Treasures Underfoot: Preserving Venice's Church Floor Artifacts

Total Page:16

File Type:pdf, Size:1020Kb

Treasures Underfoot: Preserving Venice's Church Floor Artifacts Treasures Underfoot: Preserving Venice’s Church Floor Artifacts An Interdisciplinary Qualifying Project Report submitted to the faculty of Worcester Polytechnic Institute in partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted By: Danielle Dechaine Meghan Hennessey Jeffrey Orszulak Kevin Rullmann Sponsoring Agencies: UNESCO La Soprintendenza all’Archeologia Submitted To: Project Advisors: Fabio Carrera John Zeugner [email protected] https://sites.google.com/site/ve12churches 0 Table of Contents Abstract...................................................................................................................................... 6 Executive Summary ................................................................................................................... 7 1 Introduction ............................................................................................................................11 2 Background ............................................................................................................................13 2.1 Churches of Venice .............................................................................................................13 2.2 Venetian Church Floor Artifacts ...........................................................................................14 2.2.1 Church Floor Materials .................................................................................................15 2.2.2 Types of Artifacts ..........................................................................................................15 2.2.3 Catholic Burial Practices ...............................................................................................16 2.3 Venetian Church Hierarchy .................................................................................................16 2.3.1 Patriarch of Venice .......................................................................................................17 2.3.2 Departments of the Church ...........................................................................................17 2.3.3 Monastic Orders of Catholicism ....................................................................................18 2.4 Preservation of Venetian Church Floor Artifacts ..................................................................19 2.4.1 Venetian Process for Restoring Artifacts .......................................................................20 2.4.2 Venetian Public Art Application .....................................................................................21 2.5 Assessment of Church Floor Artifacts .................................................................................22 2.5.1 Fading and Wear ..........................................................................................................22 2.5.2 Text Readability ............................................................................................................23 2.5.3 Cracks ..........................................................................................................................24 2.5.4 Holes and Joint Gaps ...................................................................................................25 3 Methodology ..........................................................................................................................26 3.1 Organizing Existing Artifact Data .........................................................................................27 3.1.1 Gathering Existing Data ................................................................................................27 3.1.2 Preparing for Data Collection in Venice ........................................................................28 3.2 Updating Information on Venice Churches ..........................................................................29 3.2.1 Visiting Venetian Church ..............................................................................................29 3.3 Ranking Artifact Damage Assessments ..............................................................................30 3.3.1 Evaluating Artifact Condition .........................................................................................30 3.3.2 Evaluating the Equation ................................................................................................31 3.4 Integrating Church and Artifact Data onto Venipedia ...........................................................32 3.4.1 Updating Venipedia through the City Knowledge Console ............................................32 1 3.4.2 Creating Venipedia Pages ............................................................................................34 3.4.2.1 Church Floor Artifact Page .....................................................................................34 3.4.2.2 Churches Template ................................................................................................34 3.4.2.3 Individual Church Template ....................................................................................35 3.4.2.4 Artifact Template ....................................................................................................36 4 Results ...................................................................................................................................38 4.1 Unified Church and Church Floor Artifact Databases ..........................................................38 4.2 Church and Church Floor Artifact Venipedia Pages ............................................................40 5 Analysis .................................................................................................................................43 5.1 Damage Assessment Analysis ............................................................................................43 5.1.1 Categories of Damage ..................................................................................................44 5.1.2 Artifact Scores v. Floor Height ......................................................................................46 5.1.3 Interpretation of Artifact Scores ....................................................................................47 6 Recommendations and Conclusions ......................................................................................50 6.1 Artifact Images ....................................................................................................................50 6.2 Artifact Condition Survey .....................................................................................................50 6.3 Venetian Public Art Application ...........................................................................................51 Bibliography ..............................................................................................................................52 Appendix A: Field Form .............................................................................................................54 Appendix B: Venipedia Church Floor Artifacts Definition Page ..................................................55 Appendix C: Venipedia Churches Page ....................................................................................57 Appendix D: Individual Church Template ..................................................................................59 Appendix E: Venipedia Artifact Template ..................................................................................61 Appendix F: Enlarged Graphics ................................................................................................63 Appendix G: Churches to Revisit ..............................................................................................66 Appendix H: List of Church Codes ............................................................................................67 2 Table of Figures Figure 1: Churches in Venice with Artifacts ................................................................................ 7 Figure 2: Number of Artifacts per Church ................................................................................... 7 Figure 3: Santi Apostoli, Number of High Damage Artifacts ....................................................... 8 Figure 4: Artifact Damage Condition Assessment ...................................................................... 8 Figure 5: Santi Apostoli, Percentage of High Damage Artifacts .................................................. 9 Figure 6: Example Venipedia Page ............................................................................................ 9 Figure 7: Sample Floor Style .....................................................................................................15 Figure 8: Example of a Plaque ..................................................................................................16 Figure 9: Example of a Tomb ....................................................................................................16 Figure 10: Catholic Churches in Venice ....................................................................................16 Figure 11: Artifact Nomenclature Code .....................................................................................22 Figure 12: Example of Text Readability .....................................................................................23 Figure 13: Example of Cracks ...................................................................................................24
Recommended publications
  • CEU Department of Medieval Studies, 2001)
    TABLE OF CONTENTS Editors’ Preface ............................................................................................................. 5 I. ARTICLES AND STUDIES .........................................................................7 Rozana Vojvoda Većenega’s ‘Book of Hours’: a Manuscript Study with Special Stress on Decorated Initials............................... 9 Ana Marinković Constrvi et erigi ivssit rex Collomannvs: The Royal Chapel of King Coloman in the Complex of St. Mary in Zadar........ 37 Jan Machula Foreign Items and Outside Influences in the Material Culture of Tenth-Century Bohemia................................................................................. 65 Ildikó Csepregi The Miracles of Saints Cosmas and Damian: Characteristics of Dream Healing ...................................................................... 89 Csaba Németh Videre sine speculo: The Immediate Vision of God in the Works of Richard of St. Victor..............123 Réka Forrai Text and Commentary: the Role of Translations in the Latin Tradition of Aristotle’s De anima (1120–1270).......................139 Dávid Falvay “A Lady Wandering in a Faraway Land” The Central European Queen/princess Motif in Italian Heretical Cults..........157 Lucie Doležalová “Reconstructing” the Bible: Strategies of Intertextuality in the Cena Cypriani...........................................181 Reading the Scripture ..............................................................................203 Foreword – Ottó Gecser ...............................................................................205
    [Show full text]
  • The Broken Cross
    THE BROKEN CROSS BY PIERS COMPTON (1984) This book was written in the early 1980's by a Catholic layman alarmed at the direction of the post Vatican II church. The author makes well supported charges the uppermost offices of the Church have been infiltrated by Luciferian Secret Societies, and that the problem is not confined to liberal prelates. He provides evidence that John XXIII and Paul VI were likely members of secret cults, and that John Paul I was murdered. Such is likely to be disturbing to Catholics who put their trust in the Roman Curia. TABLE OF CONTENTS PART ONE: GRIEVOUS WOLVES SHALL COME ............................................................................ 2 PART TWO: RONCALLI ...............................................................................................................23 PART THREE: VATICAN II ............................................................................................................36 PART FOUR: THE UNITED NATIONS ............................................................................................53 PART FIVE: FREEMASONS IN THE CLERGY ..................................................................................63 PART SIX: MAFIA BANKERS IN THE VATICAN ..............................................................................72 PART SEVEN: SCANDALOUS DEATH OF A CARDINAL ..................................................................80 PART EIGHT: MODERNISM ..........................................................................................................86
    [Show full text]
  • The Cult of Saint Jerome in Dalmatia in The
    Ines Ivić THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES MA Thesis in Medieval Studies Central European University CEU eTD Collection Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Supervisor CEU eTD Collection Budapest May 2016 I, the undersigned, Ines Ivić, candidate for the MA degree in Medieval Studies, declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography.
    [Show full text]
  • ART HISTORY of VENICE HA-590I (Sec
    Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001).
    [Show full text]
  • Rethinking Monastic Suppressions in Revolutionary and Napoleonic Italy: How Women Religious Negotiated for Their Communities Lehtsalu, Liise
    www.ssoar.info Rethinking Monastic Suppressions in Revolutionary and Napoleonic Italy: how women religious negotiated for their communities Lehtsalu, Liise Postprint / Postprint Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Lehtsalu, L. (2016). Rethinking Monastic Suppressions in Revolutionary and Napoleonic Italy: how women religious negotiated for their communities. Women's history review, 25(6), 945-964. https:// doi.org/10.1080/09612025.2015.1085263 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-ND Lizenz (Namensnennung- This document is made available under a CC BY-ND Licence Keine Bearbeitung) zur Verfügung gestellt. Nähere Auskünfte zu (Attribution-NoDerivatives). For more Information see: den CC-Lizenzen finden Sie hier: https://creativecommons.org/licenses/by-nd/4.0 https://creativecommons.org/licenses/by-nd/4.0/deed.de Diese Version ist zitierbar unter / This version is citable under: https://nbn-resolving.org/urn:nbn:de:0168-ssoar-52605-4 This is an Accepted Manuscript (Postprint) of an article published by Taylor & Francis in the Women’s History Review on March 1, 2016 (online) and in December 2016 (in print). The Version of Record can be found here: http://dx.doi.org/10.1080/09612025.2015.1085263 Rethinking Monastic Suppressions in Revolutionary and Napoleonic Italy: how women religious negotiated for their communities Liise Lehtsalu Female religious communities and individual women religious confronted the monastic suppressions in late-eighteenth and early-nineteenth century Italy by actively negotiating with authorities both during and after the suppression decrees. The lack of the voices of the suppressed women religious in current scholarship has led scholars to argue for top-down, predetermined reorganization and destruction of religious life in Revolutionary and Napoleonic Italy.
    [Show full text]
  • VENICE Grant Allen's Historical Guides
    GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St.
    [Show full text]
  • De Divino Deliberatio Supra Hymnum Trium Puerorum, an Exegetical
    Fictive Audience. The Second Person Singular in the Deliberatio of Bisbop Gerard of Csanad 1 Elod Nemerkenyi The principal sources for the life of bishop Gerard of Csamid are his legends fr om the twelfth and fo urteenth centuries. He was a Benedictine monk in the monastery ·of San Giorgio Maggiore in Venice who later went to Hungary and became tutor of Prince Emeric, son of King Stephen of Hungary. After living as a hermit in Bakonybel, he was appointed bishop of Csamid by King Stephen, where he established a cathedral school. He was killed in the pagan revolt of 1046 and canonized in 1083.2 There is also information on his works: the De divino patrimonio, a commentary on Saint Paul's Letter to the Hebrews, another on the First Letter of John, his sermons in honor ofthe Virgin Mary as weil as a fragment 3 of a homily collection. However, his only work extant in its entire Jength is the Deliberatio supra hymnum trium puerorum, an exegetical treatise on the book of the prophet Daniel (3.57-65) - written in Hungary. lt survives in a single manu­ script, copied in the Jate eleventh century (Munich, Bayerische Staatsbibliothek, Clm. 62 11). So far, the text has been edited three times.4 Its orthography, 1 This paper is part of a research project on Latin Classics in Medieval Hungary: Eleventh Century. See Elöd Nemerkenyi, "Latin Classics in Medieval Hungary: Problems and Per­ spectives," in Tradita et ln venta: Beiträge zur Rezeption der Antike, ed. Manuel Baumbach (Heidelberg: Universitätsverlag C. Winter, 2000), pp.
    [Show full text]
  • Fact Finding by the World Court
    Volume 4 Issue 1 Article 2 1958 Fact Finding by the World Court Neill H. Alford Jr. Follow this and additional works at: https://digitalcommons.law.villanova.edu/vlr Part of the Law Commons Recommended Citation Neill H. Alford Jr., Fact Finding by the World Court, 4 Vill. L. Rev. 38 (1958). Available at: https://digitalcommons.law.villanova.edu/vlr/vol4/iss1/2 This Article is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Villanova Law Review by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Alford: Fact Finding by the World Court FALL 1958] FACT FINDING BY THE WORLD COURT NEILL H. ALFORD, JR.t I. INTRODUCTION. T HE WORLD COURT is the principal judicial organ of the United Nations Organization.' As a judicial organ, it is probably not in- dispensable.2 What would happen to the United Nations Organization without the Court is pure speculation. Quite possibly the General Assembly would compensate for the loss by developing judicial func- tions much as it has developed executive functions to offset the creep- ing paralysis of the Security Council. Certainly the loss of the Court would not mean the breakdown of all international machinery for the peaceful settlement of differences. But an efficient World Court may prove to be a major asset of the United Nations by performing three important functions. The Court can give the Organization legal guid- ance3 and can handle certain kinds of disputes between States.4 It t Professor of Law, University of Virginia Law School.
    [Show full text]
  • The Life of Philip Thomas Howard, OP, Cardinal of Norfolk
    lllifa Ex Lrauis 3liiralw* (furnlu* (JlnrWrrp THE LIFE OF PHILIP THOMAS HOWARD, O.P., CARDINAL OF NORFOLK. [The Copyright is reserved.] HMif -ft/ tutorvmjuiei. ifway ROMA Pa && Urtts.etOrl,,* awarzK ^n/^^-hi fofmmatafttrpureisJPTUS oJeffe Chori quo lufas mane<tt Ifouigionis THE LIFE OP PHILIP THOMAS HOWAKD, O.P. CARDINAL OF NORFOLK, GRAND ALMONER TO CATHERINE OF BRAGANZA QUEEN-CONSORT OF KING CHARLES II., AND RESTORER OF THE ENGLISH PROVINCE OF FRIAR-PREACHERS OR DOMINICANS. COMPILED FROM ORIGINAL MANUSCRIPTS. WITH A SKETCH OF THE EISE, MISSIONS, AND INFLUENCE OF THE DOMINICAN OEDEE, AND OF ITS EARLY HISTORY IN ENGLAND, BY FE. C. F, EAYMUND PALMEE, O.P. LONDON: THOMAS KICHAKDSON AND SON; DUBLIN ; AND DERBY. MDCCCLXVII. TO HENRY, DUKE OF NORFOLK, THIS LIFE OF PHILIP THOMAS HOWARD, O.P., CAEDINAL OF NOEFOLK, is AFFECTIONATELY DEDICATED IN MEMORY OF THE FAITH AND VIRTUES OF HIS FATHEE, Dominican Priory, Woodchester, Gloucestershire. PREFACE. The following Life has been compiled mainly from original records and documents still preserved in the Archives of the English Province of Friar-Preachers. The work has at least this recommendation, that the matter is entirely new, as the MSS. from which it is taken have hitherto lain in complete obscurity. It is hoped that it will form an interesting addition to the Ecclesiastical History of Eng land. In the acknowledging of great assist ance from several friends, especial thanks are due to Philip H. Howard, Esq., of Corby Castle, who kindly supplied or directed atten tion to much valuable matter, and contributed a short but graphic sketch of the Life of the Cardinal of Norfolk taken by his father the late Henry Howard, Esq., from a MS.
    [Show full text]
  • Veneziaterreing.Pdf
    ACCESS SCORZÉ NOALE MARCO POLO AIRPORT - Tessera SALZANO S. MARIA DECUMANO QUARTO PORTEGRANDI DI SALA D'ALTINO SPINEA MIRANO MMEESSTTRREE Aeroporto Marco Polo SANTA LUCIA RAILWa AY STATION - Venice MARGHERA ezia TORCELLO Padova-Ven BURANO autostrada S.GIULIANO DOLO MIRA MURANO MALCONTENTA STRÀ i ORIAGO WATER-BUS STATION FIESSO TREPORTI CAVALLINO D'ARTICO FUSINA VTP. - M. 103 for Venice PUNTA SABBIONI RIVIERA DEL BRENTA VENEZIA LIDO WATER-BUS STATION MALAMOCCO VTP - San Basilio ALBERONI z S. PIETRO IN VOLTA WATER-BUS STATION Riva 7 Martiri - Venice PORTOSECCO PELLESTRINA P PIAZZALE ROMA CAe R PARK - Venice P TRONCHETTO CAR PARK - Venice P INDUSTRIAL AREA Cn AR PARK - Marghera P RAILWAY-STATION CAR PARK - Mestre e P FUSINA CAR PARK - Mestre + P SAN GIULIANO CAR PARK - Mestre V P PUNTA SABBIONI CAR PARK - Cavallino The changing face of Venice The architect Frank O. Gehry has been • The Fusina terminal has been designed entrusted with developing what has been by A. Cecchetto.This terminal will be of SAVE, the company that has been run- • defined as a project for the new airport strategic importance as the port of entry ning Venice airport since 1987 is exten- marina. It comprises a series of facilities from the mainland to the lagoon and ding facilities to easily cope with the con- that are vital for the future development historical Venice. stant increase in traffic at Venice airport. of the airport, such as a hotel and an The new airport is able to process 6 mil- The new water-bus station has been desi- administration centre with meeting and • lion passengers a year.
    [Show full text]
  • The Evolution of Landscape in Venetian Painting, 1475-1525
    THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters.
    [Show full text]
  • Religious Traditions in Venice
    Wright, A. Republican tradition and the maintenance of 'national' religious traditions in Venice pp. 405-416 Wright, A., (1996) "Republican tradition and the maintenance of 'national' religious traditions in Venice", Renaissance studies, 10, 3, pp.405-416 Staff and students of University of Warwick are reminded that copyright subsists in this extract and the work from which it was taken. This Digital Copy has been made under the terms of a CLA licence which allows you to: • access and download a copy; • print out a copy; Please note that this material is for use ONLY by students registered on the course of study as stated in the section below. All other staff and students are only entitled to browse the material and should not download and/or print out a copy. This Digital Copy and any digital or printed copy supplied to or made by you under the terms of this Licence are for use in connection with this Course of Study. You may retain such copies after the end of the course, but strictly for your own personal use. All copies (including electronic copies) shall include this Copyright Notice and shall be destroyed and/or deleted if and when required by University of Warwick. Except as provided for by copyright law, no further copying, storage or distribution (including by e-mail) is permitted without the consent of the copyright holder. The author (which term includes artists and other visual creators) has moral rights in the work and neither staff nor students may cause, or permit, the distortion, mutilation or other modification of the work, or any other derogatory treatment of it, which would be prejudicial to the honour or reputation of the author.
    [Show full text]