By T. C. Skeat
A excessive percentage of the numerous articles released by means of the papyrologist T.C. Skeat (1907-2003), a former Keeper of Manuscripts on the British Museum, issues the recent testomony. This current assortment gathers jointly papers on Biblical and similar concerns contributed via Skeat for over sixty years to numerous courses. The e-book divides those into 3 sections: old booklet construction, reviews on specific Biblical manuscripts and textual feedback. In his creation J.K. Elliott assesses the significance of Skeat's paintings and he accommodates from own correspondence a few of Skeat's later pondering on those themes. a whole Bibliography of Skeat's writings is incorporated.
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Two ‘Lost’ Works by John Leland’, English Historical Review 65 (1950), 505–508. Skeat T. , ‘The British Museum: The Catalogues of the Manuscript Collections. 2. Manuscripts’ Journal of Documentation 7 (1951), 18–60. Offprinted in a number of editions. Cover title, The Catalogues of the Manuscript Collections in the British Museum, London, Trustees of the British Museum, 1953. Pp. 43. Rev. , 1962. Pp. 45. Skeat, T. , ‘The Egmont Papers’, British Museum Quarterly 16 (1951–52), 62–65. Skeat, T. , ‘Note-books and Marginalia of S.
Rendall and H. M. Nixon, ‘Manuscripts and Printed Books from the Holkham Hall Library, 1. The Library, 2. The Manuscripts’, British Museum Quarterly 17 (1952), 23–40. Skeat, T. , ‘Two Byzantine Documents’, British Museum Quarterly 18 (1953), 71–73. Skeat, T. , ‘The Last Days of Cleopatra: A Chronological Problem’, Journal of Roman Studies 43 (1953), 98–99. Glanville S. R. , and T. C. ’, Journal of Egyptian Archaeology 40 (1954), 45–58. Skeat, T. , ‘An Early Mediaeval “Book of Fate”: the Sortes XII Patriarcharum.
J. M. Milne, Cat. of Literary Papyri in the British Museum, 1927, p. 22, no. 11; Wifstrand, Hermes, lxviii, 1933, pp. 468–72; B. Olsson, Zentralblatt für Bibliothekswesen, li, 1934, pp. 365–6). It is noteworthy here that the pen, the writing hand, and the knee are all mentioned as collaborating in the physical production of the manuscript. Somewhat similarly, in the opening lines of the Batrachomyomachia, in a burlesque address to the Muses, the author appeals to them to aid him in his poem ∂n n°on §n d°ltoisin §mo›w §p‹ goÊnasi y∞ka, though here it is the author’s writing-tablet, not the papyrus roll of the copyist, which finds its support on the writer’s knee.