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Mansa Musa was the ruler of the Mali Empire in West Africa. Details recorded here should be sourced; unknown information is left blank.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
Codex Chisianus 45 (also Codex Chigianus 45; Vatican Library, Chigi R. VII 45; numbered 88 in Rahlfs Septuagint manuscripts, 87 in Field's Hexapla [1] ) is a biblical manuscript variably dated to the 10th century[citation needed] or the early 14th century [2] or early 14th-century. [3] It was first edited in 1772.
Codex Chisianus 45 is a significant manuscript for the study of the Septuagint, particularly for its preservation of the Old Greek (OG) text of the Book of Daniel. The OG text of Daniel largely disappeared from Greek tradition by the end of the 4th century, having been superseded by Theodotion's revision, which was endorsed by prominent figures such as Jerome. The OG version survived primarily in Codex Chisianus 45, which was the sole known Greek manuscript of this version until the 1931 discovery of Papyrus 967 (Chester Beatty IX/X).
The text of Codex Chisianus 45 is known for its substantial deviations from the Masoretic Text (MT) of Daniel. These deviations include transpositions, expansions, abridgements, and modifications that occasionally alter the prophetic messages. Irish scholar John Gwynn, writing in 1911, offered a critical assessment of the translation of Daniel found in Codex Chisianus, remarking:
Indeed, the greater part of this Chisian Daniel cannot be said to deserve the name of a translation at all. It deviates from the original in every possible way; transposes, expands, abridges, adds or omits, at pleasure. The latter chapters it so entirely rewrites that the predictions are perverted, sometimes even reversed, in scope.[4]
The authenticity of the Greek text in Codex Chisianus has been corroborated by the Syro-Hexaplar Codex (dated 616/7), which contains a Syriac translation of Origen's recension. Originally housed in the Chigi Library in Rome, Codex Chisianus 45 was transferred to the Vatican Library in 1922, where it remains today.
The manuscript's dating has been subject to scholarly debate, with some sources placing it in the 10th century[5] and others, including the Göttingen Septuaginta project, dating it to the early 14th century.[6]
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Codex Chisianus 45 (also Codex Chigianus 45; Vatican Library, Chigi R. VII 45; numbered 88 in Rahlfs Septuagint manuscripts, 87 in Field's Hexapla ) is a biblical manuscript variably dated to the 10th century or the early 14th century or early 14th-century. It was first edited in 1772.
Papyrus 967 (also signed as TM 61933, LDAB 3090) is a 3rd-century CE biblical manuscript, discovered in 1931. It is notable for containing fragments of the original Septuagint text of the Book of Daniel, which was completely superseded by a revised text by the end of the 4th century and elsewhere survives only in Syriac translation and in Codex Chisianus 88. The manuscript is also important for early variants, both in the text of the Book of Ezekiel and of the Book of Daniel. The exact circumstances of the find are unclear, but the ancient Aphroditopolis is assumed to be the place where it was found.
The earliest surviving manuscripts of the Septuagint (abbreviated as LXX, meaning ‘seventy’), an ancient (first centuries BCE) translation of the ancient Hebrew Torah into Koine Greek, include three 2nd century BCE fragments from the books of Leviticus and Deuteronomy (Rahlfs nos. 801, 819, and 957) and five 1st century BCE fragments of Genesis, Exodus, Leviticus, Numbers, and Deuteronomy (Rahlfs nos. 802, 803, 805, 848, and 942), only. The vast majority of Septuagint manuscripts are late-antiquity and medieval manuscript versions of the Christian Greek Old Testament tradition.
Habakkuk and the Angel is a sculpture created by Gian Lorenzo Bernini c. 1656–61. Standing in a niche in the Chigi Chapel in the Basilica of Santa Maria del Popolo in Rome, it shows the Prophet Habakkuk with the angel of God. It forms a part of a larger composition with the sculpture of Daniel and the Lion diagonally opposite.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Madam C.J. Walker