Rahlfs 1219/Washington Manuscript of the Psalms | |
---|---|
Freer Gallery | |
Date | ~400–650 CE |
Material | Parchment |
Condition | Fragmentary, Decayed |
Contents | Psalm 1:4-146:9a, 149:2b-151:6; Odes 1:1-6a |
Discovered | Egypt |
Old Testament, Septuagint Manuscripts, Septuagint, Uncial |
Rahlfs 1219 (in the Alfred Rahlfs numbering of Septuagint manuscripts), also known as the Washington Manuscript of the Psalms (Washington MS II) and the van Haelst 83 (in the Van Haelst catalogue numbers of Septuagint manuscripts), is a Greek Septuagint manuscript containing the text of Psalm 1:4-146:9a, 149:2b-151:6, plus the first 6 verses of the book of Odes. It is made of parchment which has survived in a fragmentary condition. Using the study of comparative writing styles (palaeography), it has been assigned to the 5th Century CE. At some point before the 10th century CE, the last few pages of the manuscript were replaced with those from another codex.
The manuscript is one of the six biblical manuscripts purchased by industrialist Charles Lang Freer at the beginning of the 20th century, now housed at the Freer Gallery of Art in the Smithsonian Institution in Washington, D.C.. It is one of the oldest manuscripts of the Greek Septuagint Psalms held in the United States of America.
The manuscript is a codex (precursor to the modern book format) containing the text of Psalm 1:4-151:6 and Odes 1:1-6 (from the Greek Septuagint translation of the Hebrew Bible), made of 107, badly decayed and worm eaten, parchment leaves (a total of 214 pages). [1] : 37 In his initial description of the manuscript, biblical scholar Henry A. Sanders noted that sometime in the 10th Century CE, some of the final pages of the codex that contained Psalms 142:9-151 were lost. Rather than having new pages written, other pages from a slightly less older codex were taken and added to the end, completing the Psalms and adding six verses from the book of Odes (1:1-6a). This is apparent due to the different page size, the repetition of Psalm 142:5-8, and the divergent handwriting. [1] : 37 Sanders indicated the original codex by the Greek letter Λ (Lambda), and the secondary codex as Λa (Lambda A). [2] : 107–114, 121–122
The parchment is a mixture of goat and sheep skin. The main text is written in a dark-brown ink, with red ink used for the Psalm titles and numbers, and also for the word διαψαλμα (diapsalma / musical interlude). [2] : 111 The text is written in one column per page, which originally would've been around 25 x 35 cm, 30 lines per page, with about 25-30 letters per line. [1] : 37 Due to decay, almost half of each leaf is missing, with some leaves having decay covering them in their entirety, although with letters still visible. [2] : 107–114 The text is written in large square uncials, with the Psalm titles usually in a slightly smaller size. [2] : 113 Each Psalm has its number in the left hand margin in uppercase letters representing numerals, with decorative lines above and below the letter. The manuscript covers Psalms 1:4-142:8, with the last pages of the manuscript completely missing. [1] : 37
The parchment is made of sheepskin only. The main text is written in a medium-brown ink, with red ink used for the Psalm titles and numbers as in Λ. The text is written in one column per page, which originally would've been around 27.5 x 21.58 cm, 24 lines per page, with about 18-24 letters per line. The seven leaves are in a fragmentary condition, and would originally have contained Psalms 142:5-151:6 and Odes 1:1-6a, but due to the loss of two leaves, Psalms 146:9b-149:2b are missing. The text is written in large, sloping letters known as Slavonic uncial. [2] : 122–123
The copyist used very little punctuation, with most marks occurring only at the end of lines; Sanders counts only 8 exceptions. [2] : 114 The text is written in verses corresponding to the Hebrew parallelisms (a symmetrical device of either repeating the same idea in varying words, or exposing the opposite), with any that go over one line being written on the line below, usually with an indent to signify that it is not a new phrase. [2] : 114 There is no stanza division (the grouping of poetic lines), but the writing does align somewhat with the stichoi (lines) of Codex Vaticanus. [2] : 114 It has certain ligatures that represent the letters και (kai), ου (ou), μου (mou), αυτου (autou), ον (on), μαι (mai), του (tou), μνης (mnes), νην (nen), θαι (thai), and ται (tai), for the ends of lines where the text becomes crowded, although sometimes these ligatures are used within the lines themselves. [2] : 114 There are diacritical strokes (used to indicate pitch changes) and dots over vowels (though not consistently), varying from a short grave accent to a small dot. The apostrophe is used consistently throughout, with a slightly varied shape. This appears mainly after final consonants, between double consonants, between unlike consonants, and after the Greek εκ (ek). [2] : 113–117 It employs the use of numerous nomina sacra (special names/words considered sacred in Christianity) – usually the first and last letters of the name/word in question are written, followed by an overline; sometimes other letters from within the word are used as well in order to form a nomen sacrum. The manuscript consistently uses the following nomen sacrum: ΘΣ (θεος / God), ΚΣ (κυριος / Lord), ΔΑΔ (Δαυιδ / David), and ΧΣ (χριστος / Messiah/Anointed); with other nomina sacra used frequently: ΟΡΟΣ (ουρανος / heaven), ΙΗΛ (Ισραηλ / Israel), ΜΗΡ (μητηρ / mother), ΣΗΡ (σωτηρ / saviour), ΠΡΣ (πατρος / father), ΑΝΟΣ (ανθρωπος / man/human), ΠΝΑ (πνευμα / Spirit), ΥΣ (υιος / son), and ΙΗΛΜ (Ιεροσαλημ / Jerusalem). [2] : 113
This part of the codex has only 11 extant cases of punctuation. The text aligns with the lines of Codex Vaticanus, with any verses going over one line being spread onto two or more lines, with indentation to signify inclusion with what precedes. Certain ligatures (representing μους, ται, αυτου, του) are used infrequently. It employs the use of numerous nomina sacra (although with slight divergence from those seen in Λ), consistently using the nomen sacrum for ΘΣ (θεος / God), ΚΣ (κυριος / Lord), ΔΑΔ (Δαυιδ / David); with other nomina sacra used frequently: ΟΥΝΟΣ (ουρανος / heaven), ΙΣΛ (Ισραηλ / Israel), ΠΡΣ (πατρος / father), ΑΝΟΣ (ανθρωπος / man/human), ΠΝΑ (πνευμα / Spirit), and ΙΗΛΜ (Ιεροσαλημ / Jerusalem). In contrast to Λ, υιος (huios / son) is not a nomen sacrum, and μητηρ (meter / mother) doesn't occur. [2] : 123–124
Prior to its purchase by industrialist Charles Lang Freer in 1906 from an Arab dealer named Ali from Gizah, Cairo, very little is known about the manuscript, where it came from or for whom it was written. [2] : 108–109 One possible place of origin is the Church of Timothy in the Monastery of the Vinedresser, a Coptic Monastery probably destroyed during the Muslim persecutions of the 14th Century CE. [1] : 45
When the manuscript was granted to Sanders, he had to go through a long and precarious process of separating the leaves of the codex, which due to decay had turned the parchment into a hard, glue-like substance, becoming a solid mass. [1] : 37 Sanders describes in detail in The Old Testament Manuscripts in the Freer Collection, Part II: The Washington Manuscript of the Psalms how he separated the leaves of the codex, which effectively employed the use of a slightly damp, woollen cloth, and a thin-bladed dinner knife. [2] : 108–109
Due to the fragmentary and fragile nature of the manuscript, Sanders was unable to separate more than two leaves in a day, having to create as accurate a collation as possible before further deterioration occurred on the leaves, and as such his reprint of the text shows letters that are now no longer extant. [2] : 109
Initial photographic negatives of the pages were made in 1914 by George R. Swain, which were used by Sanders for checking his collation. [3] Further photographs of the pages were made in 1919, where one copy was sent to the British Museum in London, England, and one was placed in the Freer Gallery in Washington D.C., in the USA. [3] Unlike some of the other Biblical manuscripts in the Freer collection, no facsimile was ever made. [2] : 37 The reasons for this were provided to Charles Freer by classist Francis Kelsey, who states:
The manuscript is one of the six main manuscripts that comprise the Freer Biblical Manuscripts, currently housed at The Freer Gallery of Art. [1] : 1–2 Accordingly it is one of the oldest manuscripts of the Greek Septuagint Psalms housed in the United States of America. [1] : 18 It is dated to have been written sometime in the 5th century CE. [2] : 107
The Septuagint, sometimes referred to as the Greek Old Testament or The Translation of the Seventy, and often abbreviated as LXX, is the earliest extant Greek translation of the Hebrew Bible from the original Hebrew. The full Greek title derives from the story recorded in the Letter of Aristeas to Philocrates that "the laws of the Jews" were translated into the Greek language at the request of Ptolemy II Philadelphus by seventy-two Hebrew translators—six from each of the Twelve Tribes of Israel.
The Codex Sinaiticus, designated by siglum א [Aleph] or 01, δ 2, also called Sinai Bible, is a fourth-century Christian manuscript of a Greek Bible, containing the majority of the Greek Old Testament, including the deuterocanonical books, and the Greek New Testament, with both the Epistle of Barnabas and the Shepherd of Hermas included. It is written in uncial letters on parchment. It is one of the four great uncial codices. Along with Codex Alexandrinus and Codex Vaticanus, it is one of the earliest and most complete manuscripts of the Bible, and contains the oldest complete copy of the New Testament. It is a historical treasure, and using the study of comparative writing styles (palaeography), it has been dated to the mid-fourth century.
Papyrus 46, designated by siglum 𝔓46, is an early Greek New Testament manuscript written on papyrus, and is one of the manuscripts comprising the Chester Beatty Papyri. Manuscripts among the Chester Beatty Papyri have had several provenances associated with them, the most likely being the Faiyum. It has been paleographically dated between 175 and 225, or early 3rd century CE. It contains verses from the Pauline Epistles of Romans, 1 Corinthians, 2 Corinthians, Galatians, Ephesians, Colossians, Philippians, 1 Thessalonians, and Hebrews. Some leaves are part of the Chester Beatty Biblical Papyri, and others are in the University of Michigan Papyrus Collection.
The Cotton Genesis is a 4th- or 5th-century Greek Illuminated manuscript copy of the Book of Genesis. It was a luxury manuscript with many miniatures. It is one of the oldest illustrated biblical codices to survive to the modern period. Most of the manuscript was destroyed in the Cotton library fire in 1731, leaving only eighteen charred, shrunken scraps of vellum. From the remnants, the manuscript appears to have been more than 440 pages with approximately 340–360 illustrations that were framed and inserted into the text column. Many miniatures were also copied in the 17th century and are now in the Bibliothèque nationale de France in Paris.
In Christian scribal practice, nomina sacra is the abbreviation of several frequently occurring divine names or titles, especially in Greek manuscripts of the Bible. A nomen sacrum consists of two or more letters from the original word spanned by an overline.
The earliest surviving manuscripts of the Septuagint, an ancient translation of the ancient Hebrew Torah into Koine Greek, include three 2nd century BCE fragments from the books of Leviticus and Deuteronomy and five 1st century BCE fragments of Genesis, Exodus, Leviticus, Numbers, and Deuteronomy, only. The vast majority of Septuagint manuscripts are late-antiquity and medieval manuscript versions of the Christian Greek Old Testament tradition.
Codex Tischendorfianus III – designated by siglum Λ or 039, ε 77 – is a Greek uncial manuscript of the Gospels on parchment. Palaeographically it has been assigned to the 9th or 10th century.
Minuscule 69, δ 505, known as the Codex Leicester, or Codex Leicestrensis, is a Greek minuscule manuscript of the New Testament on paper and parchment leaves. Using the study of comparative writing styles (palaeography), it has been dated to the 15th century. Some leaves of the codex are lost. It has been examined and collated by many palaeographers and textual critics. Although it is of a late date, its text is remarkable from the point of view of textual criticism.
The Biblical Manuscripts in the Freer Collection, a collection of six biblical manuscripts, date from the 3rd to 6th centuries. Most of the manuscripts are written in Greek, one in Coptic. They are important witnesses of the history of the text of New Testament and Septuagint. The collection was established by Charles Freer (1854–1919), an industrialist from Detroit, Michigan and is held at the Freer Gallery of Art in Washington D.C.
Minuscule 700, ε 133, is a Greek New Testament minuscule manuscript of the Gospels, written on parchment. It was formerly labelled as 604 in all New Testament manuscript lists, however textual critic Caspar René Gregory gave it the number 700. Using the study of comparative writing styles (palaeography), it has been dated to the 11th century. It is currently housed at the British Library in London.
Lectionary 2137, designated by ℓ2137 in the Gregory-Aland numbering. It is a Greek manuscript of the New Testament, on parchment leaves, dated paleographically to the 12th century.
Minuscule 2757, is a Greek minuscule manuscript of the New Testament, written on 266 parchment leaves. Palaeographically it has been assigned to the 12th century.
Minuscule 57, δ 255, Rahlfs number 69, is a Greek minuscule manuscript of the New Testament and the Psalms, written on parchment. Using the study of comparative writing styles (palaeography), it has been assigned to the 12th century. The manuscript is lacunose. It has marginalia.
Lectionary 245, designated by siglum ℓ245 is a Greek manuscript of the New Testament, on parchment. Palaeographically it has been assigned to the 9th century. The manuscript has survived on only two leaves.
Papyrus 967 is a 3rd-century CE biblical manuscript, discovered in 1931. It is notable for containing fragments of the original Septuagint text of the Book of Daniel, which was completely superseded by a revised text by the end of the 4th century and elsewhere survives only in Syriac translation and in Codex Chisianus 88. The manuscript is also important for early variants, both in the text of the Book of Ezekiel and of the Book of Daniel.
Papyrus Oxyrhynchus 1007 is a fragment of a Greek Septuagint manuscript written on parchment. The manuscript was discovered in Oxyrhynchus, modern El-Bahnasa, Egypt. Using the study of comparative writing styles (palaeography), the manuscript has been dated to the 3rd century CE.
The siglum Taylor-Schechter 12.182 designates a manuscript written on parchment in codex form. This is a palimpsest of a copy of Origen's work called the Hexapla. The manuscript is dated to 7th-century AD, and is the oldest of the hexapla manuscripts. The hexapla was completed before 240 AD.
P. Lond.Lit.207 is a Greek fragment of a Septuagint manuscript written on papyrus in codex form. This manuscript discovered at Fayum, contains parts of the Book of Psalms. Palaeographycally it is dated to late third century or early fourth century.
The Papyrus Chester Beatty VI are fragments of a papyrus manuscript of the Greek Septuagint and one of the Chester Beatty papyri. It contains parts of the Book of Numbers and Deuteronomy. Using the study of comparative writing styles (palaeography), it has been dated to 200 CE.
The Papyrus Chester Beatty VIII is a fragment of a septuagint manuscript that contains parts of the biblical Book of Jeremiah. Palaeographically it has been dated to the late second, early third century CE.