmud in the world. The manuscript is also the only surviving complete (non-printed) manuscript of the Jerusalem Talmud.

Jakob Schlesinger was recognized as a great painter and excellent copyist, with a fondness for art from the 16th century. In 1821 he traveled to Dresden and reproduced Raphael's Sistine Madonna for the Speyer Cathedral. In 1834 he lithographed, for the Karlsruhe Art Club the heads of Saint Barbara and the Pope, separately. He is also known for landscape portraits and pictures of fruit and flowers, though in academic cool manner, but very thoroughly elaborated.

Its iconography has various sources. Its arrangement of Old Testament illustrations seems to show it was copied from a lost Visigothic bible, which had itself been copied from older illuminated manuscripts.Williams, p.57 A more recent model could have served as an intermediary stage - the copyist Florentinus produced a (now lost) bible in the same monastery in 943, which also acted as the model for a bible copied at San Isidoro around 1162.

The Holy Trinity He painted frescoes inside the Belley Cathedral and the Hôtel-Dieu de Lyon. Additionally, he painted the vault inside the Église Saint-Théodore in Marseille from 1860 to 1863. While he was living in Rome, Italy, he worked as a copyist for painter Charles Soulacroix (1825-1899). His painting entitled The Apparition of the Sacred Heart to Marguerite-marie Alacoque is displayed inside the Church of Saint-Bruno des Chartreux in Lyon.

Portrait of Jacob van der Tocht Lambertus Antonius Claessens or Lambert Antoine Claessens (21 November 1763 in Antwerp - 6 October 1834 in Rueil- Malmaison) was a Flemish engraver, print artist, copyist and publisher. He trained initially in Antwerp as a landscape painter and then in London as an engraver with Francesco Bartolozzi. He was active in Amsterdam and Paris. He is known for his reproductive prints mainly of portraits and old master paintings.

Etching by Ploos van Amstel, with colored pencil after Adriaen van Ostade, ca. 1765-1782, collection Teylers Museum According to the RKD, he was a pupil of Norbert van Bloemen and Jacobus Buys, and later became a member of the Amsterdam artist society Arte et Amicitia (De Kunstkrans).Cornelis Ploos van Amstel in the RKD He is mostly known as a collector and copyist of 17th-century artists. He married Elisabeth Troost, the daughter of Cornelis Troost.

Thus, Bertillon began his police career on 15 March 1879 as a department copyist. Being an orderly man, he was dissatisfied with the ad hoc methods used to identify the increasing number of captured criminals who had been arrested before. This, together with the steadily rising recidivism rate in France since 1870, motivated his invention of anthropometrics. His road to fame was a protracted and hard one, as he was forced to do his measurements in his spare time.

The manuscript was evidently created in the second half of the 16th century by a scribe copying a document dating perhaps to around 1500. Several leaves are missing, including the entire beginning and ending and, in two places, the copyist complains about the poor quality of the original. The provenance is entirely unknown, but the language is Middle Cornish, akin to that of Beunans Meriasek, the only other surviving Cornish play concerning a saint's life.Koch, pp. 204–205.

Mary's husband, was killed at 2:00am the next morning. Margaret's wedding was celebrated at Holyroodhouse on the following day. One of the Casket Letters, which were thought to incriminate the Queen in Darnley's murder, mentions Margaret Carwood and her previous departure from court. The letter was endorsed by its Scottish copyist, "Anentes the depesch of Margaret Carwood, quhilk was before her marriage, (proves her affection)," and by another hand that Margaret was in special trust with the Queen.

The Liberator masthead, 1850 The Liberator, a newspaper owned by abolitionist William Lloyd Garrison, published an essay on February 22, 1856 about the abuse received by an abolitionist schoolteacher in Kentucky. She was not yet 14. She went to work at the age of 15, about 1857, as a copyist. In 1859 and 1860, she was a teacher in Berks County, Pennsylvania, during which time she lived with the John and Elizabeth Longstreth family in Bristol, Pennsylvania.

It is unknown why no other manuscript has this chapter, but Huygens suggests an early copyist considered it out of place within the rest of book nineteen and excised it, and thus all subsequent copies also lacked it (ibid., p. 820). It was included in Huygen's critical edition of the Historia (book 19, chapter 12, pp. 879–881.) As the chapter had not yet been discovered, it is not included in the 1943 English translation by Babcock and Krey.

On Sichard's death in 842, the Emperor Lothair I intervened to appoint Bishop Peter of Spoleto in charge of the abbey until an abbot, Hilderic, could be elected (844).Costambeys, 344. Sichard's epitaph was copied into the Libellus constructionis Farfensis, the earliest history of Farfa, of which only a fragment survives in an eleventh-century lectionary. The rediscovery of most of the epitaph in 1959 demonstrates that the author of the Libellus was an accurate copyist.

There he co-founded the Conservatoire Rachmaninoff in 1924, but had to leave in 1931 due to political differences. He founded his own conservatory, but soon had to close it as the Great Depression was still ongoing. He worked as an arranger (banking) and copyist in Paris and became a close friend of Francis Poulenc. In 1949 Gunst was about to migrate to the United States, but died in 1950 in Paris at the age of 72.

There is also a facsimile edited by P. M. Young, New York, 1979. He moved in 1705 to Nuremberg, and then, a couple of years later, to Ansbach. In Ansbach he was a wool merchant and amateur musician, until about 1716 when Handel visited and convinced him to move and become a professional musician. By 1720, he and his family had settled in London, where he was making a living as a viola player and as Handel's copyist,(2009).

That year, the November 1830 Uprising began, and Słowacki published several poems with patriotic and religious overtones. His "Hymn", first published in Polak Sumienny (The Conscientious Pole) on 4 December 1830, and other works such as Oda do Wolności (Ode to Freedom), won acclaim and were quickly reprinted several times. In January 1831 he joined the diplomatic staff of the revolutionary Polish National Government, led by Prince Adam Jerzy Czartoryski. Initially he served as a copyist.

He was born in 1799 in Băneşti, Vâlcea County, in the northwestern part of Wallachia. His uncle, Iordache Otetelişanu, was one of the promoters of an institutionalized educational system, in a time when a great part of the population was illiterate. Poenaru attended the secondary school Obedeanu in Craiova and worked as a copyist at the office of the bishop of Râmnicu Vâlcea. Later on, between 1820 and 1821, he taught Greek at the Metropolitan School in Bucharest.

Since the document seems to have been intended as a complete collection of Ockeghem's music,Fitch, p. 210-211 these movements were probably left out because they were either unavailable either to the copyist or not in a legible condition. Blank opening sections in the codex also imply that at least one other movement, probably a three-voice setting of the Communion in a more sedate style recalling the opening Introit, was originally intended to close the work.Fitch, p.

The three other works found in the same manuscript as Pearl (commonly known as Sir Gawain and the Green Knight, Patience, and Pearl) are often considered to be written by the same author. However, the manuscript containing these poems was transcribed by a copyist and not by the original poet. Although nothing explicitly suggests that all four poems are by the same poet, comparative analysis of dialect, verse form, and diction have pointed towards single-authorship.Nelles, William.

Initially Solomon was taught by her older brother Abraham and worked in his studio as an apprentice and copyist. She also, took lessons at the Spitalfields School of Design. Solomon exhibited at the Royal Academy of Arts between 1852 and 1868, and also at the Dudley Gallery and Gambart's French Gallery.Gerrish-Nunn, P. 'Rebecca Solomon', in Geffrye Museum. Solomon, a Family of Painters: Abraham Solomon (1823–1862), Rebecca Solomon (1832–1886), Simeon Solomon (1840–1905) (London, 1985), 19–23.

Lockey was known as an excellent copyist, but his sitters faces are lacking subtle character details. Those of the Nostell version which includes all the sitters closely resemble the original Holbein heads studies now preserved in Windsor Castle. The Holbein head studies were acquired by Lord Arundel when he cleared out Holbein's workshop in 1546. It was Lord Arundel's family who later sold the original lost Holbein in 1654, but how they obtained it is unclear.

She married Ferdinando Fabretti in 1877, and resided most of her life in Perugia. She was respected as a copyist, painting a copy of Perugino's " Presepio" for a church in Mount Lebanon, Syria. She painted a St. Stephen for the same church. She was awarded a silver medal at a competition in Perugia on December 16, 1879; she became an honorary member of the Royal Academy in Urbino and of the Academy of Fine Arts in Perugia.

Her music composition teachers at Carnegie Mellon included Leonardo Balada and Roland Leich. Cozette attended the University of Pennsylvania and graduated in 1977 with a Master of Arts Degree in Music Composition from the university. Her music composition teachers at University of Pennsylvania included George Crumb and George Rochberg. Cozette studied music copying from 1977 to 1978 at the Juilliard School of Music with Arnold Arnstein, the personal music copyist to Leonard Bernstein, Gian-Carlo Menotti and Samuel Barber.

The Getty-Ludwig version is the most informative, being distinguished by several categorizations added by its copyist and, according to Robert Charron, an expert on the manuscript, by the degree of comprehension of the master's teaching displayed. Inventories of the Estense library in Ferrara indicate that there were at least five copies of Fiore's work. By 1508, the manuscripts cease to be mentioned in the inventories. Two versions of Fiore's manuscript re-surfaced in private collections in Venice.

He was born at Tulse Hill in July 1775 and started a legal career, but left it early for scholarly and literary pursuits. He kept a school on Clapham Common, and among his pupils there were Charles James Mathews, who assisted Richardson as a copyist, John Mitchell Kemble, and John Maddison Morton, the dramatist. Richardson gave up his school after 1827, and then lived at Lower Tulse Hill, Norwood. Before 1859 he moved to 23 Torrington Square in London.

The critic concluded that the pastels were "superior to her miniatures" and went on to say that "in seeing her pictures, one could assess her talent exactly, since they were executed without help - unlike those of other young ladies." Navarre was in demand for more than her original pastels. She was also frequently engaged as a copyist to create a faithful replica of another work of art. One client request from November 1764 has been preserved.

The three other works found in the same manuscript as Pearl (commonly known as Sir Gawain and the Green Knight, Patience, and Cleanness or Purity) are often considered to be written by the same author. However, the manuscript containing these poems was transcribed by a copyist and not by the original poet. Although nothing explicitly suggests that all four poems are by the same poet, comparative analysis of dialect, verse form, and diction have pointed towards single- authorship.Nelles, William.

Portrait of Jacob Binck engraved after self-portrait by Simon Frisius Jakob Binck (or Bink) (1485 - 1568/9) was a German engraver, etcher, painter, medalist, copyist and art dealer. He was a peripatetic artist who worked for various courts in Northern Europe, especially the Danish court, and also resided in Antwerp for a while.Jacob Binck at the Netherlands Institute for Art History As an engraver he is counted as a peripheral member of the Little Masters group.

Margarethe Sömmering, born Margarethe Elisabeth Grunelius (1768–1802) was a German painter. Born in Frankfurt, Sömmering was the sister of a banker, and in 1792 married Samuel Thomas von Sömmering, who at the time was dean of the medical faculty at the University of Mainz. The couple moved to Frankfurt three years later. She was a pupil of Elisabeth Coengten and , and was active as a portraitist and copyist, working in miniature and using watercolor and oils.

The kurfürstlich-sächsische family (1772) Schenau began his artistic career as a copyist of old masters. In Paris he became acquainted with contemporary painters, but also through his studies at the Académie royale was influenced by French art theory of the time. His work also reveals the influence of the Dutch Fijnschilders, such as Gerard Dou and Caspar Netscher. His work was also influenced by his French friends, such as Jean Siméon Chardin, and, especially, Jean-Baptiste Greuze.

The original of the manuscript is unknown and the original is probably a copy of an even older work. The three parts of the copied manuscript in Mexico's National Institute are all in one hand. The script is provided with cover pages bearing the genealogy of Mexican historian Fernando de Alva Cortés Ixtlilxochitl. Although Ixtlilxochitl himself does not make mention anywhere in his works of this manuscript, it is tempting to speculate that he is the copyist.

A calligraphus (pl. ') was an ancient copyist or scrivener, who transcribed correctly and in its entirety what the notaries had taken down in notes, or minutes—duties similar to the modern work of engrossing. The minutes of acts, etc., were always taken down in a kind of cipher, or shorthand, so that the Notaries, as the Romans called them, or the ' and ', as the Greeks called them, could keep pace with a speaker or person who dictated.

In the third section, Urbain returns home, falls in love with Maria Emelia Ghys, a step-sister. Before he can marry, the story takes a tragic turn, when Maria succumbs in the Spanish flu epidemic. Urbain marries Maria's sister Gabrielle, producing a daughter (the narrator's mother) in 1922, but the union lacks the affection Urbain had known with Maria Emielia. Urbain continues as a devoted artist (and especially as a copyist) into early retirement and until his death.

Fortunately, the entrance chorus from Thespis fitted the situation almost exactly, so it was substituted instead. Several scholars have doubted that explanation. In Sullivan's autograph score for the later work, the first part of "Climbing over rocky mountain" is actually taken from a Thespis copyist score, with the Thespis words cancelled and the new words written in, which raises the question of why Sullivan had a Thespis score to hand, if not for that purpose.March, Jerry.

It is made up of 307 leaves written in Carolingian minuscule with uncials and incipits. It measures 34 cm by 27 cm. It was produced by an Italian copyist and illuminator, probably at Regensburg, since it includes a calendar with the usage of Fulda Abbey and mass formularies used in the diocese of Regensburg. Due to the archaic style of its first pages, it was once misattributed to saint Gregory, for example by Angelo Rocca in 1593.

Later he planned to revive the movie industry but the tremendous efforts he had made after the disaster had wrecked his health and he became an invalid. The young Fujisawa hoped to become a teacher but failed the official Tokyo school examinations and worked as a professional copyist, writing addresses on envelopes in order to support the family and devoting his leisure time to reading literature. When we see how successful the Takeo Fujisawa was in his later life it is difficult to imagine what a shy young man and poor speaker he was in his early years. In 1930, he was called up for military service and after a year in the army he resumed his work as a copyist. Fujisawa’s first permanent employment started in September 1934 when he was twenty-three years old. He worked for the Mitsuwa Shokai, a company in Hatchobori, Nihonbashi, Tokyo, a dealer of steel products, Fujisawa was employed as a traveling salesman, visiting small factories to promote the Mitsuwa Shokai’s steel products.

There were also four women who have been identified by the title of libraria. Libraria is a term that not only indicates clerk or secretary but more specifically literary copyist. These women were Magia, Pyrrhe, Vergilia Euphrosyne and a freed woman who remains nameless in the inscription. To the inscriptions and literary references we can add one final piece of Roman- period evidence for female scribes: an early-second-century marble relief from Rome that preserves an illustration of a female scribe.

The Large Masorah is more copious in its notes. The Final Masorah comprises all the longer rubrics for which space could not be found in the margin of the text, and is arranged alphabetically in the form of a concordance. The quantity of notes the marginal Masorah contains is conditioned by the amount of vacant space on each page. In the manuscripts it varies also with the rate at which the copyist was paid and the fanciful shape he gave to his gloss.

Pierre Alamire (also Petrus Alamire; probable birth name Peter van den Hove;Atlas, p. 274 c. 1470 – 26 June 1536) was a German-Dutch music copyist, composer, instrumentalist, mining engineer, merchant, diplomat and spy of the Renaissance. He was one of the most skilled music scribes of his time, and many now-famous works of Franco-Flemish composers owe their survival to his renowned illuminated manuscript copies; in addition he was a spy for the court of Henry VIII of England.

The Olomouc Law Book or Commemorative Book of Olomouc (shelfmark SOk AO, cod. Knihy, 1540) is an illuminated manuscript created for the city of Olomouc around 1430 and currently in the municipal archives. Although in the past attributed to the local copyist Václav of Jihlava (1398–1477) or to the illustrator Vanèk, a town councilor in 1435–39, the illumination is more likely the masterwork of a foreign artist. It is in the style of International Gothic with clear Austrian influence.

She was a skilled harpist who commanded her workers to dance to her playing as they returned from the milking. She is notable as an early Welsh female poet.Ceridwen Lloyd-Morgan Women and their poetry in medieval Wales in Women and Literature in Britain 1150–1500 ed. Caroline Meale (1996) Due in part to the transcription work of one of James's correspondents, the poet and copyist Margaret Davies, manuscripts of James's work have survived and are held at the National Library of Wales.

A 1714 silver medallion from the reign of George I, referring to his accession in Great Britain. The Saxon Steed runs from Hanover to Britain. guinea coin from the reign of George I, showing him in profile In Hanover, the king was an absolute monarch. All government expenditure above 50 thalers (between 12 and 13 British pounds), and the appointment of all army officers, all ministers, and even government officials above the level of copyist, was in his personal control.

It is clear that the copyist wasn't aware that they were copying Basque glossary, as the text has the heading "A few Latin glosses". Many of the entries are corrupted or wrong, seemingly made by someone not used to writing. A large number of the entries aren't a part of Deen's glossary, and so the manuscript is thought to be a copy of an unknown Basque–Icelandic glossary. A total of 68 words and phrases could be discerned, but with some uncertainty.

This work dismissed Guiducci as a mere 'copyist' for Galileo, and attacked Galileo's ideas directly. While the Accademia dei Lincei were considering what tone a reply from Galileo ought to take, Guiducci replied directly to Grassi in the Spring of 1620. The reply was formally addressed to another Jesuit, Father Tarquinio Galluzzi, his old rhetoric master. Guiducci countered the various arguments Grassi had put forward against Galileo, describing some of Grassi's experiments as 'full of errors and not without a hint of fraud.

He was born in Rome, the son of Joseph Balze (1781–1847), grand chamberlain to Charles IV of Spain during the latter's exile in Rome between 1811 and 1819. His brother Raymond Balze was also an artist. During his stay in Rome, Joseph Balze met the painter Jean Auguste Dominique Ingres and commissioned several works from him after 1814. Paul entered the École des Beaux-Arts de Paris at the start of the 1830s, becoming copyist to the Louvre Museum.

He was born in Rome, the son of Joseph Balze (1781–1847), grand chamberlain to Charles IV of Spain during the latter's exile in Rome between 1811 and 1819. His elder brother Paul Balze was also active as an artist. During his stay in Rome, Joseph Balze met the painter Jean Auguste Dominique Ingres and commissioned several works from him after 1814. Raymond entered the École des Beaux-Arts de Paris on 6 October 1832, becoming copyist to the Louvre Museum.

Dittography is the accidental, erroneous act of repeating a letter, word, phrase or combination of letters by a scribe or copyist.Paul D. Wegner, A student's guide to textual criticism of the Bible: its history, methods, and results, InterVarsity Press, 2006, p. 48. The term is used in the field of textual criticism. The opposite phenomenon, in which a copyist omits text by skipping from a word or phrase to a similar word or phrase further on, is known as haplography.

The sole independent manuscript of this text to have been identified so far is codex MK, which was copied in 1322 in Gujarat by Mihrābān ī Kay-Husraw, a gifted copyist belonging to a well known family of scribes. The book narrates the epic adventures of Ardashir I, the founder of the Sassanid Empire. The story relates how Ardashir's father Papak, dreamed that his father Sassan would be reborn as Ardashir. According to the story, Ardashir I was the natural son of Sassan.

The oldest dated manuscript is an 11th-century treatise on sharia as written by a member of the Maliki school of Islamic legal thought. Among the most treasured works in the collection are those manuscripts written in the hand of the original author, as opposed to a copyist; these are referred to as umm or "mother," manuscripts. Makrumahs or presentation copies, are another category of treasured works. Makrumahs were often commissioned for royal libraries, and thus demonstrate especially fine craftsmanship.

In 1768 he returned to France and joined his father in Orléans, where he opened his own workshop and acquired the sobriquet François Lupot d'Orléans." "Although the work of Stradivari was Lupot's guide, he was anything but a slavish copyist. What he did grasp as well as any Stradivari follower was incomparable good taste in workmanship; within this discipline he gave expression to his own admirable ideas, as described by Sibire (1806). His rich orange-red varnish, perfectly transparent, gave the final touch.

Susan Beverly Sitgreaves was born in Charleston, South Carolina, on April 17, in either 1863 or 1867,1867 is commonly given as her year of birth, though census records indicate the event more likely occurred in 1863. Obituaries variously list her age at death as 76 or 80. the eldest of six children raised by Julius A. and Eliza B. Sitgreaves. Her father, a native of South Carolina, worked as a copyist, and had married her mother, a Virginian, in 1862.

Henry Stone by Sir Peter Lely, 1648, National Portrait Gallery, London Henry Stone (1616 - 24 Aug 1653), known as "Old Stone", was an English painter and copyist of the works of Van Dyck.Biography (Answers.com) Henry was the eldest son of notable sculptor and architect Nicholas Stone (1586/7-1647); his brothers Nicholas Stone Jr. (1618–1647) and John Stone (1620–67) were sculptors and masons. Henry went to Holland, where he was apprenticed to his uncle, the painter Thomas de Keyser.

It is titled "Heptameron or Magical Elements," but despite this title bears little resemblance to the purported grimoire by Pietro d'Abano or any other European spell book. Later, an edition of the Grand Grimoire was appended to a book on the Galician Inquisition, claimed to be "the Ciprianillo." Following this was another edition of the Grand Grimoire which added the supposed copyist-monk Jonás Sufurino to the legend. Later editions added material on animal magnetism, cartomancy, hypnotism, Spiritualism, and The Black Pullet.

Pierre Petitclair (12 October 1813 – 15 August 1860) was one of the first native French Canadian writers. He wrote two popular plays of the 19th century, La Donation (1842) and Une partie de campagne (1857), the latter notable for using rural québécois speech for the first time on stage. He also composed a number of poems throughout his life. He started out in studies of law, but flourished as an artist while working as a copyist for the notary Archibald Campbell.

While both scribes appear to have proofread their work, there are nevertheless many errors. The second scribe was ultimately the more conservative copyist as he did not modify the spelling of the text as he wrote but copied what he saw in front of him. In the way that it is currently bound, the Beowulf manuscript is followed by the Old English poem Judith. Judith was written by the same scribe that completed Beowulf as evidenced through similar writing style.

He suggested that this copyist might have been an associate of Heardson's which Bailey considers a "reasonable proposal" (particularly as no other evidence presents itself). The third scribe entered works by Albertus Bryne, nos. 87-89 on pages .... This is particularly intriguing not just because of consecutive works by the same composer, but also because, as observed by Klakowich, the scribe appears to be the same one who penned the manuscript Ob. Mus. Sch. Ms. D.219 in the Bodleian Library.

Paleographic and linguistic analysis shows that the copyist wrote yers where he did not pronounce them any more, and that behind č, ž and š he wrote ъ instead of ь, which indicates that the aforementioned consonants were pronounced "hard" in the scribe's mother tongue, or, more likely, that other than the preserved softness in the preceding consonant the two yers had merged. There is abundant evidence for the loss of epenthetic l, and, instead of iotified a (), yat () is often written.

Bucharest: Editura Minerva, 1899 Born in Brașov, in the Transylvania region of the Austrian Empire, he left for the Wallachian capital Bucharest, where he attended Saint Sava College. He graduated in 1840, and Florescu then became a copyist at the state secretariat, later rising to secretary. In 1846 he went to Paris, studying law for two years. After the Wallachian Revolution of 1848, he returned home and was named to a number of terms as county prefect and prefect of the Bucharest police.

Philidor, c. 1710, showing his Marche royalle à dessus de hautbois pour la marche françoise (1678) André Danican Philidor the elder [French: l'aîné] (, Versailles – 11 August 1730, Dreux), a member of the Philidor family of French musicians and referred to as André Danican Philidor le père after 1709, was a music librarian, instrumentalist, and composer.Harris-Warrick 2001. He is chiefly known as the organizer and principal copyist of what is now known as the Philidor Collection of French Baroque manuscript scores.

Joseph ibn 'Aḳnin, and Abraham Zacuto. His treatise concerning the hermeneutic rules in the Talmud is known only by name. Some of Samuel ben Ḥofni's teachings, not found in any other sources, have been conveyed in Nathan ben Abraham's Judeo-Arabic Mishnah commentary, supplemented by an anonymous copyist in the 12th-century.Yosef Qafih, "Yemenite Jewry's Connections with Major Jewish Centers", in: Ascending the Palm Tree – An Anthology of the Yemenite Jewish Heritage, Rachel Yedid & Danny Bar-Maoz (ed.), E'ele BeTamar: Rehovot 2018, p.

Breintnall was a copyist and a merchant who opened a public house called "The Hen and Chickens". He was married under the care of the Religious Society of Friends (Quakers) in 1723. His observations of the aurora borealis and his detailed account of being bitten by a rattlesnake circulated within the Royal Society in London through his correspondence with the Quaker botanist and Fellow of the Royal Society, Peter Collinson. Breintnall also experimented in printing techniques, especially that of Nature printing.

The French sections that LaVey published were quotations from Huysmans's Là-bas. The Latin of Melech and LaVey is based on the Roman Catholic Latin Missal, reworded so as to give it a Satanic meaning (e.g. the Roman Mass starts "In nomine Patris, et Filii, et Spiritus Sancti, introibo ad altare Dei", while LaVey's version, printed in the Satanic Rituals, starts "In nomine magni dei nostri Satanas, introibo ad altare Domini Inferi"). There is a small amount of copyist and grammatical errors.

Sample of Niccoli's cursive script, which developed into Italic type. Niccolò de' Niccoli (1364 – 22 January 1437) was an Italian Renaissance humanist. He was born and died in Florence, and was one of the chief figures in the company of learned men which gathered around the patronage of Cosimo de' Medici. Niccoli's chief services to classical literature consisted in his work as a copyist and collator of ancient manuscripts; he corrected the text, introduced divisions into chapters, and made tables of contents.

A member of the Middle Temple, Cunningham lived in chambers at Gray's Inn for over thirty years. In 1759 he asked for employment as copyist at the British Museum from John Burton, proving in fact expensive. Cunningham was elected a Fellow of the Society of Antiquaries of London on 29 January 1761, and a testimonial for his admission to the Royal Society that year failed, despite supporters including Richard Pococke and Charles Morton. He died at Gray's Inn during April 1789.

He probably joined the Cologne painters' guild before leaving for Italy around 1574. Like many northern artists of his time, such as the Flemish painter Bartholomeus Spranger, he then spent a long period in Italy. He lived in Venice from 1574 to 1587 where he became a member of the Netherlandish and German community of artists, printmakers and art dealers. He was active as a copyist and worked in the workshop of the Flemish painter and art dealer Gaspar Rem who was a native of Antwerp.

Around the same time he lived for a few months in Pisa, where he worked as a secretary; and then moved to Florence, a centre of intellectual and artistic life of the time. In 1812 his father died, and Kalvos's finances became deeply strained. However, during that year he also met Ugo Foscolo, the most honoured Italian poet and scholar of the era, and, like Calvos, a native of Zacynthos. Foscolo gave Calvos a post as his copyist, and put him to teaching a protégé of his.

On the basis of watermarks and textual criticism, the greater part of the manuscript was probably copied in Leipzig in 1723–1724, while the copyist of the first five lines of the Partita suggest it may have been begun slightly earlier, between 1722 and 1723 in Köthen.Hans-Peter Schmitz, "Partita A-moll für Flauto traverso solo, BWV 1013", in Johann Sebastian Bach, Neue Ausgabe sämtlicher Werke, Serie VI, Band 3 Werke für Flöte: Kritischer Bericht, 7–9 (Kassel, Basel, Paris, London, New York: Bärenreiter, 1963): 7–8.

In his countersuit, Verdi claimed damages and, in the document which he prepared called "Defense of Maestro Cavalier Giuseppe Verdi" and in which he gave instructions to his lawyer, he laid what he regarded as the absurdity of some of the requirements.Philips-Matz, p. 376 These included the substitution of one word of the opening chorus' "Die!" for "He sleeps". In addition, it has been noted that he instructed a copyist to "place the two librettos (Vendetta and Adelia)in parallel columns"Gossett and Narici, p.

Upon graduating, he registered as a copyist in The Louvre Museum, but his father expected him to go to law school. Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In 1855 he met Jean-Auguste-Dominique Ingres, whom Degas revered and whose advice he never forgot: "Draw lines, young man, and still more lines, both from life and from memory, and you will become a good artist."Werner 1969, p.

He accompanied Napoleon to Russia and Elba, during the Hundred Days and finally to Saint Helena. In the meantime he gained promotion to first mamluk in April 1814, after Roustam Raza fled following Napoleon's first abdication. On Saint Helena he did everything he could to ameliorate the emperor's conditions, such as preparing an eau de Cologne for him from local ingredients and acting as his copyist and librarian. In 1819 he married Mary Hall, the Birmingham-born governess to grand-marshal Henri Gatien Bertrand's children.

The calligraphy is difficult due to many cross outs and obscuring of letters due to an unsharpened quill and smudging. Folio 132 recto: the copyist has copied the lyrics but left the music incomplete The contents were entered over a period time suggesting a commonplace book. Cutts discerns that scribe must have had access to other manuscripts circulating among court and theatrical musicians based on the variety of composer names associated with both spheres. Most of the marginalia was added by its former owner Edward F. Rimbault.

Michel's first patron, at a very early age, was a certain Monsieur de Chalue. His first painting teacher was one Leduc, a history painter, and later Michel studied under Nicolas- Antoine Taunay. Although he exhibited at the Paris Salon, he failed to achieve recognition and earned his living by working as copyist and restorer; he specialized in Dutch paintings and was helped in business by Élisabeth-Louise Vigée-Le Brun's husband. Most of Michel's work concentrates on rural landscapes in the area around Paris.

The copyist and artist Norman de Garis Davies published drawn and photographic descriptions of private tombs and boundary stelae from Amarna from 1903 to 1908. These books were republished by the EES in 2006. In the early years of the 20th century (1907 to 1914) the Deutsche Orientgesellschaft expedition, led by Ludwig Borchardt, excavated extensively throughout the North and South suburbs of the city. The famous bust of Nefertiti, now in Berlin's Ägyptisches Museum, was discovered amongst other sculptural artefacts in the workshop of the sculptor Thutmose.

However, unlike the Scholae, these designations no longer appear after, and they may have been of brief existence. The subaltern Domestic of the Excubitors may either by a copyist error, or, according to Vera von Falkenhausen, indicate a subordinate official in charge of Excubitors stationed in the provinces; indeed such provincial detachments are attested, albeit only for the theme of Longobardia in southern Italy and of Hellas in Greece. The Domestic was assisted by a topotērētēs (τοποτηρητής, lit. "placeholder", "lieutenant") and a chartoularios (χαρτουλάριος, "secretary").

The first records of Talgar settlement were made by a Persian geographer in a medieval geographical treatise Hudud al-'Alam ("Borders of The World") in 982. The settlement bore a name Talkhiz and was situated in the mountains of Semirechye at the borders of Turkic tribes Karluk and Chigils. The geographer described inhabitants of Talkhiz as "brave, martial, and valiant people". Scientists analyzed the name of the settlement and concluded it to have been distorted by a copyist, so that originally it sounded as “Talkhir”.

Sillett's own accurate depictions of plants were often used for book illustrations. His paintings often have an academic style, influenced by the masters of the eighteenth century in a way that set him apart from his Norwich contemporaries. He exhibited at the Royal Academy between 1796 and 1837. Born and educated in Norwich, where he spent much of his career, Sillett initially worked as an apprentice to a Norwich heraldic painter before moving to London, where he was employed as a copyist by the Polygraphic Society.

His uncle wished for him to become an officer, but Caton ran away from school, allegedly spending some time studying in Paris,Călinescu, p. 720 then working for Teodor Popescu's theatrical troupe as a prompter, copyist and extra. He secured his first government post in 1888, possibly through Carada's contacts. Theodorian headed ephemeral provincial publications such as Lumina ("The Light", 1890), which hosted his literary debut, and was for a while both editor and writer at Adevărul and Naționalul, often signing as Alexandru Răzvan, Olymp, and Zaveră.

Vern Yocum (April 15, 1909 - September 13, 1991) is best known as copyist and librarian for Frank Sinatra, Nat King Cole, and Nelson Riddle. Many of the top artists of the mid-20th century relied on Vern Yocum’s Music Service, which was walking distance from the Capitol Records Tower. His client list included: Frankie Laine, Billy Eckstine, Ella Fitzgerald, Rosemary Clooney, Mel Tormé, Peggy Lee, Steve Lawrence & Eydie Gorme, Keely Smith, Sammy Davis Jr., Trini Lopez, Nancy Wilson, Leslie Uggams, Roy Clark, and Julie Andrews.

We do not mean that Mr. Davey is a copyist, for the Stevensonian seam is a rich one and the master himself by no means exhausted it. Mr. Davey, in adopting the same careful, ornately simple style and many of the same methods for the production of his surprise, is well within his rights. One of the most delightful things about this book is that many of the adventures related are adventures not of the body but of the spirit.” The Spectator(12 February 1921), p. 210.

Smibert began drawing while apprenticed as a painter and plasterer in Edinburgh. On moving to London in 1709Richard H. Saunders, John Smibert: Colonial America's first portrait painter, Yale University Press, 1995. he worked as a coach painter and copyist. 1713-1716, he studied under Godfrey Kneller at the Great Queen Street Academy, then returned to Edinburgh, seeking work as portraitist. Smibert travelled to Italy from 1719 to 1722 to copy old masters and then settled in London where he worked as a portrait painter from 1722-1728.

Between 1909 and 1910 he came to Iași for examinations but lived in Bacău; on obtaining his law degree in 1911, he qualified for the bar in Bacău, but despite paying dues for ten years, never practiced law. Instead, he spent his time working with Constantin Al. Ionescu-Caion on the Românul Literar, with other figures on Flacăra, working as a copyist at the Prefecture, and helping at the Prefectural accounting office. In 1913–1914, his health deteriorated and he was eventually forced to relinquish his post.

In 1917 moved to Mexico City, and became a member of the Marching Band of the North Division there. In the following year he joined the Presidential Guard Marching Band led by Melquíades Campos. Huízar enrolled in the National Conservatory of music, where he studied horn under the supervision of Arturo Rocha, harmony with Estanislao Mejía and Aurelio Barrios y Morales, and composition with Gustavo Campa and Rafael J. Tello. In 1920 he was appointed copyist for the National Conservatory, where shortly after he became a librarian.

Mary Elizabeth Turner (née Powell) (1854-1907) was an English embroiderer who exhibited her work at the 1890 exposition of the Arts and Crafts Exhibition Society, for which she wrote an essay on modern embroidery. Identified with the Arts and Crafts Movement, she was a founder with May Morris of the Women’s Guild of Arts. Her father was Thomas Wilde Powell, a solicitor and stockbroker who was also a patron of architects and artists. One of her siblings was the artist, copyist and art patron Christiana Herringham.

When he was nine, the family moved to Harrow, London, where he attended Willesden County School and Pinner County Grammar School, in Middlesex. From there he went on to study the trumpet in London at the Guildhall School of Music. Whilst working as a copyist, he formed his own orchestra in his spare time and began arranging and conducting recordings for over fifty artists, which resulted in more than 100 chart successes. He wrote his first feature film score for Whirlpool, with screenplay by Lawrence P. Bachmann.

In 1536 he put himself under the protection of Marguerite de Navarre, queen of Navarre, who made him her valet de chambre. He acted as the queen's secretary, and transcribed the Heptaméron for her. It is probable that his duties extended beyond those of a mere copyist, and some writers have gone so far as to say that the Heptaméron was his work. The free discussions permitted at Marguerite's court encouraged a licence of thought as displeasing to the Calvinists as to the Catholics.

In the late 1930s an art forgery case in Germany involved 54 paintings which had been passed off as Spitzweg originals. They had been painted by a Traunstein copyist named Toni who worked from reproductions and picture postcards. Toni signed the works with his own name as "after Spitzweg", but fraudsters later removed his name and artificially aged the paintings in order to sell them as originals. At the Stuttgart Criminal Court Assizes the conspirators were jailed for up to ten years for the swindle.

To help with this, he went to a music copyist and had them create scores for each individual instrument. After creating the main theme and the core musical themes, he then moved on to the rest of the soundtrack—estimated at over ninety tracks—over three different periods during production. Due to Takahashi's liking for Sawano's music, Sawano had the freedom to stick to his musical style. The score was directed and co-produced by Legendoor's Yasushi Horiguchi, who was brought on board the project alongside Sawano.

Satie's autograph of Sports et divertissements (dated 15 May 1914) An autograph or holograph is a manuscript or document written in its author's or composer's hand. The meaning of autograph as a document penned entirely by the author of its content, as opposed to a typeset document or one written by a copyist or scribe other than the author, overlaps with that of holograph. Autograph manuscripts are studied by scholars, and can become collectable objects. Holographic documents have, in some jurisdictions, a specific legal standing.

He later went on a tour of the continent with his brother Nicholas Jr. visiting France, and Italy to study art, and returned in 1642. After his father's death he and his youngest brother John carried on their father's business of masonry and statuary. Stone was, however, chiefly known as a portrait painter, and was an excellent copyist of the works of Van Dyck and the Italian Masters. He also published a short work on painting, called "The Third Part of the Art of Painting".

Susan Sontag, "Walser's Voice", Selected Stories of Robert Walser, 2002. New York: NYRB Classics. Walser was admired early on by Kafka and writers such as Hermann Hesse, Stefan Zweig, and Walter Benjamin, and was in fact better known during his lifetime than Kafka or Benjamin were known in theirs. Nevertheless, Walser was never able to support himself based on the meager income he made from his writings, and he worked as a copyist, an inventor's assistant, a butler, and in various other low-paying trades.

Abertijne Malcourt (Albertinus and Malcort are common alternate spellings) (d. before 1519) was a Franco-Flemish priest, tenor singer, and music copyist of the Renaissance, principally active at the end of the 15th century, contemporary with Johannes Ockeghem. He is considered to be the composer most likely to have written the famous chanson Malheur me bat, used as the basis for mass settings by Jacob Obrecht, Josquin des Prez, Alexander Agricola, and Andreas Sylvanus.Haggh, Grove online Some documentation has been found for Malcourt's life.

Novum Testamentum Graece, ed. Ph. Buttman, 5th edition, (Leipzig 1878) This is especially obvious since the forger also followed Buttmann in 81 out of 85 places where his edition departed from the Codex Vaticanus text. Furthermore, in three places the copyist of 2427 had accidentally omitted a line (6:2, 8:12, 14:14), and it transpired that in each verse the omitted text corresponds exactly to the lineation of Buttmann's edition.Stephen C. Carlson, The Nineteenth-Century Exemplar of “Archaic Mark” (MS 2427), SBL 2006.

Gerard completed his Bachelor of Arts degree at the Ateneo de Manila University in 1994, and briefly studied music theory with the Filipino composer Ryan Cayabyab. He subsequently went to the United States to pursue arranging studies at the Berklee College of Music in Boston, Massachusetts where he graduated summa cum laude and received Berklee's Contemporary Writing and Production Achievement Award. Gerard worked briefly at Sony Pictures as an orchestrator and music copyist before returning to the Philippines in 1999.Matias-Pizarro, Shirley (8 December 2009).

"Sul lungomare" Clelia Bompiani-Battaglia (5 August 1848, in Rome – 23 February 1927, in Rome) was an Italian painter. She was a pupil of her father, Roberto Bompiani, and of the professors in the Accademia di San Luca. The following paintings in watercolor established her reputation as an artist: Confidential Communication ( (1885); the Fortune-Teller (1887); A Public Copyist (1888); and The Wooing (1888). Along with Alceste Campriani, Ada Negri, Juana Romani, and Erminia de Sanctis, Bompiani is named as one of Italy's best modern painters.

Baochang came from a poor family in Wu. He had to work hard in the fields to provide for himself and his parents. Because the plot of land they owned was too small to provide ample means of living, he looked around for other jobs on the side. Thus he found work as a copyist and was able to make some extra money.De Rauw, T. (2008: 199) In 483, Sengyou was ordered to go to Wu and Baochang immediately left the family life to become his disciple.

This theory was advocated by Czech-American Slavist Francis Dovrník and Polish Slavist Tadeusz Lehr-Spławiński. The chief argument is that Goths were Christianized as early as the 4th Century by the mission of the bishop Wulfila, and a Gothic presence remained in the Crimea as late as the 16th Century (cf. Crimean Gothic). The chief argument against this theory is that a medieval copyist would have been unlikely to confuse the language of the notoriously pagan Varangians for that of Christian-Arian Goths of the Balkans.

Deutscher's second opera is a full-length work based on the fairy tale of Cinderella, but with significant modifications of the plot, which revolves around music. It is set in an opera house run by the evil stepmother. The two step-sisters are portrayed as talentless would-be divas. Cinderella is a talented composer, with "beautiful melodies springing into her head", but she is not allowed to perform and is slaved-worked as a copyist.10 year old music prodigy becomes youngest signed to agent; accessed 10 January 2016.

Edgar Degas painted The Rape of the Sabines (after Poussin), c. 1861–1862. "The masters must be copied over and over again", Degas said, "and it is only after proving yourself a good copyist that you should reasonably be permitted to draw a radish from nature." Degas first received permission to copy paintings at the Louvre in 1853 when he was eighteen. He was most interested in the great works of the Italian Renaissance and of his own classical French heritage, hence this detailed copy of Poussin's painting.

He worked initially as a copyist of the works of the leading Antwerp masters. His first signed work was a religious composition painted for the St. James' Church in Antwerp in 1709. He found it difficult to obtain regular work and wished to leave for Italy in 1710 but was prevented from doing so by his legal guardian. He married Joanna Catharina van der Cammen on 14 February 1712 and had a daughter who died in infancy. De Roore received commissions for paintings and decorations in the Antwerp City Hall from around 1715.

All that is known of John's life is what he records in his Descriptio. He says that he was a priest of the church of Würzburg and he dedicated his work to a friend named Dietrich (Theoderic). The Tegernsee manuscript calls John the bishop of Würzburg, but there was no bishop named John. Possibly the copyist or whoever added the description of John to the Tegernsee manuscript confused him with his friend, who is sometimes identified with Dietrich of Hohenburg, who was bishop of Würzburg in 1223–24.

Because many of the writings on Drexel 4302 appeared before Ruby Reid Thompson's 1992 and 2001 articles discrediting a single copyist for Drexel 4302 and Egerton 3665, writers often made comparisons between the two manuscripts. Much of the music from the early 17th century, whether printed or in manuscript, is available only in parts. Edward Lowinsky observed that Drexel 4302 (along with Egerton 3665 and R.M. 24 d.2 in the British Library) provided evidence for the dissemination of the new practice of using scores in early 17th century England.

Geldorp was also active as a collaborator and copyist of Anthony van Dyck and later Peter Lely. The Dutch biographer Arnold Houbraken reported that Geldorp was known to the artist biographer Joachim von Sandrart. Von Sandrart had written that Geldorp was not a very accomplished draughtsman and had the habit of tracing other's sketches, and then pricking holes in these sketches, and sponging this onto the canvas as a guide to paint his subjects. Houbraken disapproved of this practise and wrote that he preferred to write about painters who were good draughtsmen.

The latter number is more logical; the number given in Antiquities of the Jews could be an error by a copyist. The date of the campaign is unclear in Josephus's account. 88 BC is traditionally considered the date of Demetrius III's Judaean campaign, but numismatic evidence shows that coin production increased massively in Damascus in 222 SE (91/90 BC) and 223 SE (90/89 BC). This increase indicates that Demetrius was securing the necessary funds for his campaign, making 89 BC more likely as the date of the invasion.

Each stanza opens with four to thirteen monorhyming octonaries or novenaries and closes with a deca- or hendecasyllabic couplet of a different rhyme, often rich or homonymic. The discrepancies and irregularities in the prosody may be attributed to the copyist, but also to the numerous Latinisms and Gallicisms. As it stands the Ritmo is incomplete, stopping abruptly after 257 slow-paced lines, just before the arrival of Euphemian's servants at Edessa. It does encompass Alexius' birth, marriage, exhortations to his wife, flight to Laodicea, and the beginnings of his mendicancy.

Aachen Gospels when writing his commentaries. Claudius was both an author and a copyist. Although most of his extant works are simple biblical commentaries, his writings are very personal. He had a penchant for divulging detail in an age when brevity and anonymity were more common. Around 811, Claudius prepared an exhaustive and encyclopaedic commentary on the Book of Genesis at the request of the emperor. This commentary was edited by Johann Alexander Brassicanus in Vienna before it was first printed in Basel by Hieronymus Froben in 1531.

Al Burke, a Los Angeles music copyist and jazz enthusiast, is visited by an author who is researching a book on female jazz singers. He has heard that Al once knew singer Ruby Benton, who he has in vain tried to find out about. Al, who knew Ruby and had a brief but passionate affair with her, tells for the first time the story he has kept to himself for many years. Ruby was singing at a nightclub and entrancing everyone with her voice, but she refuses to move on to the 'big time'.

The nature of Tregian's contribution to the book has been disputed.Ruby Reid Thompson, Francis Tregian the Younger as music copyist: A legend and an alternative view. Music and Letters 2001 82: 1-31; Although other scholarship suggested that, as compiler, it is unlikely that Tregian was imprisoned long enough to undertake the copying involved,Kah-Ming Ng, liner notes to The Fitzwilliam Virginal Book: Transcriptions for a Mixed Consort, charivari agréable, Signum Records SIGD009 a closer inspection of the manuscript reveals two layers of copying, of which nos. 1-95 pieces form the first.

This distinction is important because each time a source is copied, information about the record may be lost and errors may result from the copyist misreading, mistyping, or miswriting the information. Genealogists should consider the number of times information has been copied and the types of derivation a piece of information has undergone. The types of derivatives include: photocopies, transcriptions, abstracts, translations, extractions, and compilations. In addition to copying errors, compiled sources (such as published genealogies and online pedigree databases) are susceptible to misidentification errors and incorrect conclusions based on circumstantial evidence.

Halle, copper engraving, 1686 Early in his life Handel is reported to have attended the Gymnasium in Halle, where the headmaster, , was reputed to be an ardent musician. Whether Handel remained there, and if he did for how long, is unknown, but many biographers suggest that he was withdrawn from school by his father, based on the characterization of him by Handel's first biographer, John Mainwaring. Mainwaring is the source for almost all information (little as it is) of Handel's childhood, and much of that information came from J.C. Smith, Jr., Handel's confidant and copyist.; .

Bartleby is a scrivener—a kind of clerk or a copyist—"who obstinately refuses to go on doing the sort of writing demanded of him." During the spring of 1851, Melville felt similarly about his work on Moby-Dick. Thus, Bartleby may represent Melville's frustration with his own situation as a writer, and the story itself is "about a writer who forsakes conventional modes because of an irresistible preoccupation with the most baffling philosophical questions."Leo Marx, "Melville's Parable of the Walls" Sewanee Review 61 (1953): 602–627.

Starr was born in London and lived on Russell Square when she became a copyist at the British Museum.Louisa Starr in English Female Artists by Ellen Creathorne Clayton, 1876 Studying at the Royal Academy, she showed her first work there in 1866 and by 1876 had showed 17 paintings. She won a gold medal at the Royal Academy for history painting in 1867. She was the first woman to do so and was followed by Jessie Macgregor's gold medal in 1871, but the next woman to do so was not until 1909.

During that time he started a long-time cooperation with various journals and started his career as a copyist, duplicating the works of Tizian and Botticelli for Le Monde illustré. He also made numerous travels to London and Rome, where he prepared a set of portraits, one of the first in his career. Under the burden of misery Self-portrait (1898) In 1894 he started collaboration with Wojciech Kossak and Jan Styka during the preparation of the Racławice Panorama, one of the largest panoramic paintings in the history of Polish art.

Alan R. Young, Hamlet and the Visual Arts, 1709-1900, University of Delaware Press, Newark, 2002, p.246. Hall was also a painter, though he was typically a copyist, working in a stiff old-fashioned style. A portrait of Hall by Gilbert Stuart depicts him with his engraving of Benjamin West's painting Penn's Treaty with the Indians. This was published by John Boydell in June 1775, with the image reversed, under the longer title William Penn's treaty with the Indians, when he founded the province of Pennsylvania in North America, 1681.

The manuscript, Sächsische Landesbibliothek Dresden, Mus. 2037/R/1, has more recently been identified as being in the hand of Jacob Lindner, a known copyist who was working at the Dresden Hofkapelle between 1710 and 1730, which lends credit to its authenticity.Reich 1970, 39; "Baroque Virtuoso" Despite musicological doubts, the piece has been ever popular amongst violinists. For example, Jascha Heifetz chose it, in a "very much arranged and altered version", with organ accompaniment, to open his New York debut in Queen's Hall on 5 May 1920.Anon. 1920.

Medieval Forum Volume 2. The signification of the phrase "si sui de France", however, is ambiguous and equivocal. Marie might possibly not have stated that she was from France if she was originally from a region governed by Henry II such as Brittany, Normandy, Anjou or Aquitaine, unless she had been thoroughly anglicized. Three of the five surviving manuscript copies of the Lais are written in continental French, whilst British Library MS Harley 978, written in Anglo-Norman French in the mid-13th century, may reflect the dialect of the copyist.

The Granada and New York versions, until this point considered originals, were recognised as copies, now thought made around 1500 by a Castile painter who most likely served his apprentiship in the Low Countries. It has been suggested that both come from Juan de Flandes, but there is no conclusive proof. Panofsky, also writing in the 1950s, expanded on Friedlænder's work, and detailed the complex iconography of the altarpiece. Further, infrared reflectography shows that changes were made to the composition before its completion, proving that it is not the work of a copyist.

This unconventional family unit lived first in Stamford Hill and later Bayswater.Frederick Lee Bridell 1830-63, C Aitchison Hull - Her father believed in the value of an education for women, but felt that the art of drawing was unnecessary, leading his daughter to study the art by herself.Clayton, Ellen C. English Female Artists, Volume 2 (Tinsley Brothers, 1876) pp. 80-87. Eliza Fox became a copyist by first studying Bernhard Siegfried Albinus' Anatomy, which her father bought for her, and later, by copying paintings in the National Gallery and the British Museum.

After finishing her first year, Chalee began to work at the Laboratory of Anthropology as a paid copyist for Kenneth Chapman to document designs from the Laboratory's vast collection of Native American pottery. "These tasks served to increase Pop Chalee’s appreciation of Native American arts and heighten her pride in her Pueblo heritage." During this time Chalee was also invited to show her work at an exhibit at Stanford and also contribute to the magazine School Arts. This would be the beginning of a very long and celebrated art career.

After spending some years in Italy, Boullogne set up in Paris and made a major contribution to the organisation of the Académie de peinture, where he was a professor until his death. He was a talented copyist and many anecdotes exist about this, which are more-or-less true. He painted Saint Simeón, St Paul's Miracle at Ephesus and The Beheading of St Paul as Mays for Notre Dame. He engraved copies of these himself and, in Rome in 1637, a copy of The Raising of Helena after Guido Reni.

In 1872, he left England for Italy, where he worked as a copyist for Ruskin in Rome, Siena, Pisa and Venice, allowing him to advance his study of the Italian masters. Having married the 16-year- old Angelica Collivichi and settled in Florence, he depended on this work to support his young family. He contributed to Giovanni Cavalcaselle's History of North Italian Painting. From Siena he maintained a lively correspondence with Morris, Webb and Burne-Jones; he also acted as agent for Sir Frederick Burton, Director of the National Gallery.

The Calling of St Matthew (Caravaggio) Jesus, while teaching a large crowd by the lake, finds Levi at the tax collector's booth and says "Follow me!" also calls him "Levi". Matthew's version of this story clearly lists him as "Matthew", the tax collector and apostle, in ,. Mark lists him as Levi the son of Alphaeus, although an Alphaeus is also listed as the name of the father of James. A few manuscripts refer to James and not Levi, but most think this is an attempt by a copyist at correction.

Several sources describe him as an American, including the 1851 United Kingdom census, which records him as a New York-born British subject. An obituary noted that he worked at a printer's shop for more than 20 years during his youth, which gave him the experience of casting type that he would employ in his later career as a copyist. Doubleday's early life, family, and education are otherwise unknown. He died in 1856, leaving a wife and five daughters, all English; the eldest child was born around 1833.

Those who doubt the miraculous origin theory of the Book of Mormon have speculated that Cowdery may have played a role in the work's composition. Latter-day Saint scholar Daniel Peterson, however, has noted that the original manuscript of the Book of Mormon seems to corroborate Smith's story in that it was in its majority dictated to Cowdery, with aural errors in it; and the Printer's Manuscript, in which Cowdery participated in producing, contains copyist errors with his calligraphy, rendering him unlikely of being aware of the content beforehand.

Portrait of Albrecht de Vriendt by Ramon Casas Albrecht Frans Lieven De Vriendt or Albrecht De Vriendt (In French-language publications referred to as Albert De Vriendt or Albert François Lieven De Vriendt)In memoriam. Albrecht De Vriendt, Antwerp, J.-E. Buschmann, 1901 (Ghent, 8 December 1843 – Antwerp, 14 October 1900) was a Belgian painter known for his genre scenes, history paintings, interiors and figure paintings.Albert De Vriendt at the Netherlands Institute for Art History He was also active as an author, publisher and copyist He was also a watercolorist and an etcher.

A collaboration followed, with Vern becoming Riddle's "right hand" as copyist and librarian for the next thirty years. In 1953, Capitol Records executives viewed the up-and-coming Riddle as a prime choice to arrange for the newly arrived Sinatra. Sinatra was reluctant however, preferring instead to remain with Axel Stordahl, his long-time collaborator from his Columbia Records years. When success of the first few Capitol sides with Stordahl proved disappointing, Sinatra eventually relented and Riddle was called in to arrange his first session for Sinatra, held on April 30, 1953.

Pair of Mounted Elephants, c. 1850-1900, Samson, Edmé et Cie, Paris or Montreuil, hard-paste porcelain with overglaze enamels, gilded bronze mounts Edmé Samson (b Paris, 1810; d Paris, 1891), founder of the porcelain firm Samson, Edmé et Cie (commonly known as Samson Ceramics), was a famous copyist (and perhaps forger) of porcelain and pottery.Grove Art Library: Edmé Samson The firm produced high-quality copies or imitations of earlier styles of porcelain, mainly 18th-century European and Chinese and Japanese porcelain, but also earlier styles such as Italian maiolica.

The Society of Painters in Tempera was founded in 1901 by Christiana Herringham (1852–1929) and a group of British painters who were interested in reviving the art of tempera painting. Lady Herringham was an expert copyist of the Italian Old Masters and had translated Il Libro dell' Arte o Trattato della Pittura, Cennino Cennini's fifteenth-century handbook on fresco and tempera.Mary Lago. Christiana Herringham and the Edwardian Art Scene, University of Missouri Press,1995 The artist John Dickson Batten (1860–1932) was the Society's principal organiser and also its Honorary Secretary.

After completing his secondary education, Bennett moved to Kansas City to be a freelance musician, performing throughout the city as well as with the symphony. He also began his first musical training outside of a home environment with Danish composer-conductor Dr. Carl Busch. Busch taught him counterpoint and harmony until 1916, when Bennett took his savings and moved to New York City. He eventually found a job as a copyist with G. Schirmer while continuing to freelance and to build a network of contacts, particularly with the New York Flute Club.

He completed Schiller's fragment "Malteser" (1883) and edited Shakespeare's Cymbeline (titled Imogen, 1885) and Timon of Athens (Timon of Athens, 1892). However, his greatest successes as a dramatist were with two little comedies, both one-act plays that were often played late in the 19th century on German stages. First, this was "The Copyist" (1875), the story of a young girl who copied the works of great painters in an art gallery. Bulthaupt also wrote the comedy "Lebende Bilder" (Living pictures, 1880), whose plot has a more complex structure.

The scribe of one of the extant manuscripts of the work, a manuscript that attributes the work to Bach, was formerly believed to be Johann Christoph Altnickol, Bach's son-in-law, but appears actually to be Johann Christoph Farlau.D-B Mus. ms. Bach P 37, Fascicle 1 at Thanks to the researches of Peter Wollny, Farlau has been identified as copyist of a number of works by Bach, notably an early version of the St Matthew Passion.Peter Wollny, Tennstedt, Leipzig, Naumburg, Halle – Neuerkenntnisse zur Bach- Überlieferung in Mitteldeutschland, Bach-Jahrbuch 2002, pp. 36–47.

In the field of palaeography and textual criticism, homeoteleuton has also come to mean a form of copyist error present in ancient texts. A scribe would be writing out a new copy of a frequently reproduced book, such as the Bible. As the scribe was reading the original text, his eyes would skip from one word to the same word on a later line, leaving out a line or two in the transcription. When transcripts were made of the scribe's flawed copy (and not the original) errors are passed on into posterity.

Guiducci and Galileo collaborated on a response to this as well, which set out the arguments for a heliocentric model. The debate continued when, in Perugia later in 1619, Grassi published a reply to the Discourse in La Libra Astronomica ac Philosophica under the pen-name Lotario Sarsi Sigensano. This work dismissed Guiducci as a mere 'copyist' for Galileo, and attacked Galileo's ideas directly. While the Accademia dei Lincei were considering what tone a reply from Galileo ought to take, Guiducci replied directly to Grassi in the Spring of 1620.

260 The suggestion is based on the assumption that the source (Zosimus) or a copyist made an error and actually meant Brettia when Brettania was written, and noting that the passage that contains the Rescript is otherwise concerned with events in northern Italy. Criticisms of the suggestion range from treating the passage in the way it was written by Zosimus and ignoring the suggestion,, Britannia, "The End of Roman Britain". to simply noting its speculative nature,, Rome, Britain and the Anglo-Saxons, "Britain Without Rome". to a discussion of problems with the suggestion (e.g.

Henry Alford's edition of the New Testament includes this sentence in the main text, but bracketed and italicized, with the brief footnote: "omitted in most ancient authorities: probably inserted here from Matthew 10:15."Henry Alford, The New Testament for English Readers (1863, London) vol. 1, part i, loc.cit. The same two sentences do appear, without any quibbling about their authenticity, in Matthew 10:14–15, and it is plausible that some very early copyist assimilated the sentence into Mark, perhaps as a sidenote subsequently copied into the main text.

A stamp depicting "The Overcoat", from the souvenir sheet of Russia devoted to the 200th birth anniversary of Nikolai Gogol, 2009 The story narrates the life and death of titular councillor Akaky Akakievich Bashmachkin (Russian: Акакий Акакиевич Башмачкин), an impoverished government clerk and copyist in the Russian capital of St. Petersburg. Although Akaky is dedicated to his job, he is little recognized in his department for his hard work. Instead, the younger clerks tease him and attempt to distract him whenever they can. His threadbare overcoat is often the butt of their jokes.

The lowest quality works, of which there are nine, were painted by a copyist, possibly Kegel, who varied the motifs and visual elements present in Meganck's work but without much inspiration. The high quality works by Meganck were likely made the earliest and the lowest quality ones later without his direct involvement. The autograph works of Meganck achieve a form of magical realism which was highly original for his time. This was realized through various devices such a low horizon or, sometimes, dramatic diagonal horizon and dramatic transitions between light and shadow.

Folio 3v from the Saint Petersburg Bede Order of St. Anna, 2nd class In 1772 Dubrovsky finished his studies at the Kyiv-Mohyla Academy in Kyiv (). In 1773 he served as a copyist in the Synod. Between 1780 and 1805 Dubrovsky worked in the Board of foreign affairs as a churchman at the Russian ambassadorial church in Paris and as a secretary-translator for embassies in France and Holland.Дубровский Петр Петрович История в лицах During the French Revolution he acquired manuscripts and documents from the public libraries in France.

New York: G. P. Putnam's Sons: 154. "Haydn's second child, so quickly baptized on the day she was born, was named Josepha : had Michael his great brother in mind ?" died. Historians believe "his own personal bereavement" motivated the composition.p. [i] (1969) Sherman Contemporary materials which have survived to the present day include the autograph score found in Berlin, a set of copied parts with many corrections in Haydn's hand in Salzburg and another set at the Esterházy castle in Eisenstadt, and a score prepared by the Salzburg copyist Nikolaus Lang found in Munich.p.

Initially he worked as a copyist, produced caricatures and drew models at the Académie Suisse. In 1831 he began studying painting and his first known landscapes are from this period . It was a period of struggle during which he made a precarious living mainly by drawing on stone and designing woodcut vignettes for book illustration. The publishing firm of Paulin employed him and in 1833 offered Français the opportunity to illustrate some of the ornate letters in Alain-René Lesage's Histoire de Gil Blas de Santillane published in January 1835.

Fahey released a second album on the label in late 1963, Death Chants, Breakdowns and Military Waltzes. To the duo's surprise, the Fahey release sold better than White's, and Fahey had the beginnings of a career. His releases during the mid-1960s employed odd guitar tunings and sudden shifts in style firmly rooted in the old-time and blues stylings of the 1920s. But he was not simply a copyist, as compositions such as "When the Catfish Is in Bloom" or "Stomping Tonight on the Pennsylvania/Alabama Border" demonstrate.

Also, it was Iosif Vulcan, who disliked the Slavic source suffix "-ici" of the young poet's last name, that chose for him the more apparent Romanian "nom de plume" Mihai Eminescu. In 1867, he joined Iorgu Caragiale's troupe as a clerk and prompter; the next year he transferred to Mihai Pascaly's troupe. Both of these were among the leading Romanian theatrical troupes of their day, the latter including Matei Millo and . He soon settled in Bucharest, where at the end of November he became a clerk and copyist for the National Theater.

This Chapel, of which all trace has been lost, is believed to have served the 'city' community that lived on the Weald. Apart from a short list of Priors from this period in The Victoria County History of Middlesex, the only other reference to the Priory is in Chronicle by Matthew Paris who was a monk and chief copyist at St Albans. He mentions under the date 1248 the story 'Of the Miserable Death of the Priory of Bentley'. Apparently a hayrick fell upon him whilst he was inspecting it.

In 1837, the great Austrian Ballerina Fanny Elssler made her debut at the Paris Opéra in Aumer's production of La Fille mal gardée. As was the custom of the time, a ballerina would commission new Pas and variations to be interpolated into already existing ballets for their own performances. Making use of the extensive archives in the Paris Opéra's library, the ballerina selected her favourite airs from Donizetti's extremely popular score for the opera L'elisir d'amore. The library's copyist Aimé-Ambroise-Simon Leborne assembled and orchestrated the music for her.

Sometime afterward he married and had two sons, Faris and Naja, the first of whom died in infancy. After the deaths of his brothers Ghalib in 1840 and Mansur in 1842, he also became responsible for the former's young sons Zahir and Bishara and Ghalib's son. His mercantile business reported deficits for most of the period between 1821 and 1856 and to meet the needs of his increased dependents, he earned extra income as a teacher and copyist. He also began studying medicine in 1823 and began practicing six years later.

In 1957, David Gates and the Accents released the 45 "Jo-Baby"/"Lovin' at Night" on Robbins record label. The A-side was written for his sweetheart, Jo Rita, whom he married in 1959 while enrolled at the University of Oklahoma studying law and pre-med. At Oklahoma he became a member of Delta Tau Delta International Fraternity. In 1961, he and his family moved to Los Angeles, where Gates continued writing songs, and he worked as a music copyist, as a studio musician, and as a producer for many artists – including Pat Boone.

He initially opted for a career as a diplomat, working as the imperial secretary of the Italian legation to the court of Charles VII where he became a favourite of the emperor. After the death of Charles VII in 1745, Migliavacca saw little future in a diplomatic career and instead focused on his literary pursuits. He moved to Vienna and between 1748 and 1752 worked for Metastasio as a secretary, copyist, and later a collaborator on some of his texts. At the time, Metastasio was the court poet to Holy Roman Empress Maria Theresa.

All these various writers against heresies are known to have learned, directly or indirectly, from Irenaeus; and every statement of theirs about Colarbasus can be at once traced, through transcription or immediate inference, to something in the text of Irenaeus not far distant from the place where the name of Colarbasus occurs. On the other hand, the reports of doctrine have little or nothing in common, Hippolytus and his followers make Colarbasus to have taught only what Marcus taught: Epiphanius and his copyist fathers upon him the discordant views of a miscellaneous cluster of Valentinians.

He was also Voltaire's librarian and archivist, administrator of the chateau of Ferney and accountant of the estate, chief of staff and the essential intermediary between the great man and the innumerable visitors who wished to speak to him. He was his master's principal copyist, and most of the manuscripts of Voltaire's work form the last twenty years of his life are in Wagnière's hand. In the 1770s, Voltaire probably dictated more than 90% of his letters to Wagnière. Wagnière was not with Voltaire at the end of his life.

Codex Boreelianus, Mark 1:1-5a Textual variants in the Gospel of Mark are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Origen, writing in the 3rd century, was one of the first who made remarks about differences between manuscripts of texts that were eventually collected as the New Testament.

In 1803 he created a in Milan where he worked as a music copyist and dealer in printed music and instruments with the Teatro Carcano, which opened in that year, and with the Teatro Lentasio. In 1807 he studied in Leipzig at the Breitkopf & Härtel company to learn the techniques of engraving and printing. When he returned to Milan in early 1808, he founded his publishing company with a partner who dropped out by the middle of the year. As MacNutt notes, during its first decade the company produced some 30 publications each year.

Dennis Berry (centre top), his wife, and members of the Dutch Songwriters' Guild In 1939 Berry joined Francis, Day, and Hunter as a copyist before going on to Boosey & Hawkes as a staff arranger, then to Lawrence Wright and Paxton Music, and finally Peer-Southern. He arranged for Carroll Gibbons, The Squadronaires, and Ted Heath. As Paxton's representative he was based in Amsterdam, and became staff arranger for the Skymasters Dance Orchestra and freelanced for The Ramblers and the Metropole. He was a correspondent for Variety and Melody Maker.

Fitzherbert was never induced to take holy orders. When a proposal was made in 1607 to send a bishop to England, Fitzherbert was mentioned by Father Augustine, Prior of the English monks at Douay, as a worthy of becoming a bishop, but he considered himself unworthy of even the lowest ecclesiastical orders. On Cardinal Allen's death, recommendations were made to Philip II of Spain to note who should receive any of the King's generosity. The note records that: > Nicholas Fierberti, copyist and servant from the beginning of the > cardinaliate.

An employee at the Palais-Royal (1823) in the administration of the Duke of Orleans (Louis Philippe I) in Paris, he had under him Alexandre Dumas then hired as a copyist, whom he introduced into the literary life.Claude Schopp, Dictionnaire Alexandre Dumas, 2010, He wrote with him the play La Noce et l'Enterrement which would be presented at the Théâtre de la Porte-Saint-Martin in 1826. His plays were presented on the most significant Parisian stages of his fifetime: Théâtre du Vaudeville, Théâtre de l'Odéon, Théâtre des Variétés etc.

Textual variants in the Epistle to the Galatians are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Up to 957 Simeon merely copies some old Durham annals, not otherwise preserved, which are of value for northern history; from that point to 1119 he copies John of Worcester with certain interpolations. The section dealing with the years 1119-1129 is, however, an independent and practically contemporaneous narrative. Symeon writes, for his time, with ease and perspicuity; but his chief merit is that of a diligent collector and copyist. Symeon also wrote brief biographies of the archbishops of York and a letter on the errors of Origen.

One aspect of the rewrite was the song "Dr. Zaius" from the Planet of the Apes musical, which the staff consider to be one of the greatest musical numbers ever written for The Simpsons. The two songs in the musical were composed by Alf Clausen, who had worked as a copyist on the original film of Planet of the Apes. Weinstein—who had not seen the film at the time—pitched it in the writer's room as "Rock Me Dr. Zaius", in parody of the 1985 song "Rock Me Amadeus" by Falco.

Eight additional bars were composed to replace the final bar of the aria, so as to allow the movement to lead directly into the third movement. The second movement is not written out completely, and Mozart may have indicated to a copyist to replace the voice with a solo oboe. It was once considered that the March in C, K. 214, might be connected to the final movement, but this hypothesis has been disproven. The Alte Mozart-Ausgabe (published 1879–1882) gives the numbering sequence 1–41 for the 41 numbered symphonies.

The handwriting of the Boniface collection is a careful Carolingian minuscule from the mid-ninth century. The manuscript is written by a single scribe, with the exception of the two last pages, which are written in a different though contemporary hand.Unterkircher 17. The few corrections (that there are few indicates the quality of the scribe's work) are done by three hands—first, that of the copyist; second, that of a different, contemporary corrector, who made seven corrections; and besides some minor early corrections, the third hand is that of Sebastian Tengnagel.

However, the man who had the document copied over a century later most likely had a different reason. When theorizing about the purposes of the copyist, it seems to be all-too-common to forget about the reverse side of the papyrus. This concerns, as near as we can tell, the "sending of commodities by Ni-ki.. through the agency of Ne-pz-K-r-t for unspecified payment." It could be that this is a summarization of an attempt to perform a mission similar to that of Wenamun in this later time.

Eötvös became Stockhausen's engineer and copyist (the score of Telemusik is copied by him), and his musician and conductor, amongst other things conducting the La Scala premiere of Donnerstag aus Licht in 1981, as well as its Covent Garden performances in 1985. Eötvös conducting in 2006 In 1978, Boulez asked him to conduct the opening concert of IRCAM in Paris. He was then appointed musical director of the Ensemble InterContemporain, holding the position until 1991. He performed at the Proms in 1980, and was regularly invited by the BBC Orchestra between 1985 and 1988.

To mark the 450th anniversary of Bruegel's death, Two Monkeys, along with other works, was exhibited in Bruegel - The Hand of the Master in the Kunsthistorisches Museum, Vienna from October 2, 2018–January 13, 2019. For the exhibition, the Gemäldegalerie performed an in-depth technical analysis of the painting from January–August 2017. Examination methods included tree-ring dating; stereomicroscope investigation; and UV radiation, X-ray imaging, infrared reflectography, and X-ray fluorescence analyses. As a result, museum restorer and copyist Bertram Lorenz was able to reconstruct the painting.

Textual variants in the New Testament are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text. If their eye skips to an earlier word, they may create a repetition (error of dittography).

Rawert was born in Copenhagen, the son of Jørgen Heinrich Rawert (1751–1823) and Anna Maria Krieger (1758–1826). He passed grammar school in 1803 and then enrolled at the University of Copenhagen, but the nature of his studies is unknown. In 1809 he was employed as a copyist in the Kommercekollegiet. He became an associated member of the board of directors of the royal manufactories (overtalligt medlem af fabrikdirektionen), and a co- editor of Handels- og Industritidende ("Journal of Trade and Industry"), and, in 1812, a full board member.

Drigo obtained his earliest position in an opera house as a rehearsal pianist and copyist to the Garibaldi Theatre, Padua in 1866. His first major opportunity as a theatrical conductor occurred in 1867 when the Garibaldi Theatre's kapellmeister fell ill on the eve of the premiere of Costantino Dall'Argine's three act opera bouffe I Due Orsi (The Two Bears). When the concertmaster refused to conduct the performance, he recommended Drigo, if only because the rehearsal pianist would know the score intimately. Drigo's conducting was successful, and soon he was named second kapellmeister.

He went to study in Italy thanks to the generosity of a family friend. He studied for six years in Padova, and then went to Venice, where he was admitted to the city's Greek school, where he soon became the director ("ἀρχιδιδάσκαλος καὶ πρωτοκαθηγητὴς τῶν Ἑλλήνων"). During the decade from 1526 to 1535, one should also note his important activity as a copyist of Greek manuscripts.Maria Papanicolaou, Giovanni Pugliese Carratelli, "Identificazione del dotto copista anonimo di un manipolo di manoscritti greci databile al decennio 1526-1535 : Francesco Porto", in Atti della Accademia nazionale dei Lincei.

Later he changed to oboe as his chief study and studied composition with Arthur Nickson. he was soon in demand as a free-lance orchestral musician, arranger and copyist, working in a very eclectic mix of musical spheres from arranging for Eartha Kitt (television and various theatrical shows), to playing in opera, ballet, chamber music and symphony orchestras. He was a founding member of the Glendenian Trio, (flute, oboe, bassoon), which gave regular broadcasts over several years. The trio was another area in which his skills at arrangement were frequently employed.

This identification of Gutier Núñez with the Galician count is difficult to accept on two grounds. First, the patronymics Núñez and Muñoz refer to two distinct names, Nuño and Munio, although they have often been confused and it is possible that the copyist of the Cardeña charter simply recorded the name incorrectly. Second, the Galician count died around 999, which makes him improbably (but not impossibly) old at the time of his death, since he would have already been an adult when he was count 68–72 years before his death.

Christian Ludwig of Brandenburg-Schwedt (1710, Antoine Pesne)Bach wrote out the music himself for presentation to the Margrave rather than leaving it to a copyist. While he took the opportunity to revise the music, most likely, it was not freshly composed. He appears to have selected the six pieces from concertos he had composed over a number of years while Kapellmeister at Köthen, and possibly extending back to his employment at Weimar (1708–17).Variant versions of the concertos exist, but they are not in Bach's hand and are difficult to date.

Plutarch, Pyrrhus 16, 17, p. 531; Florus, 1.18.7; Zonaras, 8.4; Orosius, 4.1. It is a striking instance of the carelessness of the Roman epitomisers, and their consequent worthlessness as geographical authorities, that Florus places this battle apud Heracleam et Campaniae flumen Lirim, mistaking the river Siris for the Liris; and the same blunder occurs in Orosius, who says, apud Heracleam Campaniae urbem, fluviumque Lirim; for which last the editors substitute Sirim, though the mistake is evidently that of the author, and not of the copyist. Section of the 4th century Tabula Peutingeriana showing Heraclea.

Saint Boniface used Bede's homilies in his missionary efforts on the continent. Bede sometimes included in his theological books an acknowledgement of the predecessors on whose works he drew. In two cases he left instructions that his marginal notes, which gave the details of his sources, should be preserved by the copyist, and he may have originally added marginal comments about his sources to others of his works. Where he does not specify, it is still possible to identify books to which he must have had access by quotations that he uses.

For the next 300 years the code was copied by hand, and was amended as required to add newly enacted laws, revise laws that had been amended, and delete laws that had been repealed. In contrast with printing, hand copying is an individual act by an individual copyist with ideas and a style of his own. Each of the several dozen surviving manuscripts features a unique set of errors, corrections, content and organization. The laws are called "titles" as each one has its own name, generally preceded by de, "of", "concerning".

Such is the opinion of Rabbi Yosef Qafih and others, based on the author's choice of Arabic words and which tend to show a dialect of Arabic used in Yemen, as well as the manuscript's place of discovery, viz. Yemen. However, this conclusion is not agreed upon by all, since many of the words brought down by Qafih to prove this point and which, according to him, are of a "pure" Yemeni dialect, are also Arabic words used in Iraq. Simcha Assaf, however, has presumed that the copyist was originally from Egypt.Qafih, Y. (2018), pp.

Born in Chicago, Illinois, United States, and raised on a farm in Newaygo, Michigan, Nitzsche, son of German immigrants, moved to Los Angeles in 1955 with ambitions of becoming a jazz saxophonist. He was hired by Sonny Bono, who was at the time an A&R; (artists and repertory) executive at Specialty Records, as a music copyist. While there Nitzsche wrote a novelty hit called Bongo Bongo Bongo. Nitzsche wrote with Bono the song "Needles and Pins" for Jackie DeShannon, later recorded by the Searchers. His instrumental composition "The Lonely Surfer", entered Cash Box on August 3, 1963 and reached No. 37.

Despite the inclusion of the suite in the BWV catalogue, the suite's composer is not known. The British musicologist Nicholas Kenyon writes that the suite is "certainly not by J. S. Bach", and that it is "likely to be by an unknown composer or possibly W. F. Bach". The American musicologist David Schulenberg, who published a detailed study of the suite in 2010, also considers that W. F. Bach is "the most likely candidate" among the suite's possible composers, citing Wilhelm Friedemann's close relationship with Penzel, the copyist, and stylistic similarities between the suite and Wilhelm Friedemann's other compositions.

Grean's first work was as a copyist in several big bands, including Glenn Miller, Artie Shaw, and Charlie Spivak. He worked at RCA Victor Records under Steve Sholes,Biography of Charles Grean by Mike Streissguth producing country and Western recordings by such artists as Eddy Arnold, Pee Wee King, the Sons of the Pioneers, Texas Jim Robertson and Elton Britt.Biography of Betty Johnson by Mike Streissguth He was the arranger for the Nat King Cole recording of "The Christmas Song." In 1950, he wrote "The Thing," a popular song which reached number one on the charts in a version sung by Phil Harris.

Carol Edith Barnett (born 23 May 1949) is an American composer. She was born in Dubuque, Iowa, and studied at the University of Minnesota with Dominick Argento and Paul Fetler (composition), Bernard Weiser (piano) and Emil J. Niosi (flute). She graduated with a bachelor's degree in music theory and composition in 1972 and a masters in theory and composition in 1976. After completing her education, Barnett went on the road, playing keyboard and singing background vocals with Mexican guitar player Ben Peña, worked as a freelance music copyist (1976-1997), and played in the Children's Theatre pit and various community orchestras (1980-2016).

In his office, he decides to write a letter to an old friend of his, and his copyist Annie Wooley types it for him. She cries upon hearing the content as her own father has passed . The following Summer, the Wannings all go off on holiday - Roma goes to Genoa to visit her friend Jenny, Harold goes to Cornish, and Mrs Wanning and Florence go to York Harbor, where Mr Wanning is supposed to join them. However, he spends much of the summer in New York City, where he takes up Annie as his personal secretary.

Nothing about James' education or early childhood is known by the biographers of the Norwich School of painters, except that he attended Norwich Grammar School. After completing his education, Sillett worked in the city as an apprentice to a heraldic painter, and so his artistic career began in a similar way to those of his contemporaries Crome and John Ninham. Released from his apprenticeship, he moved to London. He was employed as a copyist by the Polygraphic Society, which had been established in 1784 by Joseph Booth and which held annual exhibitions of the paintings it reproduced.

Pothos' death in battle is not entirely certain, however, since an inventory of the metropolitan see of Reggio di Calabria includes a set of panegyrics offered by kyr Pothos and his wife, both related to a possession of a katepanissa Theoktiste. An identification of Theoktiste with the wife of kyr Pothos, and of Pothos with the catepan is very likely, but the copyist of the works recorded that this was done in 1033/34, "during the times of catepan Pothos, under the reign of Romanos and Zoe", by which time Pothos is supposed to have been dead.

His works around that time revealed his finest creative period, as she worked together with him, as a music-copyist and private secretary, as well as what we will be familiar today as a manager in the music world. Their marriage was not without skepticism. The Viennese populace, long swayed by Strauss' graceful waltzes, were shocked at the announcement of their marriage, as she was forty-four when they married, about seven years older than Strauss. Even his brother Josef Strauss expressed his concern at the match, although he eventually accepted that she was 'indispensable in the home.

Introduction to Old Yiddish literature By Jean Baumgarten, Jerold C. Frakes Its authorship is a matter of controversy. The next to last stanza of one surviving manuscript says that it was "made" by Moshe Esrim Vearba. No one can be sure whether this "maker" is the author or a copyist, and Esrim Vearba is Hebrew for 24, the number of books of the Hebrew Bible, so the name is almost certainly a pseudonym. Zalman Shazar (president of Israel 1963-1973) believed that it was written by an Ashekenazi rabbi active in Constantinople (now Istanbul) in the second half of the 15th century.

Ignát Herrmann (1895) Ignát Herrmann (12 August 1854 in Chotěboř - 8 July 1935 in Řevnice) was a Czech novelist, satirist and editor. He sometimes used the pseudonym Vojta Machatý, Švanda. The thirteenth child of a solicitor's copyist, he attended school in Hradec Králové, then in 1868 travelled to Prague to begin a career in retail. He worked for several companies, from 1873 for the publisher Otto-Verlag, for whom he became a courtroom reporter. From 1876 to 1878 he edited the satirical magazine Paleček; in 1882 he founded his own, Švanda dudák, which he edited almost continuously until 1930.

KJV: Where their worm dieth not, and the fire is not quenched. .. (Both verses identical to each other, and to 9:48, which is still in the main text) Reason: Both verses 44 and 46 are duplicates of verse 48, which remains in the text. Verses 44 and 46 are both lacking in א,B,C,L,W,ƒ1, and some mss of the ancient versions, but appear in somewhat later sources such as A,D,K,θ, some Italic mss and the Vulgate. It is possible that verse 48 was repeated by a copyist as an epistrophe, for an oratorical flourish.

The chansonnier includes works by many of the great composers of the period, including Johannes Ockeghem, Johannes Martini and Alexander Agricola. It included six chansons attributed to Josquin, each with a different spelling of his name, suggesting that the copyist was not aware of Josquin prior to this, lessening the likelihood that the chanson was mistakenly attributed to Josquin. An issue in the performance practice of Josquin's setting of this chanson is whether it was a vocal piece or an instrumental piece. Although there is underlay of the text in the Florence 2794 manuscript,copied in the 1480s at the French royal court.

An unnamed bishop of Armenia was present at the consecration of the patriarch Abdisho II in 1074.Mari, 128 (Arabic), 112 (Latin) A note of 1137 by the copyist of the Mukhtasar mentions the recent suppression of the metropolitan province of Bardaa (in Azerbaijan) and the attribution of responsibility for the remaining Christians in the province to Eliya, bishop of Halat.Fiey, POCN, 59 The bishop Yuwanis of Halat was appointed metropolitan of Kashgar and Nevaketh by the patriarch Eliya III (1176–90).Sliba, 122 (Arabic) The bishop Sliba-zkha of Halat was present at the consecration of the patriarch Denha I in 1265.

Cook, 1998; at p. 151. Newton's single-minded attention to his work generally, and to his project during this time, is shown by later reminiscences from his secretary and copyist of the period, Humphrey Newton. His account tells of Isaac Newton's absorption in his studies, how he sometimes forgot his food, or his sleep, or the state of his clothes, and how when he took a walk in his garden he would sometimes rush back to his room with some new thought, not even waiting to sit before beginning to write it down.Westfall, 1980; at p. 406, also pp. 191–192.

Pigott has been tentatively identified as the manuscript copyist known as "London A" by his handwriting and by his known association with Henry Purcell and other notable composers of the time. Pigott also collaborated with John Blow, William Croft and Jeremiah Clarke in the production of A Choice Collection of Ayres for the Harpsicorde (London, 1700). His setting of Abraham Cowley's poem The Separation, appears in a compilation called The Banquet of Musick published in volumes between 1688 and 1692.Calhoun, Thomas O (1993), The Collected Works of Abraham Cowley; Volume 2 : Poems (1656); Part I: The Mistress, University of Delaware Press (p.

The name Mabinogion for these stories is often incorrectly thought to begin with Guest but it was already in use in the late 18th century cf. Pughe 1795 and his circle in the London Welsh Societies. The name was derived from a mediaeval copyist mistake where a single instance of the word mabynnogyon looks like a plural for the term 'mabinogi;' but 'mabinogi' is already a Welsh plural. The meaning Mabinogi is obscure, but it clearly roots in the word 'mab' for son, child, young person: this is to be seen in the naming convention 'son of' in genealogies.

Orchot Tzaddikim (Hebrew: ארחות צדיקים) is a book on Jewish ethics written in Germany in the 15th century, entitled Sefer ha-Middot by the author, but called Orḥot Ẓaddiḳim by a later copyist. Under this title a Yiddish translation, from which the last chapter and some other passages were omitted, was printed at Isny in 1542, although the Hebrew original did not appear until some years later (Prague, 1581). Subsequently, however, the book was frequently printed in both languages. The author of the work is unknown, although Güdemann (Gesch. iii. 223) advances the very plausible hypothesis that he was Lipmann Mühlhausen.

Václav Jindřich Veit (1847) Václav Jindřich Veit known in German as Wenzel Heinrich Veit (19 January 1806 in the village of Řepnice, now part of Libochovany, near Litoměřice – 16 February 1864, Litoměřice) Czech composer, copyist, pianist and lawyer. To pay tuition at a law school in Prague, Veit gave music lessons. After earning his law degree and getting a position as a legal clerk, Veit continued to teach music and even started writing music. He wrote mostly chamber music, and later on in his life wrote more and more songs with texts in Czech, such as "Pozdravení pěvcovo".

Elizabeth Hawes (December 16, 1903 – September 6, 1971) was an American clothing designer, outspoken critic of the fashion industry, and champion of ready to wear and people's right to have the clothes they desired, rather than the clothes dictated to be fashionable, an idea encapsulated in her book Fashion Is Spinach, published in 1938. She was among the first Americans to establish their reputations outside of Paris haute couture. In addition to her work in the fashion industry as a sketcher, copyist, stylist, and journalist, and designer, she was an author, union organizer, champion of gender equality, and political activist.

He gains much admiration of her, after she assists him by directing him, hidden among his musicians, as he simultaneously copies her movements to direct the orchestra during what would turn out to be his final concert. Though Anna agreed to her romantic interest, Martin Bauer, that she would help him complete his symphony, and then immediately leave after showing him her work, she instead continues to assist him as his copyist. After seeing the admiration she has gained from Beethoven, Anna proceeds to show him a piece of music that she composed. Beethoven tactlessly and unknowingly insults her.

The final list aimed at everyone on board the three ships regardless of rank or position; thus, the three captains and the admiral were among them. There were no passengers, marines, expeditionaries, or settlers, as there were on the second voyage. The records from which the total list of persons that went on the first voyage of Columbus was derived are not sufficiently complete and accurate to provide unquestonable certainty. Due to the length of time, losses by neglect and catastrophe, as well as changes in the language, and copyist errors, have left a patchwork of often contradictory source material.

Besides creating original work, Theus sometimes served as a copyist for his clients, although few of his surviving works have been demonstrated to be copies. Among these are a copy of a portrait of Christiana Broughton by Henrietta Johnston and a copy of a work variously attributed to William Keable and John Wollaston. Two nearly identical portraits of a man, possibly Isaac Smith, are also known to be by Theus; they appear to be copies of a lost original. Although Theus made some attempt to individualize the faces of his sitters, they share so many characteristics as to be nearly indistinguishable.

Although Raja may have functioned as a secretary of Sulayman and Umar, there is no evidence that he was ever a copyist, adhering to a specific set of stylizations of the sort visible at the Dome of the Rock, or that a group of such copyists flourished in Palestine in the time of Abd al-Malik.C. E. Bosworth, Raja' ibn Haywa al-Kindi and the Umayyad Caliphs, Islamic Quarterly 16 1972: 43 and n. 5, the sources vary There is a lack of precise information about Raja's contributions, if any, to Umar's well- documented administrative reforms.

Codex Boreelianus, beginning of Luke Textual variants in the Gospel of Luke are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

It also seems that Kohn was employed in Berlin as a music copyist. His handwriting can be seen in a number of manuscripts of works by Johann Gottlieb Janitsch, Johann Gottlieb Graun, Francesco Geminiani, Jiří Antonín Benda and Carl Philipp Emanuel Bach held in the archive of the Sing-Akademie zu Berlin. Remarkably, his manuscripts of works by Jean-Marie Leclair, C.P.E. Bach and Graun have also been found in the Library of Congress in Washington, D.C. Thus, he was responsible for the preservation of a large amount of music which would not have otherwise survived.

Textual variants in the Second Epistle to the Corinthians are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the First Epistle to Timothy are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the Acts of the Apostles are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the Second Epistle to Timothy are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Minuscule 321, first page of Colossians Textual variants in the Epistle to the Colossians are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

In Belize he received his education at St. Mary’s Primary School, and later at Wesley School and the Diocesan High School for Boys (now St. Michael's College) before entering the British Honduras Civil Service as a Temporary Clerk at Her Majesty's Prison on 4 March 1910. Capt. Metzgen entered the Civil Service as a Copyist on 4 March 1910, and ten years later he was appointed Internal Revenue Officer. Subsequently he acted as District Commissioner in Orange Walk, an Auditor and then Director of Colonial Audits. He was made Chief Income Tax Collector in January 1924.

Saichō spent the next several months copying various Buddhist works with the intention of bringing them back to Japan with him. While some works existed in Japan already, Saichō felt that they suffered from copyist errors or other defects, and so he made fresh copies. Once the task was completed, Saichō and his party returned to Ningbo, but the ship was harbored in Fuzhou at the time, and would not return for six weeks. During this time, Saichō went to Yuezhou (越州, modern-day Shaoxing) and sought out texts and information on Vajrayana (Esoteric) Buddhism.

Munnikhoven was mainly active as a copyist of other artists' works; one of his copies of David Beck's painting of Magnus Gabriel De la Gardie is on display at Gripsholm Castle. In 1648 he joined the service of Magnus Gabriel De la Gardie in Prague; he accompanied De la Gardie to Leipzig, Riga and Stockholm during the next years. He performed several portraits of De la Gardie and his relatives. When Queen Christina abdicated in 1654 he moved to Charles X Gustav of Sweden's services and portraited in the following years the King and Queen Hedvig Eleonora.

In addition to being a singer, he was a music copyist, having copied several books of music not only for Ste. Gudule but for the church of St. Niklaus, also in Brussels. The work for St. Niklaus occurred in 1486 to 1487. The only record of his having been a composer is the attribution to "Malcort" in a Ferrarese manuscript of the textless rondeau Malheur me bat; while this Malcort may have been Hendrick Malecourt, who was a singer in Bergen op Zoom around the same time, and worked directly with Obrecht, Abertijne Malcourt is currently considered to be the most likely candidate.

Textual variants in the Epistle to the Philippians are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the First Epistle to the Thessalonians are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the Second Epistle to the Thessalonians are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Icelandic scholar Grímur Jónsson Thorkelin made the first transcriptions of the manuscript in 1786 and published the results in 1815, working as part of a Danish government historical research commission. He made one himself, and had another done by a professional copyist who knew no Anglo- Saxon. Since that time, however, the manuscript has crumbled further, making these transcripts a prized witness to the text. While the recovery of at least 2000 letters can be attributed to them, their accuracy has been called into question, and the extent to which the manuscript was actually more readable in Thorkelin's time is uncertain.

Smirke was one of the eight children born to the painter and illustrator Robert Smirke and his wife Elizabeth, who died in 1825. Their other children included the architects Sir Robert Smirke and Sydney Smirke, the draughtsman Richard Smirke and the lawyer and archaeologist Sir Edward Smirke. Robert Smirke by Mary Smirke - now in the Royal Academy collection Mary Smirke attended school in Rickmansworth and received her artistic training from her father. She was employed as a painter and copyist by Nathaniel Dance-Holland and Sir Thomas Lawrence and in due course became a well-regarded landscape painter.

Hebrews 1:7-12 from Textual variants in the Epistle to the Hebrews are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the First Epistle of Peter are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the Second Epistle of Peter are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the First Epistle of John are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Revelation 1:4-7 in Textual variants in the Book of Revelation are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Textual variants in the Epistle to the Ephesians are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Vatican Ms 305. The manuscript contains a mixed repertory of works on Homeric and mythological subjects. Nothing is known of the author, although he appears to belong to the late 1st or 2nd century AD. He is unlikely to be any of the other men of the name of Heraclitus known from antiquity.One Heraclitus, who wrote a work called Homeric Allegories, also covered mythology, but with a quite different approach; some scholars have proposed identifying them, but it may be more likely that this manuscript has been attributed to that Heraclitus by a copyist, and the original author's name is lost.

In the note, the copyist, one Laloe, thanks God and the "Holy and Most Glorious Ascension" for having finished his work on the book. Scholar Bistra Nikolova believes this to be an allusion to the Patriarchal Cathedral, which may have patronised the project. Alternatively, the copy could have been made at the cathedral's scriptorium, where Laloe may have worked. The church is also depicted in the medieval sketch of Tarnovo in the Braşov Menaion, a menaion service book written in the mid-14th century and then carried to Kronstadt (now Braşov, Romania) after the fall of Bulgaria under Ottoman rule.

Though he was renowned as a scholar, Gilbert published very little in his lifetime. After his death a large collection of his manuscripts was found : these covered almost the whole sphere of English law. Over the coming decades most of them were published, but in a rather haphazard way. This gave rise to some curious stories; in a leading copyright case in 1774, Gilbert's successor as Chief Baron, Sidney Smythe, said he understood that Gilbert left the works to a colleague who employed a journalist to copy them, but that the copyist stole them and sold them to a publisher.

The Leiden Talmud was written in 1289 by rabbi Jehiel ben rabbi Jekuthiel ben rabbi Benjamin HaRofe. Jehiel lived in Rome during the thirteenth and fourteenth centuries where he was a famous scholar, writer, poet (of Piyyutim/liturgical poetry), and a copyist. He is best known as the author of the book of piety Maalot ha-Middot. Yehiel stated at the beginning of the (Leiden) manuscript that he finished writing Zeraim and Moed on the 12th day of the month of Shevat, and added that he completed Nashim and Nizikin one and a half months later.

Gilder became literary editor for Scribner's Monthly before becoming a drama and music critic for the New York Herald until 1880. In Trenton, New Jersey, she was employed at the state adjutant general's office; in Philadelphia, Pennsylvania, at the US Mint; and in 1881, at Newark, New Jersey, she worked as a copyist of the registrar of deeds. In that same year, she and her brother Richard co-founded The Critic, a literary magazine, where she served as an editor from January 1881 to September 1906. Her editor role with The Critic was shared with her brother Joseph.

Poggio di Guccio (the surname Bracciolini was added during his career)Paolo Piccardi. "Alcuni contratti di Poggio Bracciolini" was born at the village of Terranuova, since 1862 renamed in his honour Terranuova Bracciolini, near Arezzo in Tuscany. Taken by his father to Florence to pursue the studies for which he appeared so apt, he studied Latin under Giovanni Malpaghino of Ravenna, the friend and protégé of Petrarch. His distinguished abilities and his dexterity as a copyist of manuscripts brought him into early notice with the chief scholars of Florence: both Coluccio Salutati and Niccolò de' Niccoli befriended him.

Christ in Majesty, folio 2 (recto). The Commentary on Job of 945 or Moralia on Job of 945 is an illuminated manuscript of 502 bound folios, containing the text of the Commentary on Job by saint Gregory. A colophon on the verso of its folio 500 shows it copying and illumination was completed on 11 April 945 by one Florentinus in the monastery of Valeránica in what is now the town of Tordómar in Spain. Florentinus is also known as the artist and copyist of other important Spanish manuscripts of this era, including the León Bible of 960.

When he received his appointment as Kapellmeister in Stettin in the winter of 1849, his work at Weimar was taken over by the more imaginative Joachim Raff. Nevertheless, Liszt continued to use him as a copyist. In September, 1855 Liszt wrote of his intention to send the score of his Psalm 13 to Berlin so that Conradi could make a fair copy for the first performance there. The extent of Conradi's help with Liszt's early orchestration has been well documented by Liszt scholar Peter Raabe, who demonstrated that, whatever the position regarding initial drafts, the final versions were always Liszt's own.

A colophon on folio 167 of the manuscript states it was completed by a scribe called Emeterius on 29 July 970 in the scriptorium of the San Salvador Monastery in Tábara. Its copyist was a monk called Monnius and its illumination was by one Magius, who could be the same man as Maius, who illuminated the Morgan Beatus but died halfway through producing the Tábara Beatus. It was copied from an unknown 10th century manuscript from the province of Leon. Vicente Garcia De Wolf and John Williams, Tabara Beatus, facsimile edition, Testimonio, Madrid, 2003, 336+172 p.

She tried to find new homes for her charges, but there was a severe shortage of available property, and Hill decided that her only solution was to become a landlord herself. John Ruskin, who was interested in the co-operative guild, knew Hill from her work as his copyist and was impressed by her. As an aesthete and a humanitarian he was affronted by the brutal ugliness of the slums.Wyatt, pp. 1–2 In 1865, having inherited a substantial sum of money from his father, he acquired for £750 the leases of three cottages of six rooms each in Paradise Place, Marylebone.

Drexel 4302, also known as the Sambrook Book based on an inscription from a former owner, Francis Sambrook, is a music manuscript containing vocal and keyboard music from Italian and British composers, documenting the transition from Renaissance to Baroque music. Though literature on the manuscript has assumed the copyist was Francis Tregian the Younger, recent analysis has demolished that hypothesis (not without some musicological contention). Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.

He played bassoon, timpani and violin in theater orchestras and supplemented his income working as a music copyist . In 1892, Pyotr Ilyich Tchaikovsky recommended Kalinnikov for the position of main conductor of the Maly Theatre, and later that same year to the Moscow Italian Theater. However, due to his worsening tuberculosis, Kalinnikov had to resign from his theater appointments and move to the warmer southern clime of the Crimea. He lived at Yalta for the rest of his life, and it was there that he wrote the main part of his music, including his two symphonies and the incidental music for Alexey Tolstoy's Tsar Boris .

He has been a member of the Oslo Philharmonic program committee and a member of the board in the Composers society and in the evaluation committee of TONO (the Norwegian BIEM/ASCAP). Dagfinn has lived in Oslo since 2005, and in Germany for 13 years. In addition to composition, he has worked in a youth club, as a teacher in a music school in Oslo, Bærum and Bergen, as a music copyist and engraver, and as a sound engineer (Henie- Onstad Art center). He has received several scholarships from TONO and was granted a two-year scholarship from the Norwegian Ministry for Cultural Affairs in 2006.

Teresa wrote her first work Arboleda de los enfermos expressing the solitude of her deafness. Approximately one to two years later, she penned a defense of her first work, called Admiraçión operum Dey, after mostly male critics claimed that a woman could not have possibly been the author of such an eloquent and well-reasoned work. Both of her writings have come down to modern readers through a single manuscript completed by the copyist Pero López del Trigo in 1481. Important as Spain's first feminist writer, Teresa also contributed to an overall European canon of medieval feminist authors including Hildegard von Bingen and Christine de Pizan.

Kibbe is an accomplished performer on most of the standard woodwind instruments, and holds a performing degree in oboe and bassoon from New Mexico State University and a composition degree from California State University, Northridge. His composition teachers include David Ward-Steinman, Warner Hutchison, Aurelio de la Vega, Henri Lazarof and Roy Travis. Kibbe is currently an oboist and music librarian for the Eureka Symphony Orchestra in Northern California. For four decades he worked with the Los Angeles film and recording industry in roles that included instrumental performer and music copyist for films, radio, TV and live venues (such as Barbra Streisand and Charlie Sheen weddings).

He was from Villafranca Sabauda in the Italian province of Piedmont, not far from Turin; his father, named Jacobinus, was a musician resident in Turin in the 1520s. Jacobinus was probably Festa's teacher. While it is tempting to suggest that he was the younger brother or other relation of the much more famous Costanzo Festa, since they were from the same region, had similar musical acumen and both wrote madrigals, no direct evidence of this has emerged. Sebastiano first appears in the record in a manuscript copied between 1516 and 1519, possibly as the copyist: the document contains motets both by himself and Costanzo.

This volume of 131 pages of old parchment, the ivory binding of which depicts ancient Etruscan sculptures, contains all the Graduals, the Alleluias, and the Tracts of the whole year, in the ancient neumatic notation (a sort of musical stenography), together with the so-called Romanian signs, i.e. the special marks of time and expression added by Romanus. Lambillotte succeeded, not without serious difficulty, in obtaining permission to have a facsimile of this manuscript made by an expert copyist. This he published (Brussels, 1851), adding to it his own key to the neumatic notation, and a brief historical and critical account of the document.

Georg Prenner (aka. Brenner or Pyrenaeus, born Laibach, present-day Ljubljana; died St Pölten, 4 February 1590) was active as a composer in Prague during the 1560s, when 39 of his motets were printed in various anthologies. A few additional works survive in manuscripts, and a modern edition appeared as Monumenta artis musicae Sloveniae, xxiv, Ljubljana, 1994. He is first documented in 1554 as a copyist in the Prague Kapelle of the Archduke Maximillian, later Emperor Maximilian II. On 20 August 1572 Prenner was appointed abbot of the monastery of St Dorothea, Vienna (site of the present Dorotheum), and in 1578 he moved to the Herzogenburg Priory near St Pölten.

In the aforementioned paragraph Pausanias lists the names on the offering to Zeus at Olympia, which exclude four cities inscribed on the Serpentine column. Perhaps this is a simple oversight by a copyist. Although the cities inscribed on the column exclude other cities mentioned by Herodotus as participating in the war, it is clear that the memorial relates to the Great Persian War as a whole, not just the battle of Plataea. The lists of states given by the three sources are set out in Appendix B. Coils 12 and 13 have been scarred and dented by sabre cuts, which made the inscriptions difficult to decipher.

It is safe to assume that the original draft of this, afterwards maybe enlarged by his pupil and copyist, Ælfric Bata, was by Ælfric, and represents what his own scholar days were like. A third series of homilies, the Lives of the Saints (hagiography), dates from 996 to 997.Ælfric's Lives of Saints: Being a Set of Sermons on Saints' Days Formerly Observed by the English Church, Edited from Manuscript Julius E. VII in the Cottonian Collection, with Various Readings from Other Manuscripts, ed. by Walter W. Skeat, Early English Text Society, Original Series, 76, 82, 94, 114, 2 vols (London: Trübner, 1881–1900).

Both editors have used זנוחה, as found in the Munich MS., as the principalis lectionis, and acknowledging that a scribal error befell the copyist of the Tosefta [Zuckermandel edition] (Menahot 9:2), where he wrote זו לחה, instead of וזנוחה. the finest of the wheat used to grow in the valley adjacent to Zanoah, from whence it was taken for the offering of the Omer in the Temple. Although listed in Joshua 15:34 as being a city in the plain, it is actually partly in the hill country, partly in the plain. C.R. Conder and H.H. Kitchener described the ruins of Khurbet Zanûa, visited by them in 1881.

As far as is known, he stayed at this position until his death. Letters of administration for the disposal of his estate were granted to John Gilbert of Salisbury (with the consent of Batten's three brothers) on 22 July 1637, so it can be inferred that he died during the middle of that year at the age of approximately 46.Jeffrey Pulver, A Biographical Dictionary of Old English Music (London: Kegan Paul, Trench, Trubner, 1927) 46. To augment his income while at Westminster Abbey, Batten worked as a music copyist, and the Abbey's account books record payments to Batten for copying works of Weelkes, Tallis and Tomkins.

His performance received glowing reviews. Ries spent the summers of 1803 and 1804 with Beethoven in Baden bei Wien, as well as in Döbling. Ries' work as a secretary and a copyist won Beethoven's confidence in negotiations with publishers and he became a fast friend. One of the most famous stories told about Ries is connected with the first rehearsal of the Eroica Symphony, when Ries, during the performance, mistakenly believed that the horn player had come in too early and said so aloud, infuriating Beethoven. Ries feared conscription in the occupying French army (though he was blind in one eye) and so he fled Vienna in September 1805.

Through his uncle Arke, "a hot theater lover", he became interested in the theater, at first in the beauty of Olga Glebova and the cut of Ivan Kozelsky's clothes, but he had the good fortune to be in one of the great theater cities of his time.[Adler 1999] pp.22–24 At 17 he became the leader of Glebova's claque, was working as a copyist for lawyers, and going out to a theater, a tavern, or a party every night.[Adler 1999] pp.25, 29, 31 He would later draw on his own life at this time for his portrayal of Protosov in Tolstoy's The Living Corpse.

According to a later addition to the history of the late-11th-century Byzantine historian John Skylitzes, Agatha was a captive from Larissa, and the daughter of the magnate of Dyrrhachium, John Chryselios. Skylitzes explicitly refers to her as the mother of Samuel's heir Gavril Radomir, which means that she was probably Samuel's wife. On the other hand, Skylitzes later mentions that Gavril Radomir himself also took a beautiful captive, named Irene, from Larissa as his wife. According to the editors of the Prosopographie der mittelbyzantinischen Zeit, this may have been a source of confusion for a later copyist, and Agatha's real origin was not Larissa, but Dyrrhachium.

In 1845 he was employed as a copyist in the Ministry of Audit and in 1858 an assistant at the National Archives (Riksarkivet). In 1851, Nicolay Nicolaysen was a founding member of the Society for the Preservation of Ancient Norwegian Monuments, of which he was president from 1851 to 1899. He also took active part in the restoration of the Nidaros Cathedral in Trondheim and of the Hall of Haakon IV (Håkonshallen) in Bergen. He was active in the founding the National Museum of Art, Architecture and Design (Nasjonalmuseet for kunst, arkitektur og design) and was a proponent of the Norwegian National Academy of Craft and Art Industry.

Alfred Plummer, The Gospel according to St. Mark (of the Cambridge Bible for Schools and Colleges series, edited by R. St. John Parry)(1915, Cambridge, Univ. Press) page xxxix–xl. The RSV and NRSV do not translate an "Amen" that appears in the text of Bobbiensis and Codex Ψ and several other mss. To be precise, in MS 579, a Greek ms of the 13th century, the Longer Ending is followed by the Shorter Ending – but a marginal note by a copyist says the Shorter Ending should have appeared first. David Alan Black, "Mark 16:8 as the conclusion to the Second Gospel" in David Alan Black, ed.

Due to a lack of rules and regulations as far as whose name was included on the final work, the author of the original tkhine may be left off in favor of the editor, printer, copyist, or typesetter, who would instead attach their own name to the work. Additionally, during the height of tkhine popularity, tkhines were reprinted multiple times to be included into different collections. Many times, the original name attached to the tkhine was either left off or reattributed to either the adaptor or the compiler of the collection, or someone else entirely. Thus, many tkhines are attributed to different authors depending on the collection.

In modern times, however, writers frequently practice calligraphy seated on a chair at a table. Larger pieces may be written while standing; in this case the paper is usually placed directly on the floor, but some calligraphers use an easel. Basic calligraphy instruction is part of the regular school curriculum in both China and Japan and specialized programs of study exist at the higher education level in China, Japan, Korea, and Taiwan. In contemporary times, debate emerged on the limits of this copyist tradition within the modern art scenes, where innovation is the rule, while changing lifestyles, tools, and colors are also influencing new waves of masters.

Angelo CAROSELLI, la vita e le opere, in una imponente monografia di Marta Rossetti Caroselli was also active as an art restorer, copyist, and, possibly, forger. Angelo Caroselli at the Netherlands Institute for Art History In recent years a corpus of paintings has been attributed to a yet to be identified artist referred to with the notname of Pseudo-Caroselli. The style of the anonymous artist is so close to that of Caroselli that it is believed that this artist must have been in direct contact with Caroselli. The resulting similarity in styles has made it difficult to attribute certain works with certainty to either of the two artists.

Lowell composed music for Mikhail Kuzmin's The Dangerous Precaution for Theatre Rhinoceros in 2008.Richard Dodds, "100 Years of Queer Theater' at Theatre Rhino" Bay Area Reporter, November 6, 2008 Lowell worked as a dramaturg on Frank Loesser’s Señor Discretion Himself, premiered at Arena Stage and Pleasures And Palaces for which he reconstructed the script and score.,Biography Writers Theatre and also adapted Charles Dickens's A Christmas Carol for performance by David Ogden Stiers."Central Oregon Coast Calendar: Holiday Events for Yachats, Waldport and Newport" December, 2007 He has also been an archivist, historian, editor, rehearsal pianist, musical director, house manager, and Broadway music copyist.

He left school aged 13 and got a job at a bank as an office boy and copyist, though did not become a fully paid employee for another year. He later quit after being fined for breaking a glass-plate desk cover. Barea served his compulsory military service in Ceuta and Morocco, rising to the rank of sergeant in an Engineers regiment of the Spanish Army and seeing action in the Rif War. He began writing and published some poems. He then worked in an office registering patents (he had originally wanted to be an engineer), and in 1924, he married for the first time.

The single surviving page of the manuscript of "Vor deinen Thron tret ich", BWV 668, recorded by an unknown copyist in the last year of Bach's life. The breadth of styles and forms represented by the Great Eighteen is as diverse as that of Bach's Well Tempered Clavier for the keyboard. The pieces are on a large and often epic scale, compared with the miniature intimacy of the choral preludes of the Orgelbüchlein. Many of the chorale preludes pay homage to much older models in the German liturgical tradition (Georg Böhm, Buxtehude and Pachelbel), but the parallel influence of the Italian concerto tradition is equally visible.

Malter rejected 882 because it was in conflict with other known events in Saadia's life. He suspected an error by a copyist. The year 882 is now generally accepted because its source is closer in both time and space to his death. Abraham Firkovich had previously held the opinion that Saadia Gaon was born in 862, based on the view that he was aged twenty when he first began writing his Sefer Ha-Iggaron in 882 (See: Abraham Firkovich, Hebrew Newspaper Hamelitz - 1868, Issue 26–27)Bar Ilan CD-ROM was a prominent rabbi, Gaon, Jewish philosopher, and exegete of the Geonic period who was active in the Abbasid Caliphate.

There, she took courses in the Ancient Egyptian and Coptic languages which were taught by Francis Llewellyn Griffith and Walter Ewing Crum respectively. Murray soon got to know Petrie, becoming his copyist and illustrator and producing the drawings for the published report on his excavations at Qift, Koptos. In turn, he aided and encouraged her to write her first research paper, "The Descent of Property in the Early Periods of Egyptian History", which was published in the Proceedings of the Society for Biblical Archaeology in 1895. Becoming Petrie's de facto though unofficial assistant, Murray began to give some of the linguistic lessons in Griffith's absence.

Numerous changes to essential passages in the text have been discovered; those originally advocating personal annihilation now suggest a postmortem eschatological state. Detective work by the publisher and his copyist reveals that non-Wub covered volumes did not experience similar amendments and furthermore that no amendments were made to the proofs sent to the printers. The remainder of the story provides a humorous and philosophically interesting counterpointing of the annihilatory statements in Lucretius' poem and the Wub fur that, somehow, amends it. The publisher continues to experiment with the nature of volumes bound in Wub fur, including the Bible, which demonstrates similar amendments to the Lucretius poem.

During his youth Moshe's family were well off financially and they were well known for their generosity and the support they gave to the elderly and poor of Djerba. However, when he became a teenager his family's financial situation took a turn for the worse and Moshe contributed to the family income by working as a book editor and copyist. He received his Jewish education from his father as well as the chief rabbi of Tunisia, Rabbi Yoseph (Joseph) Barbi. When his father was called upon to be the rabbi of Zervis, Moshe was asked by the local community to become their ritual slaughterer.

The story is told from the point of view of a first-person narrator, about whom little is revealed before the final pages. Before the story itself, an extended meditation appears on the nature of human names, and that of Z. Marcas specifically: The narrator, Charles, lives with his friend Juste in a large boarding-house populated almost entirely with students like themselves (Charles is studying law and Juste medicine). The sole exception is their middle-aged neighbor, Z. Marcas, of whom they see only momentary glimpses in the hall. They learn that he is a copyist, and living on an extremely small salary.

While at Metz, he was visited by Pierre Alamire, the German- Netherlandish composer and music copyist, who was a spy for Henry VIII. However, Richard employed Alamire as a counter-spy against Henry, and Alamire, on being suspected of unreliability by Cardinal Thomas Wolsey and Henry VIII, never returned to England. Richard de la Pole had numerous interviews with King Francis I of France, and in 1523 he was permitted, in concert with John Stewart, 2nd Duke of Albany, the Scottish regent, to arrange an invasion of England, which was never carried out. He was with Francis I at the Battle of Pavia on 24 February 1525, where he was killed.

Seraphine (1838) was followed by Blasedow und seine Söhne, a satire on the educational theories of the time. Between 1850 and 1852 appeared Die Ritter vom Geiste, which may be regarded as the starting point for the modern German social novel. Der Zauberer von Rom is a powerful study of Roman Catholic life in southern Germany. About 1860: “Carte de visite” of Gutzkow, No. "1170" probably made by an anonymous copyist After the success of Die Ritter vom Geiste, Gutzkow founded a journal on the model of Dickens' Household Words, entitled Unterhaltungen am häuslichen Herd, which first appeared in 1852 and continued till 1862.

The work was first performed on 21 November 1796 in the in Leipzig, with soprano Josepha Duschek as the soloist. The singer, a friend of Mozart in Prague, advertised it as "an Italian scena written by Beethoven for Duschek", possibly to raise interest rather than a statement about a dedication. The only extant manuscript by a copyist has a dedication to "Signora Comtessa di Clari", Countess Josephine of Clary-Aldringen. Another notable performance occurred in 1808 as part of a benefit concert for the composer on 22 December which also featured the premieres of his fifth and sixth symphonies, an excerpt of his Mass in C major, among others.

Codex Bezae, text of John 1:1-16 Textual variants in the Gospel of John are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Origen, writing in the 3rd century, was one of the first who made remarks about differences between manuscripts of texts that were eventually collected as the New Testament. In , he preferred "Bethabara" over "Bethany" as the location where John was baptizing (Commentary on John VI.40 (24)).

Some copies of the Historia also change the Romans into Latins (Latini) and the Alamanni into Albani. The latter may be explained as the work of a Welsh copyist for whom m and b were interchangeable, but more probably reflects another modernization or updating of the Table to better reflect the reality known to a scribe working in northern Wales between 857 and 912, who would have been more familiar with the land and people of Alba (Scotland), a kingdom just forming at that time, than Alemannia. Patrich Wadden sets out tables displaying all the variations in the different recensions of the Historia and its Gaelic descendants.

The first page of 1 Corinthians in Minuscule 223 (14th century) Textual variants in the First Epistle to the Corinthians are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

It was at this time that Chan's experience with music orchestration began. At the age of 14, she started work experience with Young Talent Time as a music copyist, approaching the production herself, and turning up repeatedly until she was offered an ongoing role. Chan auditioned for and was accepted by three highly regarded music-focused schools at age 15 – the Victorian College of the Arts, Blackburn High School and University High School – opting to attend the latter. By 15, Chan had furthered her orchestration experience by composing and/or arranging music for small ensembles of up to 15 musicians at school, along with drama and music camps.

The first page of the Epistle to Titus in Minuscule 699 Textual variants in the Epistle to Titus are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Portrait of David Teniers by Philip Fruytiers, 1655 Statue of David Teniers the Younger at the Teniersplaats in Antwerp David Teniers the Younger or David Teniers II (15 December 1610 – 25 April 1690) was a Flemish Baroque painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output.Teniers the Younger, David at the National Gallery of Art He was an innovator in a wide range of genres such as history painting, genre painting, landscape painting, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day.

When creating the music for The X-Files film, Snow had a couple of months to write and to produce the music while he also created the music for the television show. The first film marked the first time the music for the franchise was composed and recorded with help from an orchestra. According to Snow, the recording and writing process didn't change during the making of the film. The biggest difference was that he used MIDI files to save his musical scores and pieces, which would go to a copyist who would take it through one of their programs and eventually give it to the orchestrators.

An enterprising copyist early in the textual tradition appended a copy of the Somnium to a copy of Macrobius's Commentary, but this copy appears to be inferior to the one Macrobius was reading. This text became so popular that its transmission was polluted by multiple copies; it has been impossible to establish a stemma for it. The largest part of the surviving text was uncovered as a palimpsest in 1819 in a Vatican Library manuscript (Vat Lat 5757) of a work by Augustine and published in 1822. Before that date Scipio's dream was the only larger excerpt of the text that was known to have survived the Middle Ages.

Constantin Ciopraga, "Un pelerin – Dincolo de cuvinte, Mihail Crama" , in Convorbiri Literare, Nr. 4/2007 His work became more experimental, and he came to concentrate on writing poems. Tonegaru also became better known to the public, largely thanks to the appreciation of his work by literary critic Vladimir Streinu, who also helped the poet find employment as a copyist with the Ministry of Education (a job he held between 1943 and 1944). He was by then a popular figure on the literary scene, and, according to literary historian Alex. Ştefănescu, loved for "his candor and humor, his awkwardness which always underlined his fundamental honesty".

Posada also placed a certain Flacinus II in 923–25. Though Oveco signed a document of 27 June 912 as Oveco Ovetensis sedis episcopus ("Oveco, bishop of the see of Oviedo"), his predecessor, Flacinus, was still bishop in October that year and it is probable that the copyist of the document dated it early by a year. Oveco appears in several charters of Ordoño II that are clearly dated incorrectly, but the authenticity of these (in spite of their dating clauses) is not established. A charter of 1 December 914 conserved in the Cathedral of Mondoñedo is the earliest attestation of Oveco as bishop with a certain date.

Saraband by Matthew Locke, one of his earliest known keyboard works, found in the manuscript Drexel 5611 In her 2003 study, Bailey described Drexel 5611 as heralding a new style in 17th-century British keyboard music. She based her observation on the manuscript's musical content, noting that the copyist had access to some of the most contemporary keyboard works of the period between the English Civil War and the Commonwealth, the frequency of dance movements, and the organization by key, composer and dance order. The manuscript's singularity stems from including the earliest known keyboard works of Matthew Locke. The majority of the eighty-nine works within Drexel 5611 are dance works.

Some of the original drawings are in the National Art Library at the Victoria and Albert Museum. Copeland was probably the originator of a peculiar type of chair back, popular for a few years in the middle of the 18th century, consisting of a series of interlaced circles. Much of his work has been attributed to Thomas Chippendale, and it is certain that one derived many ideas from the other, but which was the originator and which the copyist is by no means clear. He died in 1754, when, on 8 October, his apprentice was handed over to his widow Elizabeth, who continued his business in his name.

See Weinmann (1973, 1981). Summarizing what music was available from Traeg's business, Edge writes: > In contrast to [other copyists], Traeg specialized in instrumental music, > including an extremely wide variety of arrangements. He also made a > specialty of "old" music (from a late eighteenth-century perspective, > anything composed before roughly 1775), and he occasionally advertised works > by such composers as Corelli and Handel. Traeg also seems to have been the > only commercial copyist in Vienna who dealt to any significant degree in > sacred music ... the wide variety of offerings in Traeg's catalogue of 1799 > seem to suggest that he maintained close contacts with music publishers and > dealers throughout Europe.

Durno was born in around 1745, the son of a brewery-proprietor who lived the later part of his life in an area of West London then known as the "Kensington Gravel Pits" (approximately the current Notting Hill Gate). In February 1769 Durno was admitted to the Royal Academy Schools, where he studied under Andrea Casali, and Benjamin West. He also worked as a copyist for West, and in around 1771 assisted John Hamilton Mortimer on his ceiling paintings at Brocket Hall in Hertfordshire. He received a premium of 30 guineas from the Society of Arts in 1771, and the next year was awarded 100 guineas for the best historical painting.

1, STS (1931), p.398 The Bannatyne Manuscript contains only selected "merry interludes" from the 1554 Greenside performance, the copyist George Bannatyne omitted the "grave matter" because the church had been reformed in reality in the 1560 Scottish Reformation Parliament, and he noted, "the samyne abuse is weill reformit in Scotland." Stage directions in the Bannatyne Manuscript mention the settings of "houses", the "King's seat" and "palyeoun" tent, and props for the scene of the Poor Man and the Pardoner, "Heir thay feight togeddir and the puir man sall cast doun the burd and cast the rillickis in the watter."Tod Ritchie, W. ed.

The show moves ahead to an inn in Mannheim (La chanson de l'aubergiste), where Wolfgang enters with several finished commissions. After sharing his dream of writing a grand opera in German, he is ridiculed by several of the people in the bar who remind him that all operas are written in Italian. Wolfgang rejects their comments (Le Trublion) and a fight breaks out, during which both he and his mother flee before being arrested by the police. A local copyist meets them, already aware of Wolfgang's musical prestige, and offers to copy all of his compositions free and help him distribute them for a small condition – coming to visit his family.

The symphony was discovered by Ernst Hintermaier in 1991. The parts he discovered were copied by Matthias Kracher, who was in close connection to Michael Haydn, but probably did not have a direct contact with the Mozart family. Hintermaier thought that Kracher did not expand the three- movement overture to Lucio Silla with a minuet, but instead copied all four movements from a set of parts or a full score of the complete four-movement symphony. The three overture movements in Kracher's copy are almost exactly identical with Mozart's autograph, but the minuet differs greatly from the copy of K. 61h by Johann Nepomuk Rainsprechter and an unknown copyist in Salzburg.

The manuscript sources for each have many verbal memoranda that refer back to the original idea of the Concerto, identifying materials for piano cadenzas, and for specific orchestral instruments. The "viola part" to the Sonata movement is not to be played by a viola. It is simply "the viola part" from the last page of the original Concerto sketch (where it is doubled by bassoon, and the downbeats to each triplet figure are doubled by tubular bells). When Ives added the line back to the Sonata movement (in the copy of the Transcriptions made by copyist Reiss), in both pencil sketch and ink patch, he simply called it "viola part".

The panel was replaced in 1945 by a copy made by Belgian copyist Jef Van der Veken. Van der Veken used a two centuries old closet shelf as the painting panel. He made the copy of the missing painting on the basis of a copy that Michiel Coxie (1499-1592) had produced in the mid- sixteenth century for Philip II of Spain and was kept at the Royal Museums of Fine Arts of Belgium. In order to harmonize his copy with the appearance of the other panels of the Ghent Altarpiece, Van der Veken applied a layer of wax to create a similar patina.

The city had a lot to offer from a musical point of view: its opera had been reopened shortly before, which Stölzel liked to visit. He became acquainted with Melchior Hoffmann, at the time music director of the Neukirche and conductor of the Collegium Musicum, both in succession of Georg Philipp Telemann, who had left Leipzig in 1705. Perfecting his art under Hoffmann, Stölzel also acted as his copyist, and started composing: initially Hoffmann performed these compositions as his own, Stölzel gradually coming to the open as their composer. In 1710 Stölzel went to Breslau in Silesia, where his first opera, Narcissus, on his own libretto, was performed in 1711.

In 1787, however, he showed a View taken from Brackendale Hill, Norfolk, at the academy and from then on exhibited works mostly landscapes. He was elected an associate of the Royal Academy in 1787, but did not become an academician until 1812, when he presented as his diploma picture An Eagle and a Vulture disputing with a Hyaena. He also exhibited frequently at the British Institution. Reinagle was also an accomplished copyist of the Dutch masters, and his reproductions of cattle-pieces and landscapes by Paul Potter, Ruisdael, Hobbema, Berchem, Wouwerman, Adriaen van de Velde, Karel Dujardin, and others have often been passed off as originals.

Adullam was an inhabited village in the late 16th-century. An Ottoman tax ledger of 1596 lists `Ayn al-Mayyā () in the nahiya Ḫalīl (Hebron subdistrict), and where it is noted that it had thirty- six Muslim heads of households.Wolf-Dieter Hütteroth & Kamal Abdulfattah, Historical Geography of Palestine, Transjordan and Southern Syria in the Late 16th Century, Erlangen 1977, p. 122 The copyist of the same tax ledger had erroneously mistaken the Arabic dal in the document for a nun, and which name has since been corrected by historical geographers Yoel Elitzur and Toledano to read A'ïd el-Miah (), based on the entry's number of fiscal unit in the daftar and its corresponding place on Hütteroth's map.

Jean Miélot, a European author and scribe at work Modern scribes with typewriters outside post office, Mandi, Himachal Pradesh, India, 2010 A scribe is a person who serves as a professional copyist, especially one who made copies of manuscripts before the invention of automatic printing. The profession of the scribe, previously widespread across cultures, lost most of its prominence and status with the advent of the printing press. The work of scribes can involve copying manuscripts and other texts as well as secretarial and administrative duties such as the taking of dictation and keeping of business, judicial, and historical records for kings, nobles, temples, and cities. The profession has developed into public servants, journalists, accountants, bookkeepers, typists, and lawyers.

A chaconne is a musical form used as a vehicle for variation on a repeated short harmonic progression over a ground bass. The Chaconne was marked by the copyist, at the time of transcription, in the upper margin of the first page of the Dresden manuscript as "Parte del Tomaso Vitalino" (Tomaso Vitalino's part),Reich 1970, 40, who may or may not be Vitali.Andrew Manze. "Angels & devils of the violin" One striking feature of the "Vitali" Chaconne's style is the way it wildly changes key, reaching the far-flung territories of B-flat minor and E-flat minor, modulations uncharacteristic of the Baroque era, as change of key signature became typical only in Romanticism.

It was once thought that there was another Byzantine writer of the same name, Michael Psellos the Elder (now also called Pseudo-Psellos), who lived on the island of Andros in the 9th century, and who was a pupil of Photius and teacher of emperor Leo VI the Wise. Michael Psellos himself was also called "the younger" by some authors. This belief was based on an entry in a medieval chronicle, the , which mentions the name in that context. It is now believed that the inclusion of the name Psellos in this chronicle was the mistake of an ignorant copyist at a later time, and that no "Michael Psellos the elder" ever existed.

The first western mention of the city was made in 1714 by Claude Sicard, a French Jesuit priest who was travelling through the Nile Valley, and described the boundary stela from Amarna. As with much of Egypt, it was visited by Napoleon's corps de savants in 1798–1799, who prepared the first detailed map of Amarna, which was subsequently published in Description de l'Égypte between 1821 and 1830. After this European exploration continued in 1824 when Sir John Gardiner Wilkinson explored and mapped the city remains. The copyist Robert Hay and his surveyor G. Laver visited the locality and uncovered several of the Southern Tombs from sand drifts, recording the reliefs in 1833.

Yi Jeong-am passed the licentiate examination in the fall of 1558 and passed the regular literary examination in 1561 as one of the third-tier passers. Starting his career with the Third Copyist of Diplomatic Documents Bureau (승문원부정자), he served in various internal affairs and assistant section chiefs of several ministries. The following year, he served as an auditor of Jeolla Province (전라도도사), and then returned to the court to serve as assistant section chief of Ministry of Justice (형조좌랑). In 1569, he moved to Gyeonggi Provincial Government and became a drafter of the Chunchugwan (춘추관기주관). The following year, he was reappointed to the assistant section chief of Ministry of Justice to serve as a King’s Editor (지제교).

In 1841, he began to read law at University College, London, evidently sporadically as he did not qualify as a solicitor until 1847, partly because he had become interested in learning to be a painter. In Yorkshire in 1843 Fenton married Grace Elizabeth Maynard, presumably after his first sojourn in Paris (his passport was issued in 1842) where he may briefly have studied painting in the studio of Paul Delaroche. When he registered as a copyist in the Louvre in 1844 he named his teacher as the history and portrait painter Michel Martin Drolling, who taught at the École nationale supérieure des Beaux-Arts, but Fenton's name does not appear in the school records.

Petrie, W.M.F. (1905) Ehnasya 1904: Twenty-sixth memoir of the Egypt Exploration Fund, London, UK The following year she remained at Saqqara to copy reliefs in some of the Old Kingdom Tombs, as Margaret Murray had the year before. She went from Saqqara to join Flinders Petrie and Lina Eckenstein at a temple site on a hilltop at Serabit el-Khadim, where there were large numbers of inscribed stones, statues and stelae. Some of these were in a hitherto unknown script, which was dubbed Sinaitic, and her work as a copyist was welcomed. Hilda and the 48 year old polymath Lina Eckenstein took a journey across Sinai accompanied by a single guide.

These marks would not usually be described as pentimenti as the subjects are totally different Pentimenti are considered especially important when considering whether a particular painting is the first version by the original artist, or a second version by the artist himself, or his workshop, or a later copyist. Normally, secondary versions or copies will have few if any pentimenti, although this will not always be the case, as in The Lute Player by Caravaggio. Like Rembrandt, Titian and many other masters, Caravaggio seems rarely to have made preliminary drawings but to have composed straight onto the canvas. The number of pentimenti found in the work of such masters naturally tends to be higher.

Rachel Yuen-Collingridge and Malcolm Choat (Macquarie University) used stichometry along with other kinds of evidence to make inferences about scribal practice and copying techniques.Rachel Yuen- Collingridge and Malcolm Choat, ‘The Copyist at Work, Scribal Practice in Duplicate Documents,’ in Paul Schubert, editor, Actes du 26e Congrès international de papyrologie, in the series Recherches et Rencontres published by the Faculté des Lettres de l’Université de Genève, 2012, Volume 30, 827–834. Mirko Canevaro (Durham University) argued that the stichometric totals in the Demosthenes manuscripts descended from the earliest editions. He used these totals to show that the supposed excerpts of documentary evidence inserted in the speeches were not present in those early editions and were thus late forgeries.

The third letter, Contra decreta Hildebrandi ("Against Hildebrand's Decrees"), was written by the copyist. Beno's two letters are addressed, respectively, to "the most revered mother of the holy Roman church" (reverentissimae matri sanctae Romanae aecclesiae) and to "the venerable fathers of the Roman church" (venerandis aecclesiae Romanae patribus), that is, the cardinals. In the first letter, Beno says that at the time of writing he was the archpriest (cardinalium archipresbyter), the head of the cardinal- priests, and that John of Santa Maria in Domnica was then archdeacon, head of the cardinal deacons. This places the writing later than November 1084, at which time Leo of San Lorenzo in Damaso was archpriest and Theodinus archdeacon.

In 1750 when Bach began to suffer from blindness before his death in July, BWV 666 and 667 were dictated to his student and son-in-law Johann Christoph Altnikol and copied posthumously into the manuscript. Only the first page of the last choral prelude BWV 668, the so-called "deathbed chorale", has survived, recorded by an unknown copyist. The piece was posthumously published in 1751 as an appendix to the Art of the Fugue, with the title "Wenn wir in höchsten Nöthen sein" (BWV 668a), instead of the original title "Vor deinen Thron tret ich hiermit" ("Before your throne I now appear"). There have been various accounts of the circumstances surrounding the composition of this chorale.

The museum was established during Soane's own lifetime by a Private Act of Parliament in 1833, which took effect on Soane's death in 1837. The Act required that No. 13 be maintained "as nearly as possible" as it was left at the time of Soane's death, and that has largely been done. The Act was necessary because Sir John had a living direct male heir, his son George, with whom he had had a "lifelong feud" due to George's debts, refusal to engage in a trade, and his marriage, of which Sir John disapproved. He also wrote an "anonymous, defamatory piece for the Sunday papers about Sir John, calling him a cheat, a charlatan and a copyist".

In 1937 Roy Douglas first worked with Richard Addinsell, on the score for Dark Journey. They went on to work on such films as Victoria the Great (1937), The Lion Has Wings (1939), Gaslight (1940), Old Bill and Son (1941), Dangerous Moonlight (1941, which contained the famous Warsaw Concerto), Love on the Dole (1941), This England (1941), This Is Colour (1942), The Big Blockade (1942), The Day Will Dawn (aka The Avengers, 1942) and The New Lot (1943). The extent of his involvement in Addinsell's scores is somewhat unclear. Some sources suggest Addinsell had good musical ideas but no skills in orchestration, and that Douglas's role was much more than a mere assistant or copyist.

Champollion probably coined this term, replacing his phrase "signs of the type", while in Egypt, as it had not appeared in the 1828 edition of the Précis. Champollion also saw the sphinx and lamented that the inscription on its chest was covered by more sand than they would be able to remove in a week. Arriving in Dendera on 16 November, Champollion was excited to see the Zodiac that he had deciphered in Paris. Here he realized that the glyph that he had deciphered as autocrator and which convinced him that the inscription was of recent date was in fact not found on the monument itself – it had seemingly been invented by Jomard's copyist.

Andronikos is a very obscure figure. As R. Macrides writes, "almost everything that is known about him [...] has been disputed: his identity/name, the date of his marriage, the date of his death, the cause of his death". Nothing is known of his origin and early life, and even his name is uncertain, as the metropolitan of Ephesus, Nicholas Mesarites, who officiated at his marriage, calls him "Constantine Doukas Palaiologos" in a sermon of his. All Byzantine chroniclers on the other hand, beginning with George Akropolites who is the main source on his life, call him Andronikos, and it is usually supposed that the different name in Mesarites' account is a transcription error by a later copyist.

Da Vinci developed the concept of dividing the surface of the globe into eight spherical equilateral triangles, each section bounded by the Equator and two meridians separate by 90°. This was the first map of this type. Some critics believe that the existing map was not really an autograph work, since the precision and expertise in the drawing does not reflect the usual high standards of da Vinci. They suggest that it was probably done by a trusted employee or copyist at Leonardo's workshop. Da Vinci's authorship would be demonstrated by Christopher Tyler in his paper entitled "Leonardo da Vinci’s World Map", in which he provides examples of derivative maps in a similar projection to da Vinci's.

Henri-François Élisabeth Étienne Dumolard-Orcel, better known as Henri- François Dumolard (2 October 1771 – 21 December 1845) was an early 19th- century French playwright. The son of a judge, he lost his father aged fifteen and in order to make a living, to go to school and to help his mother, accepted a position of copyist. He became secretary general of the police administration (1789-1790) and a lawyer (1796). A member of the "Société académique des sciences" and a controller of the Public Treasury (1796-1813), his plays were presented on the mpost important Parisian stages of his time, including the Théâtre du Vaudeville, the Théâtre des Variétés, and the Théâtre de la Porte-Saint-Martin.

A Russian, Kazakov was born to a peasant family on 9 October 1901 in the village of Velikusha, Vologda Governorate. He completed primary school and after the October Revolution in 1917 became a member of the local revolutionary committee and a soldier in a food detachment. Conscripted into the Red Army in July 1920 during the Russian Civil War, Kazakov was sent to the 3rd Reserve Regiment in Arkhangelsk, and a month later became secretary to the regimental commissar. He fought on the Southern Front from August 1920 as a copyist in the office of the commissar of the 136th Brigade of the 46th Rifle Division, then as a Red Army man of the 407th Rifle Regiment.

The only copy of the Table that connects it directly with the Trojan claims, however, is that found in the Historia, which is also the only one that connects it with the generations of Noah. The introduction of the Tuscans in place of the Thuringians first occurs in manuscript M from the early 10th century and was followed in E, written around 1005. The change has been linked to the creation of a distinct regional Tuscan identity after the fall of the Lombard Kingdom in 774. The copyist of E, who probably had both versions to choose from, chose the Tuscan version because enhanced contacts between the Lombard south of Italy and Tuscany in his day.

First page of the Codex Boernerianus; in Romans 1:7 "in Rome" replaced into "in love" Textual variants in the Epistle to the Romans are the subject of the study called textual criticism of the New Testament. Textual variants in manuscripts arise when a copyist makes deliberate or inadvertent alterations to a text that is being reproduced. An abbreviated list of textual variants in this particular book is given in this article below. Most of the variations are not significant and some common alterations include the deletion, rearrangement, repetition, or replacement of one or more words when the copyist's eye returns to a similar word in the wrong location of the original text.

Poet, composer, musical copyist and singer did their work together in frantic haste. Metastasio understood the technique of his peculiar art in its minutest details. The experience gained at Naples and Rome, quickened by the excitement of his new career at Vienna, enabled him almost instinctively, and as it were by inspiration, to hit the exact mark aimed at in the opera. The libretto Adriano in Siria was used by more than 60 other composers in the 18th and early 19th century: Antonio Caldara (1732), Giovanni Battista Pergolesi (1734), Francesco Maria Veracini (1735), Baldassare Galuppi (1740), Carl Heinrich Graun (1746), Johann Adolph Hasse (1752), Johann Christian Bach (1765), Luigi Cherubini (1782) and in Adriano in Siria (Mysliveček) from (1776).

The earliest explicit example of fauxbourdon may be in the manuscript I-BC Q15 (Bologna, Museo Internazionale e Biblioteca della Musica, MS Q15), compiled around 1435, which contains several examples, including one by Dufay dating probably to around 1430. Since many early 15th century compositions are anonymous, and dating is often problematic, exact determination of the authorship of the earliest fauxbourdon is difficult. Dufay's contribution to this collection contains the first actual use of the term, in the closing part of his Missa Sancti Jacobi. It is possible that his use of the word "bourdon" was intended as a pun on St. James' "staff" (which Dufay, or the copyist, drew in miniature above the music).

The original text of the hymn has been from time to time attributed to various groups and individuals, including St. Bonaventure in the 13th century or King John IV of Portugal in the 17th, though it was more commonly believed that the text was written by Cistercian monks – the German, Portuguese or Spanish provinces of that order having at various times been credited. In modern English hymnals, the text is usually credited to John Francis Wade, whose name appears on the earliest printed versions. However, this is most likely an error of attribution. Wade, an English Catholic, lived in exile in France and made a living as a copyist of musical manuscripts which he found in libraries.

Tang worked as a copyist and assistant to Fung Chi-fen (馮志芬) and Nam Hoi Sup-sam Long (南海十三郎), two famous writers for the troupe. Encouraged by Sit Gok Sin, Tang began his career as a playwright in 1938 with his first (being taken as an announcement of his intention to be in the arena) opera The Consoling Lotus of Jiangcheng (). Throughout the next twenty years Tang wrote a total of 446 opera scripts, while 80 of those were adapted for films. During the Japanese occupation of Hong Kong, Tang penned many scripts for his wife and her co-stars to stage in return for food (mostly rice) and found his footing eventually.

Faris joined his brothers, Tannous (1791–1861) and Assaad (1797–1830), and his maternal cousin Boulos Massaad (1806–1890), in Ayn Warqa school, one of the most prestigious Maronite schools of the 19th century. Again, a family conflict, in which the Shidyaq were at odds with the Prince Bashir Shihab II, obliged their father Youssef Ash-Shidyaq to take refuge in Damascus, where he died in 1820. Faris left school and continued his studies under his older brothers Assaad and Tannous. He joined his brother Tannous as a copyist at the service of the Prince Haydar Shihab; their brother Assaad worked as the secretary of the Sheikh Ali Al-Emad in Kfarnabrakh, in the Chouf District.

The Greek portion of the text appear to have had three distinct hands involved, all working from a “liturgical” style that’s used in service books through the century. The liturgical script offers a challenge when attempting to date it due to its archaizing character; there are several works using colophons around 1300 that offers similar traits to those seen in the Hamilton Psalter. Scholars then date this particular type of script to be dated around the end of the thirteenth or very beginning of the fourteenth century. The date of around 1300 is then further corroborated by the Latin paleography, appearing to be created by a single copyist who drifts between older and newer letter form.

The Stichvorlage was written down by three main copyists whose identities are unknown — but it is possible they were none other than Löwe and the two Schalks. One copyist copied out the 1st and 4th movements; the others each copied out one of the inner movements. Some tempi and expression marks were added in a fourth hand; these may have been inserted by Hans Richter during rehearsals, or even by Bruckner, who is known to have taken an interest in such matters. The Stichvorlage is now in an inaccessible private collection in Vienna; there is, however, a set of black- and-white photographs of the entire manuscript in the Wiener Stadtbibliothek (A-Wst M.H. 9098/c).

The latter, however, contains substantial variations including a number of elaborated passages. Its narrative is longer, but somewhat disfigured orthographically and phonetically by an anonymous copyist. Many passages of the Shatberdi Codex are more informative, but these details are probably later insertions as suggested by the occurrence of the word Baghdad, a post-8th century toponym. The Shatberdi codex cites some of its sources (such as "a brief account of the conversion of Kartli" by Grigol the Deacon) most of which did not survive and are otherwise unknown. Modern specialists have also proposed Pseudo-Callisthenes’ apocryphal Alexander romance and Alexander of Cyprus’ Chronica as possible sources used by the authors of CoK.

Robert Vaughan of Hengwrt intended to publish a new edition of The Historie of Cambria by David Powel and asked Ellis to complete the work, using Vaughan's notes as well as his own. However, in 1663, after 128 sheets of the book had been printed, Ellis complained that all of Vaughan's material had been published in 1661 by Percie Enderbie and refused to continue. Memoirs of Owen Glendowr, published in 1775, was attributed to Ellis, but Sir John Edward Lloyd later showed that Vaughan had written it, with Ellis simply being the copyist. In 1665, King Charles II, his court and Parliament moved to Oxford to escape the plague, and Ellis's fortunes improved.

Occasionally, and more frequently in later times, the artist's signature was carved upon some portion of the statue itself. But in later copies of well-known works, it has to be considered whether the name is that of the original artist or of the copyist who reproduced his work. (see for example, the statue of Hercules/Heracles below) A special class of artists' signatures is offered by the names signed by Attic and other vase painters upon their vases. These have been made the basis of a minute historical and stylistic study of the work of these painters, and unsigned vases also have been grouped with the signed ones, so as to make an exact and detailed record of this branch of Greek artistic production.

The close relation which existed in earlier times (from the Soferim to the Amoraim inclusive) between the teacher of tradition and the Masorete, both frequently being united in one person, accounts for the Exegetical Masorah. Finally, the invention and introduction of a graphic system of vocalization and accentuation gave rise to the Grammatical Masorah. The most important of the Masoretic notes are those that detail the Qere and Ketiv that are located in the Masorah parva in the outside margins of BHS. Given that the Masoretes would not alter the sacred consonantal text, the Kethiv-Qere notes were a way of "correcting" or commenting on the text for any number of reasons (grammatical, theological, aesthetic, etc.) deemed important by the copyist.

This exhibition displays Wainio's interest in the evolution of fairy-tales, the art of the copyist, industrialization, and the narrative power of images. It was on display at Carleton University Art Gallery (2010), the Varley Art Gallery (2011), the Kelowna Art Gallery (2013), the Dunlop Art Gallery (2013), the McIntosh Gallery (2013), and the Galerie de l'UQAM (2014). Wainio's large-scale canvases have also been exhibited in more than 40 museums and galleries, including the National Gallery of Canada, the Shanghai Art Museum in China and the Stedelijk Museum in the Netherlands. Her work can also be found in the permanent collections of the National Gallery of Canada, the Musée d'art contemporain de Montréal and the Art Gallery of Ontario, among other institutions.

In 1756, a 64-page treatise by Bardwell, entitled The Practice of Painting and Perspective Made Easy, dedicated to the Earl of Rochford, was published, printed by Miller of Bungay. It gives a London address for Bardwell, being advertised as available from the author "at the Golden Lamp, in Rose Street, near the end of Covent Garden". Edward Edwards, writing in 1808, praised the book, despite his generally low opinion of Bardwell as an artist,Edwards viewed Bardwell as basically a copyist, adding that "in his original works he held no very high rank". saying that "the instructions contained in that short work, so far as they relate to the process of painting, are the best that have hitherto been published".

Another issue is that several books are considered to be forgeries. The injunction that women "be silent and submissive" in 1 Timothy 2 is thought by many to be a forgery by a follower of Paul, a similar phrase in 1 Corinthians 14, which is thought to be by Paul, appears in different places in different manuscripts and is thought to originally be a margin note by a copyist. Other verses in 1 Corinthians, such as 1 Corinthians 11:2–16 where women are instructed to wear a covering over their hair "when they pray or prophesies", contradict this verse. A final issue with the Bible is the way in which books were selected for inclusion in the New Testament.

In the WB-62 Sumerian king list recension, Ziusudra, or Zin-Suddu of Shuruppak, is listed as son of the last king of Sumer before a great flood. He is recorded as having reigned as both king and gudug priest for ten sars (periods of three thousand six hundred years), although this figure is probably a copyist error for ten years. In this version, Ziusudra inherited rulership from his father Ubara-Tutu, who ruled for ten sars. The lines following the mention of Ziusudra read: The city of Kish flourished in the Early Dynastic period soon after a river flood archaeologically attested by sedimentary strata at Shuruppak (modern Tell Fara), Uruk, Kish, and other sites, all of which have been radiocarbon dated to ca.

Edmé Samson: copyist or forger? Buenos Aires Herald 18th-century designs from the factories of Meissen, Sèvres, Chelsea, Worcester and Derby were among the reproductions Samson, Edmé et Cie produced, among designs copied from the other major European factories. Kakiemon style covered Jar, c. 1850-1900, Samson & Cie, Paris or Montreuil, hard-paste porcelain with overglaze enamels During the 19th century, the collectors' market for antique fine china was considerable, and Samson’s firm reproduced ceramics in a breadth of styles including the faience and maiolica types of Italian pottery, Persian style dishes, Hispano-Moresque pottery (a blending of Islamic and European motifs, produced during the 13th to 15th centuries), plates in the FitzHugh pattern, as well as plates in the manner associated with Bernard Palissy.

The following page also contains an inscription by Jones which Holman identified as a title: > The Rare Theatrical, & other Compositions by Mr. Matthew Lock, transcribed > in Score from various M.S. – viz. Overtures, Symphonies, Brawles, Gavotts, > Fantasticks, Corants, act Tunes, Curtain Tunes, Sarabands, Almands, > Galliards, Lilks, Hornpipes, & other Compositions. Second inscription on Drexel 3976 by Edward Jones providing the name "The Rare Theatrical" and a brief description of its contents Holman observed that the title "The Rare Theatrical" was written in Edward Jones's hand and that in this case, Jones's use of the word "rare" refers not to scarcity, but to unusually high quality. He concluded that the title probably originated with the copyist and that Jones's inscription could have preserved that earlier title.

During his time there he founded his vast knowledge of the classical repertoire and became associated with members of the Halle Orchestra, which included Martin Milner as band leader, Jean Bell on Harp and Rayson Whalley on percussion. In those early days of his musical career Peter played in many Northern 'Palais-De-Danse' orchestras, or 'dance bands', with which he regularly performed at the Ritz and Plaza ballrooms in Manchester. Peter's career developed further when he began playing for the Raymond Woodhead Band at the Ashton Palais, which was a famous band at the time. As Peter became a more accomplished baritone saxophone player it attracted more gigs for him, although he was also working as a music copyist for the BBC orchestras at the time.

The marriage was a lasting one, and Danuta's drafting skills were of great value to the composer: she became his copyist, and she solved some of the notational challenges of his later works. In 1947, the Stalinist political climate led to the adoption and imposition by the ruling Polish United Workers' Party of the tenets of Socialist realism, and the authorities' condemnation of modern music which was deemed to be non-conformist. This artistic censorship, which ultimately came from Stalin personally, was to some degree prevalent over the whole Eastern bloc, and was reinforced by the 1948 Zhdanov decree. By 1948, the ZKP was taken over by musicians willing to follow the party line on musical matters, and Lutosławski resigned from the committee.

His next documented appointment was in 1510 when he was singing master for the chapel of Anne of Brittany; and when the singers were absorbed by the French court after her death in 1514, he went with them, and stayed in the French court chapel until at least 1525, when François I was decisively defeated and captured at the Battle of Pavia. Nothing certain is known of Divitis after this date. He may have gone to Rome, based on the similarity of his name to that of a man listed in the chapel choir in 1526. He is mentioned as being dead by 1534 by a manuscript copyist, but the implication in the reference is that he had been dead for several years.

Israel's presence in England is known from a gospel book written in Ireland in about 1140, which contains a copy of a tenth-century drawing and explanation of a board game called Alea Evangelii (Gospel Game), based on canon tables (concordances for parallel texts of the four gospels). According to a translation by Lapidge of a note on the manuscript: :Here begins the Gospel Dice which Dub Innse, bishop of Bangor, brought from the English king, that is from the household of Æthelstan, King of England, drawn by a certain Franco [or Frank] and by a Roman scholar, that is Israel.Lapidge, Anglo-Latin Literature, p. 89 The twelfth-century copyist appears to have changed Dub Innse's first person note to the third person.

Whilst studying at the National Film and Television School Holt worked as an orchestrator and copyist on films including Matthew Vaughn's Stardust and Hannibal Rising. After graduating, she performed as a classical violist in a number of orchestras, while she began composing her own music for a number of short films, including the Royal Television Society award-winning "Friends Forever" (2008). Her first mainstream breakthrough came in 2012 when she worked as part of Mearl Music for the composer Martin Phipps writing additional music for the BBC film Great Expectations, which was nominated for a BAFTA award for Best Score. She collaborated with Phipps again for the BBC drama The Honourable Woman for which they jointly won the 2015 Ivor Novello Award for Best Television Soundtrack.

Alcázar was born in the fort of San Diego de Alcalá, in Tucapel, the son of Andrés del Alcázar, an infantry captain and the fort's commander, and of Feliciana Rodríguez de Zapata y Sanhueza. began his military career in 1773 as a "distinguished" soldier in the Dragones de la Frontera cavalry regiment of the Spanish Army. When shortly after his official commission as a Cadet arrived from Spain, it was discovered that by a copyist mistake, it was made out to a Pedro del Alcázar instead of his real name Andrés del Alcázar. In order to solve the discrepancy, the commander of the regiment, Colonel Ambrosio O'Higgins ordered his act of baptism modified to read Pedro Andrés, the name he would be known ever after.

Two lanes that were added to each side in 1968–1969 are of orthotropic box structure construction and are cantilevered off the original piers. The bridge is 1,020 m (3,348 ft) long, with a main span of 243.8 metres, rising 43.27 metres above high water,1951–1961 The Auckland Harbour Bridge Authority (Auckland Harbour Board publication, 1960s) allowing ships access to the deepwater wharf at the Chelsea Sugar Refinery, one of the few such wharves west of the bridge, the proposed Te Atatū port not having been built. While often considered an Auckland icon, criticism has included complaints that it mimics the Sydney Harbour Bridge in copyist fashion. Many see the construction of the bridge without walking, cycling, and rail facilities as a big oversight.

In Venice, this version "was well received when Rossini revised it for performances....at the Teatro La Fenice in December 1822.", his last composition for an Italian house. However, the composer had to bow to a need for a significant change to the original ending, thus "spar[ing] Venetian sensibilities by providing a happy [one]". Philip Gossett provides an explanation for the change made to the Venice score, which includes this happy ending: it is "to remove the horror of the historical catastrophe" and, therefore, Rossini instructed a copyist to end the opera using the rondo, "", from his La donna del lago of 1819, thus removing Maometto's final confrontation with Anna, his discovery of her marriage to Calbo, and her suicide.

The fourteen-year-old teenager A. A. Morozov, having got a six-years education in a special school, came in March 1919 to the Kharkiv engine-building plant. His labor activity began in technical office of the factory as the filing clerk. Further work as the copyist, the draftsman and the designer acquainted him with creation at the factory of the first chain track tractors "Communar". Since 1928 come back on the factory after service in Red Army (in air brigade the aviation technician-mechanic) Morozov as a part of design group provided production of a prototype of the maneuverable T-1-12 tank, and then participated in designing and release of the subsequent modification of the tank which received the T-24 brand.

He was organist at Ludlow Parish Church 1637–42, and possibly the author of the three-voice song "Gloria Patri" that appears in John Hilton's 1652 publication Catch That Catch Can. (The Wikipedia article Church of St. Mary Magdalene, Newark-on-Trent mentions that Heardson was master of the song school at that church 1642–49.) Comparing Drexel 5611 with a document produced by the Thomas Heardson of Ludlow Parish Church, Bailey concludes that they are the same hand, revealing the identify of Thomas Heardson. (She also suggests that he might be a brother or relative of John Heardson, organist at Lincoln Cathedral Choir in the 1630s.) Klakowich observed that the second copyist was responsible for only no. 77 on page 142 (a work by Matthew Locke).

Some who maintain the 586 date therefore maintain that in this one instance, Ezekiel, without explicitly saying so, switched to the regnal years of Zedekiah, although Ezekiel apparently regarded Jeconiah as the rightful ruler and never names Zedekiah in his writing. Another view is that a later copyist, aware of the 2 Kings passage, modified it and inserted it into the text of Ezekiel. In his study of all biblical texts related to the Babylonian capture of Jerusalem, Young concludes that these conjectures are not necessary, and that all texts related to the fall of Jerusalem in Jeremiah, Ezekiel, 2 Kings, and 2 Chronicles are internally consistent and consistent with the fall of the city in Tammuz of 587 BCE.Rodger C. Young (2004).

Descendant of Baroness Schluga, who arrived in Tuscany following :it:Maria Anna Carolina of Saxony (the first wife of Leopold II of Tuscany), Giaconi was born in Florence. However, she spent part of her youth moving from city to city following her father, a middle school mathematics teacher. When her father died, she again moved to the capital of Tuscany, where she attended l’Accademia di Belle arti for six years, gaining the diploma with which she would make a living as a copyist at the Galleria degli Uffizi in Florence. She was a friend of :it:Enrico Nencioni, her neighbor in via delle Caldaie in the Santo Spirito district, from whom she deepened her knowledge of English literature and was able to perfect the language.

Cover of Ricordi's first publication in 1808 Piano and vocal score for Verdi's Il trovatore Giovanni Ricordi, a violinist, leader of a small orchestra in Milan, as well as "a genius and positive force in the history of Italian opera," in 1803 had a firm, a copisteria, which specialized in producing manuscript copies of music for local music groups, and very quickly, he became official copyist for two theatres. He entered into what became a short-term partnership with Felice Festa, an engraver and music seller, but that ended in June 1808. The first work, which the new company published in 1808, was a guitar piece by Antonio Nava. This was followed in 1814 by the first catalogue, which contained 143 items.

The first inventory was drawn up in 1668 by the Danish orientalist Theodorus Petraeus from Flensburg, which was later expanded by the Armenian copyist Shahin Qandi. Their work has not been preserved in the original form, but it was subsequently used by the German student N. Boots or Bootz, whose description of the Warner Legacy takes up a large part of the 1674 catalogue of the Leiden University Library (Spanheim 1674, pp. 316ff). In 1729 the title of Interpres Legati Warneriani was created by the governors of Leiden University to ensure the continuity of the collection by conservation, cataloguing and the production of scholarly editions. The title was first conferred on Albert Schultens (1686-1750), professor of Oriental languages at Leiden.

He was a clever copyist of the old masters, and is said to have been much employed by a picture-dealer in restoring and "improving" their works. In 1848 he sent to the Royal Academy exhibition as his own work a small picture of Shipping a Breeze and Rainy Weather off Hurst Castle painted by a young artist named J. W. Yarnold, which he had purchased at a broker's shop, and to which he had made some slight alterations. Attention was called to the deception, and a full inquiry made by the academy resulted in his being called upon to resign his diploma as a royal academician. In 1850 he unsuccessfully endeavoured to exculpate himself in two letters published in the Literary Gazette.

The earliest "layer" of the manuscript set, included in Trent 87 and 92, contains single movements of the mass and motets, with works by such composers as Zacara da Teramo, Jacobus Vide, Johannes Brassart, and early works by Guillaume Dufay, whose music appears throughout the codices. There are also works by English composers, including John Dunstaple, giving some sense of the esteem in which English composers of the time were held. Most manuscript sources from the 15th century from England were destroyed by Henry VIII during the Dissolution of the Monasteries; the surviving music of 15th-century English composers comes largely from continental sources, such as these Italian books. Copyist Johannes Wiser wrote out most of the five manuscripts Trent 88, 89, 90, 91, and 93, principally between 1445 and 1475.

The choir of Gloucester Cathedral; the organ pipes can be seen in the background (photo by David Iliff) Possibly once having been in the possession of its copyist, John Merro, the whereabouts of the partbooks is unknown until the 19th century. Philip Brett mentions annotations he attributed to Matthew Hutton, but Monson believed Brett was mistaken, for the only annotations appear to be by a contemporary librarian. The first indication of the partbooks comes from a nineteenth-century owner and musicologist Edward F. Rimbault. From whom he obtained the partbooks is revealed by the title of the publication in which he printed a few of the selections: A Collection of Anthems for Voices and Instruments by Composers of the Madrigalian Era Scored From a Set of Ancient M.S. Part Books Formerly in the Evelyn Collection.

The idea of a named and recognised painter originated among art historians early in the 20th century, who were attributing works they recognised to known painters. They later went back on some of these attributions, renaming as anonymous the painters they had formerly named. One example is the case of Pier Francesco Fiorentino, to whom Bernard Berenson attributed a number of works which were later re-attributed to Pseudo Pier Francesco Fiorentino, a Florence copyist. Some painters have even been described as anonymous (even many times like Barthélemy Eyck) before later being recognised. They thus held several names historically (those who are noted on the page devoted to them), although doubts continue surrounding some, such as Giovanni Gaddi (after 1333 – 1383) maybe the Master of the Misericordia dell’Accademia.

After the death of the prince, Philip IV decreed that the perquisites that Mazo had been receiving be continued, and kept him employed as a painter. Mazo first expressed his talent copying works of Venetian masters in the royal collections, such as Tintoretto, Titian, and Paul Veronese, a task that he performed with assiduity and success. His colorful work as a copyist opened his way to the secrets of the great masters of his time, especially Rubens and Jordaens. Such copies must have considerably cut down the time available for his original work, as did the production of replicas of Velázquez's royal portraits that he painted; an example would be his portrait of Infanta Margaret Theresa that today is exhibited next to the Velázquez original in a Viennese museum.

Despite beginning to compile numerous gazetteers of places and coordinates indebted to Ptolemy, Muslim scholars made almost no direct use of Ptolemy's principles in the maps which have survived. Instead, they followed al-Khwārazmī's modifications and the orthogonal projection advocated by Suhrāb's early 10th-century treatise on the Marvels of the Seven Climes to the End of Habitation. Surviving maps from the medieval period were not done according to mathematical principles. The world map from the 11th-century Book of Curiosities is the earliest surviving map of the Muslim or Christian worlds to include a geographic coordinate system but the copyist seems to have not understood its purpose, starting it from the left using twice the intended scale and then (apparently realizing his mistake) giving up halfway through.

In the early > Liu Song dynasty period (420 to 479 A.D.), Guangxi sent a pair of [feifei] > as tribute. (tr. Van Gulik 1967:28) Regarding this widely copied fanzhong 反踵 "reversed feet" description, Van Gulik reasons that a copyist misread the ji 及 "extend; down to" in Guo Pu's 及踵 "hair hanging down to its heels" comment as fan 反 "reverse; opposite". He further (1967:29) suggests that the human face, long lips, and long red hair description of the feifei could apply to the orangutan. The Bencao gangmu entry for feifei, identified as the "golden snub-nosed monkey, Rhinopithecus roxellanae" and "baboon" Papio hamadryas (Liu 2003: 4129), lists other synonyms of xiaoyang 梟羊 "owl goat", yeren 野人 "wild man; savage" (see Yeren), and shandu 山都 "mountain capital".

He composed in a wide variety of genres ranging from large- scale Mass settings and music for special feast days to more intimate sonatas and suites. In addition to his musical responsibilities, he also maintained the Bishop's music library and was the primary copyist of the collection, with his hand appearing in hundreds of manuscripts. His own compositions circulated throughout central Europe, appearing in other Czech collections as well as in Germany and Austria. He seems to have made at least one visit to Austria with the purpose of copying and collecting music and it is largely thanks to Vejvanovsky that so much central-European music from the time is preserved in what is widely regarded as one of the most important collections of late seventeenth century music on the Continent.

Some fake books extend this slash rhythm notation further by indicating chords that are held as a whole note with a diamond, and indicating unison rhythm section rhythmic figures with the appropriate note heads and stems. Simile marksA simile mark in the middle of an otherwise empty measure tells the musician to repeat the chord or chords of the preceding measure. When seen with two slashes instead of one it indicates that the previous measure's chords should be repeated for two further measures, called a double simile, and is placed on the measure line between the two empty bars. It simplifies the job of both the music reader (who can quickly scan ahead to the next chord change) and the copyist (who doesn't need to repeat every chord symbol).

The most plausible interpretation of the evidence is that Vergil intended to present a fine manuscript (rather than a printed book) to Henry VIII, and commissioned the work from Veterani, the most famous copyist of the day. However, no such copy by Veterani is known to have survived.Hay 1952, pp. 79–81. The manuscript version of the work was divided into 25 books. Books I–VII described the early history of England up to the Norman conquest; Book VIII dealt with the reigns of William I and William II; and the following books covered one reign per book, ending in book XXV which dealt with the beginning of Henry VIII's reign to 1513. In 1534 the first printed version of the work appeared, a folio with decorations from John Bebel’s press in Basle.

Lady Charlotte Elizabeth Guest (née Bertie; 19 May 1812 – 15 January 1895), later Lady Charlotte Schreiber, was an English aristocrat who is best known as the first publisher in modern print format of The Mabinogion which is the earliest prose literature of Britain. Guest established The Mabinogion as a source literature of Europe, claiming this recognition among literati in the context of contemporary passions for the Chivalric romance of King Arthur and the Gothic movement. The title Guest used derived from a mediaeval copyist error already established in the 18th century by William Owen Pughe and the London Welsh societies. As an accomplished linguist, and the wife of a foremost Welsh ironmaster John Josiah Guest, she became a leading figure in the study of literature and the wider Welsh Renaissance of the 19th century.

Copernicus's first poetic work was a Greek epigram, composed probably during a visit to Kraków, for Johannes Dantiscus' epithalamium for Barbara Zapolya's 1512 wedding to King Zygmunt I the Old. Some time before 1514, Copernicus wrote an initial outline of his heliocentric theory known only from later transcripts, by the title (perhaps given to it by a copyist), Nicolai Copernici de hypothesibus motuum coelestium a se constitutis commentariolus—commonly referred to as the Commentariolus. It was a succinct theoretical description of the world's heliocentric mechanism, without mathematical apparatus, and differed in some important details of geometric construction from De revolutionibus; but it was already based on the same assumptions regarding Earth's triple motions. The Commentariolus, which Copernicus consciously saw as merely a first sketch for his planned book, was not intended for printed distribution.

The words of the original "je eusse cest livret mis en latin ... mais ... je l'ay mis en rōmant" were mistranslated as if "je eusse" meant "I had" instead of "I should have", and then (whether of fraudulent intent or by the error of a copyist thinking to supply an accidental omission) the words were added "and translated it aȝen out of Frensche into Englyssche." Mätzner seems to have been the first to show that the current English text cannot possibly have been made by Mandeville himself. Mätzner Altenglische Sprachproben, I., ii., 154-155 Of the original French there is no satisfactory edition, but Vogels has undertaken a critical text, and Warner has added to his Egerton English text the French of a British Museum MS. with variants from three others.

Perhaps motivated by her own less than flourishing finances, she felt she was being deprived of what was rightfully hers and she let it be known, intimating that her daughter would lose even more on her death—and so it was to be. Joséphine also opposed a proposed biography of Luigi Calamatta that Lina had hoped George Sand would write. In response, she made no qualms about indicating that basically her husband had only been an engraver, albeit a good one, but that 'in the end, an engraver is never anything but a second rate artist, because he is nothing but a copyist'. She also demanded that if the biography were to be published, it should be published after her death so that her private life would not be made public fodder.

Alternatively, Darell Baker and Kim Ryholt propose that the epithet "Khered" is the result of an error made by the copyist who wrote the Turin canon, confusing "Pepiseneb" with "Khered Seneb", as the hieratic forms of "pepi" and "khered" can resemble each other if damaged. Thus this error might be due to some damage affecting the earlier document from which the canon was being copied in the Ramesside period. Another hypothesis explaining "Khered" which Ryholt deems more likely is that this epithet is in this context synonymous with "Pepi". Indeed, the "Pepi" of "Pepiseneb" could be Pepi II Neferkare, last great pharaoh of the Old Kingdom of Egypt and who may have had the longest reign of any monarch in history with 94 years on the throne (2278–2184 BC).

Kincaid, Introduction, p. cxxxvi, in Buck, History (1979) Before that, the work had suffered more serious damage, coming into the hands of Buck's great-nephew, George Buck, who used it as he did others of Buck's works: he produced manuscript copies that he dedicated to various patrons from whom he sought advancement, passing them off as his own. Gradually he altered the History, cutting it, making it look like something written in his own time, rather than earlier, by deleting names of Buck's learned contemporaries who had shared sources and viva voce information with him, and altering or deleting documentation of sources, with the details of which, also, his copyist was careless. Finally in 1646 he published a version of the History that was slightly over half the length of the original.

There are two main views on the derivation of the Greek word. According to one, the word comes from the Greek χημεία, pouring, infusion, used in connexion with the study of the juices of plants, and thence extended to chemical manipulations in general; this derivation accounts for the old-fashioned spellings "chymist" and "chymistry". The other view traces it to khem or khame, hieroglyph khmi, which denotes black earth as opposed to barren sand, and occurs in Plutarch as χημεία; on this derivation alchemy is explained as meaning the "Egyptian art". The first occurrence of the word is said to be in a treatise of Julius Firmicus, an astrological writer of the 4th century, but the prefix al there must be the addition of a later Arabic copyist.

The anonymous copyist deviated from the set order of the Mishnah, bringing down the order as follows: (Seder Zera'im) Berakhot, (Seder Mo'ed) 'Eruvin, Pesahim, Sheqalim, Kippurim, Sukkah, Betzah, Rosh Ha-Shannah, Ta'anith, Megillah, Hagiggah, Mo'ed Qatan, etc. An early reference to Nathan ben Abraham's Mishnah commentary is brought down by Rabbi Moses ben Nahman (1194–1270), who cites the commentary in his own Talmudic commentary,vide Babylonian Talmud, Rosh Hashannah 10a saying: "Likewise, I found written in the glosses of old copies of the Mishnah composed in the Land of Israel where they explained the meaning of sippūq (Heb. ספוק) as having the connotation of adā, in the Arabic tongue, [meaning], he that grafts a tree upon a tree." The reference here is to Nathan's commentary in Tractate Orlah (1:5).

Finale 2009 includes Garritan's new Aria Player Engine, and has new samples for this. The older Kontakt 2 Player is still supported, and the samples load under this also. Finale 2010 was released in June 2009 with improvements to percussion notation and chord symbols. This version also introduced measure number enhancements, auto-ordered rehearsal marks, support for additional graphic formats, and a new Broadway Copyist font option resembling the look of handwritten scores. Finale 2011 was released in June 2010 with additional Garritan Sounds, Alpha Notes (notation with note names inside), a new lyric entry window and other lyric enhancements, and, most notably, a reworking of staff, system, and page layout handling. In Finale versions before 2011, systems could be optimized to remove empty staves from them and also permit staves in a system to be positioned independently from other systems.

"The present treatise depends on three authorities, none of them comprising the entire work. The first printed edition, by Martin Mesnart at Paris in 1545, containing chapters 1-19, was made from a manuscript now lost, but which seems to have been a copy of the already mutilated original of the eleventh-century codex Agobardinus (now at Paris). This, our oldest extant authority, contains a number ofTertullian's works, and of the present treatise chapters 1-30; in the first sentence of chapter 21 the copyist, following his original, which had lost a number of pages, passed on (without apparently noticing any discrepancy) to the middle of a sentence near the beginning of a different work On The Dress of Women."Tertullien, and Ernest Evans. Tertullian’s Tract on the Prayer : The Latin Text with Critical Notes, an English Translation, an Introduction, and Explanatory Observations.

The earliest surviving manuscript of the concerto can be dated to 1734; it was made by Bach's son Carl Philipp Emanuel and contained only the orchestral parts, the cembalo part being added later by an unknown copyist. This version is known as BWV 1052a. The definitive version BWV 1052 was recorded by Bach himself in the autograph manuscript of all eight harpsichord concertos BWV 1052–1058, made around 1738. In the second half of the 1720s, Bach had already written versions of all three movements of the concerto for two of his cantatas with obbligato organ as solo instrument: the first two movements for the sinfonia and first choral movement of Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146 (1726); and the last movement for the opening sinfonia of Ich habe meine Zuversicht, BWV 188 (1728).

Almirena's recitative, and few bars of "Lascia ch'io pianga", from Handel's 1711 autograph score No complete autograph score exists; fragments representing about three-quarters of the 1711 score are held by the Royal Music Library (a subdivision of the British Library in London) and the Fitzwilliam Museum in Cambridge. The oldest complete score, dating from about 1716, is an error- strewn manuscript that may be a copy from one or more of the performing scores from that period. The manuscript bears numerous notes and corrections in Handel's hand, and was possibly the basis for the substantial revisions which he effected in 1731. It was also used by the copyist John Christopher Smith to produce two performing scores for the 1720s Hamburg performances. Further complete manuscript copies were produced by Smith and others in 1725–28 (the "Malmesbury" score), 1740 ("Lennard") and 1745 ("Granville").

It was this form that was etymologized by Eusebius. He interpreted Maryām as mar-yam (מר-ים) "drop of the sea", based on מר mar, a rare biblical word for "drop" is the only instance in the Hebrew Bible where it takes this meaning; Strong's Concordance H4752, from the root מרר "trickle" (H4843) and ים yam "sea". St Jerome adopted this interpretation and translated the name into Latin as stilla maris, "drop of the sea", but at some later stage a copyist transcribed this into stella maris, "star of the sea", and this transcription error became widespread. Another opinion states that Jerome himself interpreted the name as meaning "star of the sea" or Stella Maris, by relating it to a Hebrew word for star, מאור (ma'or), from the verb אור ('or), to be light or shine.

Simḥah Isaac Luzki (Hebrew: שמחה יצחק בן משה לוצקי, Luzki (Lucki), Simḥah Isaac ben Moses, Russian: Луцкий, Симха Исаак бен-Моисей, Polish: Łucki, Sima Izaak; born 1716, died 1760 or 1766) was a qaraim maskil, theologian, kabbalistBarry Dov Walfish, "Библиография Караитика: Аннотированная Библиография Караимов И Караимизма", 2011, p.187 writer, scholar, bibliographer, and spiritual leader, known also as "the Karaite Rashi" and "Olam Ẓa'ir" (the latter meaning literally "microcosm" – an acronym based on the gematria of his name). He was born in Lutsk and resided there until 1754, when he moved to Chufut-Qaleh (Crimea) by invitation of the rich patron Mordecai ben Berakhah, one of the heads of the local community, to become the new head of their Madrasa. He was a copyist of early Karaite Jewish manuscripts, and wrote various studies of theology, philosophy, halakhah, and kabbalah.

Thus the Marian litany was evolved. Gradually the praises became simpler; at times the petitions were omitted, and, from the second half of the 15th century, the repetition of the "Sancta Maria" began to be avoided, so that the praises alone remained, with the accompaniment "Ora pro nobis". The connecting link between the older litanies and this new group may have been a litany found in a manuscript of prayers, copied in 1524 by Fra Giovanni da Falerona. It consists of fifty-seven praises, and the "Sancta Maria" is repeated, but only at intervals of six or seven praises, perhaps because the shape or size of the parchment was so small that it held only six or seven lines to the page, and the copyist contented himself with writing the "Sancta Maria" once at the head of each page.

This process was aided by the advent of mensural notation, which also indicated the rhythm and was paralleled by the medieval practice of composing parts of polyphony sequentially, rather than simultaneously (as in later times). Manuscripts showing parts together in score format were rare and limited mostly to organum, especially that of the Notre Dame school. During the Middle Ages, if an Abbess wanted to have a copy of an existing composition, such as a composition owned by an Abbess in another town, she would have to hire a copyist to do the task by hand, which would be a lengthy process and one that could lead to transcription errors. Even after the advent of music printing in the mid-1400s, much music continued to exist solely in composers' hand-written manuscripts well into the 18th century.

Born in Windom, Minnesota, Schneider studied music theory and composition at the University of Minnesota, graduating in 1983, then earned a master's degree in Music in 1985 from the Eastman School of Music, studying for one year as well at the University of Miami. After leaving Eastman, she was hired by Gil Evans as his copyist and assistant. She collaborated with Evans for the next few years, working with him on music for a tour with Sting and assisting him as he scored the film The Color of Money. Before she became one of the most acclaimed composers and bandleaders of her generation, Schneider received an NEA Apprenticeship Grant to study with Bob Brookmeyer in 1985. In 1988, Schneider formed her first band in collaboration with her then-husband, jazz trombonist John Fedchock, and that group appeared at Visiones in Greenwich Village.

The trio first came to light in 1924 when it was discovered amongst papers musicologist Ernst Bücken had inherited from the Bonn-based musical collector Erich Preiger. Despite the fact that the manuscript lacked a title page and was in the hand of an unknown copyist rather than Brahms' own handwriting, Bücken believed the work was genuine based both on perceived stylistic similarities between the newly discovered work and the Piano Trio No. 1 in B major, Op. 8 and the fact that it was known from a letter to Schumann that prior to the publication of the B major trio he had composed several others. The trio was published by Breitkopf & Härtel in 1938, in an edition edited by both Bücken and Karl Hasse. The original manuscript on which it was based disappeared shortly after publication.

Another of Correté's later claims was that at that date African-Americans were unable to study music in the United States. However the National Conservatory of Music, not far from where Coretté grew up on 47-49 W. 25th Street, was open to African-Americans from 1893, when the Czech composer and director of the Conservatory, Antonín Dvořák permitted Negroes to study there free of charge. (The famous Negro composer, violinist and choral director, Will Marion Cook studied at the school in 1894-95.) Instead, 19-year-old Coretté Hardy found employment as a copyist (transcribing documents) and the Mt. Olivet Baptist Church Choir served as her musical outlet. In the early 1900, the family relocated to 448 W. 54th Street in the heavily industrialized Hell's Kitchen district, primarily inhabited by Irish immigrants who worked on the Hudson River docks or the railroads.

After at first working as a copyist, he quickly made his name, and among his first important commissions in England were two paintings of the interior of the Palace of Westminster, one of Queen Anne in the House of Lords (1708–14), the other of the House of Commons in session (c. 1710). By 1711 Tillemans joined Godfrey Kneller's Academy of Painting and Drawing in Great Queen Street, London, stating his speciality as "landskip". His main residence was in Westminster but he travelled extensively on commission. Dr Cox Macro, his most faithful patron and the one for whom his work is best documented, gave him commissions, including battle and hunting scenes, landscapes, renovation work, and portraits from 1715. In 1716 Tillemans repainted part of a portrait of Dr Macro by Frans van Mieris from around 1703, making alterations to his face.

Percy Edwin Ludgate (2 August 1883 – 16 October 1922) was an Irish amateur scientist who designed the second analytical engine (general-purpose Turing- complete computer) in history.The legend of Percy Ludgate, Skibbereen's early answer to Bill Gates The Irish Times, Feb 6, 2003 Ludgate was born in Skibbereen, Cork, to Michael Ludgate and Mary McMahon. In the 1901 census, he is listed as Civil Servant National Education (Boy Copyist) in Dublin.Census Years 1901: Residents of a house 30 in Dargle Road (Glasnevin, Dublin) The National Archives of Ireland In the 1911 census he's also in Dubiln, as a Commercial Clerk (Corn Merchant).Census Years 1911: Residents of a house 30 in Dargle Road, Drumcondra (Glasnevin, Dublin) The National Archives of Ireland He studied accountancy at Rathmines College of Commerce, earning a gold medal based on the results his final examinations in 1917.

"My Kind of Girl" was first released by Matt Monro, and was written by Leslie Bricusse. In February 1961, the British music magazine NME reported that Monro had won ITV's A Song for Britain with "My Kind of Girl"; however, according to his daughter Michele's autobiography Matt Monro: The Singer's Singer, Monro came second in this, although the song would later win an Ivor Novello award for "The Most Performed Work of the Year". Shortly after the result was announced, Monro, George Martin and Johnnie Spence sped into the studio to record the song but had to record the song's B-side, "This Time", beforehand since Spence had left it until late to hand Vic Fraser the score for the record and the copyist had not finished copying the parts for the orchestra.Monro, Michele (2012) Matt Monro: The Singer's Singer, Titan Books. pp. 224-225.

The compilation consists of 27 folios bearing a late 16th-century Flemish watermark bound in a small volume measuring about 28.5 by 21 cm. Two hands can be distinguished, principally that of a Flemish or Dutch copyist, whilst some pieces, together with a table of notations and various fingering indications are in a later English hand, possibly that of Susanne's music teacher. Although it would appear that the manuscript was compiled for Susanne, the pieces it contains were current on the continent at a far earlier date, perhaps between 1570 and 1580. It has been conjectured therefore that the manuscript was written in Flanders or the Netherlands and brought over to London by Susanne's parents in the late 1570s, where Susanne's music-master later added pieces 30 to 33, the notation table on folio 2 and fingering indications in the first two bars of the first piece.

Apart from his work at the British Museum, Doubleday was a dealer and a copyist of coins, medals, and ancient seals. He sold sulphur and white metal casts, the former coloured in different hues, at his establishment, which, located near the British Museum, may have helped facilitate his employment there. He also sold curiosities, such as cabinets, snuff boxes, and lead seals purportedly made from materials taken from the charred ruins of the Palace of Westminster with the consent of the Commissioners of Woods and Forests, and pieces of wood said to be from a tree planted by Shakespeare. In 1835 Doubleday advertised for sale copies of 6000 Greek coins, 2050 bronze, 1000 silver, and 500 gold Roman coins, and 300 Roman medallions, in addition to other antiquities and what Doubleday termed "the most extensive Collection of Casts in Sulphur of ancient seals ever formed".

After Handel's death in 1759, his musical instruments passed to John Christopher Smith and his son of the same name: the father had been summoned from the continent by Handel to act as his copyist when Handel first arrived in London; and his son had acted as amanuensis and assistant when Handel's blindness prevented him from writing and conducting in his later years. The tenancy of the house and Handel's clothing passed to his servant John Du Burk. The detailed inventory, a transcript of which is now stored in the British Library, gives a clear guide as to how the house was decorated and used. Apart from the conversion of the garrets into a fourth storey in the 1830s, the house remained largely unchanged until 1905, when C. J. Charles converted the house into a shop, removing the original façade and the internal dividing walls.

In 1939, 1959, and 1946 through 1949, Ellington led his own bands, many of whose members later performed with his father, or achieved a successful career in their own right (including Dizzy Gillespie, Kenny Dorham, Idrees Sulieman, Chico Hamilton, Charles Mingus, and Carmen McRae). During the 1940s, in particular, Ellington wrote pieces that became standards, including "Things Ain't What They Used to Be", "Jumpin' Punkins", "Moon Mist", and "Blue Serge". Ellington also wrote the lyrics to Hillis Walters' popular song, "Pass Me By" (1946), which was recorded by Lena Horne, Carmen McRae and Peggy Lee. Ellington composed for his father from 1940 until 1941, and later worked as road manager for Cootie Williams' orchestra (1941 until 1943 and again in 1954). Ellington returned to work for his father playing alto horn in 1950, and then as general manager and copyist from 1955 until 1959.

' Clarín (Argentina); 06/26/2000: 'Ibero-American Chamber Orchestra. The other side of classical music.' Buenos Aires Herald (Argentina) chief conductor, assistant conductor and artistic director of several Argentine orchestras (including the Ibero-American Chamber Orchestra of the National Academy of Fine Arts and the House [Symphony] Orchestra of the Tucumán Province), participating in the dissemination of Argentine music and Ibero-American music as composer, conductor, pianist and concert series organizer, also working as arranger, orchestrator, music engraver, score preparator and music copyist. In Argentina, Juan Manuel Abras also worked as Professor at the National University of Lanús in the Buenos Aires Province (teaching Musical techniques and Chamber music of the 20th century), as Professor at the Astor Piazzolla Superior Conservatory of Music of the City of Buenos Aires (teaching Musical analysis, Musical stylistics and Instrumental practice) and as Invited Member (researcher)'Archivos e Investigaciones'.

Page from a 14th-century MS that Gaisford used for his 1848 edition. Etymologicum Magnum (, Ἐtymologikὸn Mέga) (standard abbreviation EM, or Etym. M. in older literature) is the traditional title of a Greek lexical encyclopedia compiled at Constantinople by an unknown lexicographer around 1150 AD. It is the largest Byzantine lexicon and draws on many earlier grammatical, lexical and rhetorical works. Its main sources were two previous etymologica, the so-called Etymologicum Genuinum and the Etymologicum Gudianum. Other sources include Stephanus of Byzantium, the Epitome of Diogenianus, the so-called Lexicon Αἱμωδεῖν (Haimōdeῖn), Eulogius’ Ἀπορίαι καὶ λύσεις (Ἀporίai kaὶ lύseis), George Choeroboscus’ Epimerismi ad Psalmos, the Etymologicon of Orion of Thebes, and collections of scholia.Reitzenstein (1897), 248–253, 351–352; Sturz (1820) The compiler of the Etymologicum Magnum was not a mere copyist; rather he amalgamated, reorganised, augmented and freely modified his source material to create a new and individual work.

He was born as Charles Girardet in Le Locle, a part of the French Republic as the eldest son of the lithographer Charles-Samuel Girardet. After 1822, he lived in Paris, where he trained as a painter with Louis Hersent and Léon Cogniet. On a study trip to Switzerland in 1833–35, he made the acquaintance of the aristocratic painter Maximilien de Meuron, by whose influence he obtained commissions for two panoramas of Lausanne. In 1836, he presented his first exhibits in the Salon of Paris and started working as a copyist for the French royal court. An alpine landscape presented at the 1837 Salon obtained him a first distinction, and he successfully collaborated with Cogniet on two great battle scenes exhibited at Versailles. He embarked on travels across Europe, filling his sketchbook with landscapes in Düsseldorf (1838), Tyrol and Croatia (1839), and Italy (1840).

After the birth of the twins in the same year, his wife began to work from home as a copyist for the study department of the Swedish Association of the Visually Impaired. Due to the strict regulations of the Swedish school department concerning physical impairments among teaching staff at public schools, and practical difficulties during a brief employment as teacher at a secondary school in Stockholm, Lindqvist decided to leave the educational sector. In an interview with Livsbild, an initiative of the Nordic Museum (Nordiska museet) and the Swedish Disability History Association (HandikappHistoriska Föreningen), he states: > “After pressure from several quarters and with the threat of public debate, > the School Board finally gave up and allowed me to do the teacher training > as an exception. I was extremely offended by this experience, and together > with the experiences from my studies, this came to have great significance > for my continued development.

About a slightly earlier period, 1815, Beethoven's authoritative biographer, Alexander Wheelock Thayer, writes, "Diabelli, born near Salzburg in 1781, had now been for some years one of the more prolific composers of light and pleasing music, and one of the best and most popular teachers in Vienna. He was much employed by Steiner and Co., as copyist and corrector, and in this capacity enjoyed much of Beethoven's confidence, who also heartily liked him as a man." At the time of his project for variations on a theme of his own by various composers, Diabelli had advanced to become a partner in the publishing firm of Cappi and Diabelli. The oft-told but now questionable story of the origins of this work is that Beethoven at first refused categorically to participate in Diabelli's project, dismissing the theme as banal, a Schusterfleck or 'cobbler's patch,' unworthy of his time.

Allmaine by Thomas Heardson, the first work found in the manuscript Drexel 5611 Jeffrey Mark observed that seven of the final ten works in Drexel 5611 were composed by Albertus Bryne. He thus surmised that the manuscript was once owned by Bryne, who became organist of Westminster Abbey after 1666. That the signature of no. 83 is less neat than that of the copyist of the surrounding works led Mark to assume it was Bryne's signature. Klakowich discovered that the manuscript had once belonged to Charles Burney and was listed as lot 634 in the auction of his estate.Catalogue of the Music Library of Charles Burney, sold in London, 8 August 1814, edited by A. Hyatt King, Auction catalogues of music v. 2 (Amsterdam: Frits Knuf, 1973). . He hypothesized that Burney might have come into possession of the manuscript during the third quarter of the 18th century.

Also, BBC Newsnight presenter Jeremy Paxman played the UK Theme to end the programme on a number of occasions and several British orchestras and institutions have also pledged to play the theme. Meanwhile, another controversy broke out as to whether it was solely Fritz Spiegl who arranged the piece, as the family of Manfred Arlan, the RLPO's principal bassoonist for 35 years claimed it was a joint authorship, citing both names on the score. Spiegl's widow suggested that Arlan was only the copyist, whereas Arlan's family suggested his contribution was more extensive. As both composers are deceased, the true authorship remains unclear, although the published orchestral edition names both men. On 31 March 2006 the BBC issued a press release confirming that the new Radio 4 schedule would begin on Monday 24 April, meaning that the UK Theme was played for the last time on Sunday 23 April.

He interrupted his studies and served some years as oboist for J. C. Williamson theatres, playing musicals, opera, and several Gilbert and Sullivan Opera seasons, several ballet seasons (Borovansky Ballet), Australian tours of the Royal Covent Garden Ballet, and the American Ballet Company, and as a copyist / arranger with GTV channel 9. In 1961 Ian Harris moved to Hobart, Tasmania (Tasmanian Symphony Orchestra), was seconded to the Sydney Symphony Orchestra (cor anglais) for several months, returned to Tasmania only to be seconded again 1964, this time to the Victorian Symphony Orchestra (oboe). Back again in Tasmania, his next move was to Wellington, New Zealand (1965–1974) to join NZBCSO (the New Zealand Broadcasting Corporation Symphony Orchestra) as Principal Cor anglais. During this time, in which he yo-yoed across Australasia, Harris tutored in oboe at the universities of Tasmania, Melbourne, and the Victoria University of Wellington.

Bach was no doubt aware that apart from the excellent instrumentalists, the Dresden Hofkapelle ("court chapel") also had vocal soloists at its disposal (such as Faustina Bordoni, the wife of Johann Adolph Hasse) who could excel in the type of arias that was customary in operas and Neapolitan masses. The score Bach sent to Dresden consisted of the separate parts for Soprano I, Soprano II, Alto, Tenor, Bass, Trumpet I, Trumpet II, Trumpet III, Timpani, Corno da Caccia, Flauto traverso I, Flauto traverso II, Oboe (d'amore) I, Oboe (d'amore) II, Oboe (d'amore) III, Violins I (2 copies), Violins II, Viola, Cello, Bassoon and Basso continuo. Most of these copies were written by Bach himself, but for the last movements of both Kyrie and Gloria his sons Carl Philipp Emanuel (soprano parts), Wilhelm Friedemann (violino I parts), and his wife Anna Magdalena (cello parts) helped, along with an anonymous copyist (oboe and basso continuo parts).D-Dl Mus.

It was given no title by its copyist and the ownership of the manuscript before the eighteenth century is unclear. At the time the Fitzwilliam Virginal Book was put together most collections of keyboard music were compiled by performers: other examples include Will Forster's Virginal Book, Clement Matchett's Virginal Book, and Anne Cromwell's Virginal Book. Until Parthenia was printed in about 1612, there was no keyboard music published as such in England, because of the technical complexity of printing keyboard music as opposed to, for example, vocal parts. It was once called Queen Elizabeth's Virginal Book, a title that has been abandoned because it has been determined that she never owned it, Another hypothesis, which still has supporters, is that it belonged to Francis Tregian the Younger, a recusant and amateur musician. It has been argued that Tregian may have copied the entire collection while imprisoned in the period leading up to his death in 1614.

Teresa's first work examines the effect of her deafness on her life and its spiritual development. After being devastated by the initial onset of the illness, Teresa meditates in the silent prison of her deafness and ultimately concludes that God has afflicted her in order to separate her from the distractions of everyday noise. After much reflection in the prison of echoing sounds within the cloisters of her ears, Teresa reasons that her soul would have been purer if she had never been exposed to speech at all, which makes one turn to the outside material world and forget the inner spiritual world. The copyist, Pero López, indicates that her work was addressed to Juana de Mendoza, wife of Gómez Manrique, a poet and prominent political figure of the time, but within Arboleda, she addresses a "virtuosa señora" (virtuous lady), who may be Juana de Mendoza, suggesting a female audience at large.

Contrariwise, there is a title provided above Chapter 218 in the Sydney transcript, which is not found either above the corresponding Chapter 217 in the Italian text, nor is quoted at this point by Dr. White. Other than in their respective copyist errors, there appear to be few substantial differences of meaning between the Spanish and Italian text; but one notable variant is found in the description of the crucifixion of Judas Iscariot in Chapter 218 in the Spanish text (217 in the Italian text). Jesus Christ has been miraculously abstracted from the action; and Judas, transformed into the likeness of Jesus, is crucified in his place. In the Spanish manuscript, and Dr. White's translation, it is said that all Jesus's disciples remained fooled by the transformation throughout the crucifixion "excepting Peter"; but this specific qualification is not present in the Italian text, nor is Peter stated as an exception in the earlier account of the transformation itself in Chapter 217 of the Spanish text.

After the kingdom of Sardinia was founded in 1326, it became part of the Crown of Aragon; The Four Moors begin to be used consistently as a symbol of the Kingdom of Sardinia during the time of the Catholic Monarchs, and especially from the time of the Emperor Charles V. In Sardinia, the first safe attestation of the coat of arms is on the cover of the Acts of the military arm of the Sardinian Parliament, the Capitols de Cort del Stament Militar de Serdenya printed in Cagliari in 1591. Throughout the period of the Iberian monarchies, the original design of the bandages on his forehead was respected. The design with blindfolded Moors facing the luff first appeared in 1800, after Sardinia passed to the House of Savoy. It was either due to a mistake of a copyist or, similarly to the flag of Corsica during the earlier period of French rule, a deliberate protest against the mainland rulers.

Schooled by his mother to disdain popular music, Robert Russell Bennett found the dichotomy between his serious compositions and his arranging work to be a lifelong struggle. In spite of his prolific output, which included the opera Maria Malibran, more than seven symphonies, a large variety of chamber works, and at least five concertos, his reputation today as a classical composer rests primarily on two oft-recorded pieces, the Suite of Old American Dances and Symphonic Songs for Band. This may be attributed both to the modesty so characteristic of Bennett and to the Eastman Wind Ensemble recordings which popularized them. In his composing, Bennett brought to bear his considerable talent for orchestration as well as a gift for conceiving melodies and harmonic structure in his head; longtime Bennett copyist Adele Combattente (of Chappell Music) confirmed his ability to write parts in score order, as opposed to filling in leftover parts and doublings as he completed primary melodic lines.

It survives only in a single manuscript codex, now British Library, Add MS 14,643. This manuscript was copied in 724 and the copyist added a single folio of text to the end, containing a list of caliphs translated from Arabic. Although it has been taken as an integral part of the text, the copying scribe clearly marked off his addition by preceding it with the words "it is finished" to indicate the end of the work he was copying. Robert Hoyland identifies seven parts to the original Chronicle of 640: #an incomplete geographical treatise #a genealogy from Adam to the sons of Jacob #a table of pagan rulers from Abraham to Constantine I with the main events of their reigns and, in Thomas's words, "a narrative to show how they were subjected to the Romans" #a chronological table from Abraham and Ninus to Constantine summarizing the Chronicon of Eusebius of Caesarea #a continuation of Eusebius down to the thirtieth year of the Emperor Heraclius, i.e.

A decade later, a set of autograph parts was found bearing the double date "30 May (1 December) 1951", and from these a first score edition along with a new edition of the parts was made by , and published in March 1967 by the Editura muzicala in Bucharest in preparation for the Fourth Enescu Festival the following September. It was at a conference held in conjunction with this very festival that the Romanians were astonished to learn for the first time, from a paper presented by the American musicologist Irving , of the existence of the autograph manuscript score held by the Library of Congress in Washington (together with a set of parts made by a copyist, but with corrections and annotations in Enescu's hand), and that the Quartet had already been premiered in 1954 (; ). In the light of these revelations, a further edition taking the Washington autograph into account appeared in 1985.

He was one of the main arrangers on the albums of Leonard Nimoy during the late 1960s. Tipton is arguably best known in the pop- rock field for his work as an arranger on singles and albums recorded by singer-songwriter Harry Nilsson during the most productive phase of his career in the 1960s and early 1970s. They met ca. 1964 through music publisher Perry Botkin, Jr., where Tipton worked as a copyist and their collaboration began when Tipton put up his life's savings ($2,500) to arrange and record four Nilsson tracks which they sold to Tower, a sub-label of Capitol Records; these tracks were subsequently included on the Spotlight on Nilsson LP.Harry Nilsson biography Tipton went on to arrange Nilsson's acclaimed early albums for RCA Records (1967–71), as well as his classic single "Everybody's Talkin'" (which won a Grammy Award), the Skidoo soundtrack, and Nilsson's music for the TV series The Courtship of Eddie's Father and the animated feature The Point!.

In his youth, he went to Baghdad and was educated in the Arabic language, literature, history and penmanship. He made a name for himself as an excellent calligrapher and was appointed copyist at the new library built by the Abbassid caliph al-Mustaṣim. He had also studied Shafii law and comparative law (Khilaf Fiqh) at the Mustansiriyya Madrasa which opened in 631 AH (1234 AD). This qualified him to assume a post in al- Mustaʿsim's juridical administration and, after 656 AH (1258), to head the supervision of the foundations (naẓariyyat al-waqf) in Iraq until 665 AH (1267), when Nasir al-Din Tusi took over. al-Urmawi became known as a musician and excellent lute (‘Ud) player and accepted as a member of the private circle of boon companions, thanks to one of his music students, the caliph's favoured songstress Luḥaẓ. His musical talent made him survive the fall of Baghdad, by generously accommodating one of Hulagu’s officer.

Joshua the Stylite (also spelled Yeshu StyliteWitold Witakowski Chronicle: known also as the Chronicle of Zuqnin, Liverpool University Press, 1996, p. xxi and Ieshu Stylite) is the attributed author of a chronicle which narrates the history of the war between the Byzantine Empire and Persians between 502 and 506, and which is one of the earliest and best historical documents preserved in Syriac. The work owes its preservation to having been incorporated in the third part of the Chronicle of Zuqnin, and may probably have had a place in the second part of the Ecclesiastical History of John of Ephesus, from whom (as François Nau has shown) Pseudo-Dionysius copied all or most of the matter contained in his third part. The chronicle in question is anonymous, and Nau has shown that the note of a copyist, which was thought to assign it to the monk Joshua of Zuqnin near Amida (Diyarbakir), more probably refers to the compiler of the whole work in which it was incorporated.

His Chronicle is a very brief work of twenty printed pages, covering the history of the Empire of Trebizond from its foundation in 1204. In its surviving form, there are at least five entries at the end dated from 1395 to 1426 (or 1429) that experts attribute to one or more continuators; a gap of about 10 lines separating the last entry (which has the date "in the same year") may be evidence that the copyist was "faced with an erasure, or simply felt constrained to omit a passage which his court readership wished to suppress", but Anthony Bryer points out the scribe "made no attempt to cover up the fact."Bryer, "'The faithless Kabazitai and Scholarioi'", in Maistor: Classical, Byzantine and Renaissance Studies for Robert Browning, Ann Moffatt editor Byzantina Australiensa, 5 (1984), p. 322 Bryer himself proposed that this gap had contained at least two entries referring to the assassination of Emperor Alexios IV Megas Komnenos.

Sending her a new version of "Demon" (a long poem featuring some of the most resonant lines in the Russian language, which he rewrote several times), he several times crossed out the initials ВАБ and wrote instead ВАЛ in the dedication sent to the copyist. Lermontov, tormented by jealousy, alluded to Nikolay Bakhmetev several times in his writing with sardonic humor as a greybeard and cuckold. However, his stinging attacks on Bakhmetev were also transferred to his wife: Bakhmetev was also jealous and forbade his wife to speak of Lermontov, and made every effort to destroy her correspondence with the poet, so that the main source of information about their relationship after marriage is the poet's correspondence with Varvara's sister, Mariya Lopukhina. Sketch of Varvara Lopukhina, by Lermontov In 1839, to save all her materials associated with Lermontov from destruction, Varvara Bakhmeteva gave them to her friend Aleksandra Vereshchagina when she was at a European resort.

Atanasije Daskal wrote a book in Russian about the Serbian emperors and the Turkish war against the Christian emperor and the abandoned Serbian land (1689), comparing the glorious times of Serbian history with the war-ravaged Serbia and the sufferings of its inhabitants, whom he himself witnessed. In some places, his writing grows into a poignant cry in which the sound of Jeremiah Lamenting the Destruction of Jerusalem is felt as he watches the ruin of Jerusalem or the bleak record of Inok Isaiah over a devastated Serbia after the March defeat. The writing is dedicated to the "imperial and grand princess" Sofia, sister of Peter the Great, probably with the intention of reminding the Russian court to intervene and help liberate Serbs from the Turkish yoke. In addition to these writings of Atanasije Daskal, he also attached a biographical note on the copyist of the books of Abraham and the zealous reader of the seventeenth century Ananias, also in connection with the circumstances of the war.

There has been a great deal of scholarly research on the subject, but no candidate for authorship has ever been found to continuously command widespread support, other than Malory of Newbold Revel. This is based on the assumption that neither Winchester Manuscript nor Caxton's first edition references to the author reflect confusion in identity by an early copyist. If the hypothesis is accepted that the real Malory was, indeed, both a knight and a prisoner, then Sir Thomas Malory of Newbold Revel becomes the only possible candidate, as no other Malory family contained a Thomas who was knighted or who spent many years in a prison with a good library (the Tower of London in the case of Malory of Newbold Revel). In the entry on Malory in the Oxford Dictionary of National Biography, P.J.C. Field stresses that recent scholarship has focused firmly on Malory of Newbold Revel, especially because "he was the only knight of the right name alive at the right time".

Similarities between the language and circumstances of the male protagonist of The Wanderer, for example, and the protagonist of the Wife's Lament have led other critics to argue, even more radically, that the protagonist of the poem (to which the attribution of the title "the wife's lament" is wholly apocryphal and fairly recent) may in fact be male. This interpretation, however, faces the almost insurmountable problem that adjectives and personal nouns occurring within the poem (geomorre, minre, sylfre) are feminine in grammatical gender. This interpretation is at the very least dependent therefore on a contention that perhaps a later Anglo-Saxon copyist has wrongly imposed feminine gender on the protagonist where this was not the original authorial intent, and such contentions almost wholly relegate discussion to the realm of the hypothetical. It is also thought by some that the Wife's Lament and the Husband's Message may be part of a larger work.

The medieval Muslim world also used a method of reproducing reliable copies of a book in large quantities known as check reading, in contrast to the traditional method of a single scribe producing only a single copy of a single manuscript. In the check reading method, only "authors could authorize copies, and this was done in public sessions in which the copyist read the copy aloud in the presence of the author, who then certified it as accurate." With this check-reading system, "an author might produce a dozen or more copies from a single reading," and with two or more readings, "more than one hundred copies of a single book could easily be produced." By using as writing material the relatively cheap paper instead of parchment or papyrus the Muslims, in the words of Pedersen "accomplished a feat of crucial significance not only to the history of the Islamic book, but also to the whole world of books".Johs.

A sofer finishing the final letters of a sefer Torah A sofer, sopher, sofer SeTaM, or sofer ST"M (Heb: "scribe", ; plural of sofer is soferim ; female: soferet) is a Jewish scribe who can transcribe sifrei Torah (Torah scrolls), tefillin (phylacteries), and mezuzot (ST"M, , is an abbreviation of these three terms), of the Five Megillot and other religious writings. By simple definition, a sofer is a copyist, but the religious role in Judaism is much more. Besides sifrei Torah, tefillin, and mezuzot, scribes are necessary to write the Five Megillot (scrolls of the Song of Songs, Book of Ruth, Book of Esther, Ecclesiastes, and Book of Lamentations), Nevi'im (the books of the prophets, used for reading the haftarah), and for gittin, divorce documents. Also, many scribes function as calligraphers—writing functional documents such as ketubot "marriage contracts", or ornamental and artistic renditions of religious texts, which do not require any scribal qualifications, and to which the rules on lettering and parchment specifications do not apply.

After having consistently described Birka as an existing city, Scholia 138 of IV 29 describes Birka's sudden demise. Talking about Adalvard the Younger, the bishop of Sigtuna and later that of Skara, Adam or a later copyist has written: > During his journey he seized the opportunity to make a detour to Birka, > which is now reduced to loneliness so that one can hardly find vestiges of > the city; therefore impossible to come upon the tomb of the holy Archbishop > Unni. (Scholia 138) The remark does not make it clear if Adalvard found the city destroyed or if that had happened after his visit and the later remark was just to warn the future pilgrims not to go there anymore in vain. As Adalvard was back in Bremen already by 1069 and is mentioned as one of Adam's sources of information, it would have been expected that word about Birka's destruction had reached also Adam before he published his work half a decade later.

Until Charles VI, Holy Roman Emperor released the entire Bavarian Hofkapelle by Imperial fiat in May 1706, Pez had been charged with educating the Wittelsbach children in music, but he was hired asOberkapellmeister of the Württemberg Hofkapelle, a post he would hold until his death in 1716, on 12 November 1706. The Duke highly valued Pez's experience and training, and so paid him a generous salary of 2000 gulden that also included the wages for his daughter, Maria Anne Franziska Pez, and his personal copyist, Antonÿ Meister. Under Pez, the size of the Hofkapelle expanded, but especially in the range of instruments used and the number of musicians who could play more than one instrument and, even after financial woes and following retrenchments that shrank the Hofkapelle and his salary to 500 gulden,Owens 2011, p. 168 in the Duchy as a result of the War of the Spanish Succession and the ongoing construction of Ludwigsburg Palace, built a very skilled orchestra that he was quite proud of.

Dos de Mayo, the object of James Bourne's plot The dozens of great masterpieces that Condon had glimpsed hanging in the darkness of the Escorial became, in The Oldest Confession, paintings hanging in the main residence of Doña Blanca Conchita Hombria y Arias de Ochoa y Acebal, Marquesa de Vidal, Condesa de Ocho Pinas, Vizcondesa Ferri, Duquesa de Dos Cortes, a 29-year-old beauty who was married to an aged degenerate and becomes the wealthiest woman in Spain upon his death. The long-forgotten paintings are coveted by an American criminal named James Bourne, who lives in a hotel in Madrid and has stolen numerous other valuable paintings from across Spain. His method is simple, though arduous and dangerous: he replaces the original paintings with undetectable forgeries executed by Jean Marie Calvert, a Parisian artist who is the world's greatest copyist. Painted in Paris, the reproductions are brought into Spain by Bourne's wife, an upper-class young American girl named Eve Lewis, who loves Bourne in spite of his criminality.

During this period he wrote at least two books and gained a reputation as a significant student of Siyyid Kázim, being asked on occasion to answer questions on his teacher's behalf and gaining permission to supervise students of his own. He received a stipend from the school of Siyyid Kázim for work as a scribe and copyist. Baháʼí sources traditionally suggest that Siyyid Kázim entrusted Mullá Husayn with secret teachings which he did not share with the larger body of Shaykis—a claim which is evocative of his later role in Bábism, but difficult to verify. Near the end of his life, Siyyid Kázim repeatedly instructed his followers to disperse throughout Persia and surrounding lands in search of the Mahdi.Following Siyyid Kázim’s death on 31 December 1843 a significant number of Shaykis recognized Mullá Husayn as his only worthy successor, and he immediately set out in search of the promised Mahdi. Some of Siyyid Kázim’s followers expected that Mullá Husayn would declare himself to be the Mahdi, or at least take up leadership of the Shaykis, both suggestions which he forcefully refuted.

By 1715, this began to cause financial hardship in Stuttgart, as the ecclesiastical bodies whom fronted the salaries of the Hofkapelle made known their disdain for paying a clearly secular facet of the court. To reduce this strain, a rotational system wherein a copyist and pianist were on call at all times with three groups consisting of a violinist, an oboist, and a string bass player alternating every four weeks. These musicians were simply referred to as "court and chamber musicians," weren't appointed at a higher rank, and they were paid differently. Chamber music began to be considered a major part of the court's musical establishment, on par even with church and table music, as evidenced by various documents following Pez's death (25 September 1716) in May 1717 from Schwartzkopf and Störl that confirmed Pez's view of the Hofkapelle as a pool of multi-talented musicians who could play a wide range of instruments, and the hiring of violinist and virtuoso Giuseppe Antonio Brescianello as "director of chamber music" about a month after Pez's death.

The work had a major influence on his own art, and led to a long friendship with Earl Morris and his wife Ann, a fellow painter-copyist at Chichen Itza. The Morrises took care of Charlot after his mother died in New York City in the winter of 1929, and together the three co-authored The Temple of the Warriors at Chichén Itzá, Yucatan, published in two volumes in 1931 and considered a classic in its field Work and Rest, color lithograph by Jean Charlot, 1956 In the U.S., Charlot executed commissions for the Work Projects Administration's Federal Arts Project, including the creation of murals for Straubenmuller Textile High School in Manhattan during 1934–1935,and, in 1942, an oil on canvas mural for the post office in McDonough, Georgia titled Cotton Gin, . In 1944, Josef Albers invited Charlot to teach at the first Summer Institute of Black Mountain College. During his time there, Charlot completed two frescos, titled Inspiration and Knowledge (sometimes also called Study), on the pylons beneath the college's Studies Building.

By 1911, when HM King George V granted a Charter of Incorporation and Bye-laws, the RE, as it came to be styled, had grown in prestige and became fully established. From 1919, in token of solidarity, Presidents of the Royal Academy and the Royal Watercolour Society (RWS) have been elected Honorary Fellows of the RE. The RE’s original motto – "Never Stoop to be a Copyist" – changed to "Nulla Dies Sine Linea" (No Day Without A Line) in 1920. The Royal Society of Painter- Printmakers (formerly Royal Society of Painter-Etchers and Engravers) has had thirteen presidents (PRE) in total since 1880. They were: Sir Francis Seymour Haden (founder and PRE from 1880–1910), Professor Sir Francis Job Short (PRE from 1910–1938), Professor Malcolm Osborne MBE (PRE from 1938–1962), Professor Robert Austin (PRE from 1962–1970), Paul Drury (PRE from 1970–1975), Harry Eccleston OBE (PRE from 1975–1989), and Joseph Winkelman (PRE from 1989–1991), when the Society was renamed. Winkelman continued as President until 1995.

In his shop, in which pictures were framed, Boudin came into contact with artists working in the area and exhibited in the shop the paintings of Constant Troyon and Jean-François Millet, who, along with Jean- Baptiste Isabey and Thomas Couture whom he met during this time, encouraged young Boudin to follow an artistic career. At the age of 22 he abandoned the world of commerce, started painting full-time, and travelled to Paris the following year and then through Flanders. In 1850 he earned a scholarship that enabled him to move to Paris, where he enrolled as a student in the studio of Eugène Isabey and worked as a copyist at the Louvre. To supplement his income he often returned to paint in Normandy and, from 1855, made regular trips to Brittany. On 14 January 1863 he married the 28-year-old Breton woman Marie- Anne Guédès in Le Havre and set up home in Paris. Sailboats at Trouville (1884), Yale University Art Gallery, Collection of Mr. and Mrs.

Four translated copies were preserved by the descendants of William Cecil. The copies do not reproduce signatures or dates, and they contain endorsements made by the copyist that indicate how the letters were to be used against Queen Mary.Calendar of the Manuscripts of the Marquis of Salisbury at Hatfield House, p. 376-380. Versions of some of the letters and sonnets were printed in George Buchanan's polemic Detectio Mariæ Reginæ and Dectectioun, and reprinted by James Anderson in 1727. Walter Goodall, in 1754, printed parallel English, French, and Latin versions without the clerk's endorsements.Goodall, Examination, Volume 2, pp. 1-53. The 18th-century historian William Robertson pointed out that the Scottish edition of Buchanan's Detectioun appears to preserve the original French opening lines of the letters introducing their translations, while the complete French texts seem to be merely translations from printed Latin or English copies.Robertson, William, "A critical dissertation concerning the murder of King Henry", in History of Scotland during the reigns of Queen Mary and of King James VI, vol. 2, (1794), pp.364-5 Four other copy letters and other copy documents were preserved in the English state papers and the Cotton Collection.

No original Sanskrit Panchatantra nor Greek Aesop text survives: only theoretically reconstructed scholarly compilations from several diverse sources. We thus only can enjoy and study the many recompiled derivative works and variants of the missing original Panchatantra, of which the few surviving medieval Arabic Kalila wa Dimna manuscripts by Ibn al-Muqaffa (750 CE) remain as the keynote pivots between ancient India and modern Europe. Ibn al-Muqaffa is also personally responsible for the profuse flowering of Islamic manuscript illustration that uniquely stems from Kalila wa Dimna, for his Preface to it clearly states that two of the book's four intentions (specifically, the second and the third) are > "to show the images (khayalat) of the animals in varieties of paints and > colours (asbagh, alwan) so as to delight the hearts of princes, increase > their pleasure and also the degree of care which they would bestow on the > work. Thirdly, it was intended that the book should be such that both kings > and common folk should not cease to acquire it; that it might be repeatedly > copied and recreated in the course of time thus giving work to the painter > (musawwir) and the copyist (nasikh)".

Still life with baroque instruments, Elias van Nijmegen, first half of eighteenth century Bach scored the cantata for three vocal soloists (soprano (S), alto (A) and bass (B)), a four-part choir SATB, and a Baroque instrumental ensemble of two alto recorders (Fl), two oboes (Ob), first and second violins (Vl), violas (Va) and basso continuo (Bc). There are two sets of continuo parts from 1726: one is a score transposed for positive organ with figuration added by Bach in the first three movements; the other has annotations by the copyist for violoncello and double bass., The Meiningen cantatas of Johann Ludwig Bach were scored for the four vocal parts and a small group of instrumentalists, consisting of two oboes, violins, violas and continuo: at Meiningen, as with many of the smaller courts in Germany, resources were limited; it appears that continuo instruments like bassoons were available only when these works were performed elsewhere. When Bach performed his cousin's cantatas in Leipzig in 1726, he used the same orchestral forces as Meiningen for all but two, adding trumpets with drums in one and piccolo trumpets in another.

Portrait, by Thomas Gainsborough, Fischer's father-in-law, 1780, the year he married Mary GainsboroughGeoffrey Burgess (oboist) and Bruce Haynes, The Oboe, 2004:87 (Royal Collection) Johann Christian Fischer (c. 1733 – 29 April 1800) was a German composer and oboist, one of the best-known oboe soloists in Europe during the 1770s."The two best-known hautboy soloists in Europe in the 1770s were probably Johann Christian Fischer (1733–1800) and Carlo Besozzi (1738–1791)" (Burgess and Haynes 2004:87). Employed as a music copyist and theatre director for the Duke of Mecklenburg-Schwerin at Ludwigslust, Fischer is now credited with the unique Symphony with Eight Obbligato Timpani, formerly attributed to Johann Wilhelm Hertel, court composer at Schwerin.Naxos.com: Composers He spent some time in Dresden, but left after the Prussian occupation in the Seven Years' War for extensive concertizing tours,He met the nine-year-old Mozart at The Hague in 1765 and again in Vienna in 1787, when Mozart was less impressed (Letter, 4 April 1787).. ending in London, where he was active as a performer, composer, and a teacher, and introduced the Continental narrow-bore model of oboe that replaced the bright and penetrating straight-topped English type.

In 1984 and 1985, the California State University, Los Angeles Music Department, and CSULA Associated Students decided to fund LP recordings of the jazz ensemble to better serve as a teaching tool for student music, jazz groups. Monstrosity is the fourth of six albums to come from CSULA during the 1980s featuring the award winning CSULA #1 Jazz Ensemble.1982 Playboy Jazz Festival winner (Playboy Jazz Festival Volume I, ), 1986 finals of the Pacific Coast Collegiate Jazz Festival, 1988 combo winner of the Pacific Coast Collegiate Jazz Festival, special invited performances at the 1987 MENC Convention in Seattle and the 1989 IAJE Convention in San Diego The LP contains tracks from the #1 CSULA Jazz Ensemble to include compositions of four students and from the director (professor David Caffey). The qualities of the LP that set it apart from numerous university jazz records of that era is the fact it was entirely written, composed, and copied (music also professionally copied by student Sharon Hirata)Note: Sharon Hirata was paying for school tuition from income as a freelance music copyist and working on T.V. shows such as The Dukes of Hazzard and other CBS productions before the time of computer generated music engraving.