Thank you very much, Alan. In the name of the name of a of Silvius picolo nominee has already arisen.
He was our source for two variant statements on the number of copies printed excuse me, the Gutenberg Bible.
And we have stayed, of course, without certainty to is around her figure of 180 against 158.
It is remarkable that the earliest unambiguous description of the Gutenberg Bible should have
come from so eminent a figure as a near Silvius deep dyed humanist writer of vivid prose,
widely connected and immersed in the ecclesiastical and temporal politics of Europe since the time of the Council of Basel and a future pope.
In late October 14, 54 New Silvius was Emperor Frederick, the third's deputy at the Imperial Diet held in the town hall of Frankfort Unmined,
and he delivered there an impassioned oration intended to rouse the German nation to unite in resisting the Turkish advance in Hungary.
In his commentary, he recalled the speech as a great success, he wrote it lasted nearly two hours,
but the audience was so utterly absorbed that no one even cleared his throat or took his eyes off the speaker's face.
Well, in Frankfurt, a new SILVIUS apparently heard about a marvellous man.
Slide two, please. Who is producing multiple copies of a Bible near Sylvia seems not to have met the man himself.
That isn't quite clear, but rather two of huge choirs of different books of this Bible,
which he described enthusiastically in a letter to his close friend in Rome, Cardinal Juan de Carvalho.
The script this is to follow Martin Daviss translation is extremely neat and legible, not at all difficult to follow.
Your Grace would be able to read it without effort and indeed without glasses.
And this Annia Silvius apparently first wrote to Kavaja about this amazing Bible from Frankfurt, but that letter is lost or undiscovered,
Kavaja responded in a letter, likewise lost urgently asking for more information and desiring to acquire a copy on the 12th of March 14,
55 near Silvius replied in a letter that is preserved, as you see here in print in a roughly 480 cologne in Conable,
he wrote from the Imperial Court adventure Noice Stutt,
partly affirming what he had written earlier and adding the corners of the Bible has also been sent there to the notice of the Emperor.
He doubted that he could acquire a copy for kavaja four again and daviss words, buyers were said to be lined up even before the books were finished.
We must interrupt ourselves a moment to note that the Soviets had a knack for putting himself in the presence of important Latin Bibles.
In the summer of 14, 62, now Pope Pius the second is itinerant court was in residence at the Abbey of Monte Aminatta.
In his autobiography, autobiographical but third person commentary, Pius recorded that the abbey had a noble but rather barren library,
but amongst whose volumes was a, quote, massive and admirable old, a New Testament written in miniscule letters.
That is the Codex Meatiness, which Pontifex Cupie David at which the Pope looked at eagerly, perhaps longingly.
At the very time, late October 14, 54,
when the visiting a near SILVIUS was made aware of the Latin Bible being produced and multiple copies near Frankfurt,
Gutenberg's Dekay shop in mice had just printed, they would see slide three, please,
on commission for and for an indulgence campaign to support the defence of the Kingdom of Cyprus.
Modibo broadside letters of indulgence, partly using his original DKA type,
but joined with a new small rotunda font of high quality that appears only in this indulgence.
These indulgence farm forms are the earliest precisely dateable survivals of European typography.
The fragment of one copy having been issued in Erfurt on the 22nd of October 14 54, could we see another slide, please?
The printed forms are successful for their purpose,
as the Gutenberg Bible is for its strikingly cleaner and sharper than the surviving manuscript copies of the same indulgence,
the Gutenberg Bible has a single font, the indulgence Joynes to type fonts, plus three cast initial letters,
all in a single printing operation that might well have produced more than a thousand such forms or even more,
about 50 of which survive in full or as fragments. We see the fifth slide, please.
It is generally supposed, but not entirely certain,
that the Gutenberg Bible was completed in 14 55 near Silvius wrote to Kavaja in March 14 55 that if his informants are to be trusted,
the Bible had been completed. But he had himself only seen what we may think of a sample quires both in Frankfurt and in Viña Neustadter.
An absolute date for the completion of the Bible is August 14 56 when hiree Kramer.
Could we see the next slide please? Vicker of the Collegiate Church of St.
Steffon in minds, supplied coliforms to both volumes of a now very imperfect paper copy at the Bibliotheque National de France,
stating that he had lubricated and bound them dating one volume to 15 August feast of the assumption.
The other which you see here to 24 August the Feast of Saint Bartholomew.
These states would presumably apply to the completion of the final operation, the binding both original bindings being long since lost.
It may be recalled, as noted at the beginning of the first lecture, that the Church of Saint Stefan owned a manuscript,
Folgate Bible, that had been written only a few years before this printed one.
But this Gutenberg Bible, lubricated and bound by Kramer, is likely to have been paid work on his part and not for his church.
For added notes in the second volume showed that in the 14 60s it belonged to the Parish Church of Auston near Ushe Finberg,
where the Archbishop had a residence. And it's obvious this description of having seen a number of choirs of diverse books links
closely to one of the fundamental features of the Gutenberg Bible already briefly alluded to,
unlike the giant Bible with mice written serialism by its scribe as its interim data show from beginning to end, from Genesis to Apocalypse,
the Gutenberg Bible was set in type and printed off in parallel sections of text what we may call composition units.
These correspond closely, in fact, to the separate scribal writing units of the Codex Meatiness seven hundred and fifty years earlier.
You have a handout. Which shows you this Gutenberg Bible composition units A through D in subdivisions,
there were four fundamental composition units in the Gutenberg Bible, dividing it into four roughly equal sections.
The Octo Tuk and 13 quires the Books of Kings Chronicles as written, but Judith, Esther and Psalms and 20 quires the sapience,
books and prophets and 16 choirs and then the Maccabees plus New Testament and 16 choirs.
As printing proceeded, sub composition units were broken off for independent setting.
In all, there were 12 sub composition units and in fact there were 13.
When we take into account a separate composition of the final choir of songs,
a break from the preceding choir so subtle that it was invisible until hinted at by cyclotron measurements,
a very and copper to lead ratios and the printing ink. Thus, before printing began, at least four type cases had to be filled,
whether for pressies were built, one for each composition station is less certain.
The state making would have been a significant part of the preparation of printing apparatus to which was first learnt was dedicated.
We have considerable knowledge of the organisation of production in the Bible workshop without going into close detail.
There have been four main stages and angles of approach in understanding this.
The first next slide, please. You see the great scholar here.
The first most clearly established by Paul Schwenker a century ago, is the already mentioned two states of the Gutenberg Bible type itself,
the first with a slightly larger body not filed down in the second, slightly shorter from filing the second stage or approach.
Also most clearly analysed by Schwenker,
was recognising the main composition units through parallel progressions in the paper supplies printed on in each of the four major units.
The third stage refining shrinkers layout came with a closer identification of the paper stocks,
and they're tracing in multiple copies of the Bible and especially the bull's head watermark paper,
which which Franka saw as a single supply, but which can be broken down into four different chronologically sequential supplies.
The fourth stage, contemporaneous with but first separate from the third stage,
was the most unexpected and analysis of the printing inks of the Gutenberg Bible.
By means of focussed bombardment with high energy protons using the cyclotron particle accelerator at the Crocker National Laboratory,
University of California at Davis. The chief investigators were history Professor Richard Schwab and director of the laboratory Thomas Cahill,
the protons are ricochets with the electron shells of the different constituents of the printing ink produced X-rays scatter patterns,
which can be very precisely calibrated to identify different heavy elements and the relative proportions.
And the Yank, it was discovered that the Gutenberg Bible contains significant quantities of copper and lead and that the ratios
of copper to led vary considerably from page to page and what could hardly have been guessed out beforehand.
The same patterns recurred at varying places in each of the four composition units.
The underlying picture is that the inks of the Gutenberg Bible were made in small batches,
essentially perhaps the amount required for a day's press work,
and that the precise quantity of lead in copper in each batch varied to measurable degrees.
The parallel ink patterns in the four main composition units strongly suggests that
those pages from different parts of the Bible were being set and printed concurrently.
To speak personally, I was the investigator of that third stage, a closer look at the Gutenberg Bibles, paper supplies,
Professor Schwab and Caillaux sent me their results and I became convinced that their data reflected
the historical reality of printing operations in a month's workshop more than 500 years earlier.
Because these ink ratio Parallelisms revealed three places where there was a hitherto unseen change in composition unit.
And one of those three places I had, so to speak, predicted just two years earlier without any knowledge of the UC Davis experiment.
In each case, a closer examination of the typography of the relevant pages showed that the changes of composition units were real,
this being documented entirely independently of the ink evidence.
This lecture will close with an examination of the third of those places the insertion of the apocryphal book for Ezri into the Gutenberg Bible.
The page layout of the Gutenberg Bible was carefully planned according to a hierarchy of initial spaces with next slide, please.
Six line spaces for the beginnings of books. Next slide.
Four line spaces for prologues, next slide. Two line spaces for chapter initials, next slide 11,
three line spaces for certain minor text such as the Prayer of Solomon placed at the end of Ecclesiastic goes.
The Psalms have their own hierarchy with four line initials for the six traditional
Faryal divisions marking the first song Redit Matins for each day of the week.
Next slide, please. The first song Payatas, with a six line book initial followed by Next Slide Psalms 26,
38, 52, 68, 97, four line initials and also for Vesper's on Sunday, Psalm 109.
Then there are next slide. Three line initials marking the song said Vesper's through the weekday Solms one 14, one 21 and so forth.
This latter sub gradation of hierarchy for the Psalms at Vespers is, I have been told by someone of great experience, rare in manuscript Bibles.
But dozens of printed Bibles following the Gutenberg Bible followed this minor layout feature,
which passed on from a printing shop to a printing shop. Books, prologues and chapters, beginning with the letter I was sent with forwards lines,
starting with the second letter, it being intended that the initial eye itself.
Next slide, please, would be entered in the margin most conspicuously for the principle of Genesis.
Deviations from this layout are rare at the beginning of judges.
Next slide, please.
The compositor presumably followed the examplar and leaving space for a shaped P with its descending staff instead of a six Seline space.
And then in Matthew, next slide, please. Over the course of setting eight pages, four different times, the compositor forgot the rule of outset.
I in chapter starting with I, and he gave them two line spaces going against the stated hierarchy.
In the first days of printing the Bible, this is when the Gutenberg Bible font was in its earlier larger size, there was an experiment.
Next slide, please, with printing, particularly in red ink, by means of a second impression.
But the experiment was dropped after just a few pages thereafter.
The Gutenberg Bible compositors left spaces particularly to be supplied by rubric hater's and a separate lubrication guide.
Next slide, please. Four leaves are eight pages was composed and printed.
This guide provided an exact text for the tickly of all the books and prologues with just a few omissions and errors.
And also it gave the traditional textually that accompanied each of the 150 songs, some of these being of considerable length.
The guide accommodated the text of the Tickly exactly. Again,
a few errors apart to the spaces left by the compositors in principle lubricator writing a text your quadrotor hand of
the same size as the Bible's type would be able to fit the titular smoothly and agreeably into each space allocated.
The Tabula Rubicam was extensively studied in an excellent article by Gérard Povich in Gutenberg yearbook to 2012,
and I have myself examined it in considerable detail, although copies of the table presumably accompanied every copy of the Gutenberg Bible in sheets,
only to now survive having descended respectively with the Vienna and Munich copies of the Gutenberg Bible,
the tabula rebeccah is to be seen as one component of the total text of the Gutenberg Bible.
We find those texts transcribed,
sometimes slightly modified by a variety of rubric writers in the majority of surviving copies of the Gutenberg Bible,
including that in the Bodleian Library. But not all Lubricator is used to guide the replicator of the paper.
Munich copy, for example, did not, and neither did the lubricator of the vellum copy of the Vatican,
part of the Barberini library purchased by Pope Leo the 13th in 1902.
That Barberini copy was used by the editors of the Official People Project,
we have mentioned the Rome Old Testament, whose first volume Genesis was published in 1926.
It used the teacherly of that copy for the as the Gutenberg Bible readings in their textual apparatus.
This is a small conceptual error in the apparatus for the Barberini readings for the tickly are not those of the Gutenberg Bible Shop.
They are particularly followed by some unknown and unallocated lubricator unconnected with the Bible shop.
The true teacherly are indeed those embodied in the tabula rubric from its full text would have been available to the Rome
editors in Polish Mangus Posthumus 1923 commentary volume to the 1914 and Fellag facsimile of the Berlin Gutenberg Bible.
One feature of the Gutenberg Bible both complicates and enriches our knowledge of the project and at the same time raises a fundamental question,
which I think we've raised before what is a printed edition?
This feature was the decision relatively early in production to increase the additional size.
We have no record of the decision, and I can only presume with considerable probability that as the edition progressed, it occurred to first,
if we take him to be the chief entrepreneur of the project, that more copies could be sold than originally planned and of course,
that the unit costs diminished with every additional copy made.
The number of copies printed off was increased by about a quarter,
and just as the original print run was divided into paper and vellum copies, the increase also included both paper and vellum copies.
If we agree for convenience to take the final print run as 180 copies.
This means the original run would have been of, say, about 135 copies, with an increase of about 45 additional copies,
of which it seems relatively more were pulled off on vellum than on paper than in the original run.
Next slide, please, number 20. We can identify the exact place where the decision to increase the print one
was taken in each of the four separate composition units in the first unit,
Pentateuch, three, four choirs of 10 leaves each had been set and printed.
And then the first three pages of the fourth quarter, one Recto and Verso,
two Recto, the compositor had said as far as the middle of Exodus Chapter eight.
Then in the second unit, starting with the Books of Kings, exactly three choirs had been said and printed,
reaching as far as second Samuel Chapter 21 in the third unit,
starting with Proverbs one full choir and 11 pages of the second choir had been said and printed,
reaching too early in the song of songs and in the fourth unit at the right at the last of the type cases to be set up.
It began with first Maccabees and there only the first recto page of its choir had been set and printed when it was decided to enlarge the addition.
We can most easily visualise how the increase had to be carried out at this last composition unit.
On a particular day,
the setting of the first page of First Maccabees was sent to press and let's say 135 copies were pulled on the first sheet of the choir for that unit.
First, the paper sheets were printed, then the vellum, the type page was cleaned and broken up and the types began to be distributed back
to the type case by the time the second page of Maccabees had been set into type,
that is the verso of the first page. Let's let's say it's on the following day, the decision to print 180 copies had been taken.
Therefore, 135 sheets with the first Rechter page already printed were backed up in the second pole with the first page.
And then this was followed by 45 more fresh sheets of paper in vellum, which had no printing at all.
On their first side, those 45 sheets could not be completed until the first page of text had been
recomposed and printed onto the blank pages for all four composition units combined.
There are a total of 155 pages belonging to two to ten different choirs that had to be freshly set in secondary settings.
That, of course, would deviate in small ways from the first settings.
An analysis of the paper stocks, as well as further evidence from the cyclotron X-ray analysis,
indicates that all this resetting and reprinting was postponed until the end of the project.
Thus, for example, for the text of Genesis,
the setting B version of this first three quarters may not have been put into type and printed off until a year or more after the setting,
a Sheetz had been completed and safely set aside.
When all the printing was done and individual copies were assembled by gathering quires in correct order,
there was clearly no special consideration given to whether the quires contained first or second settings.
A certain number of copies could be sold right away by using only the first set enquirers, not waiting for the second settings all to be printed off.
But the full edition could not be sold off in full profit,
realised until all the reprinting was done, some 14 surviving copies, including the Bodleian,
are purely a first setting and so could have been sold while the Bible shop was
still finishing its work on the second settings of the remaining 30 odd copies.
There are more than 20 differing combinations of first and second quarter settings, only a few copies sharing a single profile.
Again, it should be noted that the Barberini copy, the basis of the Gutenberg Bible readings and the apparatus of the Rome Old Testament,
has eight of its ten potential acquirers in the second setting, with the result that there are a number of quite widespread Gutenberg Bible readings.
Those are the first setting that are invisible to the apparatus of the Old Testament.
The division of the setting of the Gutenberg Bible into distinct and independent composition units brings
forward an obvious question whether these units or at least the four major units had different exemplars.
That is different. Setting copies will be recalled that Heinrich Schneider strongest evidences for
distinctive Paris Bible readings and the Gutenberg Bible came within the Arctic Tulk,
which was the first composition unit. His notes cite slightly over 160 different passages extending from Genesis to job.
Of these, 100 are within the octave Tulk and just over 60 within the 12 following books from First Samuell to Joe.
At the least, we should not assume as our default belief that a single manuscript Folgate Bible was the source of the Gutenberg Bible text,
there could have been advantages in using different codices for each composition unit.
You would not have to just find a Bible.
And it hardly needs emphasis that in the ecclesiastical metropolis of Mights, a considerable variety of manuscript Bibles could have been available.
This was already implied at the beginning of our first lecture when we referred
to four manuscripts written in meIt's shortly before or contemporaneously
with the Gutenberg Bible workshop and all for themselves were copied from exemplars different from each other and from the Gutenberg Bible.
And in one case, even the same scribe used two different exemplars when writing two different Bibles.
For that matter, there is a reasonable probability that amongst the churches, convents and privately owned books of the ecclesiastic of mines,
there was at least one or more Paris Bible,
the manuscript Bible that Schneider found to be closest in shared readings with the architect of the Gutenberg Bible.
The tenth shift, Tsvi, upturning to 567 of the main city library, appears, in fact, to be probably a Paris written by boat with a mid 13th century.
I'm grateful to two colleagues in Vienna, doctors Christine Bayer and Michaela Schueler Yuko's for their opinion on illumination.
We have an image of it, please. Yes, thank you.
And this, in fact, complicates Schneider's own viewpoint because he saw this as being an early 14th century Bible of the Rhine region.
And so his entire concept of a sort of a floating Rhenish text filtering into the Gutenberg Bible, its strongest piece of evidence probably is wrong.
In this case, however, our information on ownership takes us only so far as placing it within the archdiocese in the early 17th century.
But another next slide, please.
Very handsome pair of Spigel now in Stuttgart, its illumination situated by Robert Brenner within a centre chapel group.
And next slide, also the same Bible belong to the Cathedral of Mights and 14 79.
We cannot be certain whether it was at that date, a recent arrival, or had been in mind by midwifing century.
Now you have the hand out, which we saw in the second lecture, the text profile of the Gutenberg Bible.
It lists at the foot the chief variations from the Paris Bible.
There are 22 omitted prologues and 13 added prologues to add a text and a conspicuous change in layout for the prayer of Marasa.
As to the omitted excuse me as to the omitted Paris prologues,
if we set aside for the moment the whole group of prologues for the minor prophets, those occur 23 to 39.
The other emissions are all prologues that Laurer Light has discussed as relatively recent additions to the Bible tradition.
At the time the Paris Bible was taking shape.
K 40 and 41, for example, are two dedicatedly prophecies that Robaina somehow rose in the early ninth century,
composed for his commentary on Maccabees. And it is probable that their immediate source and the Paris Bible was the Gwoza
ordinary for Maccabees formed in the late 12th century and heavily based on Rabon US.
These particular omissions are not unusual in our comparison group, a 15th century manuscript, Bibles of 82 recorded Bibles from this period,
43 of them omit the Robustness Morris Paris Prologues K 40 and 41 and 39 include them roughly equal division.
In one of the latter cases, they were added separately by a second hand of the Matthew Prologue K 44 32 of the 15th Century Group Blackett,
38, included of the Apocalypse Prologue K or Curre 64 42 of the 15th century manuscripts Lagat and 29 included.
Of the prologues added to are of special interest, those to Psalms and gospels,
as they are genuine prologues of Jérome addressed to Pope Tomas's and represent his earliest official
to use the term loosely statements of his interest in revising and improving the Latin Bible.
Again, it is useful to consider their presence in the Gutenberg Bible in the larger context of 15th century manuscript Bibles.
30 of the manuscript Bibles include the Psalms of though without prologue in the manner of the Paris Bible 20 like the Bible and Jerome's preface.
As for Jerome's novum opus prologue to the Gospels,
40 of the 15th century manuscript Bibles omit it in the manner of the Paris Bible, while 29 included.
See the next slide, please.
The planning of the Gutenberg Bible may have intentionally enhanced the Novum Opus Prologue as the opening text of the New Testament,
for it was allotted a five line space under textualists instead of the canonical four lines for prologues and then next slide.
By contrast, the opening of Matthew itself has only a four line space instead of the canonical six.
The first lecture noted a small but indicative symptom of the Paris Bible,
its incorporation of the apocryphal penitential prayer of Manizha as the final words of Second Chronicles Chapter 36,
its position there was in harmonious for this last chapter of Chronicles makes no
mention of monazite ending rather abruptly with a decree of King Cyrus of Persia.
The Temple of Jerusalem was to be rebuilt. The following prayer of Manasa, as written in the Paris Bible,
was not even given a rubric to indicate that these are the words of Manasa, whose name is not present in the prayer itself.
Could we see Slide 26, please? Dominie, deice, omnipotence, etc.
In the Gutenberg Bible is jointly determined by the layout of the page and the wording of the
tabular rubric from the prayer of Manaslu was unambiguously separated from Second Chronicles,
next slide, please, and treated as an independent textual item, a fixed position between Second Chronicles and the prologue to Ezra.
And the next slide, please.
Its expansion within the hierarchy of Texas has emphasised further by its allotment of a three line initial space, a higher level than a chapter,
but lower than a prologue, the same position that we noted in an earlier slide for the treatment of the Prayer of Solomon.
It is useful to compare the change in treatment of the pair of Manasa with our group of 15th century manuscript Bibles,
a variety of treatments appear 17 manuscripts like The Prayer.
And it has already been noted that these correlate closely with Bibles containing capitulation.
This group is probably furthest from the Paris Bible.
23, the Bible Street, the prayer Venessa just in the Paris Bible Manor,
fully incorporated as the final words of Chapter 36 Second Chronicles, though many of these do add a marginal rubric to demarcated.
Two of the Bibles have the prayer from NASA out of position,
one wrote it after Jobe and another after Soms treating it almost in the Greek manner as a Canticle.
Four of the Bibles made it a separately numbered Chapter 37.
And finally, 24 of the manuscripts like the Gutenberg Bible, present the prayer from NASA as a separate text item.
With regard to prologues, the Gutenberg Bible is greatest deviation from both the Paris Bible and for most 15th
century manuscript Bibles is the omission of all prologues to the minor prophets.
Apart from Jerome's brief prologue of less than a half Collum curse, the K 22 prologue,
the Paris Bible selected from a rich, older body of prologues of widely varied sources, a fixed set of 16 prologues,
including three prefacing amus and two each prefacing Joel and Jonah Curre following Stadtmueller mistakenly gave two numbers,
just 29 and 30 to what is in fact a single prologue to Obediah.
The common situation in 15th century manuscript Bibles was to add prefaces to
the Paris Bible set and sometimes also omitting prologues from the Paris set,
only 13 Bibles of the 15th century group restricted their prologues to the Paris set.
Some of these were their missions where 61 of the Bibles added to the set.
Altogether, the 15th century manuscript Bibles present well over 50 different prologues for the minor prophets,
an exception to this is the three Vinda signed Bibles, which, like the Gutenberg Bible, have only Jerome's prologue.
These are only a single Bible of the early 15th century is without supplementary prologues to the minor prophets.
And this is background. I propose what is a confessionally untestable hypothesis.
The Gutenberg Bibles examplar for the minor prophets, we will say probably did not lack supplementary prologues for very few Bibles did.
This would have been an anomaly. Rather, I hypothesise an editorial or a printing shop decision was made to leave out the prologues present
in the examplar so that the full text of the minor prophets could be fitted completely within.
This requires 14 to 16 a volume to the constituted a separate composition allotment for the texts of Daniel and then the minor prophets.
The minor profits prologues of the Paris set add up and links to about one fifth of the text of the profits themselves.
A calculation of text of how much text remain to be set if made when Daniel was finished on the Second Life of Choire,
15 would have shown that there would be a problem in getting all of the minor profits into the remainder of Choire 15 plus one more require.
If the prologues were kept to omit,
those prologues would save a good seven or eight leaves as it happened without the prologues of 16 still needed to be extended by a singleton leaf,
but disallowed the last profit Malakai to be completed and Colombe of the verso of that 11th leaf with five blank lines to spare.
For Asira. The Gutenberg Bible made one major addendum to the Paris Bible sequence of biblical books,
the fourth book of Ezra immediately following three Ozora for Ezra is a composite of
three texts that did not enter the Bible until the late eighth or early 19th centuries.
Although several of its constituents were known to Christian writers in the 4th and 5th centuries in the Gutenberg Bible,
which set the pattern followed by the Clementine Vulgate and today by the modern
Stuttgart Folgate for Ezra is printed as a unified book divided into 16 chapters.
Its three components each originally a different text chapters one and two,
or chapters one and two is the first of the three modern scholars call that
five Asira and then chapters three to fourteen as we find it printed today.
The major portion is called for Ozora chapters 15 16 modern scholars referred to as six Ezra.
This is indeed exceedingly confusing to try to avoid confusion and we will refer to them simply by their individual modern chapter numbers.
For Asira, chapters one to two is a presumably Christian prophetic work of a certain Ezra
son of cuzzi roughly dateable to the third or fourth centuries common era.
The major section for Ezri chapters three to fourteen is a Jewish apocalypse of seven visions of the scribe Ezra Dateable to about 100
seei and then four Azu chapters 15 and 16 is a Christian prophetic work which does not the least in the form in which it survives.
Name Ezra as its author or speaker. It has been dated to the later third or fourth century CE.
All three Latin texts are by good evidence, translations from now lost street versions,
a small fourth century Greek papyrus fragment containing a snippet for Ezra.
Chapter 15 three verses only was discovered in the OKso Rinka excavations and is here in Oxford.
The Jewish apocalypse of Hazra is generally accepted as having had a lost Hebrew or Aramaic original behind its lost
Greek that lost Greek version that is chapters three to fourteen only was the source for other early Christian versions,
including Syriac, Ethiopic, George and Arabic.
The two Christian component's chapters, one and two and then 15 and 16 are only known in Latin except for that oxer Rinka Scrap.
The earliest witnesses to forever fall into two recessions, French and Spanish, for our purposes only,
the French recession, the basis of nearly all later manuscript copies will need to be considered.
There are two primary witnesses to the French recession, the first to receive the next slide.
Is OMYA Manuscript 10, a small codex containing all four Israel books that may have been written in the late 80s,
the 8th century, as a supplementary volume to the multivolume Bible of Mount Dreaminess, bit of Korby who died in 1781.
And let's see the next one. And the next one, so those are the ominous, mean manuscript and treating each of the components as a separate book.
The second witness is Bibliotheque Masino, Latin one one five or four and one one five oh five two volumes from the Abbey of Singerman Deprave,
a giant Bible dateable to the eighth Regner year of Lewis, the pious that is a 21 or 22.
And could we see it slide? It's Turbit in Judas or an Latin versions, a substantial lacuna in the seventh chapter of four Esraa in this Bible.
Next slide, please. On the far left, you can just see the stub of the leaf that was torn away in early leaf was torn out of this manuscript,
shows that all later copies except a few of the Spanish reception descend from this manuscript because all of that text is missing in them.
This lacuna in the text has been referred to as the Sangamon Singerman insists Gap,
the undamaged text and AMEA Manuscript Ten did not come to light until the last quarter of the 19th century,
when it was discovered by Robert Bensley, sub librarian of Cambridge University Library.
It should be emphasised that in both early witnesses AMEA and Singerman answers, as you've seen, the three components of four, as it were,
were written out as individual books, not as a single book, each with Chihuly and initials demarcating their constituent parts.
For Ezra, in it's three parts hardly ever was written in Bibles until it began to make sporadic reappearances in the late 12th century and after
one curiosity is that it is that a distinctly English form of four Ezra came to be written in which it was intertwined with three Ezra.
The sequence of texts there is four as her chapters, one and two, and then all of three Ozora and then four as her chapters three to fourteen.
And then as a separate item four as her chapters 15 and 16 each section marked off from the other.
Moreover, when for Ezra is presented in this way and Bible in Bibles three,
Ezra is almost always not the Vulgate version, but an alternative revised form of the Vulgate.
That statement that refers to as is version B, this recession by an anonymous reviser, presumably in the Carolingian period,
considerably changed various wordings, according to the later so-called Luciana revision of the sceptre of the Septuagint Oestrus A.
Or Oestrus Alpha, the Greek equivalent of Latin three Ezra Mayan notes on some 82 Bible manuscripts of the
13th to 15th century containing for Ezra identifies three Bibles presenting three and four.
Ezra written in the intertwined English manner. And surely there are more.
For Ezra was written, but only rarely in Paris Bibles and one addendum to that small group of Proteau Paris Bibles we mentioned is defined by law.
Light does include, for Ezra, an indication of the more or less maverick quality of for Ezra in later Bibles
is that no stable system of chattering ever developed depending on the Bible.
For Ezra chapters one and two, for instance, that first section was sometimes written as a continuous text,
sometimes with as many as five chapters or other divisions marked off with Verso Letters.
Nor would say one copy's chapter to necessarily be marked at the same place as another copies Chapter two for all three parts of four.
Ezra, the 80 odd manuscripts I've examined in which we have full details, mark a chapter reversal divisions at well over 200 different places.
A study of the history of forever in Vulgate Bibles published in 2015 by the eminent biblical
scholar Pierre Bogot made an important observation regarding the Singerman census gap.
The already mentioned lacuna in the text of Chapter seven, created by the excise leaf of the man Bible, Bogart noted at the place of this gap.
Later, Scribe's adjusted the text to disguise the dislocation.
And you have a hand out. It's on the second page that you picked up called the second Singerman Census Gap and Suture.
I thought you needed the words in front of you rather than my just reading them in the same German manuscript.
The first words of the page following that torn out leaf begin premiss Abraham Propter.
So to meet us at Moisés Property Trabis, Squee and Deserto pickoff around and goes on.
Clearly your verb was missing and it had to be one that related to Abraham's intercession in Genesis Chapter 18 on behalf of the City of Sodom.
Bogart discovered that various Bibles with four Ezra repaired the passage in either of two ways,
which we may call Suture A and suture B, as you see here, suture a premise, Ibraham Propter.
So Demitasse or Ravid or a whole other group of Bibles did it at Dixy Premiss, Abraham or Robert Propter.
Soto Mehta's. Well, comparing these with my group before Azu Bibles, I found it an equal division.
About 38 witnesses have suture and 38 have suture b and looking at them it
became clear that Suture A was the French suture and B was the English suture.
So the next question of course, was which suture is represented in the Gutenberg Bible?
Curiously, the Gutenberg Bible suture is a hybrid at Dixie Prema Premiss Abraham Propter.
So Demitasse a profit. So it has at Dixy from the English suture followed by the word order of the French suture.
Although the great majority of the late that is 13th to 15th century copies of For Asira maintained its tripartite structure,
treating it as a composite of related texts.
There are eight manuscripts in the Group of 82 who wrote it from beginning to end as a unitary work that is in the manner of the Gutenberg Bible.
Most of the eight are obviously unrelated to the Gutenberg Bible, but there is a group of three Bibles of the second half of the 13th century.
One said to be French, but not a Paris Bible and two probably German,
all of which write for Ezra as a single book and all of which divide the text into 31 chapters at the same places.
One of the three in the Londis archive of Koblentz, in fact,
formally belonged to the Carthaginians of MIT and would have been there in the time of Gutenberg in the early 15th century.
The power of the Charterhouse and this small format Bible bound with a missile and a shortened breviary so that it could serve as a father.
Makem Heinrich Schneider, in fact, studied this manuscript in his monograph on the text of the Gutenberg Bible,
but concluded that it had no textual connexion with the Gutenberg Bible.
None of these three manuscripts with Unitary for Ezra, however, has the hybrid manner of the sun.
GERMANN and to suture that appears in the Gutenberg Bible.
They all have the French suture. No manuscript has the version in the Gutenberg Bible.
So we may sum up for Ezra in the Gutenberg Bible as follows.
It was a Late Edition.
The decision to add the text being made when the project was roughly halfway through, it was worked into the 25th choir of the first volume.
This is within the second composition unit in such a way that one compositor could continue setting three Asira
on the fourth and fifth sheet of that choir while a second compositor could begin setting for Ozora on the 3rd,
2nd and 1st sheets, whose first halves already had three Esraa printed on them.
BATUZ counter halves leaves eight, nine and ten were still blank.
This compositor then completed for Azu by continuing into a 26 Choire.
The copy tax for four, as well as there was probably some manuscript like the Group of three just mentioned,
that is one in which for Ezra was treated as a single book. The division into 16 chapters, however,
must have been editorial work and the Gutenberg Bible Shop for No for Ezra manuscript so far
examined has chapter and even peripherally related to the 16 chapters of the Gutenberg Bible.
We may suppose that the editor marked the 16 chapters roughly on the model of the nine chapters of preceding three Ezra
for the average chapter length of three years into nine chapters and four Ezra into 16 chapters is very nearly equal.
The hybrid treatment of the sand permanent suture is probably also to be seen as editorial, not historical,
as it has no precedent in the manuscript tradition, it may, in fact, have been drawn from putting together two manuscripts.
The most striking editorial change in preparing for as for the compositor comes at the beginning of Chapter three,
the beginning, that is, of the Jewish Ozora apocalypse, which is the central core of Latin for Ozora.
We see the next slide, please.
Yes, this is a French Paris Bible at the Newberry Library, all manuscripts beginning with the prophet Ezra naming himself.
It starts in the 30th year after the destruction of our city.
I saw Lazio, who am also called Ezra was in Babylon.
And I was troubled as I lay on my bed and my thoughts welled up in my heart and so forth in the Gutenberg Bible.
But, you know, manuscript, the name of the speaker is removed.
And so if you look there, you do not see those words.
Aigo Celesio, Kwiat, Ezra. The reason must have been what we might call literary.
When the third chapter for Ezra was the beginning of a new work, it was natural for Ezra, of course, to name himself.
But when the third chapter was treated as a continuation of the preceding chapter, the repetition became excessive for just a few verses before.
At the end of Chapter two, we have, for instance, I, Ezra received a command from the Lord, followed by Ezra saw on Mt.
Zion a great multitude. Yet another naming of the speaker might well have seemed superfluous.
Just this argument was made 180 years ago by an Oxford scholar, Richard Lawrence Regius, professor of Hebrew and Canon of Christchurch,
edited Ethiopic versions of three apocryphal Christian writings, the last of which published in 1820, was the Apocalypse of Ezra.
That is the corresponding text two for Ezra, chapters three to fourteen.
He had found this manuscript by chance in a bookseller's shop in Drury Lane.
Lawrence's curiosity extended to the Latin version of For Esraa,
he wrote that he had examined 187 Latin Bible's 127 of them in Oxford and 70 in the British Museum.
He did not venture to Cambridge 13, only of the 187 contained for Ozora.
In an all of these, the beginning of Chapter three included those words Igoe, Celesio, quiet as Strus.
Yet he noted that first and Shaffer's Bible for 1862, which he took as the additional print ceps, excluded those words.
Again, the Gutenberg Bible is at his hand in the Bodleian, but he was unaware of it.
Lawrence interpreted the omitted phrase.
Thus, it seems he wrote that as the transcriber from whose copy the first edition of Fiston Shiffer was derived,
well, that actually would have been the Gutenberg Bible made this the third and not the first chapter of the book.
That being so the formal commencement aigo Celesio quiet as Strus was suppressed as altogether unnecessary,
which words are entirely omitted in all the printed editions in four as or more closely than in any other text of the Gutenberg Bible?
We sense the hand of an editor. Thank you.