Sign Georgia Permission Slip Fast

Document type sign permission slip georgia fast

so um dr amy got a got to work on one of these so the they uh they gave us i believe nine folios at first and i can show you um let me see if this works oh there we go i can show you a picture of what it looked like when we first received it it was like nine folios that looked like this so very very beautiful we were all really excited to get to work on this um so there was a team of us that started working on this in 2014 it was amy and i and then her a group of her undergrad students at north central university so our task was basically to figure out what this is like figure out what what year or maybe what century probably get to only can can figure out what century it belongs to what it actually says what these pages belong to and then to study the text to see if there is any significance in the text itself so basically that's what you do with an unpublished manuscript just try to find out as much information as you can about it and study the text that's written on it so we got to work that semester and we were able to ascertain a few preliminary preliminary things so first i believe we were able to um uh date the manuscript to the 10th or 11th century and we we did that based on just looking at the letter shapes the frequency of the magiscuos and then we compared it to actual dated manuscripts so a dated manuscript is a manuscript that actually has a date written on it somewhere this one did not have a date so we had to just compare the the um the letter shapes to try to get a you know as close of a guess as we can for the date so um that was our preliminary guess 10th 11th century um we also looked at um the text itself there were only nine folios so we were able to transcribe it fairly quickly and i believe what we did was compare the our actual transcriptions to other manuscripts i think we were just spot checking to see if we could figure out what type of text we had here and our preliminary conclusion was that it's a mainly byzantine text we knew that it contained all four gospels because the nine folios that we received were from i think we had a few folios from all four gospels so we knew that this must have come from a codex that contained all four and then we also noticed things like at the top of the page you can see uh arabic numerals which looks kind of out of place on these folios and we figured out that well we know that arabic numerals these arabic numerals were written in pencil and pencil was invented in the 16th century so we knew that these num these numerals were added somewhat later not when this codex was created um and then i think the last thing we did was check to see if these if these folios might belong to another manuscript that are that we already know about so we did that by looking in the vmr which is i don't know if peter if you've mentioned this yet yeah a few times so they have a basic introduction to it oh okay yeah so the vmr the virtual manuscript room we checked in there to see if if these pages belonged to any of the manuscripts that were already in the database and we did not find any match so i think that was as much as we were able to do that first semester um here's a close-up close-up image of the text itself so you can see the uh the style of the letters and the quality of the the manuscript is actually really good quality so what happened after this is um let's see was this 2014 i think it was 2014. i can't remember for sure now but there was one summer where i went to oxford um and participated in the lincoln college greek paleography summer program and i was actually there with peter and that's where we first met right yeah that's right yeah um it was a one week very intense paleography course taught by um i think it's pronounced georgie harpolav um but he is an amazing uh paleographer he he could read like any manuscript you put in front of him um and so we spent the whole week studying various uh majuscule and minuscule hands and then we came to uh bulate and pearl shrift which are two types two hands like basically two styles of writing bullete is a uniquely 10th century hand for some reason it only shows up in the 10th century and it's characterized by rounded letters distinguished by dots at the beginning and ends of strokes and then pearl shrift emerges in the mid 10th century and it goes out of use very quickly by 1100 it's gone so the and these two hands are actually they look very very similar so i can actually show you a comparison on the left here this is um bulate and on the right is pearl shrift so they look very close so when we got to this point in class i actually had luckily i had an image of this manuscript we were working on and so i was like oh wow this really looks like pearl shift orbite i'm going to ask georgie if he can confirm which one it is so i showed it to him and uh he confirmed to me that this is indeed bulate so first of all that confirmed that we have a 10th century manuscript here because only occurs in the 10th century but then here's the most exciting part gary actually has a photographic memory i i'm pretty sure he has a photographic memory especially with manuscripts and he told me he had seen this before i i remember this you remember this very vividly because you can correct me that my in my memory it was like over lunch like you told him right before lunch and he came back after lunch and had found it oh my goodness you have a good memory that's how i remember it maybe yeah i think i was like oh my goodness that's amazing yeah yeah so i showed it to him he was like i've seen this before and then i guess after lunch he came he came back to me and he handed me a copy of a published description of a codex in orlando and this codex is in orlando at the holy land experience have you guys heard of that before like a bible yeah like a like a bible amusement park um i actually have a picture of the website back in time so yeah i looked up this place and i was like is this a real place but it really did exist and at the holy land experience there's a section called the scriptorium which actually houses um a bunch of ancient artifacts and manuscripts so um the van kampen collection is actually housed here and the codex that um that georgie remembered was here at this collection so i was i was super excited i actually um i was really really happy that this worked out but my parents live in florida so that summer i went to visit them and then i arranged a visit to this collection and they i forget how we worked it out but um amy had a bunch of contacts and we were able to contact the collection or the the curator i think and he gave me a two hour access to this codex so here it is and yeah i was ecstatic i got to just sit there by myself and play with this manuscript for two hours and so you can guess what the first thing i did was i i checked to see if our nine folios that we were given were from this codex and here's some more pictures of the the outside i can just scroll through here um so yeah the first thing i did was check if uh our nine folios were part of this codex so i looked for those pages and sure enough every spot where um where are folio should belong this codex was missing that page so i knew right away our pages our nine pages came from here so that was very exciting um and then i found out some more information about this codex i found out that it was purchased from sotheby's on the 18th of june 1991 i believe they had like a catalog description of it we don't i don't think i could i was able to locate a record of sale um and we i did ask around and i don't think i ever was able to find any information on provenance like where this codex came from and i think that's still a question we need to answer right now um i we i found out that there were 196 folios altogether the page numbers are written in modern pencil as i said before the text on the first page begins at matthew 12. at least the numbering starts there so we're thinking that uh this this codex was rebound probably in the 16th century or or later and it was already missing a bunch of folios at the beginning and at the end and then so they rebound it and they numbered the pages in pencil according to the catalog description the binding is um oh that's how we know it's 16th century i forgot the binding is a 16th century cotton sewing so there we go we got rebound in the 16th century it's very badly damaged as you can see some of the pages pages were really loose i could not find any choir numbers i think the edges may have been either the edges are really worn or they've been slightly cut when they were rebound so there are no choir numbers and other things it contains uh mark 16 9 through 20 which is the longer ending of mark but doesn't it doesn't have the shorter ending the prickipi adulterai was not in the text after john 7 52 but a later scribe wrote the entire pericope in the margin i'll show you a picture of that later uh and then the really exciting news was when i got there they told me that daniel wallace who teaches that is he at dallas seminary still yeah daniel wallace he studied this codex before and he had actually brought his equipment and digitized every page so they gave me a copy of all the digital images of this entire codex and i just put in my backpack and brought it with me back to minnesota so that's how we got a copy of all the images and we were able to study it the entire codex as a class so that was very exciting um yeah let me let me see i i have some other pictures here this is oh there are four gospel writer illuminations in the codex which i thought were really cool this one is matthew mark luke and john with a very golden background and this is just this is parchment is that right this is not paper i'm sorry what this is parchment not paper right uh yes it's parchment yeah uh i think these are the images of the spots where our folios our nine folios fit so here we had a missing page here was a missing page or pages here's uh here's mark without the shorter ending so we have the longer ending here here is the frickin adulterer i written in the margin and it looks like it was written before it was rebound because you can see the words just sort of trailing off on the edges there so yeah very amazing work by a diligent scribe here's a close up so after this i went back to minnesota and then i believe i believe i can't remember that for certain amy you can correct me if i'm wrong but i think we had another class with another group of students was this the second group second or i think we had three groups total working on this so there yes there were a total of three classes the first one had the nine folios then you discovered the codex then the second group transcribed all four gospels that's right and that was about how far we got and then the third group was an honors seminar of the those what was it seven seven students or so and they then did um second coalitions where it was needed it reconciled them and then we did call second transcriptions reconciling and collation of mark or no john it was john okay yeah thanks that was the most recent thing we did okay right so with the second group then we set to work to transcribe the entire codex so all 196 folios and that was a huge huge task which took us i don't know it took us i think more than a year for sure to transcribe the whole thing uh and here's an image of the the vmr which i i guess you're familiar with but um so this is where we transcribed everything and we needed two full transcriptions of the entire codex so that we could reconcile the two transcriptions to check for any errors and to make sure we had the best version best transcription we we could get so once that was done then i believe the third group the the honor students um worked on reconciling the two transcriptions and then they collated that transcription with the robinson pierpont byzantine text and seven other manuscripts so seven of uh you know the the main important manuscripts and i think these were the ones that that they were able to get a full transcription of in the vmr so there weren't very many full transcriptions we could use so these were these were the seven so what you're looking at here is just a list of collation which is um basically comparing the texts of the transcription the transcription of 2860 which is our codex to these seven manuscripts and the byzantine texts so it shows us where they agree and the very the variance at each point um so they did that for they were able to do that for the entire gospel of john and these were oh i don't know if you can see the numbers these were the um preliminary calculations they were able to come up with for john 1 through 7. so basically what they had to do was count how many times the uh our manuscript 2860 would agree with each of these other manuscripts that we collated it with and so the results were the byzantine agreed with the byzantine text 86 of the time which is a huge number so we know that the text of this codex is basically byzantine and then in second place was uh codex 18 and that's also really high because i think codex 18 is a byzantine text you can see that the red bar is non-byzantine agreements which is very very low in codex 18. um so yeah the conclusion is un unfortunately our work shows that this codex itself is not that important in terms of its significance for reconstructing the earliest form of the new testament text but we kind of expected this given when we looked at our nine folios we already knew it was pretty byzantine and so i think our next step now is just to uh write up and publish our findings and try to see if we can get any information on the provenance of this this codex so yeah that's all i have um but i'm open to questions or comments i'm gonna okay clark's got a question i'm gonna take the first one i'm in charge so they can't stop me um so i'm really curious as to if you said your nine folios were from different places right yes so i'm really curious if they were all the middle part of the choir or not they were not the yeah it was really hard to tell we couldn't really see the choir because the binding was so bad and there were no choir numbers so it was hard to see like where the choirs were yeah so yeah that's the natural place to tear one out um i mean could did you could you find any rhyme or reason to why it was those ones um well we did receive a fair number of folios that were like stuck together yeah which which makes me think that maybe those were the middle of the choir like they were they were one sheet and also we saw a lot of reinforcement strips which are like little strips of parchment that they would put at the in the middle of the choir when they re-sew it so i mean that could be another indicator yeah yeah okay that's right all right clark uh you'll speak probably really loud because this mic on my laptop thanks for uh the presentation jessica i was just wondering uh when you mentioned it came from the van camping collection over at the holy land do you know any understand i know you don't know the prominence of this particular one but has anybody looked into much of that collection as a whole do we know the background of how that how that got collected and ended up in the holy land i'm not very familiar with that information i don't know if amy knows anything um uh i know that the museum of the bible has worked closely with them in the past but that's as far as i know okay yeah i was kind of wondering if there was any connection between the greens and that i thought there might be but i wasn't sure yeah i i do think there is a connection we just haven't totally sussed it out um people tend not to talk very much because there's all this fear of being accused of doing wrong things now they they bought it without the provenance being clear how those pieces got separate from the codex we haven't been able to find anybody to give us any clue about that so far that the two families do have a lot of connection though the green family and the vancampens uh especially back a ways when the the patriarch of the band campaigns is the one who is really interested in collecting manuscripts and when he died that's when they kind of just stuck everything in that room at the at the amusement park but before that he was intending to be something like what the greens are now but no we're we're really lacking information there things that we really need to know yeah cause i'd be really curious to know when those pages got taken out and what the school paid for those pages versus when it ended up in the experience i mean among other questions i would have too right by the way you know who else's library is supposedly there uh at the bible holy land experiences ever heard nestle his personal library is supposedly i've never seen it but that's what i'm told yeah oh i didn't know that isn't that funny yeah anybody else's questions yep just be way up because you're sure why uh you said when you did the initial you found the initial folio you looked at the vmr it wasn't there um especially and then later you said that daniel wallace had photographed the manuscript is there a reason that maybe there was a delay between his photographing it and ending up the bmr shouldn't it have gone from being documented to being in the vmr yeah that's a good question and that's what we were wondering too we were hoping that it would be accessible but i think part of the part of the reason is we had they had to get permission from the van campens to put it on the vmr because it's their private collection and once it goes on the vmr it's it's public basically like any of the scholars who have access to it can see it and this was also an unpublished manuscript which no one had studied yet so i think for those reasons they were hesitant to just post it on the vmware right away and in fact if you go there you will not find it or you won't find the images you may find the transcriptions but they allowed us to to put the images up no actually we never put the images on there did we we looked didn't we look at the images in the files that you received and we put the transcriptions on the vmr but the images are not available to the public even now as far as i know right right i asked them if we could have permission to and they said we could only use it for private study like we couldn't publish it anywhere so i can fill a little bit there for my work with csmtm usually on there and it's completely determined by the institute where they photograph so csntm uses they basically have to do whatever the the owner says you know so if the owner says hey you can't publish these then then they don't and that usually then filters down to the vmr so that could be why uh i just had another question as i was thinking about it did jessica did the holy land experience this report did they know that they were missing leaves no i don't think they knew what they even had there were they surprised were they like whoa what was their reaction when they found out there was he didn't really have a reaction it was i only i only interacted with one i don't even know if he was the curator of the collection or just someone managing it while like while i was there um but yeah i told him about it he was he was like i think he was just surprised but he didn't really say much so i don't know what they think other questions uh when you were taking pictures they don't make you wear gloves when you're handling manuscripts they didn't i felt like i was violating some rules i was like should i should i wear gloves and they're like no just go ahead handle the manuscript i was like okay and i was like touching the edges very gingerly afraid to break anything when i first started working with csmtn uh they would make us wear these little um cotton ones white ones but then i think after a while they kind of change their mind because it's easy for those to snag and the last thing you wanna sort of page is actually you know rip rip some 800 year old manuscripts so they actually felt like they just they usually have us wash our hands first but that was it yeah that makes sense so when you're documenting variants so with the the adulterate how do you how do you document that variant when it's it's clearly not part of the original describable edition but it's it's significant it's not just a correction it's like a huge insertion you mean document as in like how would you input it in like the vmr or sorry like in an apparatus how do you know how do you know something like that in an apparatus oh yeah i mean i guess you would just list it as an omniscient i don't even know if this is an important enough manuscript that it would be in any apparatus but if it were i guess it would be listed as an omission i'm sorry say that again did you try to date the hand of the attitude no we haven't done that because i know maurice robinson has a big um a big collation of every manuscript of the perique if he adultery uh dr anderson maybe you know more about that i just wonder if he if he's seen it and doesn't fit in any of his categories that he's got we i don't this is a this is a problem for us because we would get really intense into this manuscript and then the next semester would come along and everything would just get left laying and so my memory is a little vague here but i did interact with him i had met him in munster when he was working on the perkippy and so i i contacted him and i thought hey oh this is cool because we've got a we've got a 10th century manuscript that omits the pericope and he said actually there's quite a few that do that um i think we did we did think that the replacement hand in the margin is fairly old it's not it's not a late hand so yeah go back to it there you go this is not like a 14th century hand or something i don't think i mean there are a lot of ligatures but that's probably more because he's trying to fit it on this page in writing tiny um the letters themselves are very very uniformly made and open omegas oh oh that's right wait a minute which is the older open or closed omega i think open is older isn't it or not i might be wrong on that of the you have that argument no no that's a magic skill that's a magical omega so there's a lot of so you know maybe 12th century yeah i'm just throwing that i'm not added by the same scribe though right no i don't think so i mean you you could argue there there's there is some similarity but you know what like jessica pointed out the little bubbles on the ends of letters you don't see that in the in the in the margin there yeah the our scribe is writing with minuscule omega minuscule p and the margin is magical can i just while you're on the screen can i point someone out to my students each of the moments students see where the number of the page page number is okay always pay attention to where things are in relation to each other on the page yeah no like jessica does when pencil was invented you should be able to look at that page and compare it to where the page number is on other ones right and see that page number is written after the pericappy adulterer i was added mm-hmm yeah describe it out of the adulterated not have to write around that number that number got written around the adulteration okay so always pay attention to the relationship of things every manuscript has a history right a trajectory of chronology and so watch for that stuff okay sorry uh any another question can you it's your last one did you find any like uh uh any scribal notes or anything when you're flipping through it i mean we must have uh i don't know if i have any images of those those are the fun parts the very back is missing where there might have been something [Music] not seeing any right now there was yeah i honestly can't remember at this point i think some of the some of the other students they go ahead amy well that i have a student who worked with matt whidden on some code ecology uh and jessica hasn't been able to find out a lot about that because they didn't communicate with us this week but uh matt may come on he was hoping he could join us um and matt was there in orlando while mitch was here and they were communicating and mitch was saying try this and look at that and so there was a there's a number of things one a couple of other code ecological things are that the gospel of john's illumination is much older and a different style right than the other three so and and i think all the illuminations probably were added later um also there and i don't know that you had any pictures of this there are pages that have been cut um and interesting one of my students looked at this and tried to reconstruct what was missing and did a good job of it and interestingly it's the place in john where jesus talks about eating my flesh and drinking my blood and we were just speculating could it be that it was used for an amulet or could it be that it really bothered somebody they didn't like it and they cut it out um but that was the manuscript was actually not only did they cut that portion out but they just cut right through other sentences and left them half there so they didn't do it carefully so whoever did it didn't care about the codex they cared about getting that piece of scripture out of there and it was definitely cut not broken not accidentally yeah it's also that's what makes it interesting to me that we're it's not like all the pieces you had from museum of the bible none of them had illuminations is that right no no yeah that's interesting too because i've definitely seen manuscripts where you know somebody has cut out the illumination but um but they seem to have left all these ones in place interesting okay other questions anyone besides ready [Music] eddie would you like to the illustrations do they ever use stamps because that that design that artistry on the top of that page right there almost looks as if it had been stamped there or the the symmetry between those um latticework they were just good [Music] i mean how women were stance no no i don't know but you can see if you compare them closely uh i'm sure you would see compared these the ones in the other gospels you'd see it's like it's not it's nice yeah see they like to do just like yeah all right any other questions all right well we don't want to keep keep you guys any longer um thank you both so much for coming this has been great it's really fun to get to hear a story of kind of discovery and and how you trace things down and get to experience those moments uh with you i do you know i was there for the one it wasn't you know i'm sure it was more exciting for you than for me but still it's it's really fun and it gives a really good example of the things we can learn from manuscripts and how each one has a story to tell not only in the text but in this subsequent use right or abuse in some cases so anything else you want to add before we let you go uh no i just just wanted to say thanks for the opportunity it was really fun to revisit this after uh not working on it for a while so and well thank our visitors you