Oxford

On 11 June 1904 the students of Somerville, Oxford staged a performance of the masque Demeter which had been specially written for the occasion by the poet Robert Bridges , with music composed by Henry Hadow, the Dean of Worcester College . The performance was part of a d a y o f a c t i v i t i e s t o ma r k t h e o f f i c i a l o p e n i n g o f S o me r v i l l e ' s L i b r a r y , t h e f i r s t t o b e b u i l t b y a n Ox f o r d wo me n ' shall, and one of few Oxford libraries designed for the use of students rather than only Fellows. 2 The opening ceremony was attended by several hundred people who stayed to enjoy a garden party, the afternoon performance of Demeter, and an evening dance. For the first time, The Manchester Guardian r e p o r t s , t h e d i s t i n g u i s h e d me n o f t h e Un i v e r s i t y d i d S o me r v i l l e t h e h o n o u r o f a t t e n d i n g ' i n s o me t h i n g l i k e o f f i c i a l s t a t e ' .

“Alain Locke in His Own Words: Three Essays.” Edited and annotated by Christopher Buck and Betty J. Fisher. World Order 36.3 (2005): 37–48. 

Features four previously unpublished works by Alain Locke:
(1) “The Moon Maiden” (37) •
(2) “The Gospel for the Twentieth Century” (39–42) •
(3) “Peace between Black and White in the United States” (42–45) •
(4) “Five Phases of Democracy” (45–48).

Also included: Christopher Buck, “Alain Locke: Race Leader, Social Philosopher, Baha’i Pluralist.” Special Issue: Alain Locke: Dean of the Harlem Renaissance and Baha’i Race-Amity Leader. World Order 36.3 (2005): 7–36. 

*This special issue of World Order won the Religion Communicators Council’s 2006 DeRose-Hinkhouse Memorial Award of Excellence for excellence in religion communications and public relations (Class B. Periodicals—Single Issue, Magazine, National (B-1)).

built between 1855 and 1860, remains today more or less in its original appearance. On stepping into the dimly lit entrance foyer and climbing the leaden-grey stone steps, a visitor may be unprepared for the architectural vision beyond the unassuming wooden doors. Natural light pours through the clear glass roof, illuminating the museum's central court. The daylight touches every surface-the specimens, the walls, the floors, corners and crevasses. Numerous stone and iron columns support a roof formed of overlapping glass scales, interwoven with iron cross work, added to which are the skeletons of great leviathans suspended from this extraordinary iron and glass ceiling. The juxtaposition of the cast-iron lancet arches that support the roof with the large curving rib bones of the various whale specimens hanging above creates a remarkable sight. As the bright midday sun reaches its zenith, the bones seem to appropriate the same steely-grey and ochre-yellow patina as the ironwork, making their individual forms, colours and textures indistinguishable from one another (figure 1). This phenomenon of material slippage is striking, and it raises the question as to whether this chromatic conflation of bone and iron was an intentional part of the museum's original design. In the museum, the bone and iron both share the visual attribute of being relatively narrow and long, particularly when considering the rib bones, with their delicately curving processes, echoed in the roof's iron lancet arches. Both materials yellow over time, but they also express many other similar intrinsic properties that had not gone unnoticed by nineteenth-century scholars and academics. 1 They were considered to be ideal building materials, having the shared properties of being both light and incredibly strong. The intrinsic properties, physical

An evaluation was carried out by John Moore Heritage Services on behalf of Oxford City Council (OCC) on the site of the Benedictine Priory of St Nicholas at Littlemore. The evaluation revealed good structural remains of medieval buildings as well as a quantity of Roman pottery. The precise function of putative buildings could not be identified, although a fireplace was observed in situ, and floor tiles and possible surfaces were recorded which may relate to a Templar grange at the site. Ditches were also observed in most of the trenches, as were the edges of significant waterlogged deposits. Roman and prehistoric activity was observed on the west side of the site overlooking the confluence of the Northfield brook and the brook delimiting the west side of the site. These remains were suggestive of light occupation on the headland possibly related to the cultivation soil into which the medieval remains were cut.

SummaryLoom weights are common finds in archaeological excavations in Europe and the Near East. They represent the only remains of warp-weighted looms. The function of the warp-weighted loom is well known from ethnographic studies. The function of loom weights, however, has not been investigated and cannot be deduced directly from ethnographical data, since loom weights in antiquity were very different from those used in the twentieth century AD. This paper reviews the functional elements of a loom weight. The weight and thickness of loom weights are established as the defining functional parameters for the operation of the warp-weighted loom. A series of systematic tests demonstrated that the weight of a loom weight defines what yarn to use and the thread density. The thickness of a loom weight, and thus the width of the row of loom weights hanging closely together, defines the width of a fabric and – together with the weight of the loom weight – the thread count and density of the fabric. This new knowledge provides the methodological framework for archaeologists to calculate textile production possibilities from any given loom weight, as long as the weight and thickness are preserved. Furthermore, it allows scholars to assess textile production on sites where no textiles are preserved.Loom weights are common finds in archaeological excavations in Europe and the Near East. They represent the only remains of warp-weighted looms. The function of the warp-weighted loom is well known from ethnographic studies. The function of loom weights, however, has not been investigated and cannot be deduced directly from ethnographical data, since loom weights in antiquity were very different from those used in the twentieth century AD. This paper reviews the functional elements of a loom weight. The weight and thickness of loom weights are established as the defining functional parameters for the operation of the warp-weighted loom. A series of systematic tests demonstrated that the weight of a loom weight defines what yarn to use and the thread density. The thickness of a loom weight, and thus the width of the row of loom weights hanging closely together, defines the width of a fabric and – together with the weight of the loom weight – the thread count and density of the fabric. This new knowledge provides the methodological framework for archaeologists to calculate textile production possibilities from any given loom weight, as long as the weight and thickness are preserved. Furthermore, it allows scholars to assess textile production on sites where no textiles are preserved.

This article puts forward a new context and chronology for the development of the two parts of the
late Saxon burh at Oxford, using archaeological, topographical, and historical evidence. It argues that
the original burh was created in c.878–9 and that the eastern extension – effectively a second burh –
was added in the early tenth century. Both dates are earlier than those usually proposed. The results
of recent excavations on the site of the Norman castle have made it possible not only to establish the
original extent of the primary burh, but also to identify a phase of the re-defence in probably the early
eleventh century as a response to renewed Viking raiding.

Buck, Christopher. “Alain Locke and Cultural Pluralism.” Search for Values: Ethics in Baha’i Thought. Edited by Seena Fazel and John Danesh. Los Angeles: Kalimat Press, 2004. Pp. 94–158.

African American philosopher Alain Locke is arguably the most profound and important Western Bahá’í philosopher to date. Except for one 1979 article in a Bahá’í periodical, scholarship on Locke has neither seriously taken into account his Bahá’í identity nor the Faith’s influence on his work. The present study, based largely on archival sources, contributes to research on this “missing” dimension of Locke’s complex life and thought. It examines Locke’s worldview as a Bahá’í, his secular perspective as a philosopher, and the synergy between his confessional and professional essays. This study also argues that Locke had a fluid hierarchy of values—of loyalty, tolerance, reciprocity, cultural relativism and pluralism (the philosophical equivalent of “unity in diversity”)—and that this hierarchy represents a progression and application of quintessentially Bahá’í ideals. Locke’s distinction as a “Bahá’í philosopher” may therefore be justified on ideological as well as historical grounds. Locke “translated” Bahá’í ideals “into more secular terms” so that “a greater practical range will be opened up for the application and final vindication of the Bahá’í principles” in order to achieve “a positive multiplication of spiritual power.”

The scope of this article is Prescriptive Grammar.
Any English user may need a quick reference concerning conditionals in general. However, many users have an incorrect idea that, when we use past perfect in the if clause, it is ALWAYS incorrect to use “would or would not + base form of verb” in the main clause.
Therefore, the objective of this article is:
1. to define CONDITIONAL (IF) sentences in general and their BASICs; and
2. to correct the incorrect idea that, when we use past perfect in the if clause, it is ALWAYS incorrect to use “would or would not + base form of verb” in the main clause. We use this pattern in MIXED CONDITIONAL.
Whether we use “would/wouldn’t + have + past participle” or “would/wouldn’t + base form of verb” depends on whether the event is a Third Conditional or Mixed Conditional event.

The foundation of this research is the assembly and analysis of a corpus of over 500 images of Oxford produced between 1191 and 1759, affirming Joseph Skelton’s claim that ‘Perhaps no place in England can boast such a succession of delineations of itself, from an early period, as Oxford.’ Structured analysis at an individual level permits outstanding questions on attribution and authorship to be addressed. At an aggregate level, several conclusions can be drawn. Oxford’s persistent iconic self-image – its walls, spires and towers – was already established by 1191. The flood of images appearing from 1675 was not the result of the antiquarian or any other movement, but the serendipitous presence in Oxford of two men, John Fell and David Loggan. It is argued that Oxonia Illustrata was not simply a suite of images to accompany Anthony Wood’s Historia et antiquitates, but conceived as an emulation of Dutch ‘praise and description’ books, with which Loggan would have been familiar. His successors as University Engravers – Michael Burghers, George Vertue and John Green – also made notable contributions. From the early 1700s, many prints were designed to seek funding or approval for building projects, or to celebrate completion. Rare early states of such prints can provide information on the development of designs supplementing better known original architectural drawings. Only after 1690, with Loggan’s Cantabrigia Illustrata, and 1720, with Strype’s edition of Stow’s Survey of London, did any other British city begin to compete with Oxford as to the quality and quantity of prints produced. From the 1750s, the rather severe style of Loggan and his immediate successors began to be replaced by the more naturalistic style adopted by John Donowell, presaging the advent of the Picturesque. This corpus of images can supplement textual resources in supporting more general historical research.

Cambridge History of the Book in Britain: Chapter 8 - Urban production of manuscript books and the role of the university towns
By M. A. Michael
Edited by Nigel J. Morgan, University of Cambridge, Rodney M. Thomson, University of Tasmania
Book: The Cambridge History of the Book in Britain, 2008, pp 168-194

Christopher Buck, Alain Locke: Faith and Philosophy. Los Angeles: Kalimat Press, 2005. Pub date: July 3, 2005. ISBN-13: 978-1890688387. ISBN-10: 189068838X. L

In print. (Order from Kalimat Press: http://www.kalimat.com/Locke.html.)

REVIEWS
•  Derik Smith. World Order 38.3 (2006/2007): 42–48. (Published in 2008.): ”Christopher Buck’s recent book, Alain Locke: Faith and Philosophy, is a welcome addition to the literature on early twentieth-century American and African American culture. But, perhaps more important, Buck’s study is a significant contribution to scholarship on the history of the Bahá’í Faith in the United States. … Any future study of Locke must necessarily make its way through Christopher Buck’s Alain Locke: Faith and Philosophy. The scholar forcefully proves his thesis that, in Locke’s thinking, philosophy and religious belief operated as synergistic terms. He has shown that the Bahá’í Faith was integral to Locke’s life and ideology. …  Yet, after reading Buck’s work, it is difficult to imagine Locke the philosopher rapt in prayer. Of course, this is not a shortcoming of the book. Rather it is an indication that, while he may have wanted to portray a more pious figure, Buck maintains the vow he made in his introduction to Alain Locke: Faith and Philosophy “to constrain any grandiose claims on Locke as a Bahá’í.”

• M. Anthony Fitchue. Journal of African American History 92.1 (Winter 2007): 131–133: “But the jewels in this book are unmistakable. … Clearly, Buck has given voice to the men and women who not only put the Baha’i faith first in their lives, but also left key documents, personal letters, notes, and memoranda related to the life of philosopher Alain LeRoy Locke for future researchers to ponder and use for years to come.”

• William P. Collins. Insights (Library of Congress Professional Association Newsletter) 38.1–3 (Jan–Oct 2006): 10–12: “Both of these books [Lights of the Spirit and Alain Locke: Faith and Philosophy] go a long way toward correcting the historians’ failure to note the important role played by the Bahá’í Faith and prominent African-American Bahá’ís in the struggle for racial equality in the United States.”

This paper examines one of the less known and studied writings of Robert Grosseteste, Bishop of Lincoln, the De luce seu incohatione formarum. This short essay about light and the creation of the universe is a clear proof of cultural and scientific interests in the twelfth century in England. In this work it is offered both a mention of the sources that influenced Grosseteste in writing this essay, especially in the field of cosmology, and an account of its originality.

C’est grâce à une Décade de Pontigny, que Curtius, en 1922, a pu faire la connaissance de l’écrivain français Charles Du Bos. Les deux écrivains vont alors entamer une correspondance appelée à  durer jusqu’en 1935. Pourquoi Curtius sympathise-t-il avec Du Bos? Sans doute parce que Curtius et Du Bos partageaient la même vision mystique de Proust, de Hugo von Hofmannsthal et du mystique russe Viatcheslav Ivanov.

The Oxford Conference in the summer of 1922, 15-29 August, introduced Waldorf education to a British audience and laid the foundations for its international diffusion. Rudolf Steiner dominated the Conference proceedings although he was only one of the listed 14 speakers for the 'Spiritual Values in
Education & Social Life' event. Contemporary documentation is examined to reveal key aspects and the significance of the Conference at which there were 230 attendees. Steiner presented each of the 12 morning lectures at Manchester College, now Harris Manchester College, University of Oxford.
Steiner spoke in German and George Kaufmann translated. Afternoon and evening events were presented at the nearby Keble College. Conference events included, reportedly, the first Eurythmy demonstrations in Britain. Performances were presented by Eurythmists from Dornach as well as by Oxford school children. The Conference received widespread press coverage. An outcome of the Conference was a five paragraph statement issued by the delegates and stating the intention to create a world-wide association to foster the founding of new schools. A Provisional Committee of at least 11 members was elected and charged with this object. The Oxford Conference served as a catalyst for the establishment of Waldorf schools in Britain and the broader English-speaking world, and is a key historical event in the proliferation of Waldorf education.

Edited by Kari Coffman Şahan, Marianne Melsen, Alice Tawell, Kaitlyn Newell, Kai Wortmann, and Naheed Mukhi

Proceedings of the 2017 STORIES Conference, Department of Education, University of Oxford

STORIES (Students’ Ongoing Research in Education Studies) is a conference for graduate students and early career researchers to discuss their ongoing research in education and education-related projects in other disciplines, such as linguistics, anthropology, social policy intervention, economics, and the wider social sciences. The conference is organised by graduate students and held annually at the Department of Education, University of Oxford. In 2017, the conference theme was Doing Education Differently. Participants were invited to engage with the concepts of difference and diversity as manifested in areas of education in order to offer new perspectives on what it means to do education and educational research in today’s world.
https://ora.ox.ac.uk/objects/pubs:745687

Perteneciente a la escuela de los glosadores civilistas, el Maestro Vacario fue el introductor del derecho romano justinianeo en Inglaterra, muy particularmente con su famoso Liber pauperum, al tiempo que Rogerio* -con el que se confundió en ocasiones y con el que probablemente coincidiera en Bolonia-lo hiciera en la Francia meridional.

Robert Grosseteste’s treatise De colore is presented here in an authoritative new critical edition, with translation, commentary on its context, and a functional analysis from the perspective of modern science. The volume emanates from a series of interdisciplinary meetings, involving medieval specialists (from history, literary studies, history of philosophy, and palaeography) and modern scientists (from psychology and physics). This unique combination of insights allows new and deeper appreciation of Grosseteste’s treatise and the significance of his methods and observations. Grosseteste builds a coherent mathematical model in his exploration of what colour is and how it is to be described. What he articulates is a three-dimensional model for the operation of colour, depending on three factors, the amount of light, its quality, and the quality of the medium in which light is incorporated. The importance of the De colore within Grosseteste’s scientific canon can be better establish...

Since the late 1990s, a number of specialists have proposed a 'multiple species model' to explain the origins of behavioural modernity. This model establishes that most of the traits defining modern behaviour, including ornaments and art, are not exclusive to modern humans, but arose among anatomically 'non-modern' populations, like the late Neanderthals of Europe. This paper proposes that the emergence of this multiple species model is related to conceptual changes in the definitions of 'Neanderthals' and 'art'. In the first place, Neanderthals, once characterized as apish creatures lacking intelligence, are now considered by many as complex cognitive people capable of modern behaviour, including the ability to create symbolic and artistic representations. In the second place, personal ornaments, once trivialized as 'trinkets', are recognized today as artistic representations and as symbolically valued as other prehistoric artworks. These redefinitions of Neanderthals and personal ornaments reflect not only the multiple species model but also some of the recent debates concerning the origins of symbolic behaviour.

Special Issue: Alain Locke: Dean of the Harlem Renaissance and Baha’i Race-Amity Leader. World Order 36.3 (2005): 7–36. 

Winner of the 2006 DeRose-Hinkhouse Memorial Award of Excellence: Class B. Periodicals—Single Issue, Magazine, National (B-1), for excellence in religion communications and public relations. Awarded to:

(1) Dr. Betty J. Fisher, Editor;
(2) World Order magazine; and
(3) the National Spiritual Assembly of the Bahá’ís of the United States.

See http://www.religioncommunicators.org/assets/documents/derosehinkhouseawardwinners2006.pdf

SELECTED CONTENTS
Christopher Buck, “Alain Locke: Race Leader, Social Philosopher, Baha’i Pluralist.” Special Issue: Alain Locke: Dean of the Harlem Renaissance and Baha’i Race-Amity Leader. World Order 36.3 (2005): 7–36. 

Alain Locke, “Alain Locke in His Own Words: Three Essays.” Edited and annotated by Christopher Buck and Betty J. Fisher. World Order 36.3 (2005): 37–48. 

Features four previously unpublished works by Alain Locke:
• “The Moon Maiden” (37);
• “The Gospel for the Twentieth Century” (39–42);
• “Peace between Black and White in the United States” (42–45);
• “Five Phases of Democracy” (45–48).

Christopher Buck, “Alain Locke.” American Writers: A Collection of Literary Biographies. Supplement XIV. Edited by Jay Parini. Farmington Hills, MI: Scribner’s Reference/The Gale Group, 2004. Pp. 195–219. (Available in the Gale Virtual Reference Library (GVRL) database.)  

ABSTRACT
ALAIN LEROY LOCKE—philosopher, race leader, art critic, adult educator, essayist, and anthologist—was the leading African American intellectual of his day after W. E. B. Du Bois (1868–1963). A social genius, Locke was the mastermind behind the Harlem Renaissance, that explosion in the 1920s and 1930s of “New Negro” literature, drama, music, and art that bolstered black pride and earned reciprocal white respect on a national scale never before achieved. The December 1925 publication of Locke’s anthology, The New Negro, was a stellar event in American cultural history. A volume that spoke volumes, The New Negro: An Interpretation was art as manifesto—a secular liberation theology. For this and other reasons Columbus Salley, in The Black 100 (1999), ranks Locke as the thirty-sixth most influential African American in history. Alain Leroy Locke is the Martin Luther King Jr. of American culture.

Locke was a “prophet of democracy,” whose grand (though not systematic) theory of democracy sequenced local, moral, political, economic, and cultural stages of democracy as they arced through history, with racial, social, spiritual, and world democracy completing the trajectory. Adjunct notions of natural, practical, progressive, creative, intellectual, equalitarian democracy crystallized the paradigm. Seeing America as “a unique social experiment,” Locke’s larger goal was to “Americanize Americans,” with the simple yet profound message that equality benefits everyone and that democracy itself is at stake. The essence of Locke’s philosophy of democracy is captured in the title “Cultural Pluralism: A New Americanism,” a public lecture he gave at Howard University on November 8, 1950. In raising democracy to a new level of consciousness, Locke internationalized the race issue, making the crucial connection between American race relations and international relations. Racial justice, he predicted, would serve as a social catalyst of world peace. Thus there are two major streams of thought in Locke’s work—the African American historical, cultural, and intellectual tradition, and a cosmopolitan, global outlook intensified by the Bahá’í principles he embraced. Locke is both a “race man” (cultural racialist) and a philosopher (cultural pluralist). How Locke should be read depends on which of these two roles predominates.

History has both immortalized and obscured Locke. Given his cynicism toward it in later life, it is ironic, although not surprising, that Locke should forever be associated with the Harlem Renaissance, much to the exclusion of his broader role as a cultural pluralist. With new information that has come to light regarding his Bahá’í identity, it is now possible to understand how Locke could function simultaneously as a cultural racialist and cultural pluralist. Together the two combine to produce “unity through diversity”—the Bahá’í principle that Locke held sacred. Locke’ s philosophy of democracy, which previous literature never holistically described, is the key to integrating the various facets of his thought. As a philosopher Locke had no appreciable impact in his own lifetime. In the end, however, he may enjoy a delayed influence. That will depend largely on whether the new information that recent scholarship has provided can bring Locke back to influential life as a prophet of democracy.

An article (in Turkish) about a trip to Oxford, with references to Osman Hamdi Bey and her daughter Nazlı's concert in Istanbul

Emre Aracı geçtiğimiz Mayıs ayında İstanbul’da gezdiğinde hayli etkilendiği “Nazlı’nın Defteri” adlı sergiden yola çıkarak, yakın tarihimizin en önemli münevverlerinin başında gelen ressam ve arkeolog Osman Hamdi Bey ve aynı zamanda müzisyen olan küçük kızı Nazlı’nın yaşamı üzerine eğiliyor. Oxford Üniversitesi’nden fahri doktora alan Osman Hamdi’nin Eskihisar’daki köşkü, küçük Nazlı’nın İstanbul’da verdiği konserin dönemin basınında “bulunamayan” haber kupürü ve daha nice izlenim ve tesadüf...

Oxford se ha transformado en una localización bastante habitual en la gran pantalla. En general, la imagen de las ciudades en el Séptimo Arte no son otra cosa que nuestra proyección de las mismas, una singular metáfora de cómo entendemos nuestra vida en ellas. Las urbes son a la vez lugar de encuentro y encrucijada de múltiples intereses que no le son ajenos y que tienen que ver con sus paisajes humanos, con la política, con el desarrollo urbano o con los conflictos sociales. La que nos ocupa es el paradigma de ciudad universitaria que aunque referenciada continuamente apenas ha tenido presencia como tal en el mundo audiovisual.  Sea como fuere, nuestro interés se centrará en entender las razones de su uso como escenario, aunque rara vez como personaje.
Oxford has been an important location for many filmmakers. On the whole, screening cities reveals how we deal with our own idea of metropolis and the way of living in it. They all are meeting places and crossroads of different cultures, social issues, disturbing urban projects and from now on the natural place for the development of human landscapes. In this case we are focusing on the University city par excellence. A large number of movies has been shot there, many of them interested in the college life and many others that have been concerned with the works of its most renowned teachers. Not all the production has been British, in fact, fantastic cinema from the other side of the Atlantic has focused to the capital of Oxfordshire and its countryside with relative frequency in recent years. Definitely, the city has been very well portraited as a film set but almost never as a film character. To deepen the study of this issue is our purpose.

Since the late 1990s, a number of specialists have proposed a ‘multiple species model’ to explain the origins of behavioural modernity. This model establishes that most of the traits defining modern behaviour, including ornaments and art, are not exclusive to modern humans, but arose among anatomically ‘non-modern’ populations, like the late Neanderthals of Europe. This paper proposes that the emergence of this multiple species model is related to conceptual changes in the definitions of ‘Neanderthals’ and ‘art’. In the first place, Neanderthals, once characterized as apish creatures lacking intelligence, are now considered by many as complex cognitive people capable of modern behaviour, including the ability to create symbolic and artistic representations. In the second place, personal ornaments, once trivialized as ‘trinkets’, are recognized today as artistic representations and as symbolically valued as other prehistoric artworks. These redefinitions of Neanderthals and personal ornaments reflect not only the multiple species model but also some of the recent debates concerning the origins of symbolic behaviour.

Textiles from the North Caucasus Majkop culture (3700–3200 cal BC) site of Novosvobodnaya were selected for a programme of examination. Wool, flax and cotton-like plant-fibre threads were identified. This is the oldest example of wool so far identified in the archaeological record. Weaving techniques employed in making the textiles included the use of tablets or discs, and a simple frame. In addition, two dyeing techniques using tannin dyes have been determined.

Archaeologists often joke that patterning which cannot be explained in socio-economic terms is likely to be of ritual significance. This view has contributed to both reticence about and a rather impressionistic approach to potential ritual patterning in the archaeological record. The application of interpretations derived from the forensic sciences to such contexts may help to exclude natural or taphonomic processes that can mimic these patterns and elucidate aspects of ritual behaviour. In this contribution, we review some recent advances made in the application of such understanding to human remains and provide two examples of anothercadaveric spasma condition that has, at times, been interpreted as relating to 'live' burial. From these examples, it is clear that the relationship between well-analysed human remains and their context is the key to diflerentiating natural from ritual processes associated with interment.

The Mirror for Princes of Louis I of Hungary: the Secretum secretorum

My paper aims to analyse with new perspectives the pseudo-Aristotle manuscript
of Louis the Great of Hungary, the Secretum secretorum (Oxford, Bodleian Library,
MS Hertford College 2). Th e earlier research on it discovered that the codex could
have been made in the workshop that produced the famous manuscript of Louis, the
Chronica Pictum. Th is fact suggests that the Secretum was a part of the royal library.
In the article, I present the unknown details of the codex, like the structure and chap-
ter divisions (I published the contents in the appendix), comparing it to other three
Secretum manuscripts which comprise a group as determined by Friedrich Wurms.
Th e marks of later modifi cations in the marginal have been hitherto unnoted, as well
as the biographic details of the 17th century English possessor, Edmund Hall. Th e
only illuminated folio, the frontispiece, contains a portrait about King Louis as a
knight-king and I also compare this to other 14th century royal Secretum secretorum
volumes. Th e marginals could prove that it was not only used in the Early Modern
period, but also earlier in the court of Louis. John of Küküllő also made notes in the
margins which were integrated to his chronicle about Louis.