The Rubrication Of The Psalms In Codex Sinaiticus -- By: Mark Randall James
TynBull 66:2 (2015) p. 217
The Rubrication Of The Psalms In Codex Sinaiticus
This article examines the use of red ink (‘rubrication’) in the Psalms of Codex Sinaiticus. Building on Dirk Jongkind’s important study, Scribal Habits of Codex Sinaiticus, I offer an overview of the ancient practice of rubrication, a careful description of the scribal habits displayed in the rubrication in the Psalms of Sinaiticus, and a catalogue of probable scribal errors that occur in the rubrication. I offer three corrections or additions to Jongkind’s study: 1) scribe D’s omission of ΕΙΣ ΤΟ ΤΕΛΟΣ in the title of Psalm 87 was probably not a copying error, despite being a singular reading; 2) scribe A squeezed three lines of the text of the title to Psalm 100 into two because he forgot that he had left himself a third line at the bottom of the previous column; and 3) the ΔΙΑΨΑΛΜΑ at Psalm 139:9 was probably omitted by scribe A and added by a later hand, perhaps scribe D. This implies that A’s rubrication was checked and corrected.
The recent completion of the digital edition of the Codex Sinaiticus1 provides new opportunities for scholars to examine this important manuscript in detail. Sinaiticus is noteworthy for its use of red ink (‘rubrication’) particularly in the Psalms, the Song of Songs, and for the rubrics of the Eusebian apparatus. While the classic study by Milne and Skeat2 and the recent thorough study by Dirk Jongkind3 both give
TynBull 66:2 (2015) p. 218
extensive consideration to the Eusebian apparatus, neither gives much treatment to the Old Testament rubrication. In what follows, I analyse the rubrication in the book of Psalms of Codex Sinaiticus. After providing some background information on Sinaiticus and on the ancient use of red ink, I offer a careful description of the scribal habits displayed in the rubrication and a catalogue of probable scribal errors. I conclude with three observations about scribal errors misidentified or neglected by Jongkind.
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