Cosimo was constantly adding to the library, hiring copyists to produce replicas of original works.
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Born in Algeria in 1947, he came from a family of Quranic scholars and copyists in a Sufi tradition.
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The copyists had even signed some of the scores "maestro capilla," a Baroque-era title used by composers like Johann Sebastian Bach.
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On one wall, visitors read the above-quoted wall text expressing Dürer's frustration with copyists — forgers — using his work for their benefit.
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In Looking at Chinese Painting, author Wang Yao-t'ing provides examples of copyists that betrayed this process by replacing a real with a fake, within and beyond the imperial court.
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In it, Isou put forth his model of human understanding in contrast to what he saw as a banal world of mere copyists caught in a state of general vulgarization.
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Before computers, copyists wrote out every note of a score on onionskin paper, then rewrote it all when it changed or cut and spliced the rewrites into two or three dozen orchestra parts.
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The traditional tryout system that had ushered so many great musicals to Broadway by starting them out of town did not work by coddling a show's copyists, let alone its cast and creators.
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What that meant, Mr. Wollny said, was that Bach typically had to write a cantata in three days — from, say, Sunday afternoon to Wednesday morning — before turning it over to copyists to prepare the parts for rehearsal.
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The exhibition examines the relationship between various artists and their copyists, as well as emphasizing that each print on display has a unique, material life all of its own: some of the prints are copies, but nothing is a duplicate.
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Fascinated with art writers and copyists who got Michelangelo's paintings wrong, and with popular cartoons of famous images, Steinberg's goal is to assemble a full picture of the body of Michelangelo's achievement, in a synthesis that best does justice to all of this information.
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In the 1511 edition of Life of the Virgin, Albrecht Dürer leaves little doubt that he considered copyists to be forgers (parasites, really) and reminds his audience that Emperor Maximillian had effectively granted him copyright to his own images to control what could be printed, where, and why.
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On the other side of the room, however, a Giorgio Vasari quote from 1550 reminds us that, "Design cannot have a good origin it is not come from continual practice in copying natural objects, and from the study of pictures by excellent masters and of ancient statues …" Which brings Copies, Fakes, and Reproductions to the first of its themes: the relationship between artists and their copyists.
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Retrieved 27 January 2018. and whom Smith described as "mere Fall copyists".Herrington, Tony. "Mancunian Candidate".
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It is worthy of noting that copyists were usually not willing to include the qiṣwad in their dīwāns.
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He admits that his quotations are not always exact, but asserts that this was the fault of careless copyists.
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Xeria, however, used copyists to produce reproductions of the document; this explains the difference of handwriting between the two versions.
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The carelessness of copyists, the use of "sigla", contractions for proper names, and the frequency of transcription, led naturally to much confusion.
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On several occasions, Arabic words are given, but are not always recognizable, owing perhaps to the carelessness of copyists in such matters.
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Peter M. Head, The Habits of New Testament Copyists Singular Readings in the Early Fragmentary Papyri of John, Biblica 85 (2004), p. 406.
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Agricola is also noted in Bach studies as one of the copyists for both books of the Well-Tempered Clavier and the St. Matthew Passion.
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Until the 1990s, most copyists worked by hand to write out scores and individual instrumental parts neatly, using a calligraphy pen, manuscript paper, and often a ruler. Producing parts for an entire orchestra from a full score was a huge task. In the 1990s, copyists began using scorewriters - computer programs which are the music notation equivalent of a word processor. (Such programs include Sibelius, Finale, MuseScore or GNU LilyPond).
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The translator assumes that Tetragrammaton originally appeared in New Testament but was later replaced by Christian copyists with Lord (Kyrios in Greek) following the Jewish tradition evident in later copies of Septuagint.
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577) in July 1789, and to replace "" he wrote "" – "A joyous emotion", (K. 579), probably in mid-1790.Dexter Edge, "Mozart's Viennese Copyists" (PhD diss., University of Southern California, 2001), 1718–34.
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Accompanying illustrations of the knots were added later by Renaissance copyists, but modern analysis of the writings by knot experts has shown many of these early drawings to contain significant errors or misinterpretations.
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Navarrete (1825: vol. 2, pp. 22–23) This suggests the signature in the printed editions was not in the original letter, but was an editorial choice by the copyists or printers.Jane (1930: p.
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In classical antiquity, copyists were paid for their work according to the number of stichs (lines of verse). As the prose books of the Bible were hardly ever written in stichs, the copyists, in order to estimate the amount of work, had to count the letters. For the Masoretic Text, such statistical information more importantly also ensured accuracy in the transmission of the text with the production of subsequent copies that were done by hand. Hence the Masoretes contributed the Numerical Masorah.
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Burke (2017), xvii.Burke (2017), 1–2, footnote no. #2.. Some writings, even canonical ones, were originally anonymous, and only later copyists and compilers – either accidentally or intentionally – attributed the wrong authors to them.Burke (2017), 3.
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In modern manuscript editing (substantive and mechanical) "sigla" are the symbols used to indicate the source manuscript (e.g. variations in text between different such manuscripts) and to identify the copyists of a work. See Critical apparatus.
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Theorists such as Heinrich Glarean and Gioseffo Zarlino held his style as that best representing perfection.Wegman, pp. 21–25. He was so admired that many anonymous compositions were attributed to him by copyists, probably to increase their sales.
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The five or six copyists placed at their disposal were kept constantly busy during the nine months they were in Rome in transcribing manuscripts according to their directions, and this occupation was continued by them a long time after the Bollandists departure. Their stay at Paris extended over three months, every moment of which time they spent in transcribing and collating, besides enlisting the services of several copyists during the entire time. Upon their return, they learned that Bolland had died, at which point he and Papenbroek began to lead the project. He was the first librarian of the Museum Bollandianum at Antwerp.
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Ratner's objections, however, are answered by other scholars, who think that in Seder Olam Jose preserved the generally accepted opinions, even when they were contrary to his own, as is clearly indicated in Niddah 46b. Besides, this work, like all the works of the ancient Talmudists, underwent many alternations at the hands of the copyists. Very often, too, finding that the utterance of a later rabbi agreed with Seder Olam, the copyists inserted the name of that rabbi. A careful examination shows that certain additions are later than the latest midrashim, and it may be that Abraham ibn Yarḥi,l.c.
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The publication by Collins et al. was criticised by Stephenson and Green (2003). These authors insist that the problems with the Chinese and Japanese documents can easily be resolved philologically (as common copyists' mistakes) and need not indicate unreliability of the Chinese observations.
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Bekker did not seek out all possible MSS. The number of MSS still extant remains unknown. Before the invention of the printing press ca. 1440 by Johannes Gutenberg, who combined moveable type with a screw press, book reproduction was performed by copyists.
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Peter M. Head, The Habits of New Testament Copyists Singular Readings in the Early Fragmentary Papyri of John , Biblica 85 (2004), 404. There is a tendency to brevity, especially in omitting unnecessary pronouns and conjunctions.B. P. Grenfell & A. S. Hunt, Oxyrhynchus Papyri II, (London, 1899).
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But there is scarcely any book in Jewish literature that has undergone more changes at the hands of copyists and compilers; Judah ibn Moskoni knew of no less than four different compilations or abridgments. The later printed editions are one-third larger than the editio princeps of Mantua.
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Toorians (2013) argues on the contrary that the original Gaulish prefix ad- was changed to at- as the result of a hypercorrection by medieval copyists, who may have thought that the ad- form had emerged under the influence of the Old French phonology during the first millennium AD.
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They turn out copyists and critics and even teachers of art, but not actual artists. There are schools of elocution, but they do not even pretend to turn our orators. So it is true that one cannot be made an artist or an orator. They are born not made.
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On several occasions, Arabic words are given, but are not always recognizable, owing perhaps to the carelessness of copyists in such matters. Thus, we find the names (not satisfactorily identified) of the wood, cites . fruit and sap of the Himalayan Balsam; cites . of bitumen, "alkatran" (al-Kāṭrān); cites .
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Old Latin surviving in inscriptions is written in various forms of the Etruscan alphabet as it evolved into the Latin alphabet. The writing conventions varied by time and place until classical conventions prevailed. Apart of old inscriptions, texts in the original writing system have been lost or transcribed by later copyists.
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269-271; J. H. Landau, "Two Inscribed Tombstones", "Atiqot", vol. XI, Jerusalem, 1976. (The village of Motza, located 30 stadia (c. ) away from Jerusalem, is mentioned in medieval Greek manuscripts of the "Jewish war" of Josephus Flavius (7,6,6) under the name of Ammaus, apparently as a result of copyists' mistake).
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Several international libraries made their documents available, including libraries in Europe and the U.S. Works from the period of c. 1700 to 1850, in manuscripts, copies and early prints, have been collected and presented in high-resolution digitized form. New research has been added continuously, for example on watermarks and copyists.
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"A Dynasty of Painters: Belgium Celebrates the Bruegels". ARTnews (January 1981): 130. He and his workshop were prolific copyists of Pieter Bruegel the Elder's most famous compositions. His name and work were largely forgotten in the 18th and 19th centuries until he was rediscovered in the first half of the 20th century.
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259v Bernart de Venzac (fl. 1180-1210) was an obscure troubadour from Venzac near Rodez in the Rouergue. He wrote in the Marcabrunian style, leaving behind five moralising pieces (two cansos and three sirventes) and one religious alba. Two of his works were confused by copyists with those of Marcabru in some manuscripts.
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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.
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Leonello's governing also brought improvements to the court library, commissioning copyists to produce manuscripts in both French and Italian. Leonello's piety was indicated in local developments such as "poor-relief, hospital construction and improvement of local ecclesiastical institutions".Lewis Lockwood, Leonello’s rule, 1441–50; the court chapel, (Oxford University Press), 2009, p. 48.
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The sixth edition of the Köchel catalogue merely repeated this. This symphony in A minor was discovered as a copy (not an autograph) in the handwriting of several copyists in the archives of the Municipal Symphony Orchestra in Odense, Denmark in 1982. Volker Scherliess: Die Sinfonien. In: Silke Leopold (editor): Mozart-Handbuch.
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650 The text is a representative of the Alexandrian text-type. Although small, the manuscript concurs with Codex Sinaiticus. It has itacistic error in John 17:23 (γεινωσκη instead of γινωσκη).Peter M. Head, The Habits of New Testament Copyists Singular Readings in the Early Fragmentary Papyri of John, Biblica 85 (2004), p. 403.
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No portrait of Johann Traeg is known to have survived. This image depicts the primary implements of Traeg's early career, the quillPer Edge (2001:173), metal pens did not come to be used by music copyists until about 1825. and inkbottle. Johann Traeg (20 January 1747 – 5 September 1805)Life dates from New Grove.
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His scholia on Horace, which are still extant, mainly consist of rhetorical and grammatical explanations. We probably do not possess the original work, which must have suffered from alterations and interpolations at the hands of the copyists of the Middle Ages, but on the whole the scholia form a valuable aid to the student of Horace.
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The book had its origins in a research project conceived by Warner at the University of Chicago with assistance from Cayton. With eventual government and other funding, twenty graduate students between 1935 and 1940, including Drake, worked as primary researchers. As many as 200 were employed as investigators, typists, and copyists of various field reports.Peretz, H. (2004).
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Because the city was still blockaded at the time, the score was flown by night in early July for rehearsal. A team of copyists worked for days to prepare the parts despite shortages of materials.Fay, 133. At rehearsal, some musicians protested, not wanting to waste their little strength on an intricate and not very accessible work.
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Sabino preserved the copyists' mistakes and the lacunae in the manuscript, a philosophy the text's subsequent editor did not share, instead favoring often baseless emendations. It was published 7 June 1474, by Sachsel and Golsh,Jean Gimazane, Ammien Marcellin, sa vie et son œuvre (Toulouse, 1889), pp. 416–417 online. under the name Angelus Eneus Sabinus.
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This might help to determine the time at which the Seder Olam Zuta was written, for the 39th exilarch, according to this estimate, would have lived at the end of the 8th century. The additions of the copyists, however, render this task difficult. In a fragment of a chronicle published by A. NeubauerM. J. C. i.
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In 2003, a Nisi Dominus previously thought to be by Galuppi was reattributed to Vivaldi. The music of the latter, a generation earlier than Galuppi, had gone out of fashion after his death, and unscrupulous copyists and editors found that Galuppi's name on the title page increased a work's appeal.Talbot, Michael (2004). Notes to Hyperion CD 66849Wigmore, Richard.
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Amongst non-royal Egyptians of this time, Ptahhotep, vizier to Djedkare Isesi, won fame for his wisdom; The Maxims of Ptahhotep was ascribed to him by its later copyists. Non-royal tombs were also decorated with inscriptions, like the royal ones, but instead of prayers or incantations, biographies of the deceased were written on the walls.
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She was born in Gumpendorf, a neighborhood of Vienna. Her father Johann Florian Elssler was a second generation employee of Nikolaus I, Prince Esterházy. Both Johann and his brother Josef were employed as copyists to the Prince's Kapellmeister, Joseph Haydn. Johann was to eventually become valet to Haydn and attended Haydn up to and was present at Haydn's death.
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Father Charles Belmonte was inspired by the writings of Merry del Val, included it in a collection, the Handbook of Prayers (Studium Theologiae Foundation, Manila, 1986, and in a later edition, by Midwest Theological Forum, Chicago, US.) and described it as "attributed to Card. Merry del Val". Subsequent copyists wrote simply: "by Card. Merry del Val".
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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.
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One of the text's copyists, from whose copy most other surviving manuscripts are derived, took particular interest in this combined kingdom, tracing its medieval rulers back to Vortigern through Pascent.Lloyd, p. 224 and notes. The dynasty, so these manuscripts report, ended in a certain Ffernfael ap Tewdwr, who is also known from the genealogies from Jesus College MS 20.
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The name is recorded in three variants by Jordanes, and an additional two by copyists: Balaber, Balamber, Balamur, Balambyr, Balamir. Balaber with omission of -m- may be a corruption of Balamber. Balamir has the Gothic onomastic suffix -mir/-mer. Otto J. Maenchen-Helfen argued that the original form of the name was Balimber and that its meaning is unknown.
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Oxford University Press, article "copyists". The article is by David > Wyn Jones. As Jones as elsewhere pointed out, what set Traeg apart from most professional copyists was his assiduous compilation of what became a vast library of music from which he could offer copies for sale. Jones suggests that the several changes of residence recorded for Traeg in his advertisements may have been needed to house the expanding collection, and indeed Traeg eventually moved his family out to the suburbs and placed the collection in his own shop, whose opening was advertised 16 May 1789, and which became a destination for Viennese music-lovers for the rest of his life.Jones's discussion of the expanding library appears in his book The Symphony in Beethoven's Vienna (2006); Cambridge University Press.
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However, the translators of the New World Translation believed that the name Jehovah was present in the original manuscripts of the New Testament when quoting from the Old Testament, but replaced with the other terms by later copyists. Based on this reasoning, the translators consider to have "restored the divine name", though it is not present in any extant manuscripts.
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Rapp, p. 279. Some Georgian scholars have suggested that the Greek copyists of Arrian might have confused Chorasmia with Cholarzene (Chorzene), a Classical rendering of the southwest Georgian marchlands (the medieval Tao-Klarjeti), which indeed bordered with Colchis and Pontus.Giorgi L. Kavtaradze. The Interrelationship between the Transcaucasian and Anatolian Populations by the Data of the Greek and Latin Literary Sources.
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They also improved their social position by converting to Christianity, such as they would rise from a slave to a serf.P.S. Konningsveld, page16. There were a small percentage of learned Muslim captives who were among the intellectual elite in their original hometowns among the Muslim prisoners and slaves. Captured Muslim scientists, physicians, and copyists were in high demand at slave markets.
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His halakhot, which deal with the laws of shechita, differ in many places from the Talmudic ordinances, and are introduced in the name of Joshua ben Nun, or, according to another version, of Othniel Ben Kenaz. Eldad's accounts soon spread, and, as usual in such cases, were remolded and amplified by copyists and editors. There are numerous differing versions in several languages.
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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.
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The canons of Windesheim numbered many writers, besides copyists and illuminators. Their most famous author was Thomas a' Kempis. Besides ascetical works, they also produced a number of chronicles, such as the "Chronicle of Windesheim" by Johann Busch, after retiring from his reforming labors. An emendation of the Vulgate Bible text and of the text of various Church Fathers was also undertaken.
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He worked for Bessarion and is considered by some to be one of the most important Greek copyists of the Renaissance.Nigel Wilson, “The Book Trade in Venice Ca. 1400-1515,” in Venezia: Centro Di Mediazione Tra Oriente E Occidente (Secoli XV-XVI): Apetti E Problemi, ed. Hans-Georg Beck, Manoussos Manoussacas, and Agostino Pertusi (Florence: Leo S. Olschki, 1977), p. 384.
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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.
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They hired personal artisans such as jewellers, sculptors, and embroiderers, while servants cleaned house, shopped for goods, attended to kitchen duties, and prepared furnishings for banquets, weddings, and funerals. Rich families also hosted literary men such as secretaries, copyists, and hired tutors to educate their sons.Gernet, 93. They were also the patrons of musicians, painters, poets, chess players, and storytellers.
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The Table was probably composed in the Byzantine Empire, or possibly in the Ostrogothic Kingdom, around 520. It may have originally been written in Greek. Its author fit contemporary peoples, mostly Germanic, into a framework supplied by Tacitus. Later copyists frequently combined the text with lists of Roman and Frankish kings, which some modern editors have treated as integral parts of the text.
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There are no singular readings.Peter M. Head, The Habits of New Testament Copyists Singular Readings in the Early Fragmentary Papyri of John, Biblica 85 (2004), 406. According to Schofield the fragment rather represents the eclecticism of the early papyri before the crystallizing of the textual families had taken place. It is currently housed at the Glasgow University Library (MS Gen 1026) in Glasgow.
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Some scholars date it even so late as 7th-8th century.Peter M. Head, The Habits of New Testament Copyists Singular Readings in the Early Fragmentary Papyri of John, Biblica 85 (2004), p. 406 Currently it is dated by the INTF to the 4th century. It is difficult to date the manuscript on the palaeographical ground because of its fragmentary nature.
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They were called "halls of Science" or dar al-'ilm. They were each endowed by Islamic sects with the purpose of representing their tenets as well as promoting the dissemination of secular knowledge. In Baghdad, the library was known as the House of Wisdom. It also was a university where numerous scholars and copyists translated works from other nations into Arabic.
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A few of the codices were subsequently discovered in private libraries or even for sale in local book shops.Zorzi, La libreria di san Marco..., pp. 101–102 In exceptional circumstances, copyists were allowed to duplicate the manuscripts for the private libraries of influential patrons: among others Lorenzo de' Medici commissioned copies of seven Greek codices.Zorzi, La libreria di san Marco..., p.
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The single quotation mark is traced to Ancient Greek practice, adopted and adapted by monastic copyists. In his seventh century encyclopedia, The , Isidore of Seville describes their use of the Greek diplé (a chevron) " ⟩ Diplé: our copyists place this sign in the books of the people of the Church, to separate or to indicate the quotations drawn from the Holy Scriptures". The double quotation mark derives from a marginal notation used in fifteenth-century manuscript annotations to indicate a passage of particular importance (not necessarily a quotation); the notation was placed in the outside margin of the page and was repeated alongside each line of the passage. In his edition of the works of Aristotle, which appeared in 1483 or 1484, the Milanese Renaissance humanist Francesco Filelfo marked literal and appropriate quotes with oblique double dashes on the left margin of each line.
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In contrast to the proto- Masoretic "Judean" manuscripts carefully preserved and copied in Jerusalem, he regarded the Alexandrino-Samaritanus as having been carelessly handled by scribal copyists who popularized, simplified, and expanded the text.Vanderkam 2002, pp. 92–93. Gesenius concluded that the Masoretic text is almost invariably superior to the Samaritan.Gesenius believed that the Samaritan Pentateuch contained only four valid variants as compared to the Masoretic text.
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Smith sr. employed his wife and children as copyists, including his son John Christopher Smith, who became Handel's amanuensis later on. Smith sr. and Handel worked well together and were close friends until the late 1740s, when Smith sr. tried to persuade Handel to co-operative with the Middlesex Opera Company. Relations between the two men grew worse, and they were estranged for much of the 1750s.
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The variant form Toxiandria is only attested once in a 9th-century manuscript of Ammianus Marcellinus' Res Gestae (ca. 390) to designate the region, and the variant Taxandria occurs five times in 9th- century sources, and also in later documents. The inconsistencies in spelling may be explained by dittography (errors by copyists), or by the fact that the old form Texandri had fallen out of usage.
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There is confusion amongst writers and copyists with his parentage, with some giving him as a son of Alan de Lawedre of Haltoun. However a contemporary SupplicationLindsay & Cameron (eds.), Calendar of Scottish Supplications to Rome, Scottish History Society, Edinburgh, 1934, p.235-5. and, later, Keith,Spottiswood, John, Keith's Scottish Bishops, Edinburgh, 1824. give him as "brother-german" to William de Lawedre, Bishop of Glasgow.
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Later these were gathered into large collections, first copied as separate books, but also quickly written in the margins of the legal texts. The medieval copyists at Bologna developed a typical script to enhance the legibility of both the main text and the glosses. The typically Bolognese script is called the Littera Bononiensis. Accursius's Glossa ordinaria, the final standard redaction of these glosses, contains around 100,000 glosses.
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According to professor of music Susan Eischeid, the orchestra had 20 members by June 1943; by 1944 it had 42–47 players and 3–4 musical copyists. Its primary role was to play (often for hours on end in all weather conditions) at the gate of the women's camp when the work gangs left and returned. They might also play during "selection" and in the infirmary.
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The church has ancient origins, but the first documented date is 1139, when Pope Innocent II consecrated it. It seems certain that this was a reconsecration after a rebuilding or enlargement of the church. In 1449, Pope Nicholas V granted the church to the Company of Scriptors and Copyists of the Curia. St Philip Neri was ordained to the priesthood in the church in 1551.
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Glosses as textual additions exist also in manuscripts of the New Testament, owing to a variety of reasons, the principal among which may be: # Copyists have embedded marginal notes in the text itself; # they have at times supplemented the words of an Evangelist by means of the parallel passages in the other Gospels; and # sometimes they have completed New Testament's quotations from the Old Testament.
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Page from the Iadgari of Mikael Modrekili with illuminated iniatials. Iadgari of Mikael Modrekili () is a Georgian manuscript of the 10th century, containing a special hymnographic collection of the early Byzantine period, known as tropologion. This collection preserved all Georgian original and translated chants known in the 10th century. It was copied in 978-988 in Monastery of Shatberdi by Mikael Modrekili and two anonymous copyists.
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19 he succeeded him at the head of the abbey.Alphonse Chassant and G.-Er. Wild, History of the bishops of Evreux: with notes and coat of arms, Imprimerie L. Tavernier, Evreux, 1846, p. [archive] 23-2 He established a school in the monastery of Fontenelle which was famous.La revue Française N° 10, Paris, André Mesnier, bookseller, July 1929 He enriched the library and developed cantilena, arithmetic and the art of copyists.
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In 1110, the body of Helie de la Flèche, former Earl of Maine, was brought into the abbey church. A representative in war clothing is raised with his shroud, helmet, sword and shield. At the time, the abbey also had a copyists' workshop where the religious illuminated the manuscripts. Manuscripts of very high quality dating from the second half of the 11th and early 12th centuries have been found.
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Wilford employed a large staff of Indian assistants – Pandits[copyists, translators, surveyors]. Throughout the 1790s, he laboriously combed Puranic and other Sanskrit sources for geographical materials. He extracted his geographical material from the historical poems or legendary tales of the Hindus collected for him by his staff. Christopher Bayly, writing in a collection edited by Jamal Malik, also observes that Wilford, like some contemporaries, used cruder means of linguistic correlation.
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Bach also knew of George Frideric Handel's setting of the Passion text by Barthold Heinrich Brockes (Brockes Passion). This is exemplified by a manuscript copy by Bach and one of his principal copyists dating from 1746-1748. Bach is known to have performed this work on Good Friday 1746, and used 7 arias from it in his last Passion-Pasticcio on the Hamburg St. Mark Passion (BNB I/K/2).
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His name has been misread by copyists as Moses Kastilin. He was a portrait-painter who lived at Venice in the fifteenth and sixteenth centuries. He is highly praised by David Reubeni in his memoirs for having befriended the latter on his arrival in Venice from Arabia in 1524. Moses's reputation as an artist extended far beyond the limits of the ghetto of Venice; indeed, he was known throughout Italy.
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Others have become orchestrators-for-hire, and work with many different composers over the course of their careers; examples of prominent film music orchestrators include Pete Anthony, Jeff Atmajian, Brad Dechter, Bruce Fowler, John Neufeld, Thomas Pasatieri, Conrad Pope, Nic Raine and J.A.C. Redford. Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more music copyists and is ready for performance.
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He left clues of the paintings' true nature for fellow art restorers or conservators to find. For example, he might write text onto the canvas with lead white before he began the painting, knowing that x-rays would later reveal the text. He deliberately added flaws or anachronisms, or used materials peculiar to the 20th century. Modern copyists of old masters use similar practices to guard against accusations of fraud.
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Kosto, 5 and note 14. The archive may have been centralised yet itinerant, or perhaps there were subsidiary archives at the various comital centres. The archive sent by Ramon de Gironella to Guillem de Bassa contained mostly documents pertaining to the County of Girona, for instance. The copyists of the LFM may have made use of an itinerant commission which collected or copied charters throughout Alfonso's domains, where needed.
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According to some legends, Chaitanya Mahaprabhu discovered this work in Andhra on the last day of his visit to Andhra and assigned copying work to a dozen copyists, instructing them to copy it overnight. They could copy only first chapter in that night; later, on his returning to Vanga province, he found it to be incomplete, and then Mahaprabhu sent disciples to Andhra to fetch a complete copy of this work.
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The decades between 1780 and 1830 feature several characteristics at Râmnic. The traditions of spiritual, cultural and artistic life were continued, with war-damaged churches repaired and new ones built in a manner that balanced a post-Brâncovenesc style with folk art innovations. The monasteries and the diocesan center continued to educate calligraphers, copyists, miniaturists, painters and musicians.Lazăr, p.190 The diocesan printing press was continued, albeit with difficulties and interruptions.
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Ironically, it was solely the latter part covering the Anglo-Saxon period that was transmitted by later copyists, as a continuation to Wace. The scribe of one such copy, in a late 13th-century manuscript (B.L. Royal 13 A xx i), dubbed the portion with the title Estoire des Engles. The so-called "lost L'Estoire des Bretuns" (History of the Britons) was an expedient term coined by 19th-century commentators.
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Both composer and librettist were somewhat dilatory, delaying work as much and as long as possible. Count Sanvitale's request on 17 April, asking "to let me know the reasons why our copyists are kept idle", did not receive much of response to satisfy the theatre's management.Galatopoulos 2002, pp. 147–150 Eventually, both men got down to work and finished on time, although the premiere was delayed by four days.
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In 1867, Donlevy published "Practical Hints on the Art of Illumination." The manual, illustrated with Donlevy's original art work, encouraged artists working for industry as copyists to learn the arts of design. Thereafter, she wrote for the Art Review of Boston, the Art Amateur, the Art Interchange, St. Nicholas, Harper's Young People, The Ladies' World, Demorest's Magazine, and the Chautauquan. She served as the art editor of Demorest's Magazine.
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Nonnus is conclusively demonstrated to have been Christian during the composition of Dionysiaca by F. Vian, in REG 110 (1997), pp 143-60. Editors have pointed out various inconsistencies and the difficulties of Book 39 which appears to be a disjointed series of descriptions, as evidence of the poem's lack of revision.Hopkinson, pg.3 Others have attributed these problems to copyists or later editors, but most scholars agree on the poem's incompleteness.
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Abbasid Caliphate in the east and Caliphate of Córdoba in the west, encouraged the development of bookshops, copyists, and book dealers across the entire Muslim world, in Islāmic cities such as Damascus, Baghdad, and Córdoba. According to Encyclopædia Britannica: There is a popular turn of phrase from the 1960s, "Books are written in Cairo, published in Beirut, and read in Baghdad". One of the most famous and prestigious Arab publishers is Dar al-Asab.
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While Holz was working as one of Beethoven's copyists, the composer fired his current secretary Anton Schindler and Holz became Beethoven's secretary in 1825. Letters to Holz and entries in Beethoven's conversation books (used by people when conversing with the composer in his later years) show that Holz was a devoted admirer, and of great help to the composer. Beethoven reconciled with Schindler in 1826; Schindler returned to assist Holz with managing Beethoven's affairs.Paul Nettl.
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It is possible that later copyists confused this name with the more common term Troglodytai. Built at the head of a gulf, the Sinus Immundus, or Foul Bay, of Strabo, it was sheltered on the north by Ras Benas (Lepte Extrema). A lofty range of mountains runs along this side of the African coast, and separates Berenice from the Nile Valley. The emerald mines of Zabara and Saket are in its neighbourhood.
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Janssen (2006), p. 88 Other friars worked as copyists and illuminators of manuscripts, or bookbinders, later also as printers. Others worked in hospitality (the monastery offered accommodation to lay people; the elderly could 'buy themselves into the monastery') or nursing (as during the plague epidemics of 1529 and 1579). A further source of income were mass stipends, as well as the sale of burial rights in the church (for which the church was known).
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What he could not secure, he would borrow for copying; a number of copyists worked for him at his professorial residence in Copenhagen. His collection became the largest of its kind. Unfortunately, his house burned down in the Copenhagen fire of 1728; with the help of friends, he was able to save most of the manuscripts, but some things were lost, including almost all the printed books and at least one unique item.Eiríkur, p. 92.
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In 762 CE, Wang Bing finished his revision of the Suwen after labouring for twelve years. Wang Bing collected the various versions and fragments of the Suwen and reorganized it into the present eighty-one chapters (treatises) format. Treatises seventy-two and seventy-three are lost and only the titles are known. Originally his changes were all done in red ink, but later copyists incorporated some of his additions into the main text.
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The libraries, copyists, booksellers, paper makers and colleges across al-Andalus are said to have published as many as 60,000 treatises, poems, polemics and compilations each year. In comparison, modern Spain publishes 46,330 books per year on average (according to figures from 1996). The first record of a work of literature composed in Moroccan Darija was Al-Kafif az-Zarhuni's al-Mala'ba, written in the period of Sultan Abu al- Hasan Ali ibn Othman.
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Authors of piyyut are known as paytanim (singular: paytan). Piyyut is Jewish liturgical poetry, in Hebrew or occasionally Aramaic. The earliest authors of piyyut did not sign their names in acrostics, nor do manuscripts preserve their names. The earliest paytan whose name is known is Yosé ben Yosé, usually dated to fifth-century Palestine; he did not sign his name in his work, but copyists of manuscripts preserved it along with his work.
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This technology continued to be prevalent through most of the 19th century. For these purposes, offices employed copy clerks, also known as copyists, scribes, and scriveners. A few alternatives to hand copying were invented between the mid-17th century and the late 18th century, but none had a significant impact on offices. In 1780 James Watt obtained a patent for letter copying presses, which James Watt & Co. produced beginning in that year.
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The KJV and TR follow codex P (9th century) and a smattering of other (mostly late) resources in reading "I stood". Metzger suggests that the TR text is the result of copyists' assimilation to the verb form in 13:1 ("I saw a beast")..Bruce M. Metzger, A Textual Commentary on the Greek New Testament A Companion Volume to the UBS Greek New Testament (1971, United Bible Societies) loc.cit.; the UBS Greek New Testament, loc.cit.
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The copy is now in the British Library.. Correct in 1953, but it will be in the British Library now. The mediaeval library was located in different parts of the cathedral and precincts at different times. The precentor was in charge of it and also responsible for providing the materials needed to enable copyists, illuminators and authors' work. Because all copying was by hand and taught locally, monasteries varied in their style.
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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.
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Elisabeth M. C. Van Houts, Memory and Gender in Medieval Europe: 900–1200 (Toronto; Buffalo : University of Toronto Press, 1999), pp. 19–20 Some used written material: Charters, letters, or the works of earlier chroniclers. Still others are tales of such unknown origins so as to have mythical status. Copyists also affected chronicles in creative copying, making corrections or in updating or continuing a chronicle with information not available to the original author(s).
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Nevertheless, a number of errors committed by the music copyists and the composer himself had escaped his notice. The resulting "mild cacophony" heard in the closing moments of its world premiere on October 8, his wife Vera noted, left Stravinsky feeling "sad because [it] was badly played." Although he apologized profusely to Koussevitzky in private for his "ridiculous inattentiveness" in proofreading the Ode, Stravinsky never publicly acknowledged any culpability in the botched premiere.
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The monks would either take their finished products to the church on the weekends to be sold, or sell them to camel caravans when they passed by their cells. The Apophthegmata Patrum mentions other jobs monks carried out such as copyists. Many monks, including early church leaders such as Macarius the Great and John the Dwarf, worked as day laborers at local farms during the harvest season. These labors served two purposes.
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The Boy Bands Have Won, and All the Copyists and the Tribute Bands and the TV Talent Show Producers Have Won, If We Allow Our Culture to Be Shaped by Mimicry, Whether from Lack of Ideas or from Exaggerated Respect. You Should Never Try to Freeze Culture. What You Can Do Is Recycle That Culture. Take Your Older Brother's Hand-Me-Down Jacket and Re-Style It, Re-Fashion It to the Point Where It Becomes Your Own.
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State University of New York Press: Albany, 1999. His magnum opus Tafsir al-Bahr al-Muhit (Explanation of the Ocean) is the most important reference on Qur'anic expressions and the issues of grammar, vocabulary, etymology and the transcriber-copyists of the Holy Qur'an. Quite exceptionally for a linguist of Arabic of his day was his strong interest in non-Arabic languages. He wrote several works of comparative linguistics for Arabic speakers, and gives extensive comparative grammatical analysis and explanation.
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Moscow, 1978, pp. 59–68. criticized Az i Ya, characterizing Suleymenov's etymological and paleography conjectures as amateurish. Linguists such as Zaliznyak pointed out that certain linguistic elements in Slovo dated from the 15th or 16th centuries, when the copy of the original manuscript (or of a copy) had been made. They noted this was a normal feature of copied documents, as copyists introduce elements of their own orthography and grammar, as is known from many other manuscripts.
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Whereas in Book I John portrays the Slavs as generic barbarians, the unknown author of Book II is far more familiar with them and their tribal divisions, listing the several Slavic tribes that settled around the city and calling them "our neighbours". Due to its change in style and focus, the second book proved less popular than the first with copyists in the following centuries, and survives in only a single manuscript.Curta (2001), pp. 61–62Obolensky (1994), p.
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Explanatory notes would tend to find their way into the body of a text as a natural result of this subjective process. Modern scholars have developed techniques for recognizing interpolation, which are often apparent to modern observers, but would have been less so for medieval copyists. The Comma Johanneum, for example, is commonly regarded as interpolation. The specific problem of Christian transmission of Jewish texts outside the Jewish and Christian canons is often described as Christian interpolation.
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Drexel 5856 is a music manuscript containing works composed by George Frideric Handel. It is a significant primary source of the composer's work, having been copied by one of Handel's frequent copyists, John Christopher Smith, possibly as a presentation copy. 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.
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As a result, for the next 25 years, Grace Frank commuted weekly from the couple's home in Baltimore to the campus of Bryn Mawr in Pennsylvania. In the 1930s, Frank published another three critical editions of French texts, two of which were Passions. Her edition of ' (1930), analyzed five 15th-century manuscripts based on a 14th-century narrative. Her edition of ' (1934) analyzed the relationship between two closely related 13th or early 14th- century poems (' & '), distinguished by their copyists.
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Nick Rodwell of the Hergé Foundation took this view, declaring that "None of these copyists count as true fans of Hergé. If they were, they would respect his wishes that no one but him draw Tintin's adventures." Where possible, the foundation has taken legal action against those known to be producing such items. Others have taken a different attitude, considering such parodies and pastiches to be tributes to Hergé, and collecting them has become a "niche specialty".
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The word "aquelarre" is first attested in 1609 in a Spanish language inquisitorial briefing, as synonym to junta diabólica, meaning 'diabolic assembly'. Basque terms, transcribed into Spanish texts often by monolingual Spanish language copyists, were fraught with mistakes. Nevertheless, the black he-Goat or Akerbeltz is known in Basque mythology to be an attribute of goddess Mari and is found in a Roman age slab as a votive dedication: Aherbelts Deo ("to the god Aherbelts") (see: Aquitanian language)..
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Scorpion Child released their self-titled debut album in June 2013. The album featured a lineup of Black, Cowart, rhythm guitarist Tom Frank, bassist Shaun Avants, and drummer Shawn Alvear; with contributions from previous guitarist Chris Hodge. In a review of the album, one reviewer described Scorpion Child as "a heavy-riffing behemoth that takes the current glut of guitar-slinging retro-copyists and punches them through the pavement." The album reached #31 on the Billboard Heatseekers chart.
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Miniature of the scriptorium tower (verso, folio 171), showing two of the named copyists and illuminators with an assistant. The Tábara Beatus or Beatus of Tábara is a 10th-century illuminated manuscript, containing the Commentary on the Apocalypse by Beatus of Liébana. It originated in the San Salvador de Tábara Monastery and is now held in Spain's National Historical Archive in Madrid under the catalogue number L.1097B. Only eight of its original hundred miniatures survive.
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View from the bottom edge of Drexel 4302 showing the multiple gatherings The manuscript has twenty-one gatherings. Ten of these are perfect (meaning that no leaves were removed or were added to the gathering), implying they were copied by professional copyists. The remaining eleven gatherings are now imperfect with diverse structures (meaning that leaves were removed or added). The outer leaves of all the gatherings show greater wear than the inner leaves, indicating that the gatherings were originally separate and used independently.
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By confirmation the Gnostics intended not so much to give the Holy Ghost as to seal the candidates against the attacks of the Archons, by which the initiated would after death become incomprehensible and invisible, and leaving their bodies in this lower creation and their souls with the Demiurge, ascend in their spirits to the Pleroma. Probably the Egyptian religion contributed this element to Gnosticism. Some of these Marcosian formulae were in Hebrew, of which Irenaeus has preserved specimens much corrupted by copyists.
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The manuscript was written between about 1382 and 1410. One of the several copyists responsible for the manuscript has been identified as Hywel Fychan fab Hywel Goch of Buellt. He is known to have worked for Hopcyn ap Tomas ab Einion ( 1330–1403) of Ynysforgan, Swansea, and it is possible that the manuscript was compiled for Hopcyn. According to scholar Daniel Huws, it is "by far the heaviest of the medieval books in Welsh, the largest in its dimensions...and the thickest".
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The work focuses on the subject of the > final judgment, and its heroes are Christ, Angel and Sinners. Almost in > every respect, the work resembles early-baroque oratorio compositions (with > a Counter-Reformation coloration), written by Roman composers. No wonder, > then, that one of the copyists mistook the dialogue for the work of Giacomo > Carissimi - one of the most important representatives of this genre. This > mistake can in principle be perceived as a compliment to which Bartłomiej > Pękiel fully deserves.
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One performer lost rations because he had attended his wife's burial and was late for rehearsal. Although some sources suggest a team of copyists was employed, according to other sources musicians were made to copy out their individual parts by hand from the score. Rehearsals were held six days a week at the Pushkin Theatre, usually from 10 am to 1 pm. They were frequently interrupted by air-raid sirens, and some musicians were required to undertake anti-aircraft or firefighting duties.
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The Qieyun reflected the enhanced phonological awareness that developed in China after the advent of Buddhism, which introduced the sophisticated Indian linguistics. The Buddhist Uyghur Kingdom of Qocho used a version of the Qieyun. During the Tang dynasty, several copyists were engaged in producing manuscripts to meet the great demand for revisions of the work. Particularly prized were copies of Wáng Rénxū's edition made in the early 9th century by Wú Cǎiluán (呉彩鸞), a woman famed for her calligraphy.
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Bärenreiter-Verlag, Kassel 2005, . A note on the title page indicates that this symphony entered the possession of the Danish Collegium Musicum (probably from Westphal) by 1793 at the latest, with the watermark in the paper of the orchestral parts showing the date 1779. None of the copyists in the Mozart family circle could have copied this symphony. In the 1780s, Westphal had some authentic Mozart symphonies and some works with "dubious" sources such as K. 16a and K. Anh.
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In Gesta Hammaburgensis ecclesiae pontificum (Deeds of Bishops of the Hamburg Church),Adam of Bremen, Gesta Hammaburgensis ecclesiae pontificum , online text in Latin. Note that Scholias at the end of the text are later supplements, possibly by Adam himself or copyists. English translation of Gesta is not available in public domain, and the translation of the selected parts is by Wikipedia editors. Adam of Bremen mentions Birka many times, and the book is the main source of information on the city.
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For dating the replicas, attention is focused on the minor details of the dolphins that were added by the copyists, in which stylistic conventions come to the fore: the Metropolitan dates its Aphrodite of the Medici type to the Augustan period. The Metropolitan Aphrodite was in the collection of Count von Harbuval genannt Chamaré in Silesia,Possibly Nové Hrady whose progenitor Count Schlabrendorf made the Grand Tour and corresponded with Johann Joachim Winckelmann. Watelet confronts the Venus de' Medici, ca. 1765.
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This memorable section in Rossini's overture evokes the image of the opera's main subject: a devilishly clever, thieving magpie. The composer Gioachino Rossini wrote quickly, and La gazza ladra was no exception. According to legend, before the first performance of the opera, the producer assured the composition of the overture by locking Rossini in a room, from the window of which the composer threw out the sheets of music to the copyists who then wrote the orchestral parts, to complete the composition of the opera.
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Artus Wolffort likely operated a workshop in Antwerp, which produced various copies of his works. His pupils Pieter van Lint and Pieter van Mol worked for a while as copyists in his workshop. The Holy Trinity Artus Wolffort was one of the artists who worked on the decorations for the Joyous Entry into Antwerp of the new governor of the Habsburg Netherlands Cardinal-Infante Ferdinand in 1635. Rubens was in overall charge of this project for which Wolffort made decorative paintings after designs by Rubens.
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Chadwick (1959), p. 85. During the bragging contest, the heroes of the Ulaid are not merely shamed, but are made to look ridiculous. Hyperbole is used to humorous effect when Conall flings the head of Ánluan at his opponent Cet. Thurneysen notes that in the Harley 5280 manuscript "the mutual slaying of the guests" is referred to as "'performing a good drinking round'" (so- imól) – a "somewhat coarse joke" that was revised or omitted in the other manuscripts because apparently the copyists did not understand it.
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However, Wang Guowei and other scholars have shown that they were regional variant forms in the eastern areas during the Warring States period, from only slightly earlier than the Qin seal script. Even as copyists transcribed the main text of the book in clerical script in the late Han, and then in modern standard script in the centuries to follow, the small seal characters continued to be copied in their own (seal) script to preserve their structure, as were the guwen and Zhouwen characters.
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Other passages are found in the Babylonian Talmud, the Pesiktot, the Midrash Rabbot, the Mekhilta, and the Avot de-Rabbi Natan. S. Buber supposes that this midrash has been shortened by the copyists, for R. Hillel, in his commentary on Sifre,See Friedmann, notes to Sifre Numbers 139 quotes from a "Midrash Shir haShirim" a passage which is found neither in Rabbah nor in Zutta. Nor is the passage quoted from the Midrash Shir haShirim by Menahem ZioniTziyyuni, p. 57c, Cremona, 1581 found in this midrash.
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He is the author of the Relación de las cosas de Yucatán in which he catalogues the Maya religion, Maya language, culture and writing system. The manuscript was written around 1566 on his return to Spain; however, the original copies have long since been lost. The account is known only as an abridgement, which in turn had undergone several iterations by various copyists. The extant version was produced around 1660, lost to scholarship for over two centuries and not rediscovered until the 19th century.
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The advent of the printing press in the middle of the 15th century opened the doors to the first printing houses in Europe. Even after the invention of the printing press and on to today, the editor's job is to correct perceived mistakes. Within these printing houses, there were a variety of employees, one type being correctors, or, as they are referred to today, editors. The biggest difference between monastic copyists and copyeditors is that copyeditors leave edits as suggestions that can be rejected by the writer.
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Norman and Nina de Garis Davis, Tomb of Nakht, copy of a 15th-century BC Picture, January 1907 The Egyptologists Nina M. Davies (6 January 1881 – 21 April 1965) and Norman de Garis Davies (1865–5 November 1941) were a married couple of illustrators and copyists who worked in the early and mid-twentieth century drawing and recording paintings in Egypt. Their work was often published together, as N. de Garis Davies, and so it is usually difficult to determine who drew which illustration.
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As an editor, he made no commentaries, but occupied himself only with the text. Persuaded that all faults in the language of the Greek poets came from the carelessness of copyists, wherever it seemed to him that an obscure or difficult passage might be made intelligible and easy by a change of text, he did not scruple to make the necessary alterations, whether the new reading were supported by manuscript authority or not. He became a member of the Académie des Inscriptions et Belles-Lettres in 1777.
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Generous gifts to the charterhouse – particularly from Peter Rinck, Rector of Cologne University – made it possible to rebuild the chapter house and library within two years. It took a great deal longer to recover from the financial and intellectual loss of the books and manuscripts. The charterhouse authorities addressed themselves to the task of making good the losses with great energy and single-mindedness. New manuscripts were acquired outright or borrowed to be copied either by the monastery's own monks or even by hired copyists.
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By the 9th century, the nuns of Chelles were renowned as skilled copyists and authors of manuscripts. Many memoria of monarchs and their family members are emerging from their scriptorium, along with the Lives of several saints. Gisèla was particularly famous for her intelligence and learning, and for demanding several books and biblical commentaries for the monastery’s library. The nuns owned, or at least had access to, the Annales regni Francorum and Continuationes Fredegarii, which were and both remain significant sources for history-writing.
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Before this public performance, authors would simply be known by their texts. These would be copied on scrolls by copyists, often freedmen of Greek origin, and were intended to be sold by these book publishers to wealthy people.Catherine Salle, Lire à Rome, p.94 Starting towards at the end of the Republic, the recitations developed substantially under the Empire, especially under the reign of Augustus, thanks to the poet and politician Gaius Asinius Pollio who became well known because of the fashion for this new entertainment.
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At least nine copyists were employed, including Fossard; Philidor's son-in-law, Jean-Louis Schwartzenberg (1684–1736), called Le Noble; one of three Ferriers, who were wind players at court; and his son, Anne Danican Philidor, the first of Philidor's twenty-one children. Philidor manuscripts are now found in many private collections and libraries. Nicolas Roze inventoried 59 volumes in the library of the Paris Conservatory early in the 19th century. Now known as the Philidor Collection, over the years nearly half have been lost.
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The libraries often employed translators and copyists in large numbers, in order to render into Arabic the bulk of the available Persian, Greek, Roman and Sanskrit non-fiction and the classics of literature. From the art, Muslims developed papermaking into an industry. As a result of this technical enhancement, the books were more easily manufactured and they were more broadly accessible. Coincided with the encouragement of science and a breakthrough in the translation movement, public and private libraries started to boost all around Islamic lands.
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The search of the safest iconographic sources was a key aspect of the work of Paul Ardier and its painters. The paintings are mostly copies made in other French and European galleries. Copyists Ardier Paul worked in various existing collections, for instance, that the Chateau de Selles-sur-Cher, near Beauregard where Philippe de Bethune had gathered a collection of historical portraits. It was in the Richelieu gallery at Palais Cardinal in 1635, the painting of Louis XIII was copied from the painting of Philippe de Champaigne.
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To indicate the way of development of the Ancient Church Orders the term "living literature" has been proposed by Bruce M. Metzger and Paul F. Bradshaw (and others) in order to note that these texts, of which only a part survived, were updated and amended generation after generation, mixing ancient parts with materials from the contemporary uses and tradition of the copyists and removing what was no more in line with the current understanding. Moreover, it is probable also that in many cases the copyists were not describing their current or more ancient uses, but what they considered to be the best practice, thus for example describing liturgies never performed. This kind of literature allows the scholars, after a process of evaluation, to look at the liturgies of the 3rd and 4th century, but it makes difficult to use these texts to describe more ancient liturgies. It is possible to outline also some development patterns for the content of this literature: the more ancient texts, such as Didache, are mainly concerned about moral conduct, giving very little room to liturgy and to Church organization.
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Scholia were altered by successive copyists and owners of the manuscript, and in some cases, increased to such an extent that there was no longer room for them in the margin, and it became necessary to make them into a separate work. At first, they were taken from one commentary only, subsequently from several. This is indicated by the repetition of the lemma ("headword"), or by the use of such phrases as "or thus", "alternatively", "according to some", to introduce different explanations, or by the explicit quotation of different sources.
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A regency government was established in Brazil until the child's adulthood. Among its first acts was one that dissolved the Orchestra of the Imperial Chapel. Some of the dismissed musicians survived as music teachers, some as music copyists. But poverty was the fate for most of them. In 1840 prince Pedro, at 14, was crowned Emperor Pedro II. In 1842 he made the first steps to restore the musical activity at the Imperial Chapel, nominating Francisco Manuel da Silva, a former pupil of Nunes Garcia, as the Chapel Master.
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The Chronicle of 1234 dates the earthquake to year 1060 of the Seleucid era. Michael the Syrian offers no clear date, though a 19th-century translator noted in a footnote that the event could be dated to 6241 Anno Mundi, year 1060 of the Seleucid era, and year 749/750 Anno Domini. The dating was reportedly off by a year, since Michael's chronicle includes many chronological errors. It is unclear whether Michael himself was responsible for the errors, or whether they were introduced by copyists of the chronicle.
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The ensemble consisted mainly of amateur musicians, with a string section, but also accordions, percussion, guitars, flute, recorder and mandolins, but lacked a brass section. Singers and music-copyists rounded-out the membership of the Music Block. The orchestra's primary function was to play at the main gate each morning and evening as the prisoners left for and returned from their work assignments; the orchestra also gave weekend concerts for the prisoners and the SS and entertained at SS functions. Rosé conducted, orchestrated and sometimes played violin solos during its concerts.
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In 1907 he set a translation of P. D. A. Atterbom's poem The Mermaid. He wrote incidental music for productions of many plays, including Quo Vadis, In the Palace of the King, Gringoire, The Wooing of Priscilla, King Robert of Sicily, The Cipher Code, In a Balcony, The Land of Heart's Desire and others. He also published collections of songs, including "Sunlight and Shadow", and copyists' full scores of two symphonies, in E major and A minor, exist in the Tams- Witmark collection at the Library of Congress.
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This was probably not a first name, as some scholars have thought, but rather an indicator that he came from Pisan territory, which suggests his birthplace was in peninsular Italy (near Pisa), yet his home to be in Sardinia, where he undoubtedly composed his main work. This work, however, was badly handled by copyists, with the result that the surviving manuscripts of the Doctrina are riddled with errors, unclear, and inaccessible. What can be gleaned, however, suffices to demonstrate that Terramagnino's work lacked originality. His Occitan, too, is not he best and there are Italianisms.
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Learned Muslim captives were held in high regard by the authorities and they were sold for very high prices. They were wanted for the knowledge and advancements the Arabs had made over the Europeans. Copyists of Arabic manuscripts were needed in Spain to translate Arabic texts for the practice of medicine, the study of Arabic philosophy, and because of the popular interest in Europe for the translations of Arabic scientific texts. Learned Muslim captives played a very important role in the spread of Arabic science and philosophy over the Christian world.
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The glazes utilized by the Samson firm were often glossy and somewhat glassy, the modeling stiffer, or wrong in scale, the decoration was often too heavy, and colors were often inaccurate. Leading many experts to conclude that Samson, and his firm, were merely enthusiastic, if sometimes clumsy, copyists. 1907 invoice from the Paris shop On the other hand, some Samson reproductions have only been detected by recognition of anachronistic details. Samson copies of Meissen pieces have passed for originals, since the blue underglaze ‘Ss’, Edmé’s mark, can be removed and substituted with false marks.
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A alt= Clay tablets were used in Mesopotamia in the 3rd millennium BC. The calamus, an instrument in the form of a triangle, was used to make characters in moist clay. People used to use fire to dry the tablets out. At Nineveh, over 20,000 tablets were found, dating from the 7th century BC; this was the archive and library of the kings of Assyria, who had workshops of copyists and conservationists at their disposal. This presupposes a degree of organization with respect to books, consideration given to conservation, classification, etc.
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He also left £2,000 for construction costs and £4,000 was contributed by Desenfan's widow. The gallery was opened to students of the Royal Academy of Arts in 1815, two years before the official opening to the public, the delay due to a problem with the gallery's heating system. It became a popular venue for copyists from London schools of art. Its collection was frequented by many cultural figures over the next hundred years, many of whom first visited as students, including John Constable, William Etty, Joseph Mallord William Turner, and later Vincent van Gogh.
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Scenic view of the banks of the Saône in Lyon, showing Lyon Cathedral, the Basilica of Notre-Dame de Fourvière, and the Tour métallique de Fourvière The Saône ( , ; ; ) is a river of eastern France. It is a right tributary of the Rhône, rising at Vioménil in the Vosges department and joining the Rhône in Lyon, just south of the Presqu'île. The name derives from that of the Gallic river goddess Souconna, which has also been connected with a local Celtic tribe, the Sequanes. Monastic copyists progressively transformed Souconna to Saoconna, which ultimately gave rise to .
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Portrait of Erasmus of Rotterdam, National Gallery, London The Louvre, 1523 Hans Holbein the Younger painted the Portrait of Erasmus of Rotterdam several times, and his paintings were much copied, at the time and later. It is difficult to disentangle Holbein's original work from that of his workshop and other copyists. Possibly five largely original versions survive, as well as a number of drawings made as studies. Holbein's portraits played an important part in spreading the painter's reputation across Europe, as they and their copies were widely distributed.
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Hartnell successfully emulated his British predecessor and hero Charles Frederick Worth by taking his designs to the heart of world fashion. Hartnell specialised in expensive and often lavish embroidery as an integral part of his most expensive clothes. They were also created to deflect the ready-to wear copyists. The Hartnell in-house embroidery workroom was the largest in London couture and continued until his death, also producing the embroidered Christmas cards for clients and press during quiet August days, a practical form of publicity at which Hartnell was always adept.
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Lincoln H. Blumell, A Text-critical comparison of the King James New Testament with certain modern translations, Studies in the Bible and Antiquity, vol. 3 (2011) page 80. According to Bruce Metzger, "There can be little doubt that the words ... are spurious here, being omitted by the earliest witnesses representing several textual types... [This verse was] manifestly borrowed by copyists from Luke 19:10."Bruce M. Metzger, A Textual Commentary on the Greek New Testament A Companion Volume to the UBS Greek New Testament (1971, United Bible Societies) loc.cit.
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Around the 8th century, it was the most important of several variants of Arabic scripts with its austere and fairly low vertical profile and a horizontal emphasis. Until about the 11th century it was the main script used to copy the Qur'an. Professional copyists employed a particular form of Kufic for reproducing the earliest surviving copies of the Qur'an, which were written on parchment and date from the 8th to 10th centuries. It is distinguished from Thuluth script in its use of decorative elements whereas the latter was designed to avoid decorative motifs.
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Federico, nicknamed "the Light of Italy", is a landmark figure in the history of the Italian Renaissance for his contributions to enlightened culture. He imposed justice and stability on his tiny state through the principles of his humanist education; he engaged the best copyists and editors in his private scriptorium to produce the most comprehensive library outside of the Vatican; he supported the development of fine artists, including the early training of the young painter Raphael. He was a patron of the writer Cristoforo Landino. Studiolo di Gubbio of Federico da Montefeltro.
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Third, monastic schools were established at Cozia, Bistrița, Govora and in Râmnic itself. These trained copyists, secretaries, logothetes, teachers, painters and cantors, many of whom would later join the princely court and administration. Among the more noteworthy is Teodosie Rudeanu, who became Great Logothete to Michael the Brave and wrote a chronicle of his activities during 1593-1597. Too, Vlad the Grammarian and Alexander the Teacher, brought from Bistrița at the end of the 17th century by Bishop Ilarion, copying several important books under his guidance and heading his school.
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Most of the pieces are settings of parts of the ordinary of the Mass, and are grouped by section, in other words: the settings of the Gloria are together, as are the settings of the Credo, Sanctus, and Agnus Dei. Between these grouped settings are some motets and pieces related to the conductus. The Old Hall Manuscript was compiled in the early 15th century, probably over a period of about 20 years. The hands of several copyists are identifiable, and some of them may be those of the composers themselves.
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The historical value of the work is not great; the absence of a timeline, inventing and mixing of various historical figures and events and interpretations by later copyists significantly impede the work's historical basis. During the 13th century Thomas Archidiaconus (ca. 1200–1268) of Split, a clergyman and politician from a Roman family, wrote Historia Saloni in 1266. It presented in chronological order the life and work of the Archbishop of Split-Solin since Roman times, representing a valuable historical source for the eras of Krešimir IV and Zvonimir.
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Innis notes that the expense of producing hand-copied, manuscript Bibles on parchment invited lower-cost competition, especially in countries where the copyists' guild did not hold a strong monopoly. "In 1470 it was estimated in Paris that a printed Bible cost about one-fifth that of a manuscript Bible," Innis writes. He adds that the sheer size of the scriptures hastened the introduction of printing and that the flexibility of setting the limited number of alphabetic letters in type permitted small-scale, privately- owned printing enterprises.Innis (Empire), p.
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Abbreviated writing, using sigla, arose partly from the limitations of the workable nature of the materials (stone, metal, parchment, etc.) employed in record-making and partly from their availability. Thus, lapidaries, engravers, and copyists made the most of the available writing space. Scribal abbreviations were infrequent when writing materials were plentiful, but by the 3rd and 4th centuries AD, writing materials were scarce and costly. During the Roman Republic, several abbreviations, known as sigla (plural of siglum = symbol or abbreviation), were in common use in inscriptions, and they increased in number during the Roman Empire.
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The speed of the printing telegraph was 16 and a half words per minute, but messages still required translation into English by live copyists. Chemical telegraphy came to an end in the US in 1851, when the Morse group defeated the Bain patent in the US District Court.Oslin, George P. The Story of Telecommunications, Mercer University Press, 1992. 69. For a brief period, starting with the New York–Boston line in 1848, some telegraph networks began to employ sound operators, who were trained to understand Morse code aurally.
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333/944), mentioned in both the Aghānī and the Maqātil, is invariably cited for the reports about the ʿAlids and their merits. The journey in search for knowledge taken by al-Iṣfahānī may not be particularly outstanding by the standard of his time, but the diversity of his sources’ occupations and fortes is beyond doubt impressive. His informants can be assigned into one or more of the following categories: philologists and grammarians; singers and musicians; booksellers and copyists (ṣaḥḥāfūn or warrāqūn, sing. ṣaḥḥāf or warrāq); boon companions; tutors (muʾaddibūn, sing.
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' Some Judaic and Christian traditions hold that the Torah or Pentateuch of the Hebrew Bible was physically written by Moses—not by God himself, although in the process of transcription many thousands of times copyists have allowed errors, or (some suggest) even forgeries in the text to accumulate. Tov, Emanuel, Textual criticism of the Hebrew Bible, Uitgeverij Van Gorcum, 2001, p. 213 According to this position, God originally spoke through a select person to reveal his purpose, character and plan for humanity. However, the Bible does record some direct statements from God (i.e.
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At that auction the score of BWV 54, in the hand of Johann Gottfried Walther, and the autograph manuscript parts of BWV 8 were purchased by François-Joseph Fétis, the Belgian musicologist. Following Fétis' death in 1871, BWV 8 and BWV 54 were acquired in 1872 by the Bibliothèque Royale Albert 1er in Brussels. Although the history of how Bach's autograph parts were transmitted to Brussels has become well known, the role as copyists of schoolboys at the Thomasschule has been harder to establish. Recently has devoted a book to the topic.
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Due to an exception in the French language, the name is pronounced [osɔn]Jean-Marie Pierret, Historical phonetics of French and general phonetics, Louvain-la-Neuve, Peeters, 1994, p. 104. (In Aussonne the "x" is pronounced "ss"). The current spelling of the name comes from a habit of copyists of the Middle Ages who replaced the double "s" by a cross which does not change the pronunciation. This cross, equated with "x" in ancient Greek, was pronounced "ks" in French only from the 18th century but this modification does not change the usage.
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Stradivari made his instruments using an inner form, unlike the French copyists, such as Vuillaume, who employed an outer form. It is clear from the number of forms throughout his career that he experimented with some of the dimensions of his instruments. The woods used included spruce for the top, willow for the internal blocks and linings, and maple for the back, ribs, and neck. There has been conjecture that the wood used may have been treated with several types of minerals, both before and after construction of a violin.
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Folio from Papyrus 46, containing 2 Corinthians 11:33–12:9 Before inexpensive mechanical printing, literature was copied by hand, and many variations were introduced by copyists. The age of printing made the scribal profession effectively redundant. Printed editions, while less susceptible to the proliferation of variations likely to arise during manual transmission, are nonetheless not immune to introducing variations from an author's autograph. Instead of a scribe miscopying his source, a compositor or a printing shop may read or typeset a work in a way that differs from the autograph.
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Significant support for paganism was present among Roman nobles, senators, magistrates, imperial palace officers, and other officials. Many Christians pretended to be such while continuing pagan practices, and many converted back to paganism; numerous laws against apostasy kept being promulgated and penalties increased since the time of Gratian and Theodosius. pagans were openly voicing their resentment in historical works, like the writings of Eunapius and Olympiodorus, and books blaming the Christian hegemony for the 410 Sack of Rome. Christians destroyed almost all such pagan political literature, and threatened copyists with cutting off their hands.
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The earliest Bible manuscript where all books are included in the versions that would later be recognised as "Vulgate" is the 8th-century Codex Amiatinus; but as late as the 12th century, the Vulgate Codex Gigas retained an Old Latin text for the Apocalypse and the Acts of the Apostles. Jerome's changes to familiar phrases and expressions aroused hostility in congregations, especially in North Africa and Spain. Scholars often sought to conform Vulgate texts to Patristic citations from the Old Latin. Consequently, many Vulgate texts became contaminated with Old Latin readings, re-introduced by copyists.
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The manuscript was completed in the late 13th or early 14th century by two different copyists, one adding Ekkehard and the Annals and the other the Devastatio and the Lateran account. The Devastatio is unrelated to the Chronicle and the Annals. Its title appears prominently at the beginning and a third person later wrote in the top margin Coronica captionis Constantinopolitanae (Chronicle of the Capture of Constantinople). The account of the Lateran council—which is found in four other manuscripts—is appended to the Devastatio without title or comment.
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Pliny, Epistulae 1.8.2; CIL 5.5262 (= ILS 2927)Marshall, p. 255. Imperial libraries housed in state buildings were open to users as a privilege on a limited basis, and represented a literary canon from which disreputable writers could be excluded.Marshall, 261–262Cavallo, p. 70. Books considered subversive might be publicly burned,Tacitus, Agricola 2.1 and Annales 4.35 and 14.50; Pliny the Younger, Epistulae 7.19.6; Suetonius, Augustus 31, Tiberius 61.3, and Caligula 16 and Domitian crucified copyists for reproducing works deemed treasonous.Suetonius, Domitian 10; Quintilian, Institutio Oratoria 9.2.65Marshall, p. 263.
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The primary objective of the FMP was to employ professional musicians from all over the country to perform as instrumentalists, singers, and concert actors. As a result of the growing number of performing groups, there was also a need for music copyists and binders. Men and women were hired to copy existing music by hand and then to bind them, distributing musical arrangements to ensembles around the nation. The Project also aimed to inspire music appreciation by enabling access to live performances and by introducing music instruction in the classroom.
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Middle Persian and Pahlavi works created in the 9th and 10th century contain many religious Zoroastrian books, as most of the writers and copyists were part of the Zoroastrian clergy. The most significant and important books of this era include the Denkard, Bundahishn, Menog-i Khrad, Selections of Zadspram, Jamasp Namag, Epistles of Manucher, Rivayats, Dadestan-i-Denig, and Arda Viraf Namag. All Middle Persian texts written on Zoroastrianism during this time period are considered secondary works on the religion, and not scripture. Nonetheless, these texts have had a strong influence on the religion.
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Sava's book, 1.142 Sava's book (, Savina kniga; , Savvina kniga) is a 129-folio Cyrillic Old Church Slavonic canon evangeliary, written in the eleventh century. The original 126 parchment folios are of Bulgarian provenance, being bound into a larger codex with later additions of the Russian Church Slavonic recension. The codex is named the priest Sav(v)a, who inscribed his name on two of the original folios. There is no other historical record of Sava, and it is therefore believed that he was one of the manuscript's copyists.
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The libraries often employed translators and copyists in large numbers, in order to render the books into Arabic from Persian, Greek, Roman and Sanskrit. Islamic states in Africa began to see a rapid development in education from the 11th century. Libraries of particular importance would include that of Timbuktu, which held many manuscripts that were important for over 600 years in the Ghanan, Mali and Songhai empires. One of the most notable authors was Ahmad Baba who wrote over 40 manuscripts – widely considered as being one of the most influential scholars from Timbuktu.
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The copyists of the Gospels made great use of other helps to beautify their penmanship, such as the use of purple parchment, liquid gold and silver and various coloured inks. The part played by Evangeliaria in the history of miniature painting until the twelfth and thirteenth centuries is very great. Especially noteworthy are the miniature insets to the Canons of Eusebius, or tables of Gospel concordance. Illuminated initial letters differed according to the various schools of writing; the Irish scribes used artistic knots and loops, the Merovingian and Lombard writers preferred animal forms, especially fish.
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Access to the collection itself was nevertheless improved after the appointment of Andrea Navagero as official historian and gubernator (curator) of the collection. During Navagero's tenure (1516–1524), scholars made greater use of the manuscripts and copyists were authorized with more frequency to reproduce codices for esteemed patrons, including Pope Leo X, King Francis I of France, and Cardinal Thomas Wolsey, Lord High Chancellor of England.Zorzi, La libreria di san Marco..., pp. 102–103 More editions of the manuscripts were published in this period, notably by Manutius’ heirs.
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Book IV contains 57 propositions. The first sent to Attalus, rather than to Eudemus, it thus represents his more mature geometric thought. The topic is rather specialized: "the greatest number of points at which sections of a cone can meet one another, or meet a circumference of a circle, ...." Nevertheless, he speaks with enthusiasm, labeling them "of considerable use" in solving problems (Preface 4).Many of the commentators and translators, as well, no doubt, as copyists, have been explicitly less than enthusiastic about their use, especially after analytic geometry, which can do most of the problems by algebra without any stock of constructions.
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Blair sees the various extant versions as the predictable result of copyists repeatedly attempting to correct an apparent mistake. Others, including Victor Paul Wierwille,Victor Paul Wierwille, Jesus Christ Our Promised Seed, American Christian Press, New Knoxville, OH, 2006, pages 113–132. argue that here the Aramaic original of Matthew used the word gowra (which could mean father), which, in the absence of vowel markings, was read by the Greek translator as gura (husband). In any case, an early understanding that Matthew traced Mary's genealogy would explain why the contradiction between Matthew and Luke apparently escaped notice until the 3rd century.
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Early copy of the Mona Lisa at the Walters Art Gallery, Baltimore, showing columns on either side of the subject It has for a long time been argued that after Leonardo's death the painting was cut down by having part of the panel at both sides removed. Early copies depict columns on both sides of the figure. Only the edges of the bases can be seen in the original. However, some art historians, such as Martin Kemp, now argue that the painting has not been altered, and that the columns depicted in the copies were added by the copyists.
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Vakhtang, whose birth c. 1118 is mentioned in passing by David's chronicler, is further known only from the Will of King David, a 12th-century document of questionable authenticity, which also gives his possible sobriquet Tsuata. There is a reference to David's other possible son "Gorgi" (George, Giorgi) in the 13th-century Armenian chronicle of Vardan Areveltsi, but the passage, relating a conspiracy against Demetrius I in 1030, was corrupted by the later copyists and it remains open to more than one interpretation. David's daughter Tamar was given in marriage to the shah of Shirvan Manuchehr III.
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Berakhoth Talmud Yerushalmi (ברכות תלמוד ירושלמי), with commentary by Solomon Sirilio, ed. Meir Lehmann, Mayence 1875. In the Vilna edition of the Jerusalem Talmud, Rash Sirilio appears only for tractates Berakhot and Pe'ah but the commentary for the entire Seder Zeraim appears in the Mutzal Mi’Eish edition of the Jerusalem Talmud. In addition to his commentary, Sirilio worked to remove mistakes made by manuscript copyists that over time had slipped into the text of the Jerusalem Talmud and his amended text of the Gemara is reproduced alongside his commentary in the Vilna and Mutzal Mi’Eish editions of the Jerusalem Talmud.
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Some remains of the walls of Drymaea. Drymaea, view from the south. Drymaea or Drymaia () or Drymus or Drymos (Δρύμος) or Drymea or Drymia (Δρυμία) or Drymiae was a frontier town of ancient Phocis, on the side of Doris, whence it is included in the limits of Doris by Livy. Pausanias describes it as 80 stadia from Amphicleia: but this number appears to be an error of the copyists, since in the same passage he says that Amphicleia was only 15 stadia from Tithronium, and Tithronium 15 stadia from Drymaea, which would make Drymaea only 30 stadia from Amphicleia.
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Brief of Intellectual Property Professors as Amicus Curiae, Star Athletica, LLC v. Varsity Brands, Inc., No. 15-866, 580 U.S. ___ (2017) Varsity received an endorsement from the Council of Fashion Designers of America, which believed that extending copyright to clothing designs was critical to prevent exploitative copyists and preserve the United States's rapid rate of expansion in the worldwide fashion industry, representing $370 billion in domestic consumer spending and 1.8 million jobs. The Fashion Law Institute shared these interests and advised that a decision to copyright clothing designs would be a proper reading of the Mazer v.
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Four main variants of the text are known to modern scholars. The two considered to be the most complete and accurate are the Sankanbon and Nōinbon texts. Later editors introduced section numbers and divisions; the Sankanbon text is divided into 297 sections, with an additional 29 "supplemental" sections which may represent later additions by the author or copyists. In The Pillow Book, Shōnagon writes about Empress Teishi, and her disappointment after her father's death when Fujiwara no Michinaga made his daughter Shōshi consort to Ichijō, and then empress, making Teishi one of two empresses at court.
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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.
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The Astronomica was rediscovered by Poggio Bracciolini c.141617. Although there are over thirty existing manuscript copies of the Astronomica, the text as it is known today is derived from three key manuscripts: Codex Gemblacensis (G), Codex Lipsiensis (L), and Codex Matritensis (M). These in turn belong to two separate manuscript families: "α" (which includes G and L), and "β" (which includes M).Goold (1997) [1977], p. cvi. Of the two families, Robinson Ellis wrote: "[α] represents a text more correct, but worse interpolated; [β], a text which is fuller of copyists' errors, but less interpolated."Ellis (1904), p. 5.
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The reviser's changes generally conform very closely to this Greek text, even in matters of word order—to the extent that the resulting text may be only barely intelligible as Latin. After the Gospels, the most widely used and copied part of the Christian Bible is the Book of Psalms. Consequently, Damasus also commissioned Jerome to revise the psalter in use in Rome, to agree better with the Greek of the Common Septuagint. Jerome said he had done this cursorily when in Rome, but he later disowned this version, maintaining that copyists had reintroduced erroneous readings.
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In Rome, scribes (scribae) acted as court recorders and copyists of instruments, whereas the notarius took dictation and raw minutes or memoranda (notae) of proceedings in shorthand. Different kinds of notarius existed: some recorded proceedings, others transcribed state papers, some supplied magistrates with legal forms, and others registered judgements and decrees. A number were involved with the noncontentious jurisdiction of the courts by drawing up deeds, wills, and conveyances which could then be sealed before the presiding magistrate and affixed with the official seal of the court, thereby rendering them public and probative acts. Otherwise, most instruments were in private form.
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Examples include texts by Phillip of Žiče (Seitz), Nicolaus Kempf, and Sifried of Swabia. Several of these manuscripts are also signed by monks or copyists from outside, who were probably benefactors, and their hand-written works makes of rich palette of paleographical forms. It is also the only group of manuscripts in Slovenia which is complete enough to follow the development of flourished (penwork) initials and consequently to speak about the "Žiče style". Some manuscripts also display colourful painted initials and other illuminated elements, created by professional and—as was common practice in those times—by itinerant painters.
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College-level military bands may use the term "section sergeant" or "section officer" in place of "section leader." The director provides general guidance, selects the repertoire, interprets commentary and evaluations from judges, and auditions or recruits prospective members. What content is not provided by the director may be contracted from arrangers (who compose original works or adapt existing works) and copyists (who reproduce parts of the score), choreographers, and drill designers (primarily for field bands). With the assistance of section instructors, the director also teaches performance techniques—musical, martial, and visual—and assesses the pool of talent, choosing leaders and soloists as needed.
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Extant manuscripts of the Targum are "extremely difficult to use" on account of scribal errors caused by a faulty understanding of Hebrew on the part of the Targum's translators and a faulty understanding of Aramaic on the part of later copyists. Scholia of Origen's Hexapla and the writings of some church fathers contain references to "the Samareitikon" (Greek: το Σαμαρειτικόν)., a work that is no longer extant. Despite earlier suggestions that it was merely a series of Greek scholia translated from the Samaritan Pentateuch, scholars now concur that it was a complete Greek translation of the Samaritan Pentateuch either directly translated from it or via the Samaritan Targum.
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Virgin and Child Joos van Cleve produced many versions of the Virgin and Child, the Holy Family and the Virgin and Child with St Anne, which were very popular. In some instances the original has been lost, but the type can be recovered through the numerous replicas produced by his workshop and copyists. There exist very similar versions of the composition of the Virgin and Child, of which one is held at the Museum of Fine Arts, Budapest and another was sold at Sotheby's on 30 January 2014. It is full of charm and tenderness and was popular in his own time as well as with later collectors.
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In fifteen passages within the Bible, some words are stigmatized; i.e., dots appear above the letters. (, , , , , , , , , , , , , , ) The significance of the dots is disputed. Some hold them to be marks of erasure; others believe them to indicate that in some collated manuscripts the stigmatized words were missing, hence that the reading is doubtful; still others contend that they are merely a mnemonic device to indicate homiletic explanations which the ancients had connected with those words; finally, some maintain that the dots were designed to guard against the omission by copyists of text-elements which, at first glance or after comparison with parallel passages, seemed to be superfluous.
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The name Agesander is only found in ancient literature in Pliny the Elder,Pliny, Natural History xxxvi. 5. s. 4 but occurs in several inscriptions, though between them these certainly refer to a number of different individuals. Until the discovery at Sperlonga in 1959, only one work which Agesander executed was known, although this is one of the most famous of all classical sculptures. Pliny records that in conjunction with Athenodorus and Polydorus, Agesander sculpted Laocoön and his Sons, although modern art historians generally view the trio as being either "high-class copyists", or working in a Pergamese baroque style created some two centuries earlier.
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Important additions were made also by Judah's pupil Eleazar Roḳeaḥ,see Epstein, l.c. p. 93 for which reason the authorship of the whole work has sometimes been ascribed to him. On account of the fact that collectors and copyists used varying recensions, sometimes the same passage occurs two or three times in different parts of the Sefer Ḥasidim. Some fragments of other books are inserted.As § 33, Isaac Alfasi's Halakot; § 36, Saadia Gaon's Emunot we-De'ot; § 431, Yerushalmi Berakhot; §§ 30-32, R. Nissim's Megillat Setarim This Hebrew book originated between the late 12th and early 13th centuries in the Rhineland, shortly after the Second Crusade.
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They consist of excerpts from his sermons, transcribed and compiled by his students. The first to be published (Likkutei Amarim) was collated by his relative, Rabbi Solomon ben Abraham of Lutzk, who, as he himself notes, was unhappy with the manuscript but did not have time to edit it properly. There is a great deal of overlapping between all these texts, but each contains teachings that do not appear in the others. All the texts are corrupt, full of omissions, twisted order, printing-errors and other problems because they were based on whole chains of copyists who were not careful or had faulty manuscripts to begin with.
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Image of Abatur at the scales from Diwan Abatur The Mandaeans have a large corpus of religious scriptures, the most important of which is the Ginza Rba or Ginza, a collection of history, theology, and prayers. The Ginza Rba is divided into two halves—the Genzā Smālā or "Left Ginza", and the Genzā Yeminā or "Right Ginza". By consulting the colophons in the Left Ginza, Jorunn J. Buckley has identified an uninterrupted chain of copyists to the late second or early third century. The colophons attest to the existence of the Mandaeans or their predecessors during the late Parthian Empire at the very latest.
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Mansion has been called the first printer of luxury books.Drukkunst bezorgde Brugge internationale faam Het Nieuwsblad, 2004-12-21. He collaborated with major manuscript illuminators, such as the Master of the Dresden Prayer Book, who were fast losing work to printing, or copyists of their work. In fact only two of his books are illustrated, the influential Ovide Moralisé with woodcuts, and a French translation of Boccaccio's De Casibus Virorum Illustrium, the first book to be illustrated with engravings, some of which have been claimed to be the work of the Dresden Prayer Book Master and other identified illuminators in the circle of the Master of Anthony of Burgundy.
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The spelling and the pronunciation of this name were rendered different ways in the texts, according to the place where the copyists were from. In the various versions of the Roman de Rou, his name appears five times as Wace, then Gace (once), Vace, Vacce, Vaicce (three times all together).René Lepelley, Guillaume le duc, Guillaume le roi : extraits du Roman de Rou de Wace, Centre de publication de l'Université de Caen, Caen, 1987, p. 15. Until the 11th century, the w spelling corresponded to the pronunciation [w] (like in English) in Northern Normandy (including the Channel Islands), but it shifted to [v] in the 12th century.
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Papal critics thus termed the council "an assembly of copyists" or even "a set of grooms and scullions". However, some prelates, although absent, were represented by their proxies. Nicholas of Cusa was a member of the delegation sent to Constantinople with the pope's approval to bring back the Byzantine emperor and his representatives to the Council of Florence of 1439. At the time of the council's conclusion in 1439, Cusa was thirty-eight years old and thus, compared to the other clergy at the council, a fairly young man though one of the more accomplished in terms of the body of his complete works.
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In the 2nd and 3rd centuries coins were made in his honour in Bithynia that bear his name and show him with a globe; this supports the tradition that he was born there. Relatively little of Hipparchus's direct work survives into modern times. Although he wrote at least fourteen books, only his commentary on the popular astronomical poem by Aratus was preserved by later copyists. Most of what is known about Hipparchus comes from Strabo's Geography and Pliny's Natural History in the 1st century; Ptolemy's 2nd- century Almagest; and additional references to him in the 4th century by Pappus and Theon of Alexandria in their commentaries on the Almagest.
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Steve Mason has argued for partial authenticity for the "Testimonium" because no other parts of any of the works of Josephus have been contested to have had scribal tempering, Christian copyists were usually conservative when transmitting texts in general, and seeing that the works of Philo were unaltered by Christian scribes through the centuries strongly support that it is very unlikely that the passage was invented out of thin air by a Christian scribe. Philo often wrote in a way that was favorable to Christian ideas and yet no Christian scribes took advantage of that to insert Jesus or Christian beliefs into Philo's text.
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So far, at length, did the madness of the furious populace and of > the courts go in this thirst for blood and booty that there was scarcely > anybody who was not smirched some suspicion of this crime. Between 1587 and 1593, 368 people were burned alive for sorcery in twenty-two villages, and in 1588, two villages were left with only one female inhabitant in each. People of both sexes, all ages and all classes, were victims; among the victims, 108 were men, women and children of the nobility, and also people with positions in the government and administration. > Meanwhile notaries, copyists, and innkeepers grew rich.
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The greatest hindrance to scholarly understanding of Gorgias's philosophy is that the vast majority of his writings have been lost and those that have survived have suffered considerable alteration by later copyists. These difficulties are further compounded by the fact that Gorgias's rhetoric is frequently elusive and confusing; he makes many of his most important points using elaborate, but highly ambiguous, metaphors, similes, and puns. Many of Gorgias's propositions are also thought to be sarcastic, playful, or satirical. In his treatise On Rhetoric, Aristotle characterizes Gorgias's style of oratory as "pervasively ironic" and states that Gorgias recommended responding to seriousness with jests and to jests with seriousness.
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However, the speed with which copyists strove to write complete versions of his tale in manuscript form shows that Chaucer was a famous and respected poet in his own day. The Hengwrt and Ellesmere manuscripts are examples of the care taken to distribute the work. More manuscript copies of the poem exist than for any other poem of its day except The Prick of Conscience, causing some scholars to give it the medieval equivalent of bestseller status. Even the most elegant of the illustrated manuscripts, however, is not nearly as highly decorated as the work of authors of more respectable works such as John Lydgate's religious and historical literature.
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Beginning with section 15, Exodus Rabbah contains homilies and homiletical fragments to the first verses of the Scripture sections. Many of the homilies are taken from the Tanḥumas, though sections 15, 16-19, 20, 30, and others show that the author had access also to homilies in many other sources. In the printed editions the text is sometimes abbreviated and the reader referred to such collections, as well as to the Pesikta Rabbati; in section 39 the entire exposition of the Pesikta Rabbati lesson Ki Tissa (Exodus 30:11) has been eliminated in this fashion. Such references and abbreviations were doubtless made by later copyists.
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In his 2014 book The Earliest Non- Mystical Jewish Use of Ιαω,Review by Bob Becking in Theologische Literaturzeitung, November 2016D.T. Runia, Philo of Alexandria: An Annotated Bibliography 1997-2006 (BRILL 2011), pp. 229–230 Frank Shaw put forward, as he himself wrote, "a modification of George Howard's thesis that tetragrams were present in certain New Testament autographs", viz. "the notion that some books of the New Testament may have had original instances of Ιαω in them and such variants [as those between deum and dominum in James 3:9] are the remnants of proto-orthodox copyists replacing Ιαω with standard substitutes found within Judaism".
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A minority of biblical inerrantists go further than the Chicago Statement, arguing that the original text has been perfectly preserved and passed down through time. This is sometimes called Textus Receptus Onlyism, as it is believed the Greek text by this name (Latin for received text) is a perfect and inspired copy of the original and supersedes earlier manuscript copies. This position is based on the idea that only the original language God spoke in is inspired, and that God was pleased to preserve that text throughout history by the hands of various scribes and copyists. Thus the Textus Receptus acts as the inerrant source text for translations to modern languages.
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176 If this information is accurate, then Deusdedit must have died on 28 July 664. Various methods of reconciling these discrepancies have been proposed. Frank Stenton argues that Bede began his years on 1 September; thus the date of Honorius' death should be considered 30 September 652 in modern reckoning. Further, Stenton argued that medieval copyists had introduced an error into the manuscripts of the Historia, and that Bede meant that the length of Deusdedit's reign was 9 years and 7 months, rather than 9 years and 4 months as stated in the manuscripts. From this, he concludes that Deusdedit's death occurred in the year September 663 to September 664.
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Carmina Cantabrigiensia, Manuscript C, folio 436v, 11th century Textual criticism is a branch of textual scholarship, philology, and of literary criticism that is concerned with the identification of textual variants, or different versions, of either manuscripts or of printed books. Such texts may range in dates from the earliest writing in cuneiform, impressed on clay, for example, to multiple unpublished versions of a 21st-century author's work. Historically, scribes who were paid to copy documents may have been literate, but many were simply copyists, mimicking the shapes of letters without necessarily understanding what they meant. This means that unintentional alterations were common when copying manuscripts by hand.
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Rita Wagner: Eine kleine Geschichte… p. 37 Each cell was equipped with a workshop where the monk could copy writings: unlike in other monasteries, the copyists were not required to work in the library, but could take the manuscripts they were copying to their cells. The Carthusians of Cologne must also during this period have risen in prestige within their order, as their prior Roland von Luysteringen was sent as the Carthusian representative to the Council of Constance, where regrettably he died of the plague. Pope Martin V freed Cologne Charterhouse of episcopal jurisdiction in 1425, so that from then on it answered directly to the popes.
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The Leipzig publisher Breitkopf & Härtel tried to publish all of Mozart's works in 1799. They collected Mozart's works from his sister, his wife, musicians, copyists and other publishers. Among them was the symphony in A minor, K. 16a. In the handwritten catalogue of Breitkopf & Härtel there is a four-bar-long incipit of this symphony, with the source reported to be the Hamburg music dealer Johann Christoph Westphal. In the Köchel catalogue, Ludwig Ritter von Köchel considered the work to be lost and placed it in the Anhang, assigning it the number K. Anh. 220.Neal Zaslaw: Symphony in A minor, K. 16a/Anh. 220.
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In 1318, the successors of the late King Charles of Sicily finally paid assessments owed for many years from the census of the Kingdom of Cilicia. Cardinal Tommaso de Aquila tituli Sanctae Ceciliae presbiter, Ordinis Domini Celestinae pape, was credited with 165 gold ducats (reckoned at five ducats per ounce of gold), 156 florins, 11 solidi and 3 denarii of Tours.Baumgarten (1898), p. 107. This may be due to an error on the part of one of the copyists, however, since the next entry in the accounts is sometimes P. de Aquila, that is, Petrus de Aquila, OSB, Cardinal of Santa Croce in Gerusalemme.
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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.
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Edward Sullivan (1914), The Book of Kells Plate XI by H. D'Olier While she did produce some traditional landscape paintings it is for her skill in reproducing illuminations from medieval manuscripts, and particularly from the Book of Kells, for which this artist is best remembered. Her copies, on vellum, of the illustrations in the 9th-century Book of Kells, are noted for their exactness and fidelity. D'Olier spent many years copying these illustrations, at a time when copyists were permitted to work directly from the manuscript itself. It can be seen, from her surviving drawings, that D'Olier had been permitted to trace the designs directly from the pages of the manuscript.
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By the mid-1950s Pollock was unsurpassed in his field, and he had spawned a great many imitators. But his act was unique, and the excitement in his routine was so tied up with his own personality (he always made a point of never smiling until he was taking his final bow) that copyists never had quite the same impact. He appeared at cabaret venues and in special shows all over the world, performing for President Dwight D. Eisenhower, Queen Elizabeth II and at the wedding of Prince Rainier and Grace Kelly. At the height of his career he was one of America's highest-paid entertainers.
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Friedrich Engels mentioned him in an 1853 letter to Karl Marx: There is no definitive version of his collected works (or Dīvān); editions vary from 573 to 994 poems. Only since the 1940s has a sustained scholarly attempt (by Mas'ud Farzad, Qasim Ghani and others in Iran) been made to authenticate his work and to remove errors introduced by later copyists and censors. However, the reliability of such work has been questioned,Michael Hillmann in Rahnema-ye Ketab, 13 (1971), "Kusheshha-ye Jadid dar Shenakht-e Divan-e Sahih-e Hafez" and in the words of Hāfez scholar Iraj Bashiri, "there remains little hope from there (i.e.: Iran) for an authenticated diwan".
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In this form the skeleton score could be given to copyists to prepare vocal parts. Afterwards the autograph manuscript was returned to the composer, who would fill in the flesh around the skeleton he had earlier notated" for Una vendetta before composer and versifier decided on the Pomeranian setting"Gossett, p.498 After an arduous journey, Verdi arrived in Naples in January 1858. He brought with him the skeleton score and this was handed over to Torelli. With the major problems seeming to have been resolved and rehearsals of Un vendetta about to begin, an attempt to assassinate Emperor Napoleon III in Paris by three Italians led by Felice Orsini occurred on 14 January 1858.
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These dates have been silently corrected in the present article (and in the online version of the Annals of Ulster at CELT). Dates in the other annalistic sources cited in this article are often at variance with the corrected dates in the Annals of Ulster; these have not been corrected (though the correct date is given in parentheses), as they are not always due to copyists' errors but are often the dates given by the original authors. This was the beginning of a new phase of Irish history, which saw many native communities – particularly ecclesiastical ones – relocate themselves on the continent, or further afield in places like Iceland and the Faroe Islands, to escape the pagan marauders.
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These are in books he wrote - in both senses of the word, as he usually scribed Philip's copy himself.Two further images of Miélot are shown here Philip the Good was the leading bibliophile of Northern Europe, and employed a number of scribes, copyists and artists, with Miélot holding a leading position among the former groups (see also David Aubert). His translations were first produced in draft form, called a "minute", with sketches of the images and illuminated letters. If this was approved by the Duke, after being examined and read aloud at court, then the final de luxe manuscript for the Duke's library would be produced on fine vellum, and with the sketches worked up by specialist artists.
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Although tkhines were almost always from a woman's point of view, many were written by men. Male authors would often write under a female pseudonym or the name of another popular female tkhine author, mainly for commercial benefit, making the true authorship of many tkhines unknown. In addition to this, many authors chose to sign off anonymously, using phrases such as "isha tsnue" (a modest woman) or "groyse tsdeykes" (a distinguished pious woman), and most tkhines didn't include an author's name at all. However, women were not only writers, but were also involved in both the creative and practical processes of publishing, working as printers, translators, editors, adaptors of existing literary works, copyists and even typesetters.
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This typically reads "JvRuisdael" or the monogram "JVR", sometimes using a small italic 's' and sometimes a Gothic long 's', such as on Landscape with Waterfall. Secondly, many 17th-century landscape paintings are unsigned and could be from pupils or copyists. Finally, fraudsters imitated Ruisdaels for financial gain, with the earliest case reported by Houbraken in 1718: a certain Jan Griffier the Elder could imitate Ruisdael's style so well that he often sold them for real Ruisdaels, especially with figurines added in the style of the artist Wouwerman. There is no large-scale systematic approach to ascertaining Ruisdael's attributions, unlike the forensic science used to find the correct attributions of Rembrandt's paintings through the Rembrandt Research Project.
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Due to the nature of the extant sources from the times of Przemysł II (documents, and narrative texts recording mainly -if not exclusively- political events) it is difficult to indicate what the major plans of action of the King in the economic sphere were. The most important ally for Przemysł II was the Roman Catholic Church, and for obvious reasons (copyists and translators, in the vast majority, are from the clergy) most documents who detailed their collaboration have been preserved to this day. One of the most important political allies of Przemysł II was Jakub Świnka, Archbishop of Gniezno. Already on 8 January 1284 he managed to obtain the village of Polanów.
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When the printing press was invented, German printers established themselves at various important centres of western Europe, where already numbers of copyists were employed in multiplying manuscripts. In 1473 Louis XI granted letters patent (giving the right of printing and selling books) to Uldaric Quring (Ulrich Gering), who three years earlier had set up a press in the Sorbonne (the theological faculty of the university at Paris), and before long Paris had more than fifty presses at work. The Church and universities soon found the output of books beyond their control. In 1496 Pope Alexander VI began to be restrictive, and in 1501 he issued a bull against unlicensed printing, which introduced the principle of censorship.
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Punctuation developed dramatically when large numbers of copies of the Bible started to be produced. These were designed to be read aloud, so the copyists began to introduce a range of marks to aid the reader, including indentation, various punctuation marks (diple, , ), and an early version of initial capitals (). Jerome and his colleagues, who made a translation of the Bible into Latin, the Vulgate (), employed a layout system based on established practices for teaching the speeches of Demosthenes and Cicero. Under his layout every sense-unit was indented and given its own line. This layout was solely used for biblical manuscripts during the 5th–9th centuries but was abandoned in favor of punctuation.
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That number increased to 300 after 1814 because Giovanni had secured a succession of contracts, including one in that year which allowed him to publish all the music performed at the La Scala opera house, a contract won due to his work as a prompter and exclusive copyist.Macnutt 1998, p. 1317 As he began to acquire a stock of manuscripts from existing theatres and copyists, he added a clause in his contracts which allowed, at the end of a run of performances of an opera, for the company to acquire the rights to it for successive presentations elsewhere. The contracts allowed the company to assemble a significant catalogue of music which became the basis of the Ricordi company.
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Eusebius goes to great lengths to insist that, although Origen studied while in her home, he never once "prayed in common" with her or the Gnostic theologian. Later, Origen succeeded in converting a wealthy man named Ambrose from Valentinian Gnosticism to orthodox Christianity. Ambrose was so impressed by the young scholar that he gave Origen a house, a secretary, seven stenographers, a crew of copyists and calligraphers, and paid for all of his writings to be published. Sometime when he was in his early twenties, Origen sold the small library of Greek literary works which he had inherited from his father for a sum which netted him a daily income of four obols.
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Lafayette Square, New Orleans (1940) Directed by Nikolai Sokoloff, former principal conductor of the Cleveland Orchestra, the Federal Music Project employed over 16,000 musicians at its peak. Its purpose was to establish different ensembles such as chamber groups, orchestras, choral units, opera units, concert bands, military bands, dance bands, and theater orchestras that gave an estimated 131,000 performances and programs to 92 million people each week. The Federal Music Project performed plays and dances, as well as radio dramas. In addition, the Federal Music Project gave music classes to an estimated 132,000 children and adults every week, recorded folk music, served as copyists, arrangers, and librarians to expand the availability of music, and experimented in music therapy.
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Only some of the didactic explanations contain evidence of local custom. There are about 160 texts in the law book. They included court decisions from the eastern empire, especially those based on prominent 2nd- and 3rd-century jurists, as well as short thematic treatises. They also contain the statutes (constitutiones) of several 5th-century emperors, and later copyists sometimes sought to enhance the work's authority by naming it a collection of laws of Constantine I, Theodosius I (or II) and Leo I. Although it deals with penal and public law as well, the primary focus of the Syro- Roman law book is private law, especially family law (inheritance, marriage, dowries, paternal authority and slaveholding).
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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).
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After Monte Laturce, Musa was forced to fully submit to the Emir of Córdoba, who took advantage of Musa's weakness to remove him as wāli of the Upper March, initiating a decade-long eclipse of the Banu Qasi. The Chronicle of Alfonso III relates how,This story is found in all extant versions of the Chronicle and is likely to be original and unmodified by later copyists and redactors. in an unspecified year, Ordoño marched against the Musa while the latter was constructing a massive fortification at Albelda. While the Asturian monarch invested the new fortress, Musa camped his army on the nearby hill of Monte Laturce, hoping to force the raising of the siege.
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Mulholland adds that even the pop stars of that decade who rediscovered disco, electro, and synthpop owe a debt to the record, because its commercial success "made every forgotten art-pop experiment of the late 70s and early 80s instantly hip and ripe for reinvention". Hamish MacBain of NME writes that "the western world has moved on, and is now swinging to the tune of Is This It", while Pitchforks Joe Colly suggests that "you only capture this kind of a lightning in a bottle once". Gunn concludes that, while the status of the album as the 2000s' most influential guitar record may be "a double-edged sword" because of poor quality copyists, its status as the decade's best pop album should not be in doubt.
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97 (71), (Hebrew)Rabbi Amram Qorah wrote of Maharitz, saying: "He took pains in many ways to render the precise wording of the text used in prayer, according to the ancient Baladi-rite prayer books (Tikālil), and he purged them from the more recent versions that the copyists of the Baladi-rite prayer books had amended thereto. However, those additions which were added in the Baladi-rite prayer books based on the Spanish-rite and which they had [already] begun to observe as their own practice, he did not remove them. Instead, he even went so far as to explain them and they were incorporated in the Baladi-rite prayer book" (Amram Qorah, Sa'arath Teiman, Jerusalem 1988, p. 21, note 19 [Hebrew]).
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For the 11th century, the chronicle at Peterborough diverges from Parker's, and it has been speculated that a proto-"Kentish Chronicle", full of nationalistic and regionalistic interests, was used for these years; however, such a single source is speculative (). The Peterborough copyists probably used multiple sources for their missing years, but the Dissolution of the Monasteries makes it impossible to be sure. Regardless, the entries for the 12th century to 1122 are a jumble of other chronicles' accounts, sharing half-entries with one source and half with another, moving from one source to another and then back to a previous one. This shifting back and forth raises, again, the vexatious possibility of a lost chronicle as a single, common source.
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But Don't Just Regurgitate Creative History, or Hold Art and Music and Literature as Fixed, Untouchable and Kept Under Glass. The People Who Try to 'Guard' Any Particular Form of Music Are, Like the Copyists and Manufactured Bands, Doing It the Worst Disservice, Because the Only Thing That You Can Do to Music That Will Damage It Is Not Change It, Not Make It Your Own. Because Then It Dies, Then It's Over, Then It's Done, and the Boy Bands Have Won is the thirteenth studio album by British music group Chumbawamba, released in 2008. Commonly shortened to The Boy Bands Have Won,Chumbwamba's Website its full title contains 156 words (865 characters), and holds the Guinness World Record for the longest album title, .
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The band in total released four singles and one EP with Dave Sampson on Columbia Records and five singles (one uncredited) plus two albums on Fontana between 1960 and 1964. The Dutch rock band Golden Earring was named after their single "Golden Earrings". The band also appeared behind Cliff Richard (a contemporary from Cheshunt) as The Shadows, when the latter were unavailable due to a car accident, including an appearance on the Sunday Night at the London Palladium TV show in 1958 and the NME Poll Winners Concert at Wembley Empire Pool in 1959. Instrumental tracks from the band have often been mistaken as that of The Shadows and retrospectively people have often wrongly assumed that The Hunters were copyists.
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While there is no denying the positive and profound impact of Solomon Buber on the publication and study of the midrashic literature, there has been some reassessment of the quality of his work in light of more modern methodologies. states that Buber's texts "are now largely considered defective on two counts." The first count is that Buber's methods are not consistent and rigorous by modern standards of scholarship, and the second count is that Buber's hired copyists often introduced their own copying errors into the works, thus partly negating Buber's efforts to establish a correct text. Many of the midrashic works that Buber first published now exist in (relatively) newer critical editions, which will generally be listed in modern reviews such as .
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In its present form, Seder Olam Rabbah consists of 30 chapters, each 10 chapters forming a section or "gate." The work is a chronological record, extending from Adam to the revolt of Bar Kokba in the reign of Hadrian, the Persian period being compressed into 52 years. The chronicle is complete only up to the time of Alexander the Great; the period from Alexander to Hadrian occupies a very small portion of the work—the end of the 30th chapter. It has been concluded, therefore, that originally Seder Olam was more extensive and consisted of two parts, the second of which, dealing with the post-Alexandrian period, has been lost, with the exception of a small fragment that was added by the copyists to the first part.
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Kiernan argued that the poem (whose sole surviving manuscript is reliably dated to around 1000 CE) is most likely from the early 11th century, rather than the late 10th century, and may well have been contemporary. That is to say, its scribes, rather than slavish and sometimes sloppy copyists of an earlier text, could have been close to a contemporary poet who created or recreated the poem. Kiernan sees the conquest of the English by Danish prince Cnut the Great in 1016 as a reason for the overwhelming interest in the Danish throne displayed in the poem. In addition, he claimed that the language used in the poem was very much a contemporary language rather than the archaic language claimed by earlier editors and critics.
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Inok Sava was a contemporary of printer Ivan Fyodorov, who published the Russian Primer in Lviv, Imperial Russia, in 1574 and another Primer four years later (1578) in Ostrog, Crown of the Kingdom of Poland. Printing came late to Zeta (Montenegro), the first Montenegrin printed books – Cetinje Octoechos—appearing in 1494 some 55 years after Johannes Gutenberg printed the Bible on his newly-invented, mechanical movable type in 1439. Following the invasions of Serbian lands, leaders began to think of the needs of the people living in the conquered territories, and ordered churches and monasteries of worship and learning to be built and books to be provided for them. Most of the available manuscript copies of books were riddled with copyists' errors.
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The first work in Missouri done by Hughey was in foreign missionary circles and for the Woman's Christian Temperance Union. Later when obliged to return to music teaching to help provide a home for a little son and daughter, she was surprised to find musical thought in the West not yet up to the advanced ideas which she had studied in the East before her marriage. The first attention attracted to Hughey's musical work in St. Louis was because of an unusual intelligence which became a characteristic of the playing of her pupils. Instead of being poor copyists of their teacher, they exhibited an ability to recognize the content of a musical work, and to acquire an independent, although correct expression of it.
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The aura of majesty encapsulated by the Queen during the last two years of peace is poignantly captured by Cecil Beaton's 1939 photographs at Buckingham Palace in which she wears some of the Hartnell dresses made in 1938 and 1939. Norman Hartnell received a Royal Warrant in 1940 as Dressmaker to the Queen By 1939, largely due to Hartnell's success, London was known as an innovative fashion centre and was often first visited by American buyers, before they travelled on to Paris. Hartnell had already had substantial American sales to various shops and copyists, a lucrative source of income to all designers. Some French designers, such as Anglo-Irish Edward Molyneux and Elsa Schiaparelli opened London houses, which had a glittering social life centred around the Court.
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The copying of an original statue in stone, which was very important for Ancient Greek statues, which are nearly all known from copies, was traditionally achieved by "pointing", along with more freehand methods. Pointing involved setting up a grid of string squares on a wooden frame surrounding the original, and then measuring the position on the grid and the distance between grid and statue of a series of individual points, and then using this information to carve into the block from which the copy is made. Robert Manuel Cook notes that Ancient Greek copyists seem to have used many fewer points than some later ones, and copies often vary considerably in the composition as well as the finish.Cook, R.M., Greek Art, p.
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It also trained copyists, grammarians and logothetes, who learned to read and write in the Romanian Cyrillic alphabet. In the 17th century, the bishop's school taught reading and writing in Slavonic; arithmetic, geometry and the basics of chronology and administration; and church music in Slavonic. In the 18th century, there was a Romanian school founded by Bishop Anthim (1705-1708). This was free, training priests, cantors and grammarians from the diocese and from Transylvania. After a break, it resumed in 1719, following the start of Austrian occupation over the region, under Bishop Damaschin (1708-1725). In 1726, a textbook of his, including prayers, liturgical texts and church music, was printed posthumously, followed in 1749 under Bishop Grigorie Socoteanu by a spelling book.
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The textual transmission of the plays, from the 5th century BC, when they were first written, until the era of the printing press, was a largely haphazard process. Much of Euripides' work was lost and corrupted; but the period also included triumphs by scholars and copyists, thanks to whom much was recovered and preserved. Summaries of the transmission are often found in modern editions of the plays, three of which are used as sources for this summary.This summary of the transmission is adapted from a) Denys L. Page, Euripides: Medea, Oxford University Press (1976), Introduction pp. xxxvii–xliv; b) L.P.E. Parker, Euripides: Alcestis, Oxford University Press (2007), Introduction pp. lvii–lxv; c) E.R. Dodds, Euripides: Bacchae, Oxford University Press (1960), Introduction pp.
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Cassatt decided to end her studies: At that time, no degree was granted. After overcoming her father's objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones. Since women could not yet attend the École des Beaux-Arts, Cassatt applied to study privately with masters from the school and was accepted to study with Jean-Léon Gérôme, a highly regarded teacher known for his hyper-realistic technique and his depiction of exotic subjects. (A few months later Gérôme also accepted Eakins as a student.) Cassatt augmented her artistic training with daily copying in the Louvre, obtaining the required permit, which was necessary to control the "copyists", usually low-paid women, who daily filled the museum to paint copies for sale.
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Howard's attribution to Christian copyists the consistent use of κύριος as a designation for God in Philo's writings is countered by Philo's frequent interpretation and even the etymology of the word κύριος. As for the New Testament, even its earliest manuscript fragments have no trace of the use of the Tetragrammaton that Howard hypothesizes and which in some passages of Paul would even be ungrammatical. While some Septuagint manuscripts have forms of the Tetragrammaton, and while some argue that κύριος was not in the original Septuagint, it is certain that, when the New Testament was written, some manuscripts did have κύριος. David B. Capes admits that Philo's text, as now extant, has been transmitted by Christian scholars, and cites the argument that Howard based on this fact.
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Fifty-five of these manuscripts are thought to have been originally complete, while 28 are so fragmentary that it is difficult to ascertain whether they were copied individually or as part of a set.Cooper, 6–7 The Tales vary in both minor and major ways from manuscript to manuscript; many of the minor variations are due to copyists' errors, while it is suggested that in other cases Chaucer both added to his work and revised it as it was being copied and possibly as it was being distributed. Determining the text of the work is complicated by the question of the narrator's voice which Chaucer made part of his literary structure. Even the oldest surviving manuscripts of the Tales are not Chaucer's originals.
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406–407 Other manuscripts have reading την φωνην αυτου αλλοτριω or αυτου την φωνην αλλοτριω.Eberhard Nestle, Erwin Nestle, Barbara Aland and Kurt Aland (eds), Novum Testamentum Graece, 26th edition, (Stuttgart: Deutsche Bibelgesellschaft, 1991), p. 282. [NA26] In John 10:5 it reads ακολουθησωσιν, the reading of the codex is supported by the manuscripts: Sinaiticus, Regius, Washingtonianus, Koridethi, Athous Lavrensis, 0250. The alternative reading ακολουθησουσιν occur in the manuscripts A, B, D, Δ, 700, and other. In John 10:6 it has singular reading τι ην α for τι; the reading of the codex is not supported by any other manuscript.Peter M. Head, The Habits of New Testament Copyists Singular Readings in the Early Fragmentary Papyri of John, Biblica 85 (2004), p.
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If authentic, these charters would push his date of death back a half-year and demonstrate that Gonzalo held the comital rank within his father's lifetime. Two documents in the archives of Sobrado, dated 1151 and June 1160, are confirmed by a comes dompnus Fernandus in Traua et in Aranga et in Monteroso ("count Don Fernando in Traba and in Aranga and in Monterroso") and a comes dompnus Fernandus senior in Monteroso et in Traua ("count Don Fernando, lord in Monterroso and in Traba"), respectively. These are probably copyists' errors for Gundesaluus Fernandi (Gonzalo Fernández). Although Gonzalo is first mentioned in a document of 1 August 1140, his public life began with the death of his father and the assumption of the comital title.
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In orthography, a plene scriptum (; Latin , "fully" and scriptum, plural scripta, "[something] written") is a word containing an additional letter, usually one which is superfluous, not normally written in such words, nor needed for the proper comprehension of the word. Today, the term applies mostly to sacred scripture. Examples of plene scripta appear frequently in classical Hebrew texts, and copyists are obliged to copy them unchanged, to ensure that biblical or other sacred texts are written with universal conformity. The expression plene scriptum ( yater, "excess"), sometimes simply described in Hebrew as מלא (malé, "full"), is often used in contrast with defective scriptum ( ḥaser, deficient), the latter implying a word in which a letter that is normally present has been omitted.
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Textual additions appear in the manuscripts and printed editions of the Latin Vulgate. Its author, St. Jerome, freely inserted in his rendering of the original Hebrew historical, geographical and doctrinal remarks he thought necessary for the understanding of Scriptural passages by ordinary readers. Nevertheless, he complains at times that during his own life copyists, instead of faithfully transcribing his translation, embodied in the text notes found in the margin. After his death manuscripts of the Vulgate, especially those of the Spanish type, were enriched with all kinds of additional readings, which, together with other textual variations embodied in early printed copies of the Vulgate, led ultimately to the official editions of Jerome's work by Pope Sixtus V and Pope Clement VIII.
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Developed in the late '80s, it was used mostly by commercial publishers, as its price put it out of the reach of most non-professional composers/copyists.) During the 1990s, many of these early programs fell into disuse, as newer programs surpassed them in ease of use and output quality. Finale and Sibelius were released, with high-quality output and a wide range of sophisticated features that made them suitable for almost all kinds of music applications. By 2000, the market was dominated by Finale (particularly in the US) and Sibelius (which had dominated the UK since 1993, and expanded worldwide after its Windows release in 1998). Inexpensive programs such as capella gained a significant share of the market in some countries.
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The discoverer of the sole surviving manuscript, Karl Straube, believed it to be an autograph and this view was accepted by Alfred Einstein. However, more recently it has been shown that it was made by two copyists. Although their names are unknown, one appears to be identical with the principal scribe of another manuscript, P 267 (containing the violin sonatas and partitas, BWV 1001–1006), which places this part of the copy of the Partita in the first half of the 1720s. The other scribe is the one now known as "Anonymous 5", an employee of Bach who must have accompanied him when Bach moved from Köthen to Leipzig in 1723. This scribe is known from authentically dated copies of the Cantatas BWV 186 (11 July 1723) and BWV 154 (9 January 1724).
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Khulusi suggests that in the same way that Ibn al-Muqaffa' translated Kalila wa Dimna into Arabic, he had the scholastic ability to translate the original fables from Hazaar Afsaanah and to develop these in Arabic and as was customary at that time to verbally relay some of the stories. Different recollections of the tales by various scribes and copyists and later alterations could account for the different versions of the stories and the obscurity of their author. Khulusi concludes that Ibn al-Muqaffa'’s attempts to conceal some of his writing, together with the different methods by which his translations are likely to have been collected and revised and his untimely death, would have helped to obscure his contributions to the early tales of The Arabian Nights.
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The Morellian method is based on clues offered by trifling details rather than identities of composition and subject matter or other broad treatments that are more likely to be seized upon by students, copyists and imitators. Instead, as Carlo Ginzburg analysed the Morellian method, the art historian operates in the manner of a detective, "each discovering, from clues unnoticed by others, the author in one case of a crime, in the other of a painting". These unconscious traces — in the shorthand for rendering the folds of an ear in secondary figures of a composition, for example — are unlikely to be imitated and, once deciphered, serve as fingerprints do at the scene of the crime. The identity of the artist is expressed most reliably in the details that are least attended to.
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Anthony R. Meyer, as indicated below, just as expressly says that "the Septuagint manuscripts of the first century CE, which Philo and NT authors rely on for their quotations, could well have contained κύριος, but this does necessarily require that κύριος goes back to the Old Greek translation." John William Wevers "registers agreement with Albert Pietersma's argument that the use of the Hebrew YHWH in some Old Greek manuscripts (as well as other devices, e.g., ΙΑΩ, ΠΙΠΙ), represents 'a revision' that took place within the textual transmission of the Greek of the Hebrew scriptures".Larry W. Hurtado, "YHWH in the Septuagint" (22 August 2014) Lincoln H. Blumell also holds that the Tetragrammaton in Septuagint manuscripts was due to a tendency of Jewish copyists "to substitute the Hebrew tetragrammaton (YHWH) for κύριος".
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But not much weight can be attached even to portions of the book which are specifically given under the name of Amram; many of the explanations are certainly not by him, but by the academical copyists who appended his name to them, speaking of him in the third person. These explanations of the prayers make no reference to any authorities later than the following: Natronai II, Amram's teacher (17 times), Shalom, Natronai's predecessor in the gaonate (7 times), Judah, Paltoi, Zadok, and Moses, geonim before Amram (once each) Cohen Tzedek (twice), Nahshon and Tzemach, contemporaries of Amram (twice each), and Nathan of unknown date. The only authority mentioned of later date than Amram is Saadia (p. 4b). This indicates that the additions to the text of the prayers must have originated in Amram's time.
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Bursting with Song-Review of I Love My Wife Although Miller won an acting award, he has done very few acting roles since, instead choosing to work as a musical contractor and later musical coordinator on stage, and in films and television. As a musical coordinator, he not only finds and hires musicians, but also musical directors, orchestrators, and copyists for productions. He also provides the same service to film companies when they hire out of New York City.University of Michigan alumni site Over the past thirty years, Miller has worked as the musical coordinator for more than 75 Broadway shows including Young Frankenstein, Les Misérables, Jersey Boys, Sweeney Todd, Caroline, or Change, Little Shop of Horrors, Big River, Thoroughly Modern Millie, The Producers, The Who's Tommy, Little Women, and Barnum.
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If he is the same person, as seems probable, as a "Stefano da Messina" mentioned in other documents, he made Latin and Greek translations of two Arabic treatise on astronomy--Liber rivolutionum (Book of Revolutions) and Flores astronomiae (Flowers of Astronomy)--which he dedicated to King Manfred, son of Frederick II. He was probably one of the later Sicilian poets, since one of his commiate (addresses to a lover) shows the influence of Guittone d'Arezzo.Ernest F. Langley (1913), "The Extant Repertory of the Early Sicilian Poets", Periodical of the Modern Languages Association, 28:3, p. 458. The poets of the Sicilian School usually composed in the Sicilian language. At a time when all the Italian languages were very similar, Tuscan copyists altered the Sicilian word endings and other orthographic conventions to produce Tuscanised texts.
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While the epitaphs, in addition to the chronograms, in many cases directly mention the dates, many manuscripts, and an even greater number of printed books, are dated simply by means of chronograms; authors, copyists, and typographers rivaling one another in hiding the dates in intricate chronograms, most difficult to decipher. Hence, many data of Jewish bibliography still remain to be determined, or at least rectified. Down to recent times the custom of indicating dates by means of chronograms was so prevalent in Jewish literature that all but few books are dated by numerals only. In the earliest printed books the chronograms consist of one or two words only: the Soncino edition of the Talmud, for instance, has for its date the earliest printed chronogram, גמרא ("Gemara") = 244 (1484 C.E.).
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Graphically, the exclamation mark is represented by variations on the theme of a full stop point with a vertical line above. One theory of its origin posits derivation from a Latin exclamation of joy, namely , analogous to "hurray"; the modern graphical representation is believed to have originated in the Middle Ages; medieval copyists wrote the Latin word at the end of a sentence, to indicate expression of joy. Over time, the i moved above the o; that o first became smaller, and (with time) a dot. The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the "sign of admiration or exclamation" or the "note of admiration" until the mid-17th century; "admiration" referred to that word's Latin- language sense, of wonderment.
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The subject portrays an extraordinary story and a fascinating itinerary of survival through unusual episodes in the progress of culture. When, at the turn of the eighteenth century, the Roman clergyman, Fortunato Santini, played by Italian actor Renato Scarpa, discovers at the age of twenty his fervent passion for music, he decides to dedicate the rest of his life to collecting the manuscript scores of the great composers, either autographs in their own hand or scores written out by professional copyists. These manuscripts kept and preserved the heritage of musical works until their reproduction and publication as printed scores. Over the course of fifty years his music collection swelled to 20,000 titles in 4,500 manuscripts and 1,200 printed copies, making it the most comprehensive collection of its kind anywhere.
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It is said that his lectures even before being printed were spread by copyists in other countries. When the General of the Society ordered him to print his works, he obeyed and without help had the material for the first three volumes prepared within five years (1633, 1636, 1638). When the fourth volume, De justitia et jure, was about to be published, his superiors thought it proper that he should dedicate it to Pope Urban VIII; he had to present it himself to the pope, who was so much surprised and delighted by the theologian's learning that he frequently consulted him, and in 1643, created him a cardinal, a position he accepted with reluctance. The fine carriage sent by the Barberini to bring him as a cardinal to the pope's palace, he called his hearse.
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The later opposition, which arose after the first performance, focused on criticism that Bellini was seen too often on the streets before the premiere rather than writing the music for the opera. This may have had some merit since both composer and librettist were somewhat dilatory, delaying work as much and as long as possible in order to be able to work with the singers and to set the music to suit their vocal characteristics, a not uncommon 19th century practice. Indendant Count Sanvitale's request on 17 April, asking "to let me know the reasons why our copyists are kept idle", did not receive much of response to satisfy the theatre's management,Galatopoulos 2002, pp. 147—150 but eventually, both men got down to work and finished on time, although the premiere was delayed by four days due to Lalande's late arrival.
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The traditional point of view, most prominently argued by A. Rahlfs, says that Origen sought to correct the Septuagint in the proto-Masoretic text in order to deprive the Jews of the argument about the "depravity of Scripture" in the controversy with Christians, while for the scientist the main criterion was not the Septuagint, but the original. A similar point of view was expressed by F. Schaff, who, however, attributed Origen the goals of the Septuagint apology, which should be cleared of the distortions of copyists and protected from accusations of inaccuracy. I.S. Vevyurko cited the following counterarguments: indeed, Origen corrected the text of the Septuagint, but noted all the changes introduced by special signs, once worked by Alexandrian philologists for textual criticism. Other translations served Origen primarily as evidence to record the understanding of the original.
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The Yemenite Torah scroll is unique in that it contains many of the oddly-formed letters, such as the "overlapping" pe (פ) and the "crooked" lamed (ל), etc., mentioned in Sefer Tagae,An ancient Tannaic manuscript that was first printed in Paris in 1866 under the title Sefer Tagin, although believed to be defected in parts by its copyists, and which was also copied in Mahzor Vitri, top of Parashat Vayishlaḥ (pp. 674–ff.), with slight variations. The entire work has been reprinted by Kasher, M. (1978), pp. 87–90. as also by Menachem MeiriMeiri (1956) and by Maimonides,Mishne Torah (Hil. Sefer Torah 7:8) although not found in ben Asher's orthography. The old line arrangements employed by the early Yemenite scribes in their Torah scrolls are nearly the same as prescribed by ben Asher.
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The "disco sound" was much more costly to produce than many of the other popular music genres from the 1970s. Unlike the simpler, four-piece- band sound of funk, soul music of the late 1960s, or the small jazz organ trios, disco music often included a large band, with several chordal instruments (guitar, keyboards, synthesizer), several drum or percussion instruments (drumkit, Latin percussion, electronic drums), a horn section, a string orchestra, and a variety of "classical" solo instruments (for example, flute, piccolo, and so on). Disco songs were arranged and composed by experienced arrangers and orchestrators, and record producers added their creative touches to the overall sound using multitrack recording techniques and effects units. Recording complex arrangements with such a large number of instruments and sections required a team that included a conductor, copyists, record producers, and mixing engineers.
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Copyists used it to correct the text of the other collections, a fact not to be lost sight of at the risk of taking an interdependence of manuscripts for an interdependence of collections. Despite its authority of daily use and its occasional service in the papal Chancery, it never had a truly official character; it even seems that the popes were wont to quote their own decretal letters not from Dionysius, but directly from the papal registers. - In time the "Collectio Dionysiana", as it came to be known, was enlarged and some of these additions entered the "Collectio Hadriana", which pope Adrian I sent (774) to Charlemagne, and which was received by the bishops of the empire at Aix-la- Chapelle (Aachen) in 802. It is none other than the "Collectio Dionysiana", with some additions in each of its two parts.
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But as they were at a given period adopted in nearly all the Churches and noted by the copyists, they are valuable as chronological indications, their presence or absence being an important circumstance in determining the antiquity of a manuscript. Other labours of Euthalius in connection with the text of the New Testament refer to the division of the text into larger sections or lessons to be read in the liturgical services, and to the more minute divisions of the text called verses. The custom of reading portions of the New Testament in the public liturgical services was already ancient in the Church, but with regard to the choice and delimitation of the passages there was little or no uniformity, the Churches having, for the most part, each its own series of selections. Euthalius elaborated a scheme of divisions which was soon universally adopted.
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The word statuariae used by Pliny means bronze statues as opposed > to stone, as pointed out by Bernard Andreae and others. See Isager, 171 It is generally accepted that this is the same work as is now in the Vatican.As Beard, 210, a sceptic, complains; see "Chronology" at January 1506 for dissidents It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC.Stewart, Andrew W. (1996), "Hagesander, Athanodorus and Polydorus", in Hornblower, Simon, Oxford Classical Dictionary, Oxford: Oxford University Press.Boardman, 199; Smith, 109-110 It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original".Isager, 173 Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 (see "Findspot" section below).
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The main argument against the version of 160 stadia claims that it is impossible to walk such a distance in one day. In keeping with the principle of Lectio difficilior, lectio verior, the most difficult version is presumed to be genuine, since ancient copyists of the Bible were inclined to change the text in order to facilitate understanding, but not vice versa. One should also note that it is possible to walk from Jerusalem to Emmaus-Nicopolis and back in one day. The ancient Jewish sources (1 Maccabees, Josephus Flavius, Talmud and Midrash) mention only one village called Emmaus in the area of Jerusalem: Emmaus of Ajalon Valley.Strack, Billerbeck, "Kommentar zum Neuen Testament aus Talmud & Midrasch", vol II, München, 1924,1989, p.p. 269-271. For example, in the "Jewish War" (4, 8, 1) Josephus Flavius mentions that Vespasian placed the 5th Macedonian Legion in Emmaus.
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But the overall figure of 143 years has been preserved by a fortuitous circumstance: it is repeated in three instances in Josephus, and in one of these instances it is not given as simply 143 years, but as 155 years from the start of Hiram's reign until the time that construction began for the Temple, which was in Hiram's 12th year (Against Apion 1.17,18). This triple redundancy has preserved the total of years from Hiram to Dido as originally recorded, even though the various extracts of Menander found in Josephus, Eusebius, Syncellus, and Theodotion disagree in other matters, due to the error of copyists through the centuries of written transmission. Modern historians therefore have generally given considerable credibility to this figure, using it to measure back 155 years from the date for the founding of Carthage in order to arrive at the regnal years of Hiram.
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In the absence of any surviving manuscript of the Memoirs, the only direct evidence for the nature of their contents comes from comments by Byron himself, and by such friends of Moore, Murray and Byron as were allowed to read it. These readers included Lady Burghersh, Lady Davy, Lord and Lady Holland, Richard Hoppner, Washington Irving, Lady Jersey, Lord Kinnaird and his brother Douglas, Henry Luttrell, Lady Mildmay, Lord Rancliffe, Lord John Russell, William Gifford, William Maginn, Lady Caroline Lamb, Mary Shelley, Percy Bysshe Shelley (probably), John William Polidori (probably), Samuel Rogers (possibly), and two copyists employed by Moore called Williams and Dumoulin. Byron offered his estranged wife the chance to read the Memoirs, but she refused to have anything to do with it. Byron wrote to Murray about the first part of the Memoirs, which ended at the year 1816, that > The Life is Memoranda and not Confessions.
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In the mid-1950s American rockabilly and rock and roll music was taken up by local rock musicians and it soon caught on with Australian teens, through films, records and from 1956, television. Although issued in 1954, "Rock Around the Clock", a single by United States group Bill Haley and His Comets, did not chart in Australia until 1956. Initially considered a novelty song, the track and the related film of the same name: "was like a beginner's guide to rock and roll, and inspired legions of local copyists". In July 1956 Frankie Davidson's cover version of another Haley single, "Rock-A-Beatin' Boogie", was released and is the first charting example of Australian recorded rock and roll, albeit as a minor hit. Other early recorded examples by Australians include non-charting singles: "Saturday Night Fish Fry" by Les Welch (1954), "Rock Around the Clock" by Vic Sabrino (August 1955) and "Washboard Rock 'n' Roll" by the Schneider Sisters (November 1956).
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Some literary scholars have argued that the author(s) of Lilit Phra Lo made mistakes in the placement or rhymes and tones; either the authors were unskilled or the metrical forms had not yet developed to the refined suphap () forms achieved in the seventeenth century. MR Sumonnachat Sawatdikun pointed out that the authors were being judged by metrical rules that may have been formulated long after the poem was composed. Robert Bickner added that the use of the meter in the poem is consistent and conforms to the nature of the Thai language at the time, and that most of the anomalies can be attributed to corruptions of the manuscript by copyists and editors. In 1949, the poet wrote an article under the pen-name Indrayuth () in the magazine Aksonsan criticizing Lilit Phra Lo as "feudal literature" produced by and for a degenerate elite, and calling on people to read literature with social relevance instead.
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Iotacism caused some words with originally-distinct pronunciations to be pronounced similarly, sometimes the cause of differences between manuscript readings in the New Testament. For example, the upsilon of hymeis, hymōn "ye, your" (second person plural in respectively NOM, GEN) and the eta of hēmeis, hēmōn "we, our" (first person plural in respectively NOM, GEN) could be easily confused if a lector were reading to copyists in a scriptorium. (In fact, Modern Greek had to develop a new second-person plural, εσείς, while the first-person plural's eta was opened to epsilon, εμείς, as a result of apparent attempts to prevent it sounding like the old second-person plural.) As an example of a relatively minor (almost insignificant) source of variant readings, some ancient manuscripts spelled words the way they sounded, such as the 4th-century Codex Sinaiticus, which sometimes substitutes a plain iota for the epsilon-iota digraph and sometimes does the reverse.Jongkind, Dirk (2007).
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The Observer shares a similar view and concludes that "a fine brood of heirs", like the Libertines and Franz Ferdinand, would not have existed and been successful if the Strokes had not reinvigorated "rock's obsession with having a good time". Jared Followill of Kings of Leon notes that the album was one of the main reasons that he wanted to get into a band; he states, "The title track was one of the first basslines I learned ... I was just 15 at the time." Jed Gottlieb of the Boston Herald argues that, although Is This It provided substantial musical influence, its biggest success was in revamping the music industry and making A&R; delegates scout and promote alternative bands. Gunn links the success of alternative music in British charts throughout the 2000s to the album, but notes that "the copyists" could never match the attention to detail and heartfelt emotion of the Strokes.
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The two rival authorities, ben Asher and ben Naphtali, practically brought the Masorah to a close. Very few additions were made by the later Masoretes, styled in the 13th and 14th centuries Naḳdanim, who revised the works of the copyists, added the vowels and accents (generally in fainter ink and with a finer pen) and frequently the Masorah. Considerable influence in the development and spread of Masoretic literature was exercised during the eleventh, twelfth, and 13th centuries by the Franco-German school of Tosafists. Rabbi Gershom ben Judah, his brother Machir ben Judah, Joseph ben Samuel Bonfils (Tob 'Elem) of Limoges, Rabbeinu Tam (Jacob ben Meïr), Menahem ben Perez of Joigny, Perez ben Elijah of Corbeil, Marne, Judah ben Isaac Messer Leon, Meïr Spira, and Rabbi Meir of Rothenburg made Masoretic compilations, or additions to the subject, which are all more or less frequently referred to in the marginal glosses of Biblical codices and in the works of Hebrew grammarians.
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Jerusalem auditioned for the post. The jury, steeped in traditional musical forms, resisted the modernity and eclecticism of his compositions but ultimately confirmed him as the new chapel master on November 3, 1750, a position Jerusalem held for the rest of his life. The following decade proved tumultuous for Jerusalem: he became embroiled in a lawsuit with the tenant of the Coliseo, Joseph Calvo; his estranged wife, Doña Antonia de Estrada, petitioned the cathedral to garner his wages; he used his position to prevent musicians in other parishes from taking job opportunities from musicians in his parish; and he acquired a professional rival in Matheo Tollis della Rocca, who later succeeded Jerusalem as chapel master. Yet Jerusalem counted a number of triumphs during this time: he modernized musical notation by cathedral copyists; he improved the quality of texts used in compositions of sacred music; he more than doubled the size of the cathedral orchestra; and he composed prolifically.
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Beschi's Guru Simpleton (which occupies a status similar to The Arabian Nights or The Panchatantra in Tamil culture) is a blend of the oral tradition of Tamil folklore and the European story form, wrapped in the author's imaginative faculty. Although Beschi had completed its composition (along with a preface) by 1776, the book was not published singularly until 1822 in London. Records show that Beschi wrote the Tamil version first and later translated it into Latin. Although Beschi claimed that the sole purpose of the book was to disseminate amusement and humour among both locals and missionaries, Blackburn mentions that the author was most probably yearning for something more than that – “this was a plea for a Jesuit patron, somewhere outside India, to underwrite the publication of his dictionary and folktale”,Stuart Blackburn (2006), Page 66 as print was a more reliable medium to “demonstrate correct spelling” than local scribes and copyists.
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Though it was returned to Athens by Alexander the Great (according to Alexander's historian Arrian) or by Seleucus I (according to the Roman writer Valerius Maximus), or again by Antiochus according to Pausanias (1.8.5), it never attracted copyists"Antenor's Tyrranoktones never enjoyed a great popularity; they never became so popular as the later group," observes J.H. Jongkees in Mnemosyne , 3rd Series 13 (1947); "The Antennor 'tyrannicide'-group cannot be dated with certainty, nor can it have made much of an impact", observes Anthony J. Podlecki, in "The Political Significance of the Athenian "Tyrannicide"-Cult", Historia: Zeitschrift für Alte Geschichte, 15.2 [April 1966:129-141] p. 135, noting Jongkees and making a case for a four-line dedicatory epigram for the base by Simonides and is now lost. To replace the stolen first version, the Athenians commissioned Kritios and Nesiotes to produce a new statue, which was set up in 477/76 BC, according to the inscribed Parian Chronicle.
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Although the authenticity of some of the texts is disputed,Medieval copyists often took liberties with the text of cartularies in order to enhance the privileges of their monasteries the cartularies are regarded as significant in the history of the Spanish language, and their status as manuscripts containing the earliest words written in Spanish has been promoted by the Spanish Royal Academy and other institutions, even though the documents are meant to be written in Latin. They are written in a very late form of Latin mixed with other elements of a Hispanic Romance dialect that corresponds in some traits with modern Spanish. The preamble of the Statue of Autonomy of Castile and León mentions the cartularies, along with the Nodicia de Kesos, as documents that contain the earliest traces of Spanish (las huellas más primitivas del castellano). However, there have been other documents with a claim to being the earliest in Spanish, notably, the Glosas Emilianenses (marginalia of circa 1000 ce from La Rioja).
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Theology in Paris had fallen into decay through the prevalence of philosophical quibbles and barbarous Latin; this Maldonado remedied, giving due precedence to Scripture, the Fathers, tradition and the theologians, relegating the philosophers to the lowest place, and keeping useless questions within bounds; he spoke Latin elegantly, and drew up a scheme of theology more complete than that which had been in use, adapting it to the needs of the Church and of France. The lecture-room and, after it, the refectory were found to be too small; Maldonado therefore carried on his classes, when the weather permitted, in the college courtyard. Nobles, magistrates, doctors of the Sorbonne, college professors prelates, religious, and even Huguenot preachers went to hear him, engaging their places in advance, and sometimes arriving three hours before the beginning of the lecture. Bishops and other great personages living away from Paris employed copyists to transmit his lectures to them.
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The Carroccio with the cross of Aribert in a miniature of the 11th century At centuries of distance, given the scarcity of authentic information written by contemporary chroniclers at the events, it is difficult to establish precisely where the clashes took place. The chronicles of the epoch that deal with the battle of Legnano are in fact short writings formed by a number of words between one hundred and two hundred; the exception is the Life of Alexander III written by Boso Breakspeare, which reaches four hundred words. On some occasions there is the problem of the distortion of toponyms made by the copyists of the time, who did not know the geography of the area. The contemporary sources that deal with the battle of Legnano are divided into three categories: the chronicles written by the Milanese or by the federated cities in the Lombard League, those written by the imperials or their allies and the ecclesiastical documents of the papal party.
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In John 1:34 it reads ὁ ἐκλεκτός together with the manuscripts , א, b, e, ff2, syrc, s. In John 16:17 at line 7 of the recto of the second fragment there appears to be extra space which would require some additional material.Peter M. Head, The Habits of New Testament Copyists Singular Readings in the Early Fragmentary Papyri of John, Biblica 85 (2004), 405. In John 16:20, λυπηθησεσθε originally read λουπηθησεσθε, to which the scribe corrected to λυπηθησεσθε. In 16:21, λυπην originally read λοιπην, to which the scribe corrected to λυπην. In 16:27, it singularly omits εγω. In 20:19 the scribe originally omitted και, but then added it superlinearly later on. At line 19 of the third folio of the recto (John 20:16) the missing fragment is difficult for a reconstruction. Grenfell & Hunt remarked that there is no space for the ordinary reading ο λεγεται διδασκαλε because a line should have 34 letters, which is too long.
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Then he became preoccupied by what constituted idea in Art, and, having studied nature and the works of man through thirty years, at the cost of his youth, he wondered if the second principle, that of idea, might be Satan. After a night of storm and colic in the church of Notre-Dame of Dijon, in which clarity shone through the shadows ('Une clarté piqua les ténèbres'), he concluded that the devil did not exist, that Art existed in the bosom of God, and that we are merely the copyists of the Creator. Then the old stranger thrusts into the poet's hand the book, his own manuscript, telling all the attempts of his lips to find the instrument which gives the pure and expressive note - every trial upon the canvas before the subtle dawn-glow of the 'clair-obscur' or clarity in shadow appeared there - the novel experiments of harmony and colour, the only products of his nocturnal deliberations. The old man goes off to write his Will, saying he will come back to collect his book tomorrow.
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The Capitula Dacheriana is witnessed today by two tenth-century manuscripts produced in Brittany. Ludwig Bieler has shown that the copyists of both manuscripts derived their text of the Capitula Dacheriana from the same eighth-century collection of Irish materials that was still resident in Brittany in the tenth century — a collection that also included (or was at least closely associated with) the Collectio canonum Hibernensis.L. Bieler, ed. and trans., The Irish penitentials, with an appendix by D.A. Binchy, Scriptores Latini Hiberniae 5 (Dublin, 1963), pp. 20–4. The A-recension of the Collectio canonum Hibernensis, believed to have been compiled before 725,This terminus ante quem is not as certain as it is often claimed to be. It is based on the evidence of a colophon found in the Paris 12021, which ascribes its copy of the Hibernensis to Ruben of Dairinis (died 725) and Cú Chuimne of Iona (died 747). Since the pioneering article of R. Thurneysen, "Zur irischen Kanonensammlung", in Zeitschrift für Celtische Philologie 6 (1907–1908), pp.
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Copyists were discouraged from replacing them by the threat of having their hands cut off The transmission path of all such literature has been described as a "differentially permeable membrane" that "allowed the writings of Christianity to pass through but not of Christianity's enemies".."Our sole copy of the sole work about political good sense by the person arguably best able to deliver it to us from classical antiquity, Cicero," writes Ramsay MacMullen, "was sponged out from the vellum to make room for the hundredth copy of Augustine's meditation on the psalms."MacMullen, Ramsay (1997) Christianity & Paganism in the Fourth to Eighth Centuries, Viking and Compass The only fragments of Julian's "Against the Galileans" that have survived Christian censorship appear in a refutation by Bishop Cyril of Alexandria.Kirsch, R. (1997) God Against the Gods, p.279, Viking and Compass By the time Augustine had published the early books that comprised "The City of God" he describes how pagan authors in North Africa felt it too dangerous to publish their refutations and Augustine writes nothing to reassure them about this threat.
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Some early authors, as Charles, have not included this section mainly because they based their edition on manuscripts P and N. The lack of this section in recent manuscripts is explained by others because of the scandalous content (the virgin birth of Melchisedek) for Christian copyists. According to Vaillant, who edited the first critical edition of 2 Enoch, there is no evidence that 2EM ever existed separately. Modern editions usually include also these chapters. The recent discoveries of Melchisedek 11Q13 text at Qumran and of a related text at Nag Hammadi, have made possible to have an idea about the Melchisedek controversy, involving also 2EM and the Letter to the Hebrews, that developed in non-mainstream Jewish communities and in early Christians communities from the 1st century BCE to the 3rd century CE against the traditional Jewish identification of Melchisedek with Shem.A. Orlov Journal for the Study of Judaism 31 (2000) 23-38 A growing number of scholars recognize the antiquity of 2 Enoch, including also 2EM, and support a pre-70 CE dating for its original composition.
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However, he follows James R. Royse in concluding that Philo, while using manuscripts that had the Tetragrammaton, quotes them as they were pronounced in the synagogue. Capes declares accordingly: "Philo, not Christian copyists, is likely responsible for the presence of kyrios in his biblical quotations and exposition". Robert J. Wilkinson remarks that evidence from manuscripts of the Septuagint is inconclusive about what was in what the New Testament writers read ("While no indisputably early Jewish Greek biblical manuscript currently known has contained kurios, no early indisputably Christian Greek biblical [New Testament] manuscript has been found with the Tetragrammaton written in paleo-Hebrew or Aramaic script or with 'pipi'"), there is no doubt about what they wrote ("We may be uncertain what the New Testament writers read in Scripture on any particular occasion (and how far they pronounced what they had read), but there is no question [...] of what they wrote). Speaking of the Qumran manuscript, the Greek Minor Prophets Scroll from Nahal Hever, which is a kaige recension of the Septuagint, "a revision of the Old Greek text to bring it closer to the Hebrew text of the Bible as it existed in ca.
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Fragments with text of John 11:45 The Greek text of this codex is a representative of the Alexandrian text-type. Kurt Aland placed it in Category II of New Testament manuscripts, because it has some alien readings. : [τευσαν εις αυτον τιν]ες δε εξ αυ : [των απηλθον προς τ]ο̣υ̣ς φαρισαιους : [και ειπαν αυτοις α] επ̣ο̣ιησεν ις̅ : [συνηγαγον ουν οι αρ]χι̣ερεις : [και οι φαρισαιοι συνεδριο]ν̣ και ελε : [γον τι ποιουμεν οτι ουτο]ς̣ ο̣ α̣ν̣θρ̣ω̣ : [πος πολλα ποιει σημεια] εαν : [αφωμεν αυτον ουτως] παντες̣ : [πιστευσουσιν εις αυτον] κ̣αι ελευ : [σονται οι ρωμαιοι και αρο]υ̣σιν ημων : [και τον τοπον και το εθνο]ς̣· : [εις δε τις εξ αυτων καια]φας : [αρχιερευς ων του ενιαυτο]υ̣ εκειν[ου : ειπεν αυτοις υ]με[ις ουκ] ο̣ιδατ̣[ε : ουδεν ουδε λο]γ̣ι̣ζε̣[σθε ο]τ̣ι συμ : [φερει υμιν ι]ν̣[α εις αν]θ̣ρω : [πος αποθαν]η̣ υ[περ του λαο]υ̣ : [και μη ολον το] ε[θνος αποληται του : το δε αφ εαυτου] ουκ ε̣[ιπεν] α̣λλα̣ : [αρχιερευς ων] του ε[νια]υ̣του̣ εκ̣[ει : νου επροφητευσεν οτι ε]μ̣ελ̣λ̣ε̣[ν : ις̅ αποθνησκειν υπερ το]υ̣ εθ̣[νους] : [και ουχ υπερ του εθνους μονον : αλλ ινα και τα τεκ]ν̣α του [θ]υ̣̅ [τα : διεσκορπισμενα] συναγαγη ε̣ι̣ς ε̣ν̣ In John 10:4-5 it has singular word order τ[ην φωνην των αλλο]τριων.Peter M. Head, The Habits of New Testament Copyists Singular Readings in the Early Fragmentary Papyri of John, Biblica 85 (2004), pp.
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