So. Well, thank you for returning.
Uh. Well, I worked at the University of Writing.
I was asked by a colleague about a sentence and the life of Cyprian.
But she could not understand. I could not translate it either.
But I looked at the critical apparatus of bastions and sedition, and saw that the reading printed was absent from all other manuscripts,
and derived from what I produced was a wild correction in the manuscripts.
Now in Oxford thought miscellaneous 4 or 5 one.
And it's in the display case upstairs. If you want to look at it afterwards.
I'll say a bit more about it later. Small amounts of research on this and other manuscripts of the life made me curious.
I realised that the end of the life was found only in Italian manuscripts of the 15th century.
I decided to do more work on the manuscripts, and this work spread out to embrace other texts too, in the separate corpus.
All right. Interesting things to say about many of the scripts that transmit the printed corpus.
But for a 15 minute lecture, I hope we're just going to be 15 minutes.
I'll do my best. It makes sense to focus on just one text and the life.
The life of Cyprian is the one about whose transmission I've got most.
That's new to say. Unlike Seasons, Garlic and Civil Wars, which I spoke about a couple of days ago,
this is the text for which knowledge of the full manuscript tradition will make a difference.
I hope to agitate for the Corpus Christi and or I'm sorry, I Latin.
I have to submit a specimen in a few weeks for the referees, and we'll see if they like it.
So far, I've come across 51 manuscripts that predate the 16th century, and one not an interesting copy from the middle of the 16th century.
And the manuscripts are listed at number one on your handout, and you may want to refer to that.
And you will also want at various points to refer to, to family trees of manuscripts that you can find at the end of the handout.
I hope to show you that it has been possible to do a great deal of what I think is plausible genealogical work on these manuscripts,
and to say something interesting about the trial, interesting to me, anyway, about that transmission.
The main existing protocol additions of the live concert parent are those of Hertl and uh, and his additions of the Vienna XC.
Um, like forgot to load up a slide. I'm afraid we have a blank.
Yeah. Um, then another scholar from the German speaking world, Harlock, in 1913.
And then. Nikola Pellegrino in 1955.
Bastian Son in 1975.
Also, whose addition at the Corpus of Separate is the first modern addition.
He used only a few manuscripts. Pollack took over the information that he provided.
Pellegrino knew 31 manuscripts and seems to have collated most of them.
Pastor Anson recollected some of the manuscripts used by Pellegrino for the end of the text, which I shall come on to it later.
He took over readings from Pellegrino. None.
None of these scholars, so far as I'm aware, published a rationale for which manuscripts they were using, nor any account of the manuscript tradition.
Pellegrino did promise such a publication, but it appears never to have seen the light of day.
Apart from the general recognition that a manuscript of the 13th century Paris signed US Latin, US 1648 derives from a ninth century Vatican.
Vatican Region insists, uh, what editors call te.
No editor of the life seems to have thought that anyone manuscript derives from any other.
However, several of these manuscripts contain many other works in the Corpus of Cyprian, and from work on these are best viewed in literature.
Colonies. Additions of um on the attire of unmarried women.
Came out about five years ago. A few derivations can be transferred, so to speak, across.
At this stage, I want to draw a distinction. Accounts were written in antiquity and the Middle Ages of both saints lives
and saints martyrdom are often confused and the headings of our manuscripts,
but they are not the same thing in the case of Cyprian.
We have both, Pontius says, life, and on account of his martyrdom, not by Pontius.
The martyrdom known either as the patio or the act.
Uh, and, uh, these come in a rather bewildering variety of forms, but taxes the taxonomy.
If you are into saints lives, you may have looked at the Bibliotheca hagiographic La Tiner, which is an index of all Saints lives and their varieties.
They struggle with Cyprian.
All I told acto was here because now it says that this kind could be viewed as minutes of the trial of a martyr before a Roman magistrate.
If you know, for example, mozzarella cheese volume acts of the Christian Martyrs.
To give you an accessible example, published by Oxford Press in 1972.
Number four, on your handout, it is to text like those in that volume.
That's all I am referring. And a version of the actor of Cyprian is published by mozzarella.
It's a brave scholar who tries to edit critically such texts.
And I'm not brave enough ever to try. These are far more complicated than the life I'm talking about today.
Cyprian, Bishop of Carthage, was born around 210 A.D. and was martyred on the 14th September 258,
during a time of persecution of Christians ordered by the Emperor Valerian.
The authenticity and date of the life.
The earliest of all Saints lives the life, if you like, but launched a thousand lives and it probably is literally a thousand,
probably more than a thousand saints lives have been written in the history of the Catholic Church,
and the authenticity in date have been disputed,
but it's hard to think that such an apologetic text was written at any time later than in the years immediately after the martyrdom.
Thereafter, um, for later Church fathers, Cyprian name was secure.
In his work on Famous Men, Jerome refers to a deacon upset prone called Pontius who wrote his biography.
A Pontius Cyprian deacon, and during exile with him up to the day of his martyrdom, left an excellent book about Cyprian s life and martyrdom.
Fits in three of the four families of manuscripts that I'm going to talk about.
The life is Anonymous, and the fourth, which describes it to Pontius, is the least reliable and has no witness older than the 12th century.
Scholars have doubted that the life that we have was written by Pontius.
They made those doubters may be right nevertheless, although like the rest of us, Jerome made mistakes.
He was in a better position to know than any modern scholar, and I inclined to accept both that Pontius wrote A Life of Cyprian,
and since it's uneconomical to multiply ancient lives of Cyprian, that he was responsible for the text that we have.
Her. Follow us on. There were only two traces of the text are comparable from later antiquity.
Just some of the phrasing of some of the texts in which Augustine mentioned separates martyrdom.
Recall Pontius live. Second, a life is mentioned and what was once known as the Cheltenham List.
So called because among the manuscripts once owned by Sir Thomas Phillips of Cheltenham,
Theodore Mommsen, found one that included a stick on that track list.
Uh, look at number six on your handout. The list, first of the books of the Bible and then of the works of Cyprian.
That manuscript is now Rome. Maybe I can actually.
Vittorio Emanuele one three, two, five.
And there's a picture there. And where the vitapet probably if you guys have good enough, you should be able to see it with DC after actually.
Pointed out by arrows Mommsen a few years later, found in song to Garland the Bibliotheque, a second manuscript which included the same lists.
Characters. Okay. There are, of course, well known stories about the dealings of both these men with the Portland Library.
In the 1850s, Sir Thomas Phillips offered to give all his manuscripts to the Bodleian in return for being made popular as librarian.
No sensible institution could possibly accept an offer of this kind.
But if you're British or work in personal manuscripts, you cannot but think that refusing this absolutely colossal collection,
now dispersed around the world, was one of the bigger lost opportunities in this library's history.
As for Mommsen, perhaps the greatest classical scholar and scholar and the one I should most like to be if I could be reincarnated.
Ward Fowler in His Attractive Man, was number seven on your handout records.
But at Oxford he was found waiting at the Bodleian at seven in the morning, and indignant when he found that it did not open till nine.
Now I have difficulties getting to the ball, clearly even for 9:00 from Cambridge, because of the cost of train fares.
And if I'm driving, the queues of traffic coming into the parks and right are so huge.
But anyway,
perhaps we should imagine what Mommsen could have achieved in the age of electronic keys and all night openings of college and other libraries.
In both manuscripts. At the end of the list of prints work we see, as you can see in the pictures, um,
the life mentioned, and it is said to be the length of 600 bajillion hexameter.
That is the measure used. It seems unlikely that this could have been any other text than the life that we now have.
The purpose of the list was the recording of the precise length of individual works, because,
according to the heading of the list, booksellers in Rome had been cheating their customers.
Her manuscripts include works that have an African provenance and therefore show what one would anyway have guessed.
That said, prints works were collected first in Africa. Transmission from Africa to Rome and Italy, and thence ultimately to our.
Medieval manuscripts. It's a route that has long been suspected for Latin works written in Africa.
And the comment about Rome in the metric list provide some confirmation of this.
Two of the four families of our manuscripts of the life contain it at all, close to the end of collections of the works of separate.
It seems logical to suppose that they derive from one or more antique collections similar to that described in the stack and back.
Track list. As in these two families of manuscripts.
The author of the life is not named in the list. Author.
Up. All from a reference to Pontius Pilate that is lifted from Jerome.
We lose sight of the life of Cyprian until the ninth century.
The date of our earliest manuscript. As I've said, there are four families of manuscripts,
and a curious feature to which I will turn is that three of them have texts that stop before the end of the life,
and I hope that's clear on the handout. If you look at it exactly where the point of stopping is.
I should say that the life is about 25 pages long.
I mean, obviously the amount of Latin depends.
You can get on a page two times on font size and the size about 25 pages of Oxford Classical text or a classicist.
Some of these families have full control of the works of Cyprian.
The other two come in collections of saints lives and passions.
So if you haven't understood,
the Star Connect Trek list suggests that the collections of saints lives were likely to have drawn their text from collections of separate works.
I shall nevertheless begin with these manuscripts from collections of saints lives.
I start with the family of manuscripts that I call Fi.
And if you're not involved in the editing of Latin texts, um, you should perhaps, uh,
be told the Greek letters are often used to reconstruct manuscripts that are now lost from which other manuscripts descend.
Over 39th century manuscripts of the Life of Cyprian.
Among collections of saints, lives belong to it. And inside this family, a manuscript in Trinity College, Dublin.
Um of the 12th century chairs, all insignificant uncorrected errors that the manuscript that editors call f from Paris in the ninth century.
And, uh, that's the best image I have, I'm afraid.
And, uh, it's more of its own. And as I said last time, that is a sure sign of derivation.
In the manuscript the General Tso's call El from Paris.
Just again, all the significant uncorrected errors of the manuscript.
But editors all are and various are from the later ninth century, and again adds more of its own.
It must derive from it. The most recent critical editions know only the portion of this manuscript are in the Vatican, which begins at chapter seven.
It is now realised that part of a composite manuscript in Bern contains the missing portion of the life.
So that's one reason why, um, additions need to be brought up to date.
The derivation of the manuscript in Paris from this manuscript.
All is entirely unproblematic, since both came from the IPA flurry.
In which the elder was doubtless source of the younger.
I know if I've got time in my last lecture. Talk about the phenomenon.
There are two manuscripts from the same RBA being related to and copied from each other.
Um, if correct, my conclusion that the Dublin manuscript derives from the one called F is perhaps more interesting,
since F is French and the Dublin manuscript comes from Old Sarum,
the precursor of medieval Salisbury, and many manuscripts came from France to England in the wake of the Norman conquest of England in 1066.
But we, or at least I do not know either how this manuscript came to Old Sarum,
or why there are no other English manuscripts that belong to this family.
I turn now to another group of manuscripts, a group that names Pontius as author.
All, but one of which have part have Pontius life of Cyprian as part of a collection of saints lives.
A cardinal, Michela Pellegrino, who, as I've said, collated more manuscripts of the life than anyone before him.
You three manuscripts in this, uh, set?
Um, those in Milan's Biblioteca Ambrosiano.
The one in Rome's Angelika. I have a picture.
And a manuscript in Paris. Like swiftly, I was able to add those in Lincoln.
Was Lincoln Cathedral manuscript and.
Rather horrid thing in Oxford. I'm Saint John.
I'm grateful to the Librarian of Saint John's supplying me with unlimited like short notice, as I only had a photocopy for.
Um, for a long time, I found this manuscript something of a bore.
They share a very large number of mistakes and in general have very similar texts.
So they must all derive from a common source. But the volume of mistakes makes them extremely tedious to collate.
And I had no very interesting story to tell about them.
I could merely observe that the manuscript down the road in Saint John's, written in England,
shared a very few innovations with the manuscript in Lincoln also, I presume, written in England.
Things change. May in the spring of last year.
I yeah, I sort of been messing around one evening on the internet and then I thought moment as one sometimes does,
when one should be doing other things. I discovered that there was a manuscript of Pontius in Grenoble.
I apologise for the slides, for the quality of the image.
Um, this was what the library initially supplied me as a scan of it.
I asked for a better image for these lectures, but they said the binding of the manuscript didn't allow them to put it under suitable camera.
And a few weeks later, I discovered that there was one in to lose.
Both manuscripts belong to this family,
and I found an article about the wall in Toulouse which claimed that it was produced for reading to monks in the refectory,
which I don't get out of the Charterhouse, and I apologise to anyone French for my pronunciation of Notre-Dame de Belle Vue to say,
and that it derived from the manuscript in Grenoble, which, as you will see, I don't doubt, though actually no textual proof was cited.
More importantly, this article made me focus on something that I should have thought about earlier.
Like many manuscripts in Grenoble, it came from La Grand Chartreuse, the Great Charterhouse near Grenoble.
That's a slide I managed to get for you. One of those firms which advertise such things on the internet.
A cartoon is here. An order of monks was founded in 1084 by Bruno of Cologne.
When Bishop Hugh of Grenoble offered him this site in the mountains, your order spread fast over Europe,
and I realised that almost all the manuscripts in this group had Cartesian connections.
Hello, I'm Ambrosiano, P33 and Ferriero is part of a legendary from the Cartesian monastery.
A vowel sound two. Gone. It's a boy not far from Grenoble, Rome.
Angelika one, two, six, nine comes from the Cartesian monastery and Sam Morris on valley.
Hellos. Um. 1162. From what I just said, it came from.
And the manuscript in Saint John's, although written in England in the 16th century, contains Cartesian texts written as an unknown location.
Really the thread that links all these manuscripts is that Cartesian connection, even better than all the other manuscripts in the family,
are certainly or could be later than the one in Grenoble, and they share all its errors in the life of Cyprian and other and others of their own.
Generally only a few of the Cartesian so their source may have been corrupt seem to have copied it very accurately.
I've said nothing so far about the manuscript in Lincoln Cathedral, but it too can be made beautifully to fit the story.
A note in the medieval catalogue of manuscripts given to Lincoln Cathedral refers to a small collection of manuscripts given by Shu.
This is a different view, but perhaps named after the first two.
Later sun, Bishop of Lincoln, who lived from 1140 to 1200.
Amongst which was a collection of saints lives.
Almost certainly a manuscript due, born at Avalon in France, became first a Benedictine monk,
but later moved to La Grande Chartreuse and became a Cartesian.
I put part of the account of his first sighting of Grenoble on your handout at number eight.
Used to contemplate and then his contemplation to marvel at this place, it its setting almost sitting above the clouds and touching the heavens.
Utterly remove from all the disturbance of earthly matters.
In that place he thought that there was the chance to free oneself to God alone.
Which task? The very rich supply of books, the ample opportunity to read, and the undisturbed silence of prayer seemed particularly to offer support.
I don't ski, but those of you who do may have visited the chakras and may have a better sense of how that description works.
From France, Hugh came to England, where he founded the charter House at Witham in Somerset.
Whether the Lincoln manuscript was copied in France or England, I do not know, but plainly.
Here is a copy of Pontius Life, a set derived from the wall in Grenoble, of which it is a very accurate descendant.
And as I said, I hope to return to my first lecture to say something about monastic lines of descent.
I turn now to the families of manuscripts that belong to collections, upset separate work,
and use a symbol on the sign for Greek theatre to denote the first family that I consider.
Its most obvious characteristic is that its text stops at chapter 15, section four,
with the words at the London, and that is about four three quarters or 4/5 of the way through the line.
Most of this family is not extant, but it must predate the ninth century.
The date of its earliest member.
From this lost manuscript creature that seems to have been two lines of descent.
One you can follow. Um, not yet on the family tree, but I hope it's laid out on number one of the handout.
One line led to four extant manuscripts.
Um, a manuscript called te at the Russian emphasis in the Vatican and the descendant in Paris I mentioned at the beginning.
Um, this manuscript, um, the Russian ancestor comes from Lord.
Um. Second oldest manuscript in the family is Lord miscellaneous for five one.
The manuscript outside that I mentioned earlier, which editors of the text have called age.
It was written in France, northeast France. And then there's a much younger member of this branch in Berlin and the Hamilton Collection,
an Italian manuscript at the second half of the 15th century.
It derives from a lost manuscript that resembled the one that you have.
Yeah. Just partly a manuscript, which I've already mentioned in connection with the question asked me years ago by a colleague in writing, um,
is in many ways a horrid thing, and the part that covers the life of Cyprian less so in other parts,
since it has been subject to much correction and erasure.
Some instance of website and we can see on.
And express the sorry, I forgot to move on the slides which are to various manuscript T.
Uh, it's um, uh, right. And you can see in the red circles, uh, some of their ratio is.
In theory, it has strong claims for use by an actor turned has been used.
But in practice it often offers only corroborative help.
One sees that there is a mistake in the region in session two.
Let's go back and look at that.
And one. And one finds a erasure or a correction at the same spot in the Oxford manuscript.
So one concludes that the stake went back beyond tea.
But the actual error is often obscured in the Oxford.
Berlin manuscript is unproblematic to read, but it would be a bonus.
But it's slightly contaminated.
A text has some readings from elsewhere, not many, and it will be a bold editor who used it, rather than a manuscript that is 500 years earlier.
Manuscript stood at the head of the second line of descent from theta is also lost, but is produced a much larger family, 1% unnoticed.
The manuscript in the history shows archive in Cologne.
I learnt about it first in 2008.
It's embarrassing how long I've been working, um, on and off on this text, but did not get round to writing off for a microfilm.
And then 2008 one. Still, at least I still bought my forms.
Then, at 1:58 p.m. on the 3rd of March 2009, disaster struck,
but history shows archive collapsed as a result of work on Cologne's new underground well, then new underground system, and the site was flooded.
It was a plan to recreate the holdings of the art from microfilms and post them on the internet.
But nothing appeared for years, and I feared that the manuscript was lost.
However, in the spring of last year, I did notice that images from microfilm had appeared on the website of the newly rebuilt archive.
And here is an example of one such page.
And. Well, I wrote to the archive a few weeks ago.
Um, a concrete kind of told me that the manuscript has been recovered, although the state of its preservation is uncertain.
Now, my initial excitement of being able to collate this manuscript, having collated most of the others many years previously,
was soon tempered by the fact that it often contains some quite wild, progressive corruptions.
Remaining money and. The remaining manuscripts on this branch are listed on your handout.
The manuscript in our US is French. The manuscript in Madrid was probably written in Spain, or nearly in Spain at Perpignan.
All the others are Italian and date from the 15th century.
That's what Caesar writes with Italian. 90 scripts that I have in many ways been most concerned.
How did this family to which the three earliest witnesses on North European arrive in Italy?
Sorry that I should like to tell goes like this. All these Italian manuscripts, none of which is likely to have been written before 1440.
Like most of their Cyprian works from elsewhere.
They add by way of appendix several texts, including The Life of Cyprian, not found in their usual source.
A grid five, five, six, nine contains all the works that found their way into these appendices and what is more,
as a text strikingly like that found in the Italian manuscripts.
It has a colour form. That says that it was copied in 1416 for Cardinal Alfonso Carrillo to Albornoz.
Excuse my pronunciation again from a manuscript owned by anti Pope Benedict the 13th.
Luna, who in 1416 was established by Puppy Mill.
Alfonso Carrillo to Albornoz spent most of his life between 1418 and 1434, in Italy,
especially in Bologna and Rome, which are the two cities from which many of the Italian manuscripts hail from.
He was in a papal ambassador or envoy. He was in contact with such literary figures as Palo Alto.
His books are likely to have travelled with him and could have been used as exemplars.
I've not yet finished collating all the works that appear in these appendices.
And um, other than the lie, perhaps only about two thirds of the total volume,
but I found that the Italian manuscripts both have all the significant errors of the Madrid manuscript,
and share errors with each other against the Madrid.
In other words, I want to believe that they all derive via a lost intermediary from them a trade manuscript.
If true, this would be an extremely neat and satisfying story,
and I sure that here something that will be important when I come to discuss Cortona 36.
This group of manuscripts have the actor proconsul aura.
That's the account of separate trial not written by Pontius.
Immediately after that truncated text of the life.
Perhaps a sense too, in a sense, to complete a life which was truncated.
Uh, in these manuscripts, there is no break between the two.
I'll say a bit more about these Italian manuscripts now in the Life of Cyprian and other text that I've inspected the manuscript in Augsburg,
which I regret I've got no picture of, has the decoration characteristic of Ferrara that I talked about two days ago?
Ferrara, and also used in Bologna, unshared all the errors of the manuscript in Bologna at the time, listed two, three, six, four.
And that's more of its own. And the manuscript in Bologna has no decoration, such as all the errors of a manuscript in the Vatican.
We all. Contact more of its own, and the Vatican manuscript, which you can see up the shares all the errors of one in Berlin.
And it's more of it. Uh. In other words, we have a chain of four manuscripts, one deriving from the next.
And I can't resist observing that.
Previous editors have cited both the Bologna manuscript and the Vatican manuscript when they are entirely derivative.
And if you are not involved in editing texts, uh, if a manuscript is copied from another manuscript,
it cannot possibly have anything worthwhile unless it's a guess by the scribe that isn't found in the early 90s.
Um. I've got a further story to tell about the Cortona manuscript in this family, but I'm going to postpone it for a few minutes.
Um. The trade manuscript and its Italian relatives interest me from the point of view of the transmission of the text,
and because one can create this nice genealogical story, but I don't think that they have any access,
particularly to truth that isn't found in other manuscripts.
And so when I edit the text, I don't intend to use them except for any guesses that they might have.
What I sense was unclear and corrupt.
I turn now to my fourth family of manuscripts, which I've given for reasons that will become clear as a black Greek letter pi two.
They have the whole text. They are the only family that has the whole text of the life.
They contain its end. And yet these two contain a large corpus of works of Cyprian.
And the life written by Pontius comes towards their end.
Scholars who worked on the text of the Cyprian corpus had seen that several of them were related to each other,
but had said little that was of interest about manuscript.
Most studies was the one now housed in Munich, and you can see it listed to number one if your hand up, for the simple reason.
But in the great days of German classical and patristic scholarship, German scholars had an understandable and,
given the cost and difficulty of travel forgivable tendency to concentrate on manuscripts in German speaking lands.
Any of these manuscripts was transformed by a splendid article written by Carlo Maria Montale at the Universitat Catolica of Milan.
That's number ten on your handout. She noticed that in the catalogue of the books of the Library of Pontos, her chosen abbey not near Ferrara.
The catalogue was composed around 1093.
There is an entry that you can see either on your handout or on the slide of the relevant folio.
The castle is now in Montana, in the Biblioteca Estancia.
And, um, it says number ten gamma Books of Cyprian, 81 treatises and letters.
And then it also lists the treatise on the um, lack of belief of the Jews written to us, which is regarded as spurious,
and the um thus is written by Um Yohannes on the corner of On the Meal of Cyprian, which is a spurious text.
No surviving manuscript with these contents is old enough to have been written before, around, or before 1093.
But Monty demonstrated that the same contents are found in three manuscripts of the 15th century.
In Turin, Rome and Munich went.
Here is a picture of the one in Rome.
Counterterrorism. And. Although several other manuscripts of Cyprian close with the treaties at Waco,
Leon and the count Mr. Neal of Cyprian, only these have both this sequence and version.
A keener, um thought Yohannes darkness, otherwise known as Giovanni and Monitor,
worked into reworked into verse and completed at Monte Cassino in eight, seven, six.
Furthermore, each of these manuscripts opens with an index that is numbered 1 to 81.
Number 80 is the spurious treatise on the Two Mountains.
A number 81 is called a conversion of some Cyprian, by which the life of Cyprian must be meant.
Three manuscripts must. These are the three I listed earlier as they are must reproduce the contents of the manuscript that was catalogued upon.
Those are. Alright, so that's another manuscript, Vatican City, but to call us Latin, US 197.
That's the same sequence of text as that found in the three manuscripts just mentioned,
except that at the end of the corpus, it ends with Pontius Live and omits some spurious works.
It too has an index at the front.
It differs in having been written perhaps two decades earlier on tips up there for whatever texts in the Qur'anic corpus,
but a connoisseur telling us that while nine seven and its descendants have been collated.
They've been found to have a text very like that found in the manuscripts now in Turin, Rome and Munich.
And she rightly argued that they, too must derive from the pompous manuscript.
How did this composer manuscript come to light in the 15th century?
Until she wrote her article jointly with Antonio Manfredi, who supplied its second part.
He's long been the world authority on Pope Nicholas the Fair, previously known as tomato per into Chile,
the first humanist pope and the founder of the Vatican Library.
I'm pretty sure it's apparent to Charlie visited pom poms at first, almost certainly in 1428.
Letter calling us Latin. US 197 belongs to power, and to Charlie, and his annotations on it seem to date from 1438 and 1439.
It has four extant descendants on his list of the tiniest 198.
A deluxe production design for the new Papal Library that parent to Chelsea's Pope,
established and decorated in a style similar to other manuscripts that were produced by the library.
A second is a lullaby to Carlos Latinus, a collection of saints lives.
But here drawing, its a life of prayer, not from another known script containing saints lives,
but from our own to Tell is a manuscript of the Collected Works of Cyprian.
It too was produced until illuminated for the New Vatican Library in a rather different style.
A third is a Palatine manuscript in the Vatican.
Unlike decorated at Naples, whether it was written in Rome and decorated at Naples.
I mean this possibility, and a fourth line of descent, is represented by the printed editions,
of which the first that I've been able to discover was made as late as 1553, which is extraordinarily late for a first edition.
Rest of set prints. Work sets. Um hum. Uh um uh, well, most of the rest in the 40s, early 1470s.
In fact, one can show that a large number of other manuscripts derive from the lost pompoms, a manuscript.
Monty found diversified version of the cane a prairie in several manuscripts that also contained the life in Salamanca.
If you look at your handout, San Daniela, Turin and another Turin library and another Vatican manuscript.
I've collated these manuscripts in several texts in this corpus,
and in all I found that the sound daily tally 80 manuscripts shares all the errors of the manuscript in Salamanca and adds more of its own.
Therefore, the Santo Santana early manuscript ought to derive from the manuscript in Salamanca.
Which is a characteristic product of a small but very interesting collection.
Humanist qual aereo da tenure. A very minor humanist.
Left his collection of manuscripts to his home town.
Son Daniel et al. For you like which is best known to Italians who don't work on humanist manuscripts for its ham.
His Biblioteca Chewbacca is consequently known as the Biblioteca Chewbacca.
Well they're young. Any of Canarias manuscripts were produced in Padua,
and therefore they often provide a guide to the kind of text that circulated in part of our in the around 1450s and early.
However, there was a problem. So periodic scholars say that the Salamanca manuscript,
obviously not written in Salamanca but taken there later, was written late in the 15th century.
But the son Daniel appears in catalogues and fallen areas, books made in 1461, and Canario himself died in 1466.
I therefore propose a redacting of the Salamanca manuscript, and here is in it,
so that you can decide whether for yourselves, yourselves whether that is plausible or not.
And the two other manuscripts, and this part of the family tree from the children on the CG collection in the Vatican are eclectic books,
which I should have put a slide in of the children, which I have, and I apologise for not having done so.
Uh, which, uh, are striking because they represent the first time in which virtually everything that
anyone in the Middle Ages and Renaissance had ascribed to Cyprian were collected together,
including some quite rare texts. Um.
In other parts. Some other parts of the corpus that are closely related to the San Salamanca and San Antonio manuscripts,
but I've generally been regarded as independent of them.
I am not quite so sure that I wonder whether actually a children one derived from the one in San Daniel,
but it becomes is too complicated to expound aurally.
I'm going to go on to a more significant manuscript in the Ambrosiano in Milan.
He won three one in February. It has, for the most part, um, a collection of separate networks that, like many other Italian manuscripts of Cyprian.
Um, derives from a manuscript that doesn't contain the life in Turin of the 12th century.
And there is a picture that's one of the most productive and important of Italian manuscripts.
But it has an appendix of mine of works not found in the story manuscript.
And these include the Life of Cyprian.
It's text of the life contains some, but not all, the Arrows of Power to Chalice manuscript that I showed earlier.
And so one concludes that the two manuscripts probably derived from a shared lost copy,
probably parental Shelley made or had made since he was grant enough to have other people to do the work for him.
A rough copy of Upon Post, a manuscript from which both derive.
This Ambrosiano manuscript belonged to a friend of power and to Francesco Pixel Passa, who lived from 1375 to 1443.
He was Bishop of Pavia and subsequently Archbishop of Milan.
There is his manuscript of September with Melanie's declaration on it.
Many of El Paso's manuscripts, most of which almost all of which are now in the Ambrosiano in Milan,
were used as exemplars, and this one is no exception.
And what I'm about to say would have been useful for previous editors of the text, both of the Cyprian corpus in general and of this text.
Um, I've listed another Ambrosiano manuscript with the signal on AA197 and a manuscript in Jerusalem.
There are both copies of it. Um, I don't need to say anything much about them,
except that the striking feature of this other ambrosia on the manuscript is that its scribe is known for just one thing he signed three manuscripts,
all copied from manuscripts of pizza and other. Um.
Got a fourth. Sorry, a third. Here in Florence's Riccardi are in the library.
A less well known library in the lower right corner, but full of interesting material.
A number 305 is described by Dirks and his addition of Cyprian letters as a manuscript that contains some of the texts of Turin 8437,
which is that 12th century manuscript that I mentioned earlier.
Um, and was the source of Pete's El Paso manuscript and does likewise having an appendix, in fact.
It is the last portion of.
Um, a copy of Pete's El Paso's manuscript.
Um, and that is revealed by the word a, and I hope I've put the right slide.
Um. Um, yes, I can you can see it brings up the top, uh, of the same author.
It's clearly, uh, lost its beginning, which no one seems to have pointed out.
And that stands for upset prayer. And it's a letter set for him with which it begins.
This man where this manuscript was copied to. I showed it years ago to, um, some people who couldn't place its handwriting.
Someone even wondered if it was Swiss, which would be a possibility,
as I shall talk about Basel in my fifth letter, and peaceful person went to Basel.
Anyway, it found its way to Florence, where it is now, and from there it came into the possession of a character known as Frota Evangelist,
a monk from Cortona, about whom we do not know an enormous amount.
And for long most of what we did know about his books was owed to the late Tillie de la mer, friend and teacher of some of you present.
But for those of you who did not know her, the greatest ever palaeography of 15th century Italian manuscripts.
Dilemma identified the signature of three evangelists on several Florentine manuscripts now in London.
He observed that he seemed often to employ the services of the scribe or Marlowe's uh,
foretell in Latin, which I hope is accurately translated as Herman of f.
What? There were many German scribes who worked in Italy in this period, who took an interest in manuscripts of Cyprian,
and hence was able to recognised evangelists as marks of possession on this manuscript.
She also recognised evangelist as hand in a manuscript in the Fitzwilliam Museum of Cambridge,
which I secured a picture of what a fuss they made about giving it to me.
I have to have a license to show it to you. On.
After her death it was recognised by others, but many manuscripts in the Biblioteca Comunale of Cortona were owned and annotated by evangelist.
Most being similar in style to this Cambridge manuscript.
These include manuscript 36, which I've already mentioned, but I'm afraid I don't have a very good image of it.
Two manuscripts are owned by evangelists, the Cortona one and the one looks out back.
That one well able to um cross-fertilisation.
Omanis added a table of contents to the wall in Florence, says Ricardo Viana.
Close, and that is the hand identified by the little arm that correctly.
And actually it's beginning to end. He copied out a passion of the Act of Cyprian, to which a truncated life in Cortona 36.
Remember I said, the actor follows the trunk, and, uh, in this family of truncated manuscripts.
Wasn't there in this manuscript before? It was.
But neither Corto 36 nor the manuscript in the Ricardian is a grand manuscript.
But evangelist was able to use them in production of a more elaborate manuscript.
All 5005 unfortunately powerful.
I did a trial of this paper, a few really only a few days before the catastrophe in the British Library and
the cyber attack which made the catalogue of illuminated manuscripts disappear.
And I took a screenshot of it.
I can show that is all Nana's writing slightly more, uh, more neatly and a more elaborate nine script for evangelist, uh, to perhaps use.
He also wrote While in Vienna 770, commissioned presumably from an unidentified scholar or clergyman.
In both cases, the text of live derives from or Toler 36, up to the point to which it breaks off.
Thereafter. It derives from the manuscript in the Ricardian before reverting to the text of Cortona for the act.
I can prove this not only by errors shared by the four manuscripts, but also by Marx that evangelists are made on the record.
You also might want to look at number 12 in the handout and in the margin on folio 929 he wrote.
From here to the end, the text is missing in the other volume and therefore needs to be copied out.
Placing before there's a marginal comment that looks like a tadpole.
You can see it up there only in Latin and plainly the other volume is Cortona 36.
Uh, evangelist, uh, um, clearly forth.
And what we know is the act, uh, was part of voter I.D.
Okay. Well, there was a missing bit of what he had. He was wrong in that.
And he noted its absence from the manuscript in the record here in Florence.
At the end of the text there on folio 101, he wrote in the right hand margin.
Part of this book is missing here. Look for it at the end of this volume, at the sign like this.
And a tadpole like sign follows.
And I'm going to I see. Time is marching on.
And so I shall skip some of what I'm going to say.
But at the end of the manuscript in Florence, the actor duly copied out the hand of all nuns.
Uh, the, uh. Okay. Um, as a coda to this part of the discussion, I note that my manuscript in Madrid.
Um. There's a smaller collection of CPI, and it was derived from the manuscript in Vienna produced by all nighters.
Up till I'm I did not know that, but I wonder whether she would have identified that, so I'm not sure.
It's all analysis hand. I've sometimes wondered if you also was.
But we're not yet done with this part of the transmission.
Um, the record, the manuscript in Florence's record.
You had a descendant in another manuscript now in the same library, perhaps Covid, probably coincidentally, they're in the same library and, um,
pretentious paper copy that was written by the Florentine scribe Nicolo Fons,
you know, mostly, but in part by his brother, the minor humanist Bartolomeo Fonds.
Yeah. Which includes the full text of the life, but also the actor.
And it's very derived from the other wildlife just mentioned.
And this TypeScript is. How shall I put it?
Rather like an aphrodisiac to someone investigating a manuscript production.
Since it is the source, probably often the direct source of numerous calligraphic copies.
Thus you can look at your handout. This one in Vienna. Olympia, this is Marciano, not a body manuscript in the Vatican.
And the manuscript, um. And, uh.
Yeah. Bruno collection. A very long, grand manuscript made for um Federico da montefeltro, Duke of Urbino.
They are, you can see, some light in Florence and a copy at that last night in Florence, in the Palatine collection.
Lawrence. Most of these manuscripts were used by Cardinal Pellegrino for his edition,
but particularly important at the end of the text, but this was unfortunate.
Um, in the case of this manuscript, Palatine 24, it has three extant ancestors, the one in the Puno Collection, later one in the Ricardian.
The earlier one in the Riccardi are not actually set for extant ancestors, and the one in the Ambrosiano.
Well, I think I'm going to. I've been talking for long enough, so I think I should draw things to a close and skip,
um, the final few minutes of what I'd hoped I might be able to say.
I tried to show in the handout, if you're interested to know Latin.
An interesting textual problem. What difference does it make to have the manuscripts rationally assessed?
And what interesting problem I've put down there is where there is one.
The most corrupt group of manuscripts has a reading printed by all editors.
But is it actually correct? Could it possibly have the truth?
Or are the three other manuscripts, uh, are other families of manuscripts?
Defensible the reading. I'm going to pass on that.
I think it is possible to defend that after reading and just go to another aspect that could be said as a conclusion.
Italian manuscripts and later manuscripts sometimes matter at various points of editing the periodic collection,
and they feature in discussions, um, in of the family trees of various branches.
There were numerous collections of manuscripts of Cyprian that came down to the Middle Ages.
I have not always been assessed well, and that is a great deal of detailed work that can be done.
I'm going to look in my first lecture again at some separate manuscript,
particularly showing how the council at Basel, um, explains certain interesting features in the family tree.
I think I'll stop there because I've been going on longer than I hoped.
So thank you very much.