DOCSLIB.ORG

CODEX User Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CODEX User Manual User Manual – Rev C CODEX® User Manual Rev C 1 Akoya Biosciences, Inc. CODEX® User Manual Revision C, December 2020 © 2020 by Akoya Biosciences, Inc. CODEX® is a trademark of Akoya Biosciences, Inc. All other trademarks are the property of their respective holders. ALL RIGHTS RESERVED. DUPLICATION AND/OR REPRODUCTION OF ALL OR ANY PORTION OF THIS DOCUMENTATION WITHOUT THE EXPRESS WRITTEN CONSENT OF AKOYA BIOSCIENCES, INC. IS STRICTLY FORBIDDEN. DISCLAIMER: TO THE EXTENT ALLOWED BY LAW, AKOYA BIOSCIENCES, INC. AND/OR ITS AFFILIATE(S) WILL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, INDIRECT, PUNITIVE, MULTIPLE, OR CONSEQUENTIAL DAMAGES IN CONNECTION WITH OR ARISING FROM THIS DOCUMENT, INCLUDING YOUR USE OF IT. FOR RESEARCH USE ONLY. NOT FOR USE IN DIAGNOSTIC PROCEDURES. THE CONTENTS OF THIS DOCUMENT ARE COVERED UNDER NDA. This Protocol is based on current knowledge of the process and is subject to change. Diagrams and pictures are for illustration only and might differ from actual implementation. CODEX® User Manual Rev C 2 Table of Contents CHAPTER 1. CODEX® SOLUTION ______________________________________________________ 7 1.1 CODEX® REAGENTS AND CONSUMABLES .................................................................................................................. 8 1.1.1 Materials Supplied _____________________________________________________________________ 8 1.1.2 Materials Not Supplied _________________________________________________________________ 10 1.2 CODEX® INSTRUMENT ........................................................................................................................................ 14 1.2.1 Performance Specifications _____________________________________________________________ 15 1.2.2 Instrument Requirements ______________________________________________________________ 15 1.3 CODEX® SOFTWARE SUITE .................................................................................................................................. 15 1.3.1 CODEX® Instrument Manager (CIM) ______________________________________________________ 15 1.3.2 CODEX® Processor ____________________________________________________________________ 15 1.3.3 CODEX® Multiplex Analysis Viewer (MAV) _________________________________________________ 15 1.4 SAFETY .............................................................................................................................................................. 15 1.4.1 DMSO ______________________________________________________________________________ 16 1.4.2 Acetone, Ethanol, Methanol, and Paraformaldehyde ________________________________________ 16 1.4.3 Instrumentation ______________________________________________________________________ 16 CHAPTER 2. CODEX® OVERVIEW ____________________________________________________ 17 2.1 CODEX® NOMENCLATURE ................................................................................................................................... 18 2.2 CODEX® TECHNOLOGY........................................................................................................................................ 19 2.3 CODEX® EXPERIMENTAL DESIGN .......................................................................................................................... 19 2.4 PROCEDURAL OVERVIEW ...................................................................................................................................... 21 2.5 USER GUIDE OVERVIEW ....................................................................................................................................... 24 CHAPTER 3. COVERSLIP PREPARATION AND TISSUE SECTIONING _______________________ 25 3.1 POLY-L-LYSINE COVERSLIP PREPARATION ................................................................................................................. 25 3.1.1 Incubating Coverslips __________________________________________________________________ 25 3.1.2 Washing and Storing Coverslips __________________________________________________________ 27 3.2 FRESH-FROZEN TISSUE SECTIONING ........................................................................................................................ 28 3.3 FFPE TISSUE SECTIONING ..................................................................................................................................... 29 CHAPTER 4. ANTIBODY CONJUGATION _______________________________________________ 31 4.1 CONJUGATING ANTIBODIES ................................................................................................................................... 32 4.1.1 Assign a CODEX® Barcode to each antibody that will be conjugated _____________________________ 36 4.1.2 Block non-specific binding of antibody to MWCO filter _______________________________________ 36 4.1.3 Measure and calculate protein concentration ______________________________________________ 36 4.1.4 Concentrate purified antibody solution____________________________________________________ 36 4.1.5 Initiate antibody reduction _____________________________________________________________ 36 4.1.6 Buffer Exchange of the Antibody Solution __________________________________________________ 37 4.1.7 Prepare CODEX® Barcode Solution _______________________________________________________ 37 4.1.8 Set Up Antibody Conjugation Reaction ____________________________________________________ 37 4.1.9 Purify CODEX® Antibody Conjugates ______________________________________________________ 37 CODEX® User Manual Rev C 3 4.1.10 Collect CODEX® Antibody Solution ______________________________________________________ 38 4.2 VALIDATING CUSTOM-CONJUGATED ANTIBODIES (VIA GEL ELECTROPHORESIS) ............................................................... 38 4.2.1 Sample Preparation ___________________________________________________________________ 39 4.2.2 Gel Setup ____________________________________________________________________________ 39 4.2.3 Gel Visualization ______________________________________________________________________ 39 CHAPTER 5. TISSUE STAINING _______________________________________________________ 41 5.1 FRESH-FROZEN TISSUE PRE-STAINING ..................................................................................................................... 42 5.1.1 Plate configuration ____________________________________________________________________ 45 5.1.2 Tissue Retrieval _______________________________________________________________________ 46 5.1.3 Acetone Incubation ___________________________________________________________________ 46 5.1.4 Tissue Drying _________________________________________________________________________ 46 5.1.5 Tissue Hydration ______________________________________________________________________ 47 5.1.6 Fix Tissue ____________________________________________________________________________ 47 5.1.7 Wash the tissue ______________________________________________________________________ 47 5.1.8 Equilibrate Tissue in Staining Buffer ______________________________________________________ 47 5.2 FRESH-FROZEN TISSUE STAINING ............................................................................................................................ 48 5.2.1 Understanding Antibody Dilution ________________________________________________________ 48 5.2.2 Preparation of the Antibody Cocktail Solution ______________________________________________ 48 5.2.3 Tissue Staining _______________________________________________________________________ 49 5.3 FRESH-FROZEN TISSUE POST-STAINING ................................................................................................................... 49 5.3.1 Wash Tissue _________________________________________________________________________ 52 5.3.2 Fix Tissue ____________________________________________________________________________ 53 5.3.3 Wash Tissue _________________________________________________________________________ 53 5.3.4 Ice-cold Methanol Incubation ___________________________________________________________ 53 5.3.5 Wash Tissue _________________________________________________________________________ 54 5.3.6 Fix Tissue ____________________________________________________________________________ 54 5.3.7 Wash Tissue _________________________________________________________________________ 55 5.3.8 Store Tissue __________________________________________________________________________ 55 5.4 FFPE TISSUE PRE-STAINING .................................................................................................................................. 55 5.4.1 Tissue Pre-treatment __________________________________________________________________ 60 5.4.2 Tissue Deparaffinization and Hydration ___________________________________________________ 60 5.4.3 Antigen Retrieval _____________________________________________________________________ 61 5.4.4 Wash Tissue _________________________________________________________________________ 62 5.4.5 Equilibrate Tissue in Staining Buffer ______________________________________________________ 62 5.5 FFPE TISSUE STAINING ........................................................................................................................................ 62 5.5.1 Understanding Antibody Dilution ________________________________________________________ 62 5.5.2 Preparation of the Antibody Cocktail Solution ______________________________________________ 63 5.5.3 Tissue Staining _______________________________________________________________________
Load more

Recommended publications
  • Printing and the Renaissance World University Libraries--University of South Carolina
    University of South Carolina Scholar Commons Irvin Department of Rare Books & Special Rare Books & Special Collections Publications Collections 5-2003 Printing and the Renaissance World University Libraries--University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/rbsc_pubs Part of the Library and Information Science Commons Recommended Citation University of South Carolina, "University of South Carolina Libraries - Printing and the Renaissance World, May 2003". http://scholarcommons.sc.edu/rbsc_pubs/38/ This Catalog is brought to you by the Irvin Department of Rare Books & Special Collections at Scholar Commons. It has been accepted for inclusion in Rare Books & Special Collections Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PRINTING and the RENAISSANCE WORLD all exhibition of lJJanuscnpts and earlY books from Thomas Cooper Library J. C. ANDERSON LIBRARY University of South Carolina at Sumter * Mqy 18-JUilC 19, 2003 This exhibition illustrates the development and impact of printing, from Johann Gutenberg's invention of moveable type in Germany in the mid-fifteenth-centUlY, through its effects for the Renaissance in classical learning, for the Refonnation in religion, for science and geography during the age of exploration, and (more briefly) for illustration, science, and literature. Among the items on display are an iIluminated medieval manuscript codex or book from c. 1420; an early printed book from 1483, with hand-colored initials, and its original wooden binding; a wood-engraving by the Gennan artist Albrecht Durer; a leaf from the 1611 first edition of the King James Bible; and the 1625 English edition of Leo Africanus's account of the African city of Tirnbuktu.
    [Show full text]
  • CFP the Print in the Codex Ca. 1500 to 1900
    H-HistBibl CFP The Print in the Codex ca. 1500 to 1900 Discussion published by Jeanne-Marie Musto on Thursday, April 16, 2020 Call for Papers Bibliographical Society of America sponsored session College Art Association Annual Conference, New York, 10-13 February 2021: The Print in the Codex ca. 1500 to 1900 This session will consider bound volumes created or transformed through the incorporation of independently printed images. Inspired by recent scholarship that addresses the popularity of modifying, enhancing, or creating books in this manner, this session will focus on the production and reception of such books between the widespread adoption of the printing press in Europe, circa 1500, and the nineteenth-century rise of public museums and libraries, with their increasingly standardized and discrete organizational systems. Papers may address any books into which independently printed images have been incorporated, whether these books include text and whether they are analyzed as unique items or as products of broader creative or curatorial practices. This session seeks papers that consider both the material and the conceptual aspects of these complex volumes. Themes may include the agendas of specific creators; the codex as a structure and ways in which prints were designed for, or adapted to it; or how these works inform histories of reading, book and print production, or book and print collection. Papers may also address how these books relate to those of earlier centuries. Themes addressing subsequent reception are also welcome. Such themes include interpretive and practical challenges that the books present, and opportunities they offer, to the evolving institutional and media landscapes of the twenty-first century.
    [Show full text]
  • Scriptorium: the Term and Its History Scriptorium : Le Terme Et Son Histoire
    Perspective Actualité en histoire de l’art 1 | 2014 L’atelier Scriptorium: the term and its history Scriptorium : le terme et son histoire Alison Stones Electronic version URL: http://journals.openedition.org/perspective/4401 DOI: 10.4000/perspective.4401 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 1 June 2014 Number of pages: 113-120 ISSN: 1777-7852 Electronic reference Alison Stones, « Scriptorium: the term and its history », Perspective [Online], 1 | 2014, Online since 31 December 2015, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/ 4401 ; DOI : https://doi.org/10.4000/perspective.4401 Débat Travaux Actualité Scriptorium: the term (c. 485-585) at Vivarium have a purpose- and its history designated room set aside for writing? What was it called? Although a tinted drawing of Alison Stones Cassiodorus’s monastery in a manuscript in Bamberg (Staatsbibliothek Msc. Patr. 61, f. 29v) does not indicate the location of the scriptorium, What is a scriptorium and how does it fit into the we do know that it was important enough for notion of atelier? Broadly speaking, both terms one of its products, a prized pandect (a complete have come to refer to places where people met in Bible in one volume) to be acquired a century the past or meet today to work together on col- later in Rome in 679-680 by Benedict Biscop laborative projects. While the term scriptorium and Ceolfrith of Wearmouth-Jarrow and used in is usually associated with the writing of religious Northumbria as a model for three more pandects, books in a monastic context in the early Middle of which one, the Codex Amiatinus, survives in Ages, the notion of a place of communal work, the Biblioteca Medicea-Laurenziana in Florence workshop or atelier is in place in the Livre des (MS Amiatinus 1).
    [Show full text]
  • Cataloguing Incunabula
    Cataloguing Incunabula Introduction Incunabula or incunables are Western books printed before 1501, in the first half- century of the history of printing with movable type. They have been an area of special interest to scholars and collectors since at least the late eighteenth century, and a considerable literature has been produced over the last two hundred years discussing, listing and describing them. Dating from a period when the majority of books were written by hand, incunabula have as much in common in terms of design and content with medieval manuscripts as with later printed books. In particular, they often lack those conventions of presentation on which library cataloguers tend to rely: title pages, imprints, and numbered pages. This makes cataloguing rules largely designed for post-1500 printed books difficult to apply, and scholarly catalogues of incunabula generally follow their own descriptive conventions, using normalised forms of titles and imprints, and relying greatly on reference to pre-existing bibliographic descriptions. Unless your library is planning a dedicated catalogue of incunabula, you will be cataloguing your fifteenth-century holdings on the same system as your more recent books. Some degree of compromise between scholarly standards for incunabula and those for post-1500 printed books will therefore be necessary. A useful exercise before beginning might be to look at what information is already available about your incunabula and to ask yourself what gaps you can fill with your catalogue. In all but a very few cases there is little point in making detailed bibliographic descriptions which duplicate information already available elsewhere. Information about the specific copies in your library may however be lacking, and scholarly interest in material evidence relating to a book's early owners and how they used their books has greatly increased in recent years.
    [Show full text]
  • Say Printing Advances Enable Entire Books on Posters
    A.D. Wissner-Gross & T.M. Sullivan say printing advances enable entire books on posters Codex Poste r advantages of archiving large texts in an- Imagine a b o o k on one poster, an entire volume reproduced alog form (e.g., considering the upcom- and readable on a single poster-sized piece of paper. High-resolution ing black hole of digital data). Electronic printing technology enables the unexpected condensation of vast texts ink enables a single page to display en- in this way. For properly displayed fonts, "books on poster" can also be tire books, but it remains expensive. Norsam Technologies' High Defi- legible at a reading distance of a few inches. This novel medium may nition Rosetta technology employs have profound consequences for education and literacy. electron beams to inscribe microscopic English text into nickel plates intended to last for thousands of years. However, The perceived size of a book is propor- Character readability at a fixed reading Rosetta and the more traditional micro- tional to the time taken to read it. This is, in distance is measured by rhe angle stretched film format are not readable by humans. turn, proportional to the time taken to scan beneath character features. Thus, for sufFi- In contrast, texts condensed to a 2' x 3' rapidly each line. Also, line scanning time is ciendy small character widths, the readabil- sheet of paper can be legible to the na- proportional to character width for a com- ity is surprisingly good, based on charaaer ked eye for young adults and with the mon adult scanning speed.
    [Show full text]
  • The Futures of Books: Technologies and Forms
    College of Saint Benedict and Saint John's University DigitalCommons@CSB/SJU English Faculty Publications English Spring 2009 The Futures of Books: Technologies and Forms Cynthia N. Malone College of Saint Benedict/Saint John's University, [email protected] Follow this and additional works at: https://digitalcommons.csbsju.edu/english_pubs Part of the Arts and Humanities Commons Recommended Citation Malone, Cynthia N., "The Futures of Books: Technologies and Forms" (2009). English Faculty Publications. 14. https://digitalcommons.csbsju.edu/english_pubs/14 copyright: Cynthia Malone 1 The Futures of Books: Technologies and Forms Cynthia N. Malone New forms of the book ranging from Amazon’s Kindle to artists’ books can help students reconsider the assumption that “book” means “codex.” In order to draw literature students into discussions about forms of the book, I’ve designed a series of linked assignments highlighting historical and theoretical issues in the debates about the future of the book. The sequence begins with readings about the definition of “the book.” As the students consider the problem of definition, they analyze innovative artists’ books, paying particular attention to the integration of form and content in works that adapt or depart from the codex. These assignments prepare the students to read Johanna Drucker’s lecture, “The Virtual Codex from Page Space to E-Space.” After exploring the question of how a book works, students create their own handmade books, striving to integrate form and content as fully as possible. Finally, they write essays about the ways in which the sequence of assignments has changed their relationship with books. When the assignments succeed most fully, students shift their stances on the future of the book; they appreciate and value the codex form, and they begin to imagine possibilities for electronic and paper forms that neither mimic nor threaten the codex.
    [Show full text]
  • The Death of the Book Through the Ages - Nytimes.Com
    The Death of the Book Through the Ages - NYTimes.com http://www.nytimes.com/2012/08/12/books/review/the-death-of-the... August 10, 2012 Dead Again By LEAH PRICE Two decades ago, the Book Review ran an essay, “The End of Books,” in which the novelist Robert Coover questioned whether print could survive the age of “video transmissions, cellular phones, fax machines, computer networks, and in particular out in the humming digitalized precincts of avant-garde computer hackers, cyberpunks and hyperspace freaks.” Was the book as “dead as God”? Coover’s answer was noncommittal, but his metaphor launched a thousand eulogies for the book as we knew it: a gathering of printed pages mass-produced on spec to be sold to anonymous strangers for financial gain. Back then, hyperlinks were the killer app. Coover’s title punned on the page-turning powers of the codex, which sweeps novel readers inexorably from Page 1 to The End. (He ignored how many codices, like the Yellow Pages, are designed for random access; millenniums before the advent of Bible.com, the codex allowed the first Christians to cross-reference their Scriptures.) Now, succession planners have shifted their sights from the lowly hyperlink to the seemingly indomitable e-reader. Earlier this year, the Pew Research Center calculated that the percentage of Americans who own e-reading devices doubled last December. Christmas, for centuries the publishing industry’s busiest season, became a gift to hardware manufacturers. And last year, Amazon announced it was selling more e-books than print books — hardcover and paperback combined.
    [Show full text]
  • Noah's Ark and Burning Sodom: Woodcuts in the PSU Codex <I>Fasciculus Temporum</I>
    Portland State University PDXScholar Malleus Maleficarum and asciculusF Fasciculus Temporum Temporum (1490) 2020 Noah’s Ark and Burning Sodom: Woodcuts in the PSU codex Fasciculus temporum Amber Gregory Follow this and additional works at: https://pdxscholar.library.pdx.edu/mmft_fasciculus Part of the Illustration Commons, Medieval History Commons, and the Medieval Studies Commons Let us know how access to this document benefits ou.y Recommended Citation Gregory, Amber, "Noah’s Ark and Burning Sodom: Woodcuts in the PSU codex Fasciculus temporum" (2020). Fasciculus Temporum. 1. https://pdxscholar.library.pdx.edu/mmft_fasciculus/1 This Book is brought to you for free and open access. It has been accepted for inclusion in Fasciculus Temporum by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Amber Gregory Spring, 2020 Noah’s Ark and Burning Sodom: Woodcuts in the PSU codex Fasciculus temporum Introduction The Fasciculus temporum is a fifteenth-century chronicle written in the medieval tradition. It is a chronicle of world history, mixing secular and religious histories from the creation of the Earth by God down to the author’s present, ending, in our edition, in 1484. In these medieval chronicles, secular history was understood as an extension of biblical history, and there was little delineation between the two. For example, world chronicles of this period begin with Genesis, and the reader can see and read Old Testament stories, such as Noah’s Ark and the burning of Sodom. Old Testament stories were more common than New Testament stories at the time because historical books included the history of the Israelites.
    [Show full text]
  • Evolution of the Book
    EVOLUTION OF THE BOOK A Historic Timeline BY: SARAH DYER | COM 9660 ORIGINS OF WRITING (INCL. ALPHABET) • Numbers for the purpose of record keeping is thought to have started long before the written language • Written language began in 3200 B.C. in Mesopotamia and in Mesoamerican 600 B.C. (see map) • The original alphabet was developed by Semitic* people living in or near Egypt (Sinai desert around 1700 B.C.) (see image) • Egyptians used specific symbols • This style of writing was quickly adopted by neighboring peoples (i.e. Canaanites, Hebrews & Phoenicians) Image: http://en.wikipedia.org/wiki/History_of_writing • Phoenicians spread to the word to Asia, Arabs, Greeks and Spain • Writing was done right to left, left to right and vertically • Chinese characters were rather long which caused the use of an enormous amount of space; whereas symbols with greater meaning took up less space Source: http://webspace.ship.edu/cgboer/alphabet.html and http://en.wikipedia.org/wiki/History_of_writing Image: www.lexiline.com THE INFLUENCE OF ANCIENT EGYPT (3500 B.C. – 600 A.D.) • Circa 3500 B.C. : Sumerian clay tablets used cuneiform alphabet – symbols pressed into clay tablets - dried or fired to set; considered the earliest form of the book • 2400 B.C. : Papyrus scrolls – grass-like, aquatic plant grown in the Nile delta of Egypt. Egyptians used for paper – plant cut into strips, pressed together and dried to form a writing surface • Papyrus was used all the way up to the 8th or 9th centuries A.D. – the first block printing in Egypt wouldn’t come until 1250 A.D.
    [Show full text]
  • ANCIENT SCRIBES and MODERN ENCODINGS: the DIGITAL CODEX SINAITICUS David Parker the Codex Sinaiticus Is One of the Two Oldest Bi
    ANCIENT SCRIBES AND MODERN ENCODINGS: THE DIGITAL CODEX SINAITICUS David Parker The Codex Sinaiticus is one of the two oldest Bibles in Greek, and con- tains the oldest complete New Testament. It is currently housed in four locations (London, Leipzig, Sinai and St Petersburg). Since 2002, it has been the subject of a major project which includes a formal account of its history, a conference, a print facsimile and a popular book, conser- vation and physical description, fresh digital imaging, a TEI-compliant electronic transcription, translations, and articles of both a specialist and a general nature. Project information and resources are publicly accessible from the Codex Sinaiticus website (www.codexsinaiticus.org). This provides the context for the text that follows. The chapter focuses on the transcription, which was made in Birmingham University, at the Institute for Textual Scholarship and Electronic Editing. It describes the concept and methodology of the project, and compares it with the process by which the manuscript itself was made in the fourth century. In particular, the workings of the team of scribes and the decisions they had to make are outlined, and a comparison is made with the process of making a complex web-based edition. Finally, the significance and likely impact of editions which make hitherto almost inaccessible material available to everyone with a browser is discussed. Introduction The Codex Sinaiticus is a manuscript of the Bible in Greek (see Plates 23–25), written in the middle of the fourth century. Although about half of the Old Testament is missing, it includes the oldest known complete version of the New Testament.
    [Show full text]
  • The Grimoire of Grimoires
    The Grimoire of Grimoires A Book of Spell Books and Rules For Spell Books Credits Design and Writing: Jeremiah McCoy Art: Jeremiah McCoy An OGL rulebook for useSample with Dungeons file and Dragons 5th edition fi nd more by the author at jeremiahmccoy.com Feel free to email the author at [email protected] with any questions or corrections. 2 You have been admitted theSample library file staff here at Candlekeep. Congrat- Spell Book Rules ulations and welcome! It is possible In addition, we will be looking at I should off er condolences as well, some alternate rules for handling but you will need to come to that wizard spell books, and learn- conclusion on your own. I am Galia. ing spells. These are intended to I your guide and the keeper of the make spell books more important spell books here in the library. That in your game. is one of the most dangerous jobs for any librarian. I love spell books. They are fas- cinating bits of fantasy. Wizards are supposed to be wise. They got that way because of of what they learned. Books are where you store knowledge. The most arcane knowl- edge is stored in spell books. 3 The books themselves can often be dangerous. The book’s arcane lore could often drive one mad, and hold terrible truths about the universe. They can be a bane as well as a boon. With that in mind, I will present a few tomes of arcane power and lore. Some of these are dangerous to own and read.
    [Show full text]
  • A NEW EDITION of CODEX I (016): the WASHINGTON MANUSCRIPT of the EPISTLES of PAUL by JUSTIN SODERQUIST a THESIS SUBMITTED in PA
    A NEW EDITION OF CODEX I (016): THE WASHINGTON MANUSCRIPT OF THE EPISTLES OF PAUL by JUSTIN SODERQUIST A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Master of Arts in Biblical Studies We accept this thesis as conforming to the required standard Dr. Kent D. Clarke, PhD; Thesis Supervisor Dr. Thomas A. Wayment, Ph.D.; Second Reader TRINITY WESTERN UNIVERSITY March 2014 © Justin Soderquist i Copyright ©2014 by Justin Soderquist All rights reserved ii ABSTRACT Nearly a century has passed since Henry A. Sanders first published his editio princeps of the Washington Manuscript of the Epistles of Paul (Codex I or 016). Within that time, it has received very little scholarly attention. This new edition provides a fresh, conservative transcription based on two new image sets, and identifies all differences between the new transcription and Sanders. It additionally provides comprehensive lists of variants between Codex I, the Nestle-Aland 28th, and the Robinson Pierpont editions of the Greek New Testament. The new edition also provides valuable data surrounding the manuscript’s provenance, character, scribal habits, textual affiliation, and substantive variants. Several corrections to Sanders are offered, and the new transcription shows the effects of nearly a century upon the manuscript. This work seeks both to update Sanders, and to provide valuable data which will make the text of Codex I more readily accessible for future inquiry. iii Contents ABSTRACT ....................................................................................................................................................
    [Show full text]