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Archaic Mark Revisited (Tommy Wasserman)
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"Archaic Mark" Revisited: Tying Up Some Loose Ends
This presentation was given virtually at the SBL Annual Meeting in November 2021.
The Gospel manuscript known as the “Archaic Mark” (Greg.-Aland 2427) in the Goodspeed Collection of the University of Chicago (MS 972) is now known as a modern forgery and has been removed from NA28. An important breakthrough was made in 2006 by Stephen C. Carlson who identified Philipp Buttmann’s 1860-edition as the textual Vorlage, whereas the final verdict on the case including an evaluation of the physical and chemical make-up, the palaeography and iconography was published by Margaret M. Mitchell and her team in 2010. However, there are still some loose ends of the story. In this paper I will examine the codicology, palaeography, text and iconography of both Archaic Mark and a related manuscript in St Petersburg tracing the them back to the same batch of parchment from which the two manuscripts were made, likely in a workshop in Athens around 1914, and likely involving the work of two prominent artists and friends. In this connection, I will also discuss the sometimes thin line between authenticity and forgery, in particular if we distinguish the text from the artifact.
This presentation was given virtually at the SBL Annual Meeting in November 2021.
The Gospel manuscript known as the “Archaic Mark” (Greg.-Aland 2427) in the Goodspeed Collection of the University of Chicago (MS 972) is now known as a modern forgery and has been removed from NA28. An important breakthrough was made in 2006 by Stephen C. Carlson who identified Philipp Buttmann’s 1860-edition as the textual Vorlage, whereas the final verdict on the case including an evaluation of the physical and chemical make-up, the palaeography and iconography was published by Margaret M. Mitchell and her team in 2010. However, there are still some loose ends of the story. In this paper I will examine the codicology, palaeography, text and iconography of both Archaic Mark and a related manuscript in St Petersburg tracing the them back to the same batch of parchment from which the two manuscripts were made, likely in a workshop in Athens around 1914, and likely involving the work of two prominent artists and friends. In this connection, I will also discuss the sometimes thin line between authenticity and forgery, in particular if we distinguish the text from the artifact.
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