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FACSIMILE
OF THE
Presented to
OF THE
WASHINGTON MANUSCRIPT
OF
WITH AN INTRODUCTION BY
HENRY A. SANDERS
Page
Description of the Manuscript, Henry A. Sanders . . . . v
Gospel of Matthew,
Gospel of John,
in facsimile
in facsimile .
......
in colors, preceding
. .
.
.
.
.
.
.
.
.113
i
THE now
manuscript of the Four Gospels, of which a facsimile
in the private collection of Mr. Charles L. Freer of
is here presented,
Detroit, Michigan,
is
through whose liberality the present publication has been made possible. It
facsimiles were made by the photo-gelatine process of the Heliotype Company (W. C.
Ramsay), of Boston. A full description of the process can -be found in the Introduc-
tion to the Facsimile Edition of the Washington Manuscript of Deuteronomy and
Joshua. The pages of this facsimile are entirely free from retouching. t In general it
is clearer and easier to read than the manuscript itself, though the fact, that in separat-
ing the leaves the ink sometimes adhered to the opposite page, has made a few
places indistinct.
The facsimiles of the covers are treated in a separate section by Professor Charles
R. Morey, of Princeton University.
The same scribe wrote the whole manuscript except the first sixteen pages ot John,
which seem to be earlier. The main part of the manuscript was written in the Fourth
Century, in Egypt. The text differs so decidedly in the various parts, that we may
infer that the parent or some near ancestor was made up from parts of different manu-
scripts. It has been possible to differentiate seven or eight different parts. The
manuscript is quite free from later corrections, though changes by the original scribe
and by the Stop^wrrfs are not infrequent. Many of these changes involve variants from
t On p. 17, above 1. 22, there was a slight injury to the plate, which gave a strange form to the letter ^.
On p. 327, 1. 13, sand obscured the tenth letter, fi.
vi INTRODUCTION
different families of manuscripts, which seem to show that the parent manuscript had
been corrected to agree with a later recension.
The parchment is mostly sheepskin and is badly yellowed with age. Leaves of
goatskin occur but are not easily distinguished; they are somewhat whiter and the
characteristic branching veins can sometimes be seen. The first quire of John seems to
be all of sheepskin. The quires contain regularly sixteen pages each ; there are four
twelve-page quires, besides those which are defective or which come at the ends of the
several Gospels. The facsimile reproduces the manuscript arrangement of the quires.
The pages average eight and three-sixteenths inches in height by five and one-half in
width (209 mm. by 138 mm.). The parchment averages about .13 mm. thick, the
goatskin being regularly somewhat thinner than the sheepskin. The writing is in one
column of thirty lines to the page. The ruling is regular for every line with perpen-
The following abbreviations are used 0c = ^eo9; kc = Kvpioq xc XPC rare) = Xpto-ro?
:
; ( ;
IC = 'I170-OU9 ; TIN A = nvevfjia ; ANOC = avOpojwo^ UHP = iraTrjp MHP = MTrjp TC = vtos (rare)
; ; ; ;
AAA (aa once) =AaueiS; IHA (iCPA once) = 'Icr/oaifX. The oblique cases of these words
generally show like abbreviations. Plurals are less regularly abbreviated. In John, quire
1, occur also CHP = a-coTrjp ; OTPON = oupai'w ; OTPOT = ou/aai^ov ; BAEIAN = /Sao-tXeiW ;
BAETC = /8ao-tXeu?. Chiefly at the ends of lines ^> T), K,' rarely occur; combinations
like N-T = vr^v, MT, and Mi, appear once or twice each. At the ends of lines v final or
medial is often shown by a mark over the preceding vowel. Letters at the ends of
A single dot may appear over v and two dots over i" when initial or when sepa-
rated from a preceding vowel in pronunciation. In the first quire of John there occurs
a curved stroke over some initial vowels. Rough breathings in the form ^ or are found
very rarely. There are no accents. An apostrophe (') often occurs after words (especially
proper nouns) ending in any consonant except f or's; it also sometimes marks the elision
of a final vowel. Old Testament quotations are often indicated by small angular marks (>)
in the left-hand margin.
Paragraphs, usually shown by slightly enlarged letters projecting into the margin,
at the ends of paragraphs. Paragraphs are most numerous in Luke and Matthew ;
they
are rare in Mark.
Punctuation, corresponding approximately to the ancient p-qp-ara or a-rixot, is regularly
shown by slight spacings. The single dot in middle position is not infrequent ;
rarely
the double dot (:), or the line filler (>) occurs. In the first quire of John the single dot
INTRODUCTION vii
in middle position is used regularly and the divisions are more numerous. There are no
lectionary marks.
The color of the ink is dark brown, and has been reproduced as closely as possible in
the facsimile. The second and third hands are regularly lighter. There are one or two
examples of black ink by a later hand.
At the end of Mark (p. 372) occurs the following subscription in Fifth Century semi-
cursive hands
-P XpL(7T€ ayie av fxera tov Sov\o{v crov TifJiodeov -?)
/cat TTavTOJV tojv avTOv -P.
The first hand of the subscription wrote only the first line. The second made some change
in the name and added the second line. The portion in parentheses is in black ink by
a third hand.
On the top margin of this page there is a crude note which seems to read ..XXos i/aw?
or ..XXov vact)'?.
There are two lacunae in the manuscript, John xiv. 25 to xvi. 7 (covering two leaves
between pp. 172 and 173) and Mark xv. 12 to 38 (one leaf between pp. 368 and 369).
width varying from 5^ to inches and its length from 8^ to 8f inches. Both covers
are bevelled on both the outer and the inner faces at the top and bottom, and also on the
sides in the case of the outer faces. The thickness varies from f inch to |- inch.
The covers are now separated from the manuscript, to obviate possible damage to the
text. The back binding is still preserved and consists of a leather backing applied over
interlacing cords of the same material. The ends of these cords were inserted in twenty-
six holes on the side of each cover, and fragments of them still remain in place. The
protruding fends of the cords were bound by a strip of cloth, about one inch wide, pasted
along the inner face of each cover. Over this is pasted a parchment backing, which covers
the whole inner face of each leaf.
The function of the twenty-six holes in the back edge of each board is thus explained by
the method of binding. It is not so easy to see what use was made of the two rows of
seven holes each which are found along the opposite or right-hand edge of the left-hand
cover. One row runs along the upper part of the cover's edge, the second along the
lower portion, leaving a space of slightly less than three inches between the two rows.
* The covers are shown in Plates, before p. i and after p. 372.
Vlll INTRODUCTION
On the upper edge of the same cover is a row of ten holes. The right-hand cover has no
such holes in its edges, save one in the upper outer corner — the upper left-hand corner
in the plate — which corresponds to one in the upper right-hand corner of the left-hand
cover. Cords were evidently inserted in these two holes, as the one in the left-hand cover
has still a fragment of a wooden peg remaining in it. The cords in these corner holes
may have been used to tie the covers together when the book was closed. The rows of
holes in the edges of the left-hand cover are not repeated in the other cover, and it there-
fore seems likely that they were used for the attachment of flaps or the like by which to
lift the left-hand cover, thereby avoiding contact with the paintings. It is possible, how-
ever, that the holes have to do with the attachment of a casing of cloth or leather which
was folded around the book.
The covers are provided with metal chains attached by staples, one to the upper right-
hand corner of the left-hand cover, the other to the upper left-hand corner of the right-
hand cover. The chain attached to the left-hand cover measures a little over six inches,
the other a little less than seven. These chains were probably meant to keep the book
from opening to its full extent, so that the paintings of the covers would not be abraded by
resting flat upon the reading desk. It is of course to be supposed that they are later addi-
tions to the book, though it is worth noting that one of the staples has cracked the wood
of the cover, and that the crack is weathered.
The covers were painted after the book was bound, as is demonstrated by the irregular
traces of yellow paint remaining around the holes of the back binding and on the frag-
ments of leather cords, and also by the way in which the same color has invaded the space
between the holes of the binding cords, but stops short at the line of the binding itself.
The painter of our covers used no priming and has left no traces of his preliminary
outline. If he used one, the green flUing of the background was put in after the prelimi-
nary outline, and in any case after the figures were drawn, for the brush-strokes of this
green filling are guided by the contours of the figures. The coarse and irregular brush-
strokes indicate a crude brush, doubtless a reed-brush of the sort described by Gayet in his
description of the process of Coptic painting.* The figures are painted in masses of
ground-color, and all the details of features, drapery, etc., including hair and the black
outlines of the figures, are overlaid upon this. The flesh-tints are ivory-white, with details
in black, red, and white. The painting originally covered the entire panel, the border
being yellow overlaid with a crude leaf-design in green and greenish-brown. But the
yellow is the poorest material in the palette of the artist and has peeled badly, particularly
around the edges. Here it must have disappeared early, leaving a strip of bare wood which
has weathered, and gives the efl^ect of a border in places, especially on the left-hand cover.
The detail colors are all very thickly laid on, and the same is true in a less degree of the
ground-colors. The green background shades almost into black in consequence ot the
thick painting, and this is especially true of the centre of each panel, where the upward and
downward brush-strokes have mingled to form a very thick layer of paint.
The Evangelists are depicted in the order in which their gospels appear in the text
Matthew, John, Luke, and Mark. The last-named is labelled by the inscription
placed vertically beside his figure : MAPKOC, and to the left of Luke may be detected
the last two letters of his name : AC. The color-scheme, drapery, and attitude of the figure
of John must have been, as the remaining fragments show, practically identical with that
of Mark. The traces of color in his hair show also that he was white-haired, or gray-
haired, like Mark.
We have, then, in these two panels definite portraits of the four Evangelists that should
be of value to the student of Coptic iconography. This is particularly true of the figure
of Mark, whose current type in Byzantine art is that of a man in the prime of life
with black hair and a full, round beard. Strzygowski recognized the existence of the
Paul-type" of Mark in Coptic art — gray hair, head slightly bald, pointed beard — but
our portrait is the first published monument to confirm his statement, and to establish
in an article which the writer has in preparation on these and other mediaeval paintings
in the collection of Mr. Freer, but a tentative judgment may be recorded here. Professor
Sanders informs me that the manuscript shows evidence of rebinding. There are, for ex-
ample, two cases of the sewing-in of half-leaves where the opposite half has been torn
out and is lost. In one case a half-leaf has been torn out and pasted back in the MS. All these
cases demonstrate that the manuscript was apart at the time, for the ends of the leaves,
and the sewing as well, were concealed in the binding. The manuscript must therefore have
been rebound, and its worn condition, betokening long use, points to more than one rebinding.
It is likely, therefore, that the paintings are considerably subsequent in date to the text.
As to the indications of date furnished by the style of the paintings themselves, it must
be remembered that Coptic monuments are notoriously difiicult to place chronologically.
The closest parallel to our paintings to which a reasonably certain date can be assigned is
the fresco representing the Madonna flanked by two rows of saints in the east apse oi Chapel
XVII at Bawit. Cledat, arguing from the dates which he found in the graffiti scratched
on some of the paintings of this chapel, decided that the frescoes could be no later than the
Eighth Century ou meme Vile ".
t Elsewhere J, he says that the paintings of Chapel
* Orient oder Rom, p. 73. t ^^em. de Plnstitut fran^. d'arch, orientale, XII, 2, p. 83.
s.v. Baouit.
X In Cabrol's Diet, d'arch. chr'et. et de la liturgie,
X INTRODUCTION
XVII seem to belong to the Sixth Century. Our paintings show a rough resemblance to
the fresco of Bawit above mentioned, particularly in the angular beard of Luke, in the
treatment of drapery, in postures, and in the drawing of feet. The technique of the
Bawit fresco, however, is distinctly superior to that of our painted covers. The crudeness
of the latter, and certain signs of decadence — notably the clinging drapery in the figure
of Mark — incline me to place the paintings tentatively at a period later than that of the
Bawit fresco, viz. the Seventh or Eighth Century. They are certainly pre-iconoclastic.
The facsimile plates of the covers were made by M. L. Piazza (H. Piazza & Cie.,
Paris, France). The photo-gelatine process with three colors, red, blue, and yellow,
was used.
1
4
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Matthew i. 1-11.
2
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Matthew i. 11-19.
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Matthew iv. 24 - v. H-
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Matthew v. 12-20.
13
V.
Matthew v. 20-28.
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15
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34
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Mark i. 29-41.
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827
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330
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848
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850
Mark x. 42 - xi. 2.
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