comments, and the loan of his books. I would like to thank Ágnes Tóvizi for her productive consultation, and for her assistance in arranging for me to view the original Gradual. I thank Ferenc Földesi, head of the Department of Manuscripts at the National
Απολογητέον: The author defends the conservatism of his edition of Horace against his critics by proving that his reading of the manuscript texts is correct. In his opinion we should believe (πειστέον) the manuscripts, and should follow and explain, rather than modify their texts.
1335 = ILCV 66 (add) = Dobó 1975 , Nr. 605: Manuscripts: Cod. Par. Lat. 528 f. 122 (9th c., P.), Cod. S. Gall. 899 p. 57–58 (10 th c., G, Fig. 1–2 ). 1 Fig. 1–2. The text of the epigram in the Sankt Gallen codex (Cod. S. Gall. 899 p. 57–58: www
fragmentary manuscripts and citations from patristic and liturgical sources. From these I have chosen four Latin Fathers for their relative abundance of material and chronological representation covering the 3rd and 4th centuries: Tertullian of Carthage
: “Achtet Casten, darinnen allerleÿ Büecher”. Prints and Manuscripts in the Kunstkammer of Ferdinand of Tyrol , in: Collecting Prints and Drawings , ed. Gáldy , M. Andrea , Newcastle upon Tyne 2016 . (in preparation at time of
Manuscripts and Block Prints. Stuttgart, Franz Steiner Verlag (Verzeichnis der Orientalischen Handschriften in Deutschland, XIII,26).
Shōgaito, M. 庄垣内正弘 (2003): ロシア所蔵ウイグル文献の研究 — ウイグル文字表記漢文と ウイグル語仏典テキスト Roshia shozō uiguru bunken no
This article discusses the verse 13 of Pindar's sixth Pythian ode. The manuscripts have «χεράδι», but editors generally accept C. D. Beck's conjecture «χεράδει». The text of the manuscripts is also attested in numerous ancient sources, but «χεράδει» also circulated in antiquity as a varia lectio. The ancient criticism on the Pindaric verse is then examined, taking into consideration the possible reading of Aristarchus of Samothrace (fr. 55 Schironi) and the text of P.Oxy. 5039, which probably had χεράδι.
In an article, published in 1964, Benjamin Rajeczky tried to interpret the definition “ungaricum” found in a medieval manuscript from Cracow (Kr-1267). We find the rubrics to a Kyrie and its Sanctus version respectively: “Sequitur ungaricum kyrieleison” and “Ungaricum sanctus de beata virgine pulchrum sequitur”. Rajeczky did not regard the designation an isolated instance. Comparative analysis shows that there are ordinary melodies that are preserved only in Hungarin and Polish manuscripts. Indirect examples serve as further examples of Hungarian-Polish cultural interchange.