Comparative Oriental Manuscript Studies An Introduction Edited by Alessandro Bausi (General Editor) Pier Giorgio Borbone Françoise Briquel-Chatonnet Paola Buzi Jost Gippert Caroline Macé Marilena Maniaci Zisis Melissakis Laura E. Parodi Witold Witakowski Project editor Eugenia Sokolinski COMSt 2015 Copyright © COMSt (Comparative Oriental Manuscript Studies) 2015 COMSt Steering Committee 2009–2014: Ewa Balicka-Witakowska (Sweden) Alessandro Bausi (Germany) Malachi Beit-Arié (Israel) Pier Giorgio Borbone (Italy) Françoise Briquel-Chatonnet (France) ¥w¦cpc"Icžƒmqxƒ"*Unqxcmkc+ Charles Genequand (Switzerland) Antonia Giannouli (Cyprus) Ingvild Gilhus (Norway) Caroline Macé (Belgium) Zisis Melissakis (Greece) Stig Rasmussen (Denmark) Jan Just Witkam (The Netherlands) Review body: European Science Foundation, Standing Committee for the Humanities Typesetting, layout, copy editing, and indexing: Eugenia Sokolinski Contributors to the volume: Felix Albrecht (FA) Per Ambrosiani (PAm) Tara Andrews (TA) Patrick Andrist (PAn) Ewa Balicka-Witakowska (EBW) Alessandro Bausi (ABa) Malachi Beit-Arié (MBA) Daniele Bianconi (DB) André Binggeli (ABi) Pier Giorgio Borbone (PGB) Claire Bosc-Tiessé (CBT) Françoise Briquel-Chatonnet (FBC) Paola Buzi (PB) Valentina Calzolari (VC) Alberto Cantera (AC) Laurent Capron (LCa) Ralph M. Cleminson (RMC) Marie Cornu (MCo) Marie Cronier (MCr) Lorenzo Cuppi (LCu) Javier del Barco (JdB) Johannes den Heijer (JdH) François Déroche (FD) Alain Desreumaux (AD) Arianna D’Ottone (ADO) Desmond Durkin-Meisterernst (DDM) Stephen Emmel (SE) Edna Engel (EE) ¥w¦cpc"Icžƒmqxƒ"*¥I+" Antonia Giannouli (AGi) Jost Gippert (JG) Alessandro Gori (AGo) Oliver Hahn (OH) Paul Hepworth (PH) Stéphane Ipert (SI) Grigory Kessel (GK) Dickran Kouymjian (DK) Paolo La Spisa (PLS) Isabelle de Lamberterie (IL) Hugo Lundhaug (HL) Caroline Macé (CM) Marilena Maniaci (MMa) Michael Marx (MMx) Alessandro Mengozzi (AM) Manfred Mayer (MMy) Joseph Moukarzel (JM) Sébastien Moureau (SM) Mauro Nobili (MN) Renate Nöller (RN) Denis Nosnitsin (DN) Maria-Teresa Ortega Monasterio (MTO) Bernard Outtier (BO) Laura E. Parodi (LEP) Tamara Pataridze (TP) Irmeli Perho (IP) Delio Vania Proverbio (DVP) Ira Rabin (IR) Arietta Revithi (AR) Valentina Sagaria Rossi (VSR) Nikolas Sarris (NS) Karin Scheper (KS) Andrea Schmidt (AS) Denis Searby (DSe) Lara Sels (LS) David Sklare (DSk) Wido van Peursen (WvP) Annie Vernay-Nouri (AVN) François Vinourd (FV) Sever J. Voicu (SV) Witold Witakowski (WW) Jan Just Witkam (JJW) Ugo Zanetti (UZ) This book is published under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license (CC BY-NC-ND 4.0) (www.creativecommons. org). Printed by: Tredition, Hamburg ISBN 978-3-7323-1768-4 (Hardcover) ISBN 978-3-7323-1770-7 (Paperback) ISBN 978-3-7323-1769-1 (Ebook) 2. Digital and scientific approaches to oriental manuscript studies (JG–IR–FA) 31 2.3. Methods in palimpsest research (FA) Several methods can be applied in order to read faded or erased writing, or different layers of writing on parchment. Once chemicals were used to make ink traces visible, but later damaging effects were noticeable. Nowadays, great success can be achieved with modern imaging techniques. 2.3.1. Chemical reagents In the nineteenth century, three substances were mainly used: oak-gall tincture, various liver of sulphur tinctures, and Giobert tincture. (1) Oak-gall tincture, an alcohol-based essence of oak apples, brightened the old metallic inks so that the faded writing gained in legibility. It made the unwritten parchment brownish due to tannic acid, which brought about corrosion of the ink, and produced an increasing ink damage (fig. 0.2.5). Oak-gall tincture was used, for example, by Cardinal Angelo Mai (1782–1854), and Barthold Georg Niebuhr (1776–1831). (2) Liver of sulphur tinctures, based on the principle that the metallic traces of the scriptura inferior’s ink precipitated through contact with the various sulphide solutions, helped to freshen up the optical effect of the old ink traces. Three types of these tinctures have been employed. (a) Liver of sulphur is a mixture of potassium polysulphide and potassium sulphate, produced from potassium carbonate and sulphur, and was applied as a solution to parchment. It had the effect of precipitating metal ions as sulphides. However, the traces of potassium carbonate left as a rule in this process formed potassium hydrogen carbonate in combination with water. Both salts produced a sediment in the form of a thin film on the surface of the parchment. (b) Calcic liver of sulphur is a mixture of calcium polysulphide and calcium sulphate, produced by a combination of calcium carbonate and sulphur. It possessed the property of precipitating when in contact with sulphides with corresponding metal ions, but at the same time the calcium sulphate crystallized as gypsum in contact with water. (c) Volatile liver of sulphur consisted of ammonium hydrogen sulphide in solution. The ammonium hydrogen sulphide solvent in water was also referred to as sulphurated ammonia or hydrosulphuret of ammonia. The palimpsests treated with volatile liver of sulphur display no damaging changes to the parchment surface that would be worth mentioning. Liver of sulphur tinctures were used, among others, by Barthold Georg Niebuhr (1776–1831), Wilhelm Grimm (1786–1859), Karl Pertz (1828–1881), Hugo Duensing (1877–1961), and Martin Flashar (1885–1914). (3) Giobert tincture, a weak acid solution of potassium hexacyanoferrate(II), named after the Turin chemist and mineralogist Giovanni Antonio Giobert (1761–1834). It consisted of six parts of water, one part of hydrochloric acid and an eighth part of potassium hexacyanoferrate(II). The weak acid solution of potassium hexacyanoferrate(II) reacted in contact with the iron(II) sulphate of the ink to produce a deep blue precipitate, so-called Prussian blue. The deep blue, almost black, discolouration of the scriptura superior came about through both of the oxidation stages of the iron. The greenish discolouration of the scriptura inferior had to do with the precipitates of the iron(II) sulphate in form of hydrous copperas. Partial oxidation from bivalent iron with its blue colour to trivalent iron produced the green colouration. Giobert tincture has caused the greatest damage. The large patches of light-to-darkblue-greenish-blue discolourations are typical, especially when little care had been exercised (fig. 0.2.5). A striking example of its use is the famous Codex Ephraemi Syri rescriptus (Paris, BnF, Grec 2), on which not only Giobert tincture but also oak-gall tincture was employed (Albrecht 2010 and 2012, 165 n. 28). Giobert tincture was used, among others, by Amedeo Peyron (1785–1870), Ferdinand Florens Fleck (1800–1849), and Constantin Tischendorf (1815–1874). For more on this topic see Albrecht 2012; Fuchs 2003; Gullath 2003, 83–85; Lo Monaco 1996, 709– 717; Gardthausen 1911, 106–109; Posse 1899, 4, n. 1; Wattenbach 1896, 310–315. 2.3.2. Modern imaging techniques The ‘Erste internationale Konferenz zur Erhaltung und Ausbesserung alter Handschriften’ in St Gall in 1898 marked a turning-point in palimpsest research: photography was now recommended as the essential tool for scholarly research (Smith 2012). At the beginning, analogue photographs were used, later, digitized analogue photographs. The digital imaging of manuscripts began in the 1970s (cf. Benton et al. 1979). Comparative Oriental Manuscript Studies: An Introduction © COMSt 2015 ♢ ISBN (Hardcover) 978-3-7323-1768-4 32 General introduction The use of photography was first tried out in palimpsest research at the Palimpsest Institute of the Abbey of Beuron, founded in 1912. Raphael Kögel (1912) developed a new photographic process that he named ‘Kontaktoxydationsmethode’. In the last analysis he also used the inks’ reaction to chemical processes. The acidic and metallic inks reacted in combination with an aniline solution, with the aniline salts being precipitated. The First World War interrupted the work at Beuron. Since then, people have mostly been content to use ultra-violet (UV) light for decipherment purposes. UV-light interacts with the parchment by fluorescence: while the ink traces absorb incident light photons, the parchment reflects them. As a result, the contrast between ink traces and parchment becomes enhanced. The German model ‘UV-Handlupe‘ is commonly used as a standard UV-lamp for library usage (most European libraries feature these old ‘Handlupen’ with a waveband of 320–380 nm. 2 UVlamps, each with 4.00 W, i.e. 8.00 W. Cf. also <http://www.carlroth.com>: UV-Handlupe, Art. 1199.1: kurzwellige Leuchtstoffröhre: 254 nm; langwellige Leuchtstoffröhre: 366 nm (320–400 nm)). However, the heat output of these conventional UV-lamps, as well as tungsten halogen or xenon lamps, is enormous; it affects the parchment and causes undulations during longer UV-radiation because it alters the humidity of the parchment. Therefore, modern LED technology was tried out in research, and is now used in all current projects that deal with the photographic analysis of palimpsests. This lighting method emits very low thermal energy. Furthermore, no additional band-pass filters, which would decrease the optical quality, have to be used since the lighting source itself is monochromatic with narrow wavebands at distinct wavelengths. In this way, sets of images taken at different wavelengths can be compared with each other digitally in order to further improve the discernibility of the underlying scriptures and to reduce the visual prominence of the overlaying texts. For this method, known as ‘multispectral imaging’ (Gippert 2007), different approaches are available on the market. New systems were developed especially during the ‘Rinascimento Virtuale’ European research project, which ran from 2002 to 2004. Today, five different multispectral lighting and camera systems are in use, which work in the ultra-violet, visible and infrared (UV-VIS-IR) spectrum of light: 1) the ‘MuSIS HS’ camera of DySIS, formerly Forth-Photonics; used, among others, for Rinascimento Virtuale, and in the decipherment of the Caucasian Albanian palimpsests of Mount Sinai (Gippert et al. 2007a, 2009; Gippert 2010a); 2) the ‘Mondo Nuovo’ and ‘RE.CO.R.D’ system of Photoevolution, formerly Fotoscientifica Record; used for, among others, Rinascimento Virtuale; 3) the ‘EurekaVision’ system of Equipoise Imaging, LLC/MegaVision, Inc., used for, among others, the Archi- Fig. 0.2.5 Leipzig, UB, Cod. gr. 2, f. 10r (left: Giobert tincture damage, right: oak-gall tincture damage), © FA & Universitätsbibliothek Leipzig. Comparative Oriental Manuscript Studies: An Introduction © COMSt 2015 ♢ ISBN (Hardcover) 978-3-7323-1768-4 2. Digital and scientific approaches to oriental manuscript studies (JG–IR–FA) 33 Fig. 0.2.6 Oxford, Bodleian library, MS. Auct. T. 4. 21 (Misc. 259), f. 255r (multispectral image), © FA & Bodleian Library. medes project; 4) the EMEL ‘Next-Generation System’, Stokes Imaging Inc., used for, among others, the Mount Sinai palimpsests project; 5) the MSI Revelator of MWA Nova GmbH, used for, among others, the PALAMEDES"rtqlgev"*Cndtgejv"4236+0"Hqt"oqtg"dkdnkqitcrj{"ugg"Fgemgtu"Î"Itwumqxƒ"4232."pp0"3Î7" (older literature), Mairinger 1981, 2000, 2004. All these imaging systems and methods—using the behaviour of light reflection and absorption by ink traces—can be divided into three major categories: 1) cameras with band-pass filters (for example VASARI, CRISATEL, MuSIS HS) plus lamps; 2) lamps with band-pass filters (for example, Rofin Polilight, SPEX CrimeScope, Lumatec Superlite) plus camera; 3) multiple, distinct lamps without filters plus camera (for example EurekaVision system, Next-Generation system, MSI Revelator). The new systems of category three use distinct monochromatic lighting scenarios without band-pass filters for multi- or full spectral imaging (fig. 0.2.6). The biggest challenge in older approaches was caused by the fact that the overlaying scriptura superior hides certain parts of the underlying scriptura inferior. However, new techniques are being developed for making the layers of scriptures distinguishable. For instance, X-ray Fluorescence (XRF) imaging has been tried out during the Archimedes project (Bergmann 2011). This method measures the XRF, which is recorded when the parchment is hit by an X-ray beam. The beam penetrates the overlying ink and recovers the underlying writing. However, the contrast of the resulting images is not good enough, and it takes too much time in order to be achieved for more than single leaves (Deckers – Glaser 2011). References Albrecht 2010, 2012, 2014; Benton et al. 1979; Bergmann 2011; Deckers – Glaser 2011; Deckers – Gruskqxƒ"4232="Hweju"4225="Ikrrgtv"4229."4232c="Ikrrgtv"gv"cn0"4229c."422;="Iwnncvj"4225="Nq"Oqpceq"3;;8=" Mairinger 1981, 2000, 2004; Gardthausen 1911; Posse 1899; Smith 2012; Wattenbach 1896. 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(1958) {T.B. – Tina Enuki鍵e – N. 症asra鍵e – Elene Me職reveli – Lili Kutatela鍵e – Kris職ine Šaraši鍵e}, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ｛℃｛【『 (Q) 』−【《≦♀『『＝｛. (Q) (Kartul xelnac Ｄerta a c Ｄeriloba axali (Q) 謹olekciisa. Opisanie gruzinskich rukopisej novoj (Q) kollekcii, ‘Description of the Georgian manuscripts of the new (Q) Collection’), II, Tbilisi: Sakartvelos SSR Mecnierebata A省ademiis Gamomcemloba. Brega鍵e, Tamar et al. (1959) {T.B. – Tina Enuki鍵e – N. 症asra鍵e – Elene Me職reveli – Lili Kutatela鍵e – Kris職ine Šaraši鍵e }, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ∞−＞『【『 ≦｛÷」》《【」｛" ∴−÷『＝" ′《÷｛/』『」℃》『＝" 〈｛】｛》÷♀《【《｝《【『 ＝｛「−〈｛〉−《｝『＝ (S) 』−【《≦♀『『＝｛. (S) – (Kartul xelnac Ｄerta a c Ｄeriloba q賀 opili kartvelta šoris c Ｄera-謹itxvis gamavrcelebeli sazogadoebis (S) 謹olekciisa / Opisanie gruzinskich rukopisej kollekcii (S) – byvšego Obš7estva Rasprostranenii Gramotnosti sredi Gruzinskogo Naselenija, ‘Description of the Georgian manuscripts of the collection (S) of the former Society for the Promotion of Literacy among the Georgians’), I, Tbilisi: Sakartvelos SSR Mecnierebata A省ademiis Gamomcemloba. Brega鍵e, Tamar et al. (1965) {T.B. – Lia 症i省na鍵e – Mixeil Kavtaria – Lamara Ka苦aia – Mzekala Šani鍵e – Kris職ine Šaraši鍵e – Caca 6委an省ievi}, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ∞−＞『【『 ≦｛÷」》《【」｛" ∴−÷『＝" ′《÷｛/』『」℃》『＝" 〈｛】｛》÷♀《【《｝《【『 ＝｛「−〈｛〉−《｝『＝ (S) 』−【《≦♀『『＝｛. (S) – (Kartul xelnac Ｄerta a c Ｄeriloba q賀 opili kartvelta šoris c Ｄera-謹itxvis gamavrcelebeli sazogadoebis (S) 謹olekciisa / Opisanie gruzinskich rukopisej kollekcii (S) – byvšego Obš7estva Rasprostranenii Gramotnosti sredi Gruzinskogo Naselenija, ‘Description of the Georgian manuscripts of the collection (S) of the former Society for the Promotion of Literacy among the Georgians’), IV, Tbilisi: Sakartvelos SSR Mecnierebata A省ademiis Gamomcemloba. Brega鍵e, Tamar et al. (1967) {T.B. – Tina Enuki鍵e – Lia 症i省na鍵e – Mzekala Šani鍵e – Caca 6委an省ievi}, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ∞−＞『【『 ≦｛÷」》《【」｛" ∴−÷『＝" ′《÷｛/』『」℃》『＝" 〈｛】｛》÷♀《【《｝《【『 ＝｛「−〈｛〉−《｝『＝ (S) 』−【《≦♀『『＝｛. (S) – (Kartul xelnac Ｄerta a c Ｄeriloba q賀 opili kartvelta šoris c Ｄera-謹itxvis gamavrcelebeli sazogadoebis (S) 謹olekciisa / Opisanie gruzinskich rukopisej kollekcii (S) – byvšego Obš7estva Rasprostranenii Gramotnosti sredi Gruzinskogo Naselenija, ‘Description of the Georgian manuscripts of the collection (S) of the former Society for the Promotion of Literacy among the Georgians’), V, Tbilisi: Sakartvelos SSR Mecnierebata A省ademiis Gamomcemloba. Brega鍵e, Tamar et al. (1969) {T.B. – Lamara Ka苦aia – Lili Kutatela鍵e – Mzekala Šani鍵e – Caca 6委an省ievi}, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ∞−＞『【『 ≦｛÷」》《【」｛" ∴−÷『＝" ′《÷｛/』『」℃》『＝" 〈｛】｛》÷♀《【《｝《【『 ＝｛「−〈｛〉−《｝『＝ (S) 』−【《≦♀『『＝｛. (S) – (Kartul xelnac Ｄerta a c Ｄeriloba q賀 opili kartvelta šoris c Ｄera-謹itxvis gamavrcelebeli sazogadoebis (S) 謹olekciisa / Opisanie gruzinskich rukopisej kollekcii (S) – byvšego Obš7estva Rasprostranenii Gramotnosti sredi Gruzinskogo Naselenija, ‘Description of the Georgian manuscripts of the collection (S) of the former Society for the Promotion of Literacy among the Georgians’), VI, Tbilisi: Mecniereba. Comparative Oriental Manuscript Studies: An Introduction © COMSt 2015 ♢ ISBN (Hardcover) 978-3-7323-1768-4 594 References Brega鍵e, Tamar et al. (1973a) {T.B. – Mixeil Kavtaria – Lamara Ka苦aia – Lili Kutatela鍵e – Caca 6委an省ievi}, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ∞−＞『【『 ≦｛÷」》《【」｛" ∴−÷『＝" ′《÷｛/』『」℃》『＝" 〈｛】｛》÷♀《【《｝《【『 ＝｛「−〈｛〉−《｝『＝ (S) 』−【《≦♀『『＝｛. (S) – (Kartul xelnac Ｄerta a c Ｄeriloba q賀 opili kartvelta šoris c Ｄera-謹itxvis gamavrcelebeli sazogadoebis (S) 謹olekciisa / Opisanie gruzinskich rukopisej kollekcii (S) – byvšego Obš7estva Rasprostranenii Gramotnosti sredi Gruzinskogo Naselenija ‘Description of the Georgian manuscripts of the collection (S) of the former Society for the Promotion of Literacy among the Georgians’), VII, Tbilisi: Sakartvelos SSR Mecnierebata A省ademiis Gamomcemloba. Brega鍵e, Tamar et al. (1973b) {T.B. – Mixeil Kavtaria – Lili Kutatela鍵e}, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ∞−＞『【『 ＝｛《』【《＝『− 】＜「《＜】『＝ (A) 』−【《≦♀『『＝｛ (Kartul xelnac Ｄerta a c Ｄeriloba q賀 opili sae謹lesio muzeumis (A) 謹olekciisa, ‘Description of the Georgian manuscripts of the collection of the former Ecclesiastical Museum (A)’), I/1, Tbilisi: Mecniereba. Brega鍵e, Tamar et al. 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(1985) {T.B. – Mixeil Kavtaria – Lili Kutatela鍵e}, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ∞−＞『【『 ＝｛《』【《＝『− 】＜「《＜】『＝ (A) 』−【《≦♀『『＝｛ (Kartul xelnac Ｄerta a c Ｄeriloba q賀 opili sae謹lesio muzeumis (A) 謹olekciisa, ‘Description of the Georgian manuscripts of the collection of the former Ecclesiastical Museum (A)’), I/4, Tbilisi: Sakartvelos SSR Mecnierebata A省ademiis Gamomcemloba. Brega鍵e, Tamar et al. (1986) {T.B. – Ciala 症axabrišvili – Mixeil Kavtaria – Caca 6委an省ievi – Lili Xevsuriani}, ≦｛÷」＜【 ℃《【＋｛′《÷」｛ ｛≧′《÷『【−｝｛ ∞−＞『【『 ＝｛《』【《＝『− 】＜「《＜】『＝ (A) 』−【《≦♀『『＝｛ (Kartul xelnac Ｄerta a c Ｄeriloba q賀 opili sae謹lesio muzeumis (A) 謹olekciisa, ‘Description of the Georgian manuscripts of the collection of the former Ecclesiastical Museum (A)’), II/1, Tbilisi: Sakartvelos SSR Mecnierebata A省ademiis Gamomcemloba. Brega鍵e, Tamar et al. 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Brinkmann, Stephanie – Beate Wiesmüller (eds) (2009), From Codicology to Technology – Islamic Manuscripts and their Place in Scholarship, Berlin: Frank & Timme. Briquel-Chatonnet, Françoise (1997), Manuscrits syriaques de la Bibliothèque nationale de France (nos 356-435, entrés depuis 1911), de la bibliothèque Méjanes d’Aix-en-Provence, de la Bibliothèque municipale de Lyon et de la Bibliothèque nationale et universitaire de Strasbourg. Catalogue, Paris: Bibliothèque nationale de France. Briquel-Chatonnet, Françoise (1998a), ‘Le temps du copiste. Notations chronologiques dans les colophons de manuscrits syriaques’, in: ProcheOrient ancien. Temps vécu, temps passé. Actes de la table ronde du 15 novembre 1997 organisée par l’URA 1062, ‘Études Sémitiques’, ed. by Françoise Briquel-Chatonnet – Hélène Lozachmeur, Paris: Jean Maisonneuve (Antiquités sémitiques, 3). Briquel-Chatonnet, Françoise (1998b), ‘Cahiers et signatures dans les manuscrits syriaques. Remarques sur les manuscrits de la Bibliothèque nationale de France’, in: Recherches de codicologie comparée: la composition du codex au Moyen Âge en Orient et en Occident, ed. by Philippe Hoffmann, Paris: Presses de l’École normale supérieure (Collection bibliologie), 153–169. Briquel-Chatonnet, Françoise (2000), ‘De l’écriture édessénienne à l’es職rangel et au ser職 ’, Semitica, 50, 81–90. Briquel-Chatonnet, Françoise (2003), ‘La mise en page dans les manuscrits syriaques d’après les plus anciens manuscrits’, Manuscripta Orientalia, 9, 3–13. Briquel-Chatonnet, Françoise (2005), ‘Some Reflections about the Origin of the Serto Script’, The Harp, 18, 173–177. Briquel-Chatonnet, Françoise (2012), ‘Trafficking of counterfeit Syriac manuscripts’, paper presented at the COMSt workshop Legal and illegal circulation of library collections: a study for a better conservation, Paris. Briquel-Chatonnet, Françoise (2013a), ‘Le contexte de la diffusion de l’écriture édessénienne en Antiochène’, paper read at the colloquium Le contexte de naissance de l’écriture arabe: écrit et écritures araméennes et arabes au 1er millénaire après J.-C., Paris. Briquel-Chatonnet, Françoise (ed.) (2013b), Les églises en monde syriaque, Paris: Geuthner (Études syriaques, 10). Briquel-Chatonnet, Françoise (forthcoming), ‘De l’usage du parchemin à celui du papier dans les manuscrits syriaques’, in: Manuscripta syriaca. Des sources de première main, ed. by Françoise Briquel-Chatonnet – Muriel Debié, Paris: Geuthner. Briquel-Chatonnet, Françoise et al. (2006) {F.B. – Alain Desreumaux – André Binggeli}, ‘Un cas très ancien de garshouni? Quelques réflexions sur le manuscrit BL Add. 14644’, in: Loquentes Linguis. Studi linguistici e orientali in onore di Fabrizio A. Pennacchietti, ed. by Pier Giorgio Borbone – Alessandro Mengozzi, Wiesbaden: Harrassowitz, 141–147. Briquel-Chatonnet, Françoise – Muriel Debié (eds) (forthcoming), Manuscripta syriaca. Des sources de première main, Paris: Geuthner (Cahiers d’études syriaques, 3). Briquel-Chatonnet, Françoise – Alain Desreumaux (2010), ‘A Study and Characterization of the Syro-Malabar script’, Journal of Semitic Studies, 55/2, 407–421. Briquel-Chatonnet, Françoise – Alain Desreumaux (2011), ‘Syriac Inscriptions in Syria’, Hugoye, 14, 27–44. Briquet, Charles Moïse (1907), Les filigranes. Dictionnaire historique des marques du papier dès leur apparition vers 1282 jusqu’en 1600, Paris: Picard – Genève: Jullien. Brock, Sebastian P. (1965), ‘An Early Armenian Palimpsest Fragment of Hebrews’, Revue des études arméniennes, new ser. 2, 129–134. Comparative Oriental Manuscript Studies: An Introduction © COMSt 2015 ♢ ISBN (Hardcover) 978-3-7323-1768-4 References 595 Brock, Sebastian P. (1982), Soghyatha Mgabbyatha, Glane: St Ephrem the Syrian Monastery. Brock, Sebastian P. (1983), ‘Dialogue Hymns of the Syriac Churches’, Sobornost. Eastern Churches Review, 5/1, 35–45. Brock, Sebastian P. (1984), ‘Syriac Dialogue Poems: Marginalia to a Recent Edition’, Le Muséon, 97, 29–58. Brock, Sebastian P. (1985a), ‘Syriac and Greek Hymnography: Problems of Origin’, in: Studia Patristica XVI - Monastica et Ascetica, Orientalia, E Saeculo Secundo, Origen, Athanasius, Cappadocian Fathers, Chrysostom, Augustine, ed. by Elizabeth A. Livingstone, Leuven: Peeters (Studia patristica, 16). Brock, Sebastian P. (1985b), ‘A Dispute of the Months and Some Related Syriac Texts’, Journal of Semitic Studies, 30/2, 181–211. Brock, Sebastian P. (1986), ‘The Syriac Tradition’, in: Cheslyn Jones – Geoffrey Wainwright – Edward Yarnold (eds.), The Study of Spirituality, London: SPCK, 199–215. Brock, Sebastian P. (1987a), Soghiatha: Syriac Dialogue Hymns, Kottayam: St Joseph’s Press (The Syrian Churches Series, 11). Brock, Sebastian P. (1987b), ‘Dramatic Dialogue Poems’, in: IV Symposium Syriacum 1984. Literary Genres in Syriac Literature (GroningenOosterhesselen, 10-12 September), ed. by Hans J.W. Drijvers – R. Lavenant, Roma: Pontificium Institutum Studiorum Orientalium (Orientalia Christiana Analecta, 229), 135–147. Brock, Sebastian P. (1988), ‘The Sinful Woman and Satan: Two Syriac Dialogue Poems’, Oriens Christianus, 72, 21–62. Brock, Sebastian P. (1989), ‘Three Thousand Years of Aramaic Literature’, ARAM, 1/1, 11–23. Brock, Sebastian P. (1991a), ‘Some New Syriac Documents from the Third Century AD’, ARAM, 3/2, 259–267. Brock, Sebastian P. (1991b), ‘Syriac Dispute Poems: The Various Types’, in: Dispute Poems and Dialogues in the Ancient and Mediaeval Near East: Forms and Types of Literary Debates in Semitic and Related Literatures, ed. by Gerrit J. Reinink – Herman L.J. Vanstiphout, Leuven: Peeters (Orientalia Lovaniensia Analecta, 42), 109–119. Brock, Sebastian P. (1992), ‘A dialogue between Joseph and Mary from the Christian Orient’, Logos: the Welsh Theological Review, 1/3, 4–11. Brock, Sebastian P. (1995a), Catalogue of Syriac Fragments (New Finds) in the Library of the Monastery of Saint Catherine, Mount Sinai, Athens: Mount Sinai Foundation. Brock, Sebastian P. (1995b), Isaac of Nineveh (Isaac the Syrian). ‘The Second Part’, chapters IV–XLI, Louvain: Peeters (Corpus Scriptorum Christianorum Orientalium, 554, 555, Scriptores Syri, 224, 225). Brock, Sebastian P. (1998), ‘A Monastic Anthology from Twelfth-century Edessa’, in: Symposium Syriacum VII. Uppsala University, Department of Asian and African Languages 11-14 August 1996, ed. by René Lavenant, Roma: Pontificio Istituto Orientale (Orientalia Christiana Analecta, 256), 221–231. Brock, Sebastian P. (2001), ‘The Dispute Poem: From Sumer to Syriac’, Journal of the Canadian Society for Syriac Studies, 1, 3–10. Brock, Sebastian P. (2004), ‘Crossing the Boundaries: An Ecumenical Role Played by Syriac Monastic Literature’, in: Il monachesimo tra Eredità e Aperture. Atti del simposio «Testi e temi nella tradizione del monachesimo cristiano» per il 50° anniversario dell’Istituto monastico di Sant’Anselmo, Roma, 28 maggio - 1° giugno 2002, ed. by Maciej Bielawski – Daniël Hombergen, Roma: Istituto monastico di Sant'Anselmo (Studia Anselmiana, 140, Analecta monastica, 8), 221–238. Brock, Sebastian P. (2005), ‘The Use of Hijra Dating in Syriac Manuscripts. A Preliminary Investigation’, in: Redefining Christian Identity: cultural interaction in the Middle East since the rise of Islam, ed. by Jan Jacob van Ginkel – Heleen Murre-van den Berg, Leuven – Paris – Dudley: Peeters (Orientalia Lovaniensia Analecta, 134), 275–290. Brock, Sebastian P. (2008), ‘Poetry and Hymnography: Syriac’, in: The Oxford Handbook of Early Christian Studies, ed. by Susan Ashbrook Harvey – David G. Hunter, Oxford: Oxford University Press, 657–671. Brock, Sebastian P. (2010a), ‘Les signatures en chiffres arithmétiques dans les manuscrits syriaques de la British Library’, in: Sur le pas des araméens chrétiens. Mélanges offertes à Alain Desreumaux, ed. by Françoise Briquel-Chatonnet – Muriel Debié, Paris: Geuthner, 159–167. Brock, Sebastian P. (2010b), Bride of Light: Hymns on Mary from the Syriac Churches, Piscataway, NJ: Gorgias Press. Brock, Sebastian (2012a), ‘A Tentative Check List of Syriac Dated Manuscripts up to 1300’, Hugoye, 15/1, 21–48. Brock, Sebastian (2012b), ‘Abbot Mushe of Nisibis, Collector of Syriac Manuscripts’, in: Gli studi orientalistici in Ambrosiana nella cornice del IV centenario (1609-2009), ed. by Carmela Baffioni – Rosa Bianca Finazzi, Roma: Bulzoni, 15–32. Brock, Sebastian P. et al. (1973) {S.B. – Charles T. Fritsch – Sidney Jellicoe}, A Classified Bibliography of the Septuagint, Leiden – Boston: Brill. Brock, Sebastian et al. 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