The Project Gutenberg eBook of The Supposed Autographa of John the Scot, by Edward Kennard Rand

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at https://www.gutenberg.org/license. If you are not located in the United States, you’ll have to check the laws of the country where you are located before using this eBook.

Title: The Supposed Autographa of John the Scot

Author: Edward Kennard Rand

Release Date: November 30, 2010 [EBook #34511]

Language: English

Credits: Produced by Chris Curnow, Joseph Cooper, Josephine Paolucci and the Online Distributed Proofreading Team at https://www.pgdp.net.

*** START OF THIS PROJECT GUTENBERG EBOOK ***

UNIVERSITY OF CALIFORNIA PUBLICATIONS

IN

CLASSICAL PHILOLOGY

Vol. 5, No. 8, pp. 135-141, plates 1-11       October 13, 1920

THE SUPPOSED AUTOGRAPHA OF JOHN THE SCOT

BY

EDWARD KENNARD RAND

In the fifth part of Ludwig Traube's Palaeographische Forschungen, (which I had the honor of publishing after that great scholar's death)[1] evidence was presented for Traube's apparently certain discovery of the very handwriting of John the Scot. In manuscripts of Reims, of Laon, and of Bamberg, he had observed certain marginal notes which were neither omitted sections nor glosses, but rather the author's own amplifications and embellishments of his work. Johannes had made such additions to his De Divisione Naturae in the Reims manuscript, and they all appear in that of Bamberg. In the latter manuscript there are fresh additions—or enlargements as I shall call them in the present paper—which have similarly been absorbed into the text in two manuscripts now in Paris. We thus have, in an interesting series, the author's successive recensions of his work. One of the shorter forms is the basis of the text published by Thomas Gale in 1681; the most complete form was edited by H. J. Floss in 1852 from the Paris manuscripts.[2] Though not venturing to carry out Traube's elaborate plans for treatment of the subject, I attempted to corroborate his belief that the notes were in the hand of Johannes. The evidence seemed conclusive to me at the time, and was not questioned, so far as I know, in any subsequent publication. In the summers of 1912 and 1913, however, I examined the manuscripts of John the Scot in Paris, in Reims, in Laon, and in Bamberg, and became convinced, most reluctantly, that his autograph is yet to be found. I here present the chain of facts that make this conclusion inevitable.[3]

Let us start with the hypothesis that the marginal notes discovered by Traube are in the hand of Johannes himself and let us support this hypothesis until it becomes too heavy to bear. Our first document is the Reims Manuscript 875 (= R) of the De Divisione Naturae. This is the work of some six or seven writers, whose hands are sometimes hard to tell apart. Though it is the briefest and hence the earliest form of the text that I have found, it is not the original draft of the work. The scribes could not have taken it from the author's dictation, for they commit errors of various sorts that presuppose the existence of a text that they were copying.[4] This text, which is as near to the original as our present information permits us to come, I will call O.

Besides making corrections and additions in their copy of O, the scribes also insert marginal notes that have all the characteristics of the author's own amplifications of his work. This fact does not militate against our present hypothesis, if we assume that Johannes added these marginalia, or caused them to be added, in O, and that the scribes of R, at first forgetting to include them in the text of their new copy, later wrote them in the margin.[5] In some cases, as we might expect, a different ink is used. The insular hand (= I), which we are assuming to be that of Johannes, corrects minor errors in these enlargements now and then.[6] This fact is entirely in accord with our hypothesis.

A number of enlargements omitted by the writers of the text were supplied not by them but by special correctors, who were assigned, it would seem, considerable portions of the manuscript to revise. Particularly important among these wide-ranging correctors are two hands that I will call r^1 and r^2. The former is a largish hand with some slight traces of Insular habits.[7] r^2 is very similar, and indeed may be merely a smaller variety of r^1. In the specimen that I have reproduced, as is true of both r^1 and r^2 elsewhere, correction by I may be observed.[8] In all, I detected, or thought I detected, five or six correcting hands, which sometimes supplement stretches of text written by others, sometimes supplement their own text, and, in all the cases under discussion, add notes of the author which were evidently in the margin of O. It is sometimes hard to be sure whether r is the text-hand or not. The point is not vitally important. The main fact is that several different kinds of correcting hand make, either in their own texts or in those of others, the kind of additions or enlargements with which we are specially concerned. However, as we have seen, we can still retain our hypothesis by supposing that I is the hand of Johannes, while r represents various correctors who copied from O enlargements added there by Johannes or at his direction.

But we have now to note an intimate connection between I and r. They collaborate on the same notes. Plate V (fol. 285v) shows us an enlargement that begins in the hand (= r^3) that writes the text. It extends through substantiam (1.3), then is succeeded by I (ex his—horum est), then returns (Ibi—superans), and finally gives way to I once more (dum—esse). The interesting possibility and enlargements taken from O. Possibly two or more stages are represented by O, r starting with an earlier, and I supplementing from a more complete form—but into that terra incognita of fresh hypothesis we need not enter. I's procedure, at any rate, seems exactly like that of r. Thus his practice of calling in a variety of r to complete a note too large for the space is paralleled by r^4, the writer of the text on fol. 231v (Plate II), who uses up a legitimate amount of his margin and then has r^5 finish it, with signs of references, on the following page. The latter scribe uses a finer hand, and has no difficulty in completing the note with a decent margin to spare.[9]

Surely in the scribal play illustrated in Plate V, I is acting more like a fellow-worker than the author of the work. Likewise on another page, we note corrections and minor enlargements by the text-hand, then similar changes by I, and, finally, corrections of I by the text-hand.[10] If Johannes wished to change cogitationes to operationes, it is strange that he did not do it himself rather than beckon to some scribe to insert the word; another correction, nisi, added above the line, is made in the hand of I. In short, r and I are two different scribes collaborating on what would appear to be a rather difficult original or set of originals.

Moreover, if I is Johannes, he does not understand his own text. In De Divisione Naturae i. 49 (Migne P.L. cxxii, 491 A) we read:

Omnium hominum una eademque ουσια est. Omnes enim unam participant essentiam, ac per hoc, quia omnibus communis est, nullius proprie est. Corpus autem commune omnium hominum non est. Nam unusquisque suum proprium possidet corpus, non et ουσιαν. Igitur communis est, et corpus commune non est.

This passage forms part of one of the enlargements of I. In it he writes omnis for omnes, and Non et ουσιαε igitur communis est for non et ουσιαν. Igitur communis est. These are understandable errors for any scribe, but not for the author of the work, to make. Others occur elsewhere in the Insular hand; I have not recorded many, but I made no systematic search.

We now come to the most startling consideration of all, namely, that there are two varieties of insular script in the book. The first variety, which I will now call i^1, is exhibited in all the plates thus far presented. It is loose, pointed, flowing, with few abbreviations or ligatures specially characteristic of Irish script. With only one or two exceptions, it uses a d with a curved shaft. The other variety (i^2), as Plate X (fol. 106) shows, is at once more compact and regular, and more cursive, with more of the specifically Irish traits; it has a straight-shafted d. Furthermore, the two hands appear in different portions of the manuscript. i^1 is confined to foll. 1-80v (= quires I-X) and foll. 113-318v (= quires XV-XLI), while i^2 appears only in foll. 81-112v (= quires XI-XIV) and foll. 319-358 (= quires XLII-XLVI). In the sections corrected by i^2, we note the same features as in the other parts. i^2 inserts many long enlargements and makes many minor corrections. He is supplemented in one of his own enlargements by r^2.[11] On another page, he is corrected by r^2, or possibly the text-hand.[12]

Our last resort, if we are still to look for the autograph of John the Scot in the various hands of Reims, is to suppose that, if not i^1, it is i^2. This is indeed the hand that Traube believed was the author's; it happened that almost all of the photographs taken for Traube contain enlargements by i^2 and not by i^1. Yet if i^2 is Johannes, why does that hand never correct the sections assigned to i^1? Of the two, i^1 seems more free, more individual, more like an author's, unless that author be also a calligraphist. But if we imagine that i^1 is Johannes, why does he never appear in the sections assigned to i^2?

Our chain of evidence draws us to the conclusion that neither i^1 nor i^2 is Johannes, but that both are scribes employed by him, together with others, to correct and enlarge the manuscripts of his works. The two Insular writers were very possibly the most important of his workmen, for he entrusted most of the revision to them. Their task was done in intimate coöperation with the other scribes. They would call them in to finish their notes if considerations of space demanded, or, now and then, merely to indulge in a pastime of alternate writing. Perhaps it was the difficulty of deciphering the original that induced a scribe to appeal more frequently than usual for help from a fellow-craftsman. I have confined my discussion to the manuscript 875 of Reims, but the two Insular hands appear also in the manuscripts of Bamberg and of Laon.[13]

After all is said and done, the great value of Traube's discovery remains. It is positive that the enlargements in the manuscripts were made at the direction of the author himself. They present to the modern editor of the De Divisione Naturae the fascinating task of distinguishing the different revisions, and of following the growth of the subject in Johannes' mind. The best way, I believe, would be to print on the left-hand page the enlarged form of the text, for that is the form in which the author wished his work to be known to posterity. On the right-hand page, the briefest form, the nearest approach to his original draft, might be given, with indication, in the critical apparatus, of the successive stages by which the final text was reached. Possibly further research may reveal O, or even the hand of Johannes himself. For the present, we at least have accessible—if the contents of the libraries of Reims and of Laon are accessible—the material for preparing a highly accurate and well-nigh unique edition of one of the masterpieces of medieval philosophy.

FOOTNOTES:

[1] In Abh. d. k. b. Akad. d. Wiss., philos.-philol. u. hist. Classe, München, XXVI (1912).

[2] In Migne, Patrologia Latina, vol. 122 (1865).

[3] I have confined my illustrations almost entirely to passages exhibited in the plates. I have notes of many other examples quite as pertinent, but do not include them here, believing that those presented amply prove my point.

[4] For an example, see Plate I (fol. 273). In the last regular line of the page, after writing caelestis essentiae particeps est, the scribe first omitted the words de die—caelestis essentiae particeps est (an exceedingly easy haplography) and then added them, with signs of reference, in the margin immediately below. As the error is one of sight and not of hearing, he must have had a text before him.

[5] Plate II (fol. 231v) contains a striking instance. After the citation of St. Basil, the author bethinks him of another possible interpretation of his words (An aliud ex uerbis ipsius—intelligendum) and sets it forth in the enlargement. It is not probable, I believe, that the author dictated this forthwith to the scribe. As the existence of O has been proved, it is more natural to assume that the enlargement had already been inserted there.

[6] E.g., fol. 59 (I have no photograph). The added quodam in l.10 of fol. 231 (Plate II) is not by I. See below, note 10. Ut arbitror in the right margin seems exactly the thing that an author tucks in when revising and qualifying his work. But see below p. 138.

[7] Plate III contains a specimen (fol. 64). At first this hand looks like that of the text, but it is really different. The corrections are, I believe, by r^1 himself. They had been made in O, I infer, but at first were not observed by r^1. The heading De agere et pati is by a hand of the thirteenth century or later (= h).

[8] See Plate IV (fol. 15). As in the previous specimen, this hand is similar to that of the text, but not identical with it. The hand h adds three headings.

[9] Fol. 232 (Plate VIII). r^5 then collated the work of r^4 with O, adding quodam in l.10, and perhaps correcting consequentius to consequentias in l.12.

[10] Fol. 58v (Plate IX).

[11] See fol. 81, Plate XI (= Plate I in Pal. Forsch.).

[12] Fol. 106 (Plate X).

[13] For i^2 in the Bamberg MS, see Pal. Forsch., Plates III-VIII. For i^1 in the Laon MS, see Pal. Forsch., Plate X.

PLATES

Plate I. Fol. 273.

Plate II. Fol. 231v.

Plate III. Fol. 64.

Plate IV. Fol. 15.

Plate V. Fol. 285v.

Plate VI. Fol. 49.

Plate VII. Fol. 56.

Plate VIII. Fol. 232.

Plate IX. Fol. 58v.

Plate X. Fol. 106.

Plate XI. Fol. 81 (= Pal. Forsch., Plate I).

PLATE 1

PLATE 2

PLATE 3

PLATE 4

PLATE 5

PLATE 6

PLATE 7

PLATE 8

PLATE 9

PLATE 10

PLATE 11

*** END OF THIS PROJECT GUTENBERG EBOOK ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

The Project Gutenberg eBook of The Supposed Autographa of John the Scot, by Edward Kennard Rand

UNIVERSITY OF CALIFORNIA PUBLICATIONS

IN

CLASSICAL PHILOLOGY

Vol. 5, No. 8, pp. 135-141, plates 1-11 October 13, 1920

THE SUPPOSED AUTOGRAPHA OF JOHN THE SCOT

EDWARD KENNARD RAND

FOOTNOTES:

PLATES

THE FULL PROJECT GUTENBERG LICENSE