Lost Works Research Articles

Sygnatury tekstowe. Wokół niemieckojęzycznych opowiadań Brunona Schulza

The author of the article searches for an answer to the question whether the stories might have been written by Bruno Schulz from Drogobych, the one who wrote The Cinnamon Shops. Given that the query has not yet been concluded beyond doubt, she tries to find alternative methods of analyzing these texts. She assumes that young Schulz’s style pattern should not be established by analyzing only his mature texts. Schulz wrote many short stories that could not be found, therefore, the question of his literary identity is still relevant. An account of his literary style can be found in the analysis carried out in the 1970s by Piotr Wróblewski. It allows for finding the most common features that distinguish Schulz from other writers. The distinction is crucial for either confirmation or rejection of authorship. The author conducts an experiment to evaluate the stylistic features in German stories and the result is surprising. In reference to The Cinnamon Shops as well as Schulz’s other well-known other works and his early story “Undula,” his authorship proves certain. However, in the German stories examination yields slightly more than half of the positive responses. The author assumes that in each text there are traces of someone’s individual, unique style, calling them metaphorically “text signatures,” the “fingerprints” of the text. In her research, she also uses methods such as forensic linguistics and stylometry. The author deals with the stereotype of Schulz’s literary debut facilitated by the support of Zofia Nałkowska. In the article, she tries to reconstruct Schulz’s first literary steps and wonders what he might have written between the publication of ”Undula” and “The Birds” (and later The Cinnamon Shops), and whether he included his first literary samples in letters to his friends or during the Kalleia’s meetings in Drogobych. The author lists his lost works and ends the article with the question of Schulz’s identity.

Общество станковистов: композиционные и сюжетные параллели

The aim of the research is to identify the origins of stylistic lines and techniques and the commo¬nality of plot motives and compositional solutions in the works of a number of artists from the Society of Easel Painters association. The scientific originality of the research lies in a comprehensive analysis of the creative heritage of the Society of Easel Painters masters, including the lost works discovered through the publication of their reproductions. The author manages to analyse the commonality of plot motives and compositional decisions in the artists’ creative work, linking this with a general attitude towards clarity in choosing a plot, and with mutual influence, play and competition for the best realization of a particular motive, with an attempt to form the main style. As a result, it was proved that the masters of the Society of Easel Painters, against the background of their common desire to create a new figurative art and reflect modernity, with all the individuality of their plastic language, adhered to similar compositional techniques, as well as similar plot motives and thematic lines (often new for Russian fine art).

The Lost Literature of Medieval Spain: Excerpts from a Tentative Catalogue

Abstract: This article, based on Alan Deyermond's project to catalogue the so-called lost works of medieval Castilian literature, first appeared in volume 5, number 2 of La corónica in 1977. He would go on to publish over the next 20+ years a series of articles on the subject, including a book-length study of lost epic and ballads in 1995.

Reconstruction of ancient greek painting in the context of modern digital technologies

Explore the possibility of forming an algorithm that allows for the reconstruction of the lost compositions of easel painting by outstanding masters of the Ancient Wurld.The purpose. Form an algorithm of the scheme of actions based onon the basis of the received historical information allowing to make the reconstruction of the lost compositions of easel painting of outstanding masters of Ancient Greece.Methodology. In the study, the following research methods were used:1) analytical method, by which the current literature had been analyzed;2) theoretical and conceptual method, which made it possible to determine the conditions necessary for the implementation of IT-technology into cultural and artistic practice; The study used the methods of computer modeling and analysis, which made it possible to increase the accuracy of the results. The authors of the article consistently consider the algorithm of actions necessary to restore the lost works of the past. The work takes into account the technological features of the layer-by-layer painting of the Ancient World and analyzes the color scheme used by the masters of antiquity. For clarity, the authors have created a special scheme — a color square. The creation of this material was preceded by a deep study of ancient sources, in particular the works of Pliny the Elder. Results. The main elements necessary for the restoration of the lost pictorial work of art have been established. The main reconstruction algorithm is stated: drawing, composition and methodology for creating a work of antique art. Hellenistic Greek colouristic is systematized according to the “Color square” scheme. All this information can be used in deep machine learning technologies according to certain algorithms and can give very interesting results.The scientificance novelty. Consist in the creation of a scheme of actions aimed at restoring the image as close as possible to the lost original on the basis of the preserved literary and material artifacts. Practical significance. This algorithm can be useful when creating computer software designed to recreate lost works of the past. Such a system will be needed in such fields as archeology and art history. The technique is ideal for use in deep machine learning technologies. To carry out the reconstruction of a specific work, the main aspects are considered: origin, development, principles of classical painting, technology, influence on other types of fine art (philosophy, utilitarian application, subject matter). The research methodology is based on the use of historical, cultural, art history and biographical approaches.

The Fragmentary Latin Histories of Late Antiquity (AD 300–620). Edition, Translation and Commentary by Lieve Van Hoof and Peter Van Nuffelen

Reviewed by: The Fragmentary Latin Histories of Late Antiquity (AD 300–620). Edition, Translation and Commentary by Lieve Van Hoof and Peter Van Nuffelen Michael Kulikowski The Fragmentary Latin Histories of Late Antiquity (ad 300–620). Edition, Translation and Commentary Lieve Van Hoof and Peter Van Nuffelen Cambridge: Cambridge University Press, 2020. Pp. 342. ISBN: 978-1-10-842027-3 The astonishingly prolific duo of Lieve Van Hoof and Peter Van Nuffelen have struck again. Only months after Brepols brought out their Clavis Historicorum Antiquitatis Posterioris, An Inventory of Late Antique Historiography (ad 300–800), we get this complementary volume, offering texts, translations, and carefully selective commentary on twenty late ancient Latin histories and three spurious or dubious ones. All of these are texts that survive only as fragments or are known only from testimonia. The authors set out strict rules of selection, excluding biography on grounds of genre, and chronicles both on generic grounds and because of forthcoming editions by Richard W. Burgess and this reviewer. They also, crucially and rightly, exclude hypothetical lost works—those whose existence can be inferred on the basis of parallels between extant texts—noting that such lost texts are very often inferred without sufficient rigor ("scholars should raise the bar significantly for what counts as an allusion" [21, note 88]). Even where there is a rare consensus that Quellenforschung has indeed detected an authentic lost text—as with the so-called Kaisergeschichte posited by Alexander Enmann in 1884—recreations of its contents cannot help but drift towards mere speculation. Application of these strictures leaves us with the following authors: the only probably late antique Carminius and the anonymous De origine Patavina; the fourth-century Virius Nicomachus Flavianus, Nummius Aemilianus Dexter, Protadius, Naucellius, Pseudo-Hegesippus; the probably fifth-century Sulpicius Alexander, Renatus Profuturus Frigeridus, Favius and Consentius; the undateable Ablabius; and the later fifth- and sixth-century Symmachus, Maximianus of Ravenna, Marcellinus Comes, Cassiodorus, Roterius, Secundus of Trent, and Maximus of Zaragoza; and finally the probably imaginary Bruttius, Latinus Alcimus Alethius, and Tyconius. It is a heterogeneous list, but no more so than the Greek historians brought together by Jacoby, or the fragmentary Latin historians of the Republican and early Imperial period collected in Cornell's now standard collection. Van Hoof and Van Nuffelen's substantial introduction is strong on the context of historiography in the Latin culture of Late Antiquity. They reject the idea that secular historiography, and the writing of secular history in this period, is in any meaningful sense a reflection of pagan identity. It was simply part of the social habitus of being an elite Roman in this era. The texts are taken from the best critical editions available, and the authors' choices are judicious: they use Mommsen rather than Giunta or Grillone [End Page 536] for Jordanes, Fridh for the Variae of Cassiodorus, and so on. They are also extremely conservative with speculation: wherever choices are to be made between maximalist or merely possible interpretations and scant conclusions that admit the stark limitations on certainty, they go with the latter. This conservatism is infinitely preferable to the flights of fancy that surround some of these authors, especially Flavianus, Naucellius, and Cassiodorus. The one place where one might quibble is in their hasty rejection of the possibility that the short recension of Isidore's History of the Goths might be the work of Maximus of Zaragoza—that theory, unproved to be sure, accounts for otherwise irreconcilable differences between long and short recensions, and the point should have been argued rather than dismissed out of hand. That minor point aside, their discussions are models of concision and judiciousness. A whole industry exists around the lost Annales of Nicomachus Flavianus and its supposed influence on scores of late ancient histories. A comprehensive demolition of this nonsense was essayed a decade ago by Alan Cameron in the Last Pagans of Rome—a demolition ignored by those with an investment in the Flavianus myth—and one might hope that the more sober, unelaborate dismissal of every beam in the mythic architecture here (36–58) will have greater effect. A similarly sober, undemonstrative account of the lost Gothic history...

The Lost Works of Thomas Becon

Abstract This article attributes four lost works to the literary corpus of the English clergyman and bestselling Tudor devotional author Thomas Becon (1512–1567): The Shelde of Saluacion, An Heauenly Acte, Christen Prayers and Godly Meditacions, and The Resurreccion of the Masse. It ascribes these texts to Becon in light of three types of corroborating evidence: contemporary attribution, parallels of content, and early publication history. These four lost works not only furnish a fuller picture of his literary output, but also provide new insights into his career, rhetoric, and theology. As Becon was the most popular evangelical devotional author writing in English during the sixteenth century, this analysis of his hitherto unattributed books makes a valuable contribution to the bibliography of Tudor England, especially during the transformative years of the Henrician, Edwardine, Marian, and Elizabethan Reformations.

Through The Hermit—Rediscovering António Dacosta's lost painting

The radiography performed on the painting There Is No Yes without a No—The Hermit (1985) by António Dacosta revealed one of his lost works. The last and only record of the lost painting is a black and white photograph taken during the exhibition L'Artiste du Mois at Centre Culturel Portugais de la Fondation Calouste Gulbenkian in Paris, 1985. The chromatic reconstruction of the artwork would be of extreme importance for its dissemination as it was conceived. For this purpose, portable x-ray fluorescence analyses were carried out directly on the paintings for preliminary elemental identification and to determine the most favorable sampling areas for μ-Raman and SEM–EDS evaluation. Cross sections were observed under optical microscope for better discernment of the chromatic layers used in each painting. In both artworks, titanium white (rutile), Mars red, Mars black, ultramarine blue, phthalocyanine blue and dioxazine violet were identified. Mars yellow and Mars black were found on superficial layers from the latest painting; phthalocyanine green, chrome-based green and cadmium red/orange was found on deeper layers, belonging to the hidden painting.

Le voyage dans le Levant de Louis-Auguste de Forbin, peintre, directeur du musée royal du Louvre (1816-1841), en mission pour les antiques (1817-1818)

The trained painter Louis-Auguste de Forbin descended from an old provençale family and studied under David in post Revolution. His various trips to Italy (between 1802 and 1812) with his friend Granet permitted him not only to advance his personal works but also to socialise and develop a network of artists and collectors. In 1816 he took over the role of director of the Royal Louvre museum from Vivant Denon. His nomination coming just after an important phase of restitution of lost works implemented by Napoléon. Forbins mission was two fold ; to build back up the collection and to encourage artists. His role in the antiquities played out not just with domestic purchases but also in the Levant where went in 1817 and 1818 accompanied by several artists of his own choosing. Progressively drawn to the Ottoman empire regions of Syria, Egypt and Palestine the trips allowed for digs and enabled purchases for the museum, (marbles, bas-relief and ceramics). On his return he wrote an account of his travels, illustrated with precise information of the sites he had visited. This work completed that done by his colleagues Huyot and Prevot.

Carl Philipp Emanuel Bach: a tercentenary assessment

C. P. E. Bach, second son of J. S. Bach, is generally recognized as an important figure in music history. During his own time, admiration for his music was indicated in critical writings of contemporaries such as Charles Burney, as well as by efforts of collectors to gather copies of his complete works. Yet persistent questions about the coherence and originality of his music have not been put to rest by the recent recovery of many lost vocal works or an on-going edition of his complete compositions. This article surveys Bach’s output, showing that the composer himself distinguished between original and derivative works. His obsessions with variation (or embellishment) and with remote modulations, and his acceptance of the stylistic norms and conventions of music at the Berlin court, where he served for 30 years, may have prevented his compositions from achieving the same degree of integration as those of his father or his younger Viennese contemporaries. His late works adopt elements of a popular ‘comic’ style that he once criticized. Yet his best music employs original designs and achieves unique effects unattainable through other means.

The Manuscript of a Medieval Necromancer: Magic in Occitan and Latin in ms. Vaticano, BAV, Barb. lat. 3589

MSVatican BAV, Barb. lat. 3589 has been known to scholars since the nineteenth century, but has never been thoroughly studied. This article investigates its contents and its composition, identifying its texts and, so far as possible, their sources, while searching for clues concerning the compiler’s background and manner of working. The codex has proved to be an outstanding document for the study of medieval magic for many reasons. It brings to light previously unnoticed works, such as the remarkable Libre de puritats, and provides a rare sampling of necromancy in a Romance language - Occitan - interacting with Latin. It also constitutes a new witness, although incomplete, for writings about occult arts known through other Latin manuscripts, in particular the Liber septem planetarum ex scientia Abel, the De officiis spirituum and perhaps the Liber Veneris. In addition, the codex shows evidence of the use of fundamental manuals of magic, such as Liber Razielis and Picatrix, whose medieval circulation is not well known, and gives the titles of many lost works and information about their contents. Last but not least, it offers a window on the way in which an early fifteenth-century necromancer formed his own collection of magic books and resources.

The Aria-cum-Chorus “Förkunnom högt hans lof och magt”: Using Text to Recover a Lost Work by Joseph Martin Kraus?

Within the corpus of music written by any eighteenth-century composer almost certainly lies a certain number of works that have been lost or else have survived only in a fragmentary form. While the bulk of any of these can be said to have originated during that composer's youth, and thus are of importance primarily in defining the initial development of his or her style, even among the mature late works can be found lacunae, gaps that, if filled, might complete one's understanding of the complete oeuvre. When added to the fact that, in a number of cases, the missing music may indeed have been distributed or published under the names of other, often better known or more popular figures, the matter of authenticity and recovery becomes a sometimes daunting task. Unless there is prima facie evidence of authorship, that is, a recovered autograph, authentic source, or relevant document, this problem is usually solved only with great difficulty, primarily using such subjective means as style (and stylistic comparison), conjectural source transmission, or a chain of circumstantial evidence. If the latter is logically argued, it can provide persuasive clues from which conclusions can be drawn even without the existence of primary evidence. In the case of the missing works of Joseph Martin Kraus, there exist many such compositions, ranging from known lost works to those whose composition remains speculative (van Boer 1998, 311-22). Efforts to date have been rewarding, resulting in the recovery of a number of symphonies heretofore thought lost, as well as other works previously unknown that have turned up serendipitously as the various archives and libraries in Europe have been cataloged through collective databases such as the Repertoire International des Sources Musicales (RISM). There are, however, a substantial number of authentic pieces that remain to be discovered, some of which, if they have survived the vicissitudes of time or have been transmitted in other guises, may be recovered to some degree through a subjective intuitive investigation, such as critical semantic comparison that, in the absence of actual documentation, at least allows for a viable conclusion to be drawn. Within the sources of Kraus's music there exists one such work, an aria with choral colophon entitled Forkunnom hogt hans lof och magt (VB 199; Proclaim on High His Praise and Power). Kraus biographer Karl Friedrich Schreiber called this single-movement piece for vocal solo (either soprano or tenor), four-voice chorus, and keyboard accompaniment a motet, no doubt on the basis of either the title or the manuscript compendium (Mottetter, Arier, Trior, Quartetter [Motets, Arias, Trios, Quartets]) within which it appears (Schreiber 1925, 478; van Boer 1998, 247). Schreiber also cataloged it among the authentic sacred works, though he was cautious, finding that, due to its being contained in a compendium of various movements, some of which were excerpts from Kraus's Funeral Cantata for Gustav III, Es deshalb auch noch nachzuprufen, ob nicht auch die hier verzeichnete Motette einem grosseren Krauswerk entnommen ist (Schreiber 1925, 478) [it therefore still needs to be researched whether the motet cataloged here was taken from a larger work of Kraus]. (1) The sole surviving source is the aforementioned miscellaneous genetically titled volume in the Kungliga Bibliotek [Royal Library] in Stockholm. (2) The manuscript is in the hand of an anonymous copyist who appears to have worked in the Swedish capital about 1795-1800 and who was employed by the new librarian of the Royal Swedish Academy of Music, Pehr Frigel, to compile various collections of works, primarily concert arias, presumably for use in the curriculum or for some other as yet unidentified group or ceremony. That this person was at least competent in transcribing music can be seen from his clear and precise handwriting, with no mistakes or emendations in the score, but no further identification is at present possible, either of the copyist as a person or the context for which this was transcribed (see illustration I). …

Czy tylko Paryż? Kilka uwag na temat polskich artystek na południu Francji

Since the first decade of the 20th century, Polish female artists, active in France, have also worked outside of Paris, in Southern France. Struggling every day for their own authentic art of painting, they enriched the Polish cultural heritage with original and exceptional works originating from various stylistic currents. The article brings a description, in a chronological order, of the contribution of many famous painters, such as Mela Muter, to Polish culture in the 20th century. It also reminds lost works of artists in the South of France, somewhat forgotten nowadays.

THE LOST SLOW MOVEMENT FROM BEETHOVEN'S QUARTET OP. 18 NO. 2

ABSTRACTIn October 1799 Beethoven delivered manuscript copies of three new quartets (Op. 18 Nos 1–3) to Prince Lobkowitz. The following year, however, he revised Nos 1 and 2, writing a new slow movement for No. 2 in which little of the original material was retained. The original slow movement was discarded and is now lost, but many sketches for it survive in the sketchbook Grasnick 2. Although these sketches seem disjointed and fragmentary, they represent all seventy-four bars of a complete movement, with some lower parts also indicated for more than half the bars, enabling the movement to be reconstructed in much detail. This lost movement is of great interest, with some striking imitation and modulations in the two contrasting episodes, and an ending that reconciles the opening theme with the stormy second section. The movement is of particular importance since no other lost works completed by Beethoven that are of such substance are known from such a late date.

Aristotle and the Papyri: the Direct Tradition

This paper intends to present briefly Aristotle’s direct tradition as found in the papyri already published, first in those containing Aristotle’s preserved works, then in those tentatively attributed to his lost works. Some papyrological and philological contributions are offered regarding the text of the first group, in particular by collation of the most recent editions and consideration of the latest studies. As for the second group, the arguments pro and contra Aristotelian authorship are analysed.

The Works of Abū Mansūr al-Tha'ālibī (350-429/961-1039)

AbstractThis article deals with the oeuvre of Abū Mansūr al-Tha'ālibī, a prominent literary figure of the Eastern part of the Islamic world in the 4th/10th century. It deals with some of the literary and social issues that led to the numerous problems of false attribution and duplication in his bibliography, such as patronage and the periodical reworking of his books. This is followed by an up-to-date bibliography for al-Tha'ālibī, based on archives, primary sources and secondary literature. Works in print and manuscript form are assessed as to their authenticity and content, including bibliographical information on published works and locations of manuscripts. A further list reunites lost works and those surviving in quotations with references to the extant passages.

EVIDENCE FOR THEOPHRASTUS ON HAIR, ON SECRETION, ON WINE AND OLIVE-OIL?

Abstract [Aristotle], Problemata inedita books 2–3 Bussemaker (of which the former = [Alexander of Aphrodisias, Problemata book 4 Usener) includes some thematically grouped sections which include a large number of items also found in the [Aristotle] Problems included in Bekker's edition, and others which do not. The subjects of some of the latter correspond to the titles of three lost works by Theophrastus. Given the use of works by Theophrastus in the Bekker Problems, and of his On Dizziness in the Bussemaker Problems, the possibility suggests itself that material from the three lost works too may be present in the Bussemaker Problems. The present paper examines this possibility — which must inevitably remain speculative — and also examines the doctrinal basis of these sections of the Problems.

WHAT WAS AL-FĀRĀBĪ'S 'IMAMIC' CONSTITUTION?

AbstractThis paper seeks to identify the nature of a constitution called 'imamic' by al-Fārābī in one of his lost works, according to Ibn Bāgga and Ibn Rušd. It argues that this constitution was simply the virtuous regime under a different name. Ibn Rušd, who identifies is it in somewhat puzzling terms, must have worked with corrupt version of al-Fārābī's passage. Already Todros Todrosi, who translated Ibn Rušd into Hebrew in the fourteenth century, tried to emend it. What follows is another attempt at the same.

Omitted and Remaining Matters: On the Names Given to the Book of Chronicles in Antiquity

(Proquest Information and Learning: Foreign text omitted). The seventh book [of Writings] is Dabreiamin, that is Words of days, which we are able to call more specifically a chronicle (...) of all divine history; this book is entitled among us Paralipomenon One and Two.1 -Jerome, from Preface to his translation of Samuel-Kings.2 Like many other works stemming from ancient Near East, book known to us as Chronicles was originally untitled and anonymously authored. The purpose of this short study will be to explore varied nomenclature given to this book by early Jewish and Christian interpreters. The different titles attributed to text provide fascinating glimpses into how antique translators and commentators construed nature, genre, and import of this work. That at least some of these titles were retained and perpetuated for much longer periods of time than scholars have previously thought indicates influence of early interpreters upon later generations. In brief, present discussion is a contribution to hermeneutical history of one biblical book. In what follows, special attention will be devoted to works of patristic writers, because their comments on titles of Chronicles are not well known. I. The Name of Chronicles in Rabbinic Literature In Hebrew (rabbinic) tradition, cited by Jerome, work is called the book of events (literally: words) of (...).3 It is uncertain when text acquired this title. The book also carries this title in earliest witnesses to Peshitta.4 In ascribing name (...) to Chronicles, early interpreters may have been influenced by biblical tradition itself. The authors of Kings regularly cite lost works entitled the book of events of days of kings of (...) e.g., 1 Kgs 14:19; 15:31; 16:5, 14, 20, 27; 22:39; 2 Kgs 1:18; 10:34; 13:8, 12; 14:15, 28; 15:11, 15, 21, 31) and the book of events of days of kings of (...) e.g., I Kgs 14:29; 15:7, 23; 22:46; 2 Kgs 8:23; 12:20; 14:18; 15:6, 36; 16:19; 20:20; 21:17, 25; 23:28; 24:5). Similar names appear in Esth 10:2, the book of events of days of kings of Media and Persia (...), and in Esth 6:1, the book of records, events of (...). There is no scholarly agreement about nature of such lost works. Some think of royal annals, official records of a given king's reign.5 Others think of literary compositions or surveys that may have been based, in part, on official records or annals.6 Indebted to work of authors of Kings, authors of Chronicles also refer to written sources dealing with monarchy. The text sometimes speaks of the book of kings of Judah and (...) (...) 2 Chr 16:11; 25:26; 28:26; 32:32) and of the book of kings of Israel and (...) 1 Chr 9:1; 2 Chr 27:7; 35:27; 36:8).7 In only one case is reference made to the book of kings of (2 Chr 20:34). In no instance is there a reference made to the book of kings of Judah.8 Interestingly enough, references in Chronicles to the book of kings of Israel and and to the book of kings of Judah and are all found in discussions of southern kings or of Judah and Benjamin. As such, they are probably formulaic adaptations of source citations found in Kings.9 Judging by context in which expressions are used, one may assume that readers are being referred to (otherwise lost) written records pertaining to southern monarchy. Nevertheless, contrast in phraseology with Kings is important. The book of Chronicles contains no instance of collocation that later became its name, (...). Hence, if later interpreters drew title from earlier biblical tradition, they drew it from works other than Chronicles itself.10 Aside from cited works whose titles resemble that given to book of Chronicles, there are works that refer to its precise name. …

MIDRASHIC EXEGESIS AND ITS PRECEDENTS IN THE DEAD SEA SCROLLS

Imagine the following scenario: The time is early 1947. A scholar who has spent much time studying the works of rabbinic literature comprising the Oral Torah-the Mishnah and Talmuds, the Bible and its Aramaic targums, the many midrashic and aggadic works-is walking in the desert hills of Judea, near the northern tip of the Dead Sea. Suddenly, he is accosted by someone who relates strange stories of hidden caves and buried treasure, of coins, sandals, skeletons, earthenware pots, but mostly of scrolls: hundreds of scrolls on skin, papyrus and metal; scrolls of an ancient age, many crumbling into pieces, some in ancient script. The stranger proceeds to tell of the contents of these scrolls: sections of long lost works, works known from the Apocrypha and the Pseudepigrapha-but in the Hebrew (or Aramaic) original, Aramaic targums, anthologies of biblical passages, biblical and Bible-like texts; psalms, prayers and texts containing mysteries; halakhic treatises, letters, historically oriented texts, and more. The scholar entreats the stranger to show him these treasures, and in a matter of instants he is in front of these texts, which he reads with great curiosity. Gradually, there unfolds in front of his eyes a vast Jewish library thousands of years old-composed hundreds of years before the first traditions of the Jewish Oral Torah were set down in writing. This imagined confrontation of a scholar well-versed in rabbinic texs with the entire known corpus of the Qumran sect may provide suitable background for a comparative investigation into the similarities and differences, in content and method, between rabbinic literature-in its present form the result of redactions of texts from the second to sixth or seventh centuries of the common era-and the earlier writings of the Qumran community. While the latter has come to the attention of scholars of Jewish texts in a piecemeal fashion over a

Santiago Ramón y Cajal. The brain in Spain.

The legacy of Santiago Ramon y Cajal, the brilliant Spanish neuroscientist, is to be preserved in a new museum. But the fight to recover his lost works goes on, say Xavier Bosch and Alison Abbott.