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用戶:Dkzzl/君士坦丁堡之圍 (674年-678年)

維基百科,自由的百科全書
抄本第293張反面、294張正面與294張反面,包含自約翰二世·科穆寧君士坦丁十一世·巴列奧略的皇帝肖像,君士坦丁十一世之後的最後一個肖像描繪的是君士坦丁大帝

摩德納希臘文122號手抄本(拉丁語:Codex Mutinensis graecus 122,簡稱Mutinensis gr. 122)[1][註 1],是一份寫於15世紀的希臘文抄本,現藏於意大利摩德納埃斯特圖書館。「摩德納希臘文122號」是現代分配的編號,抄本本身的標題是「歷史摘錄」(希臘語Ἐπιτομὴ Ἱστοριῶν[3],其主要內容取自12世紀拜占庭史家約翰·佐納拉斯的《歷史摘錄》。

除了約翰·佐納拉斯的作品內容(自羅馬帝國建立到12世紀初阿萊克修斯一世皇帝去世的編年史[註 2])外,這份抄本還包含一個原創的序言和部分原創內容,將其覆蓋的歷史範圍擴展到1453年君士坦丁堡陷落;此外還有幾種簡短的列表與描述,如宮廷官員、教會官員、皇陵的清單。這份抄本初次製作於約1425年,原本是約翰·佐納拉斯作品的抄本,之後又於1453年之後的某個時候由另一位抄書人加上了新的內容。這位抄書員很可能是被君士坦丁堡的陷落震動,以擴展這份抄本的方法來保存對逝去的古老帝國的記憶。

這份抄本最大的特點是包含大量羅馬-拜占庭皇帝的微型肖像英語Portrait miniature,自公元前27年受封奧古斯都屋大維至1453年戰死的君士坦丁十一世,幾乎每一位羅馬皇帝的肖像都出現在這份抄本中,現存的抄本中只有這份包含這種內容。早期羅馬皇帝的肖像可能全出於想像繪製,但7世紀之後的皇帝肖像更加可信(儘管比不上近代的自然主義藝術),並與描繪皇帝外貌的其他史料比較吻合,可能是基於保存下來的當時繪製的肖像或當時的文字描述、硬幣上的肖像。一些皇帝,如米海爾九世(1294-1320年在位的共治皇帝)、安德洛尼卡四世(1376-1379年在位)等人的肖像僅見於這份抄本。在約翰·佐納拉斯作品涵蓋的時段,各個皇帝的肖像位於抄本邊緣,出現在文本第一次提到他掌權的地方,起到標誌皇權變換的作用。佐納拉斯作品所沒有提到的阿萊克修斯一世之後的皇帝的肖像則按順序集中繪製於靠近抄本末尾的幾頁中。

內容與組成

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抄本的部分頁面(第59張反面、第74張正面、第184張反面、第270張正面),分別包含戈爾迪安一世戈爾迪安二世君士坦丁大帝巴西爾一世羅曼努斯四世·第歐根尼的肖像。自奧古斯都阿萊克修斯一世·科穆寧的皇帝肖像附在文本旁邊

這份抄本創作於15世紀,共有295張紙,每張長25厘米,寬16厘米[4]。抄本的主要內容抄自12世紀拜占庭帝國官方史家約翰·佐納拉斯的作品《歷史摘錄》(希臘語Ἐπιτομὴ Ἱστοριῶν),一份自上帝創世開始,到1118年約翰二世·科穆寧繼位為止的世界編年史,主要關注羅馬帝國及拜占庭帝國歷史[5]。但這份抄本略去了佐納拉斯作品的開頭部分,以第十卷中克里奧帕特拉的故事為開始,從第6張正面到第285張,都是抄錄佐納拉斯的作品[4][註 3]

這份抄本最大的特點是其中貫穿全書的肖像[5]。其第6張至第285張包含自公元前27年受封奧古斯都屋大維阿萊克修斯一世·科穆寧的幾乎每一位羅馬皇帝的肖像[4],自約翰二世·科穆寧至1453年戰死的君士坦丁十一世的皇帝肖像則集中繪製於抄本末尾[5]。現存的抄本中只有這份包含如此全面的拜占庭皇帝肖像[6]。一些皇帝,如米海爾九世(1294-1320年在位的共治皇帝)、安德洛尼卡四世(1376-1379年在位)等人的肖像僅見於這份抄本[7]。。在約翰·佐納拉斯作品涵蓋的時段,各個皇帝(直到阿萊克修斯一世)的肖像位於抄本邊緣,出現在文本第一次提到他掌權的地方,起到標誌皇權變換的作用[4]

抄本中後期的皇帝(拜占庭皇帝)的肖像都是正臉朝前,十分標準化,而羅馬時期的皇帝肖像則姿勢多樣,臉的朝向也各不相同[8]。這種不同可能源於抄寫員在不同歷史時期所依靠的原始資料不同。[9]而後期皇帝正面朝前、表情嚴肅的形象可能反映了帝國官方的皇帝形象[6]

在抄錄佐納拉斯的史書之前,抄寫者加入了一篇簡短的序言,位於抄本的第2張正面-第5張正面,概述了自世界創始(遵循《聖經·創世記》的說法)到君士坦丁堡陷落的歷史,題為「起初,神創造天地君士坦丁·巴列奧略[4]。佐納拉斯的史書內容結束之後,抄本中出現了幾張空白頁,至289張開始則有幾種列表[4],依次是拜占庭宮廷機構表(第289張反面)、自梅特羅法內斯英語Metrophanes of Byzantium(306-314年在位)至格里高利三世(1443-1451年在位)的君士坦丁堡普世牧首表(第290張反面-第291張正面)、按等級排列的普世牧首區都主教區列表(第290張正面-第291張正面)、皇帝陵墓列表(第291張正面-第292張正面)、自君士坦丁大帝開始的皇帝列表(第292張反面-第293張反面) ,之後是一組皇帝群像。整個抄本以第295張對矗立於奧古斯塔廣場查士丁尼一世騎馬像的描述告終[4]

在抄本接近結尾處的皇帝群像中,君士坦丁大帝的肖像緊隨君士坦丁十一世的肖像再次出現[10](這也是君士坦丁大帝的肖像第三次在抄本中出現,前兩次是在第74張正面與反面[11])。重複的君士坦丁大帝肖像似乎給予讀者一種預言性、啟示錄般的信息,這可能是追隨君士坦丁堡淪陷後第一位普世牧首——根納季烏斯二世的觀點,後者認為,君士坦丁堡的第一位與最後一位皇帝名字都叫君士坦丁的事實意味着,世界末日就快要到來了;肖像重複至少也表明了一種信念,即皇帝世系的開始與結束不可磨滅地聯繫在了一起[10]

歷史

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創作

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傳統觀點假設這份抄本由兩位抄寫員創作[5][註 4],這一抄本一開始只是佐納拉斯作品的簡單抄寫(約完成於1425年)[13]。並沒有直接的證據能證明這一估計年份,但可以合理地這樣假設,因為第一位抄寫員創作的最後一幅肖像可能是曼努埃爾二世(1391-1425年在位)的老年肖像[14]。第一位抄寫員抄錄了佐納拉斯的作品,但並沒有抄完整,之後的第二位抄寫員補上了作品的結尾,並把抄本內容擴展到第285張(第一次抄寫止於第263張正面)[4]。第二位抄寫員所用的紙的質地與之前的不同,並且其上還有兩把剪刀形狀的水印,可以將其添加的內容與之前的區分開來[5]

第二位抄寫員進行創作的時間應在15世紀後半葉,1453年君士坦丁堡淪陷後的某一年[4][5][14],抄本的序言應該是他撰寫的(其中一個旁註提到「城市被攻陷」,證明了這一點)[4],12世紀後的歷史內容[4][5]、各個列表以及描述查士丁尼一世雕像的內容也是由他創作、補充的[15]

或許君士坦丁堡的陷落是第二位抄寫員保養、擴展這一作品的原因,他想藉此保留對失落帝國的記憶[6]。他一定覺得完成皇帝的列表與記錄很重要,除了繪製最後幾位皇帝的肖像之外,他還修復並修改了前面的肖像[15]。因為抄本中的某些肖像,如克勞狄(41-54年在位) 的肖像沒有上色,其餘的肖像則用水彩上色,這表明抄本的早期版本中的肖像很可能並未上色,這一工作由第二位抄寫者完成;他還重寫了褪色的註釋,並在一些肖像下面寫了紅色的文字[16]。It is clear that the later scribe rearranged parts of the codex. The early and final parts of the earlier scribe's work appear to have been in poor condition, apparently damaged by fire, before the second scribe took to restoring and adding to the codex. The later scribe thus kept the main body of the older codex, restoring some parts (such as the faded portraits), restored some of the lost text and added new text of his own.[17] One of the key pieces of evidence that the codex was not only restored but also rearranged is that some of the portraits presented in the later sections of the work, such as those of emperors Isaac II Angelos (r. 1185–1195, 1203–1204) and John IV Laskaris (r. 1258–1261), appear to have been cut out of earlier portions of the text and pasted in later parts.[16]

收藏與研究史

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阿爾貝托三世·皮奧英語Alberto III Pio, Prince of Carpi (1475–1531),曾收藏這本抄本

這份抄本的早期收藏史並不清楚,其中一位收藏著名叫「阿爾塞尼烏斯(Arsenius)」,可能就是曾於1506-1509年任莫奈姆瓦夏主教的阿爾森尼烏斯·阿波斯托利烏斯英語Arsenius Apostolius,威尼斯學者喬治·瓦拉英語Giorgio Valla(1447-1500年在世)也曾擁有此抄本[18],此後該本由具有文藝復興精神的卡爾皮領主阿爾貝托三世·皮奧英語Alberto III Pio, Prince of Carpi(1475-1531年在世)收藏[4]。1573年,摩德納埃斯特圖書館購得此本,此後該本就一直在這裏保存[4][12]。成為其收藏的250多份希臘-拜占庭手抄本之一[19]。如今這份抄本的扉頁已經遺失,在其第一頁上有瓦拉與皮奧的簽名,並附有拉丁語標識「iste liber est mei(這本書是我的)」[18]

1892年,德國學者卡爾·庫倫巴赫英語Karl Krumbacher對這份抄本進行了第一次現代研究,但錯誤地認為其主要部分是14世紀的作品,但也認為後面的添加是15世紀做的。希臘學者斯皮里宗·蘭布羅斯英語Spyridon Lambros在1903年瀏覽了這一抄本,其中的皇帝肖像給了他很深的印象,於是他在1905年在雅典舉辦的國際考古學大會上熱情洋溢地展示了它。這是已知唯一一份如此完整地描繪了皇帝形象的抄本,填補了拜占庭研究者的一大知識空白[20]

1930年蘭布羅斯出版《拜占庭皇帝肖像集》(Λεύκωμα Βυζαντινῶν Αὐτοκρατόρων)一書,此書包含所有拜占庭皇帝的肖像,基本來源於這一手抄本,此後,這一手抄本逐漸在拜占庭研究者中聞名[21]。1976年約安尼斯·斯帕薩拉基斯(Ioannis Spatharakis)出版的《拜占庭裝飾手抄本中的肖像》(The Portrait in Byzantine Illuminated Manuscripts)第一次深入研究了這些肖像,同時也研究了其他拜占庭手抄本肖像[13]。大多數現代研究主要關注這一抄本的肖像,很少對其文字內容感興趣[22]。對拜占庭皇帝肖像的關注也遠多於對早期羅馬皇帝肖像的關注[8],因為後者似乎完全是憑想像繪製的[8][23]

自20世紀初開始,這些皇帝肖像開始被出版並流傳於世,在拜占庭皇帝形象構建方面較有影響。1982年,塞浦路斯發行了紀念皇帝尼基弗魯斯二世·福卡斯(963-969年在位)解放該島1017年的郵票,其上的尼基弗魯斯二世肖像就是根據該抄本中的肖像修改而成[24]

皇帝肖像分析

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該抄本中的安德洛尼卡二世·巴列奧略(左)與13世紀喬治·帕希梅萊斯英語George Pachymeres《歷史》抄本中的同一皇帝(右),可以看到兩者都描繪了皇帝的方形鬍鬚。該抄本皇帝肖像與他處獲知形象的相似表明,抄寫員盡力在忠實地表現皇帝們的形象

這本抄本中的皇帝肖像算不上是自然主義[25],而且各肖像之間往往非常相像[13],但也有鬍鬚的有無、鬍鬚的形狀、眉毛與鼻子的形狀等顯著特徵得到表現,表明肖像創作者也在盡力忠實地表現皇帝的形象[25]

許多種形態各異的鬍子和一些皇帝的其他明顯特徵並不是為了避免重複而畫出的,而更像是源於其他抄本或文本來源[26],以及錢幣上的形象[27]。儘管過去一般認為大多數肖像純屬想像作品(尤其是那些早期的皇帝)[5],現代觀點則認為這些肖像可能是抄寫者基於當時存在的資料創作的[1]。這些肖像是否應該被視為準確的形象描繪仍存在爭議,它們與其他更古老的抄本中的肖像能較好地匹配[5],但彼此之間經常有少數特徵截然不同[13]

晚期皇帝的肖像

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The portraits of the Palaiologan dynasty (the final imperial dynasty, ruling from the 13th to 15th centuries) emperors in the codex accord well with portraits in other sources. In Mutinensis gr. 122, Michael VIII Palaiologos (r. 1259–1282) is depicted as having a long beard, possibly worn in a net, which is also depicted in other sources for the emperor's appearance, such as a chrysobull in the Vatican Archives and another Medieval manuscript, Monac gr. 442. Michael VIII's son and successor, Andronikos II Palaiologos (r. 1282–1328) is depicted with a wide and square-shaped beard in the codex, a depiction also collaborated by how he is portrayed in chrysobulls and other manuscripts. John VI Kantakouzenos (r. 1347–1354) is also depicted in several portraits in another manuscript, Par. gr. 1242, wherein all portraits show him with a long beard split into two, as in the Mutinensis gr. 122. The portrait of John V Palaiologos (r. 1341–1376, 1379–1390, 1390–1391), showing him as possessing a beard ending in two points, is similar to how the emperor is depicted in the chrysobull of his confession of the Roman Catholic faith (from 1369) and to how he once was depicted on a mosaic in the Hagia Sophia. There are no significant differences between how John VII Palaiologos (r. 1390) is depicted in the Mutinensis gr. 122 and how he is depicted in the only other known portrait of the emperor, in the manuscript Par. gr. 1783. The portraits of Manuel II Palaiologos (r. 1391–1425) and John VIII Palaiologos (r. 1425–1448) are very similar to portraits in other sources, Manuel always being depicted with a white beard ending in two points and with a long, straight nose and John always possessing a similar beard and an obliquely set nose. The portrait of the final emperor, Constantine XI, is similar to how he is depicted on contemporary seals. The lack of known portraits outside the codex of emperors Michael IX Palaiologos and Andronikos IV Palaiologos and Mutinensis gr. 122's depiction of Andronikos III Palaiologos (r. 1328–1341) being damaged means that their portraits can't be compared to depictions in other sources.[7]

Portraits of Alexios IV Angelos, Alexios V Doukas and Theodore I Laskaris in Mutinensis gr. 122

Comparative material is somewhat lacking for the Angelid (1185–1204) and Laskarid (1204–1261) dynasties. The Laskarid emperors (with the exception of John IV, who was a child) are all depicted as having peculiar beards with curled ends. On coins, their beards end in two short points, possibly an attempt at depicting something similar, and in another manuscript, Monac. gr. 442, Theodore II Laskaris (r. 1254–1258) is depicted with the same type of beard.[28] Both Isaac II Angelos (r. 1185–1195, 1203–1204) and Alexios III Angelos (r. 1195–1203) are portrayed on their coins as having pointed beards, reflected in the codex's depiction of Isaac II, but the codex depicts Alexios III with a beard cut short. Alexios V Doukas (r. 1204), nicknamed Murtzuphlos in his lifetime due to his bushy eyebrows, is depicted with this signature feature in the Mutinensis gr. 122.[29]

As for the Palaiologoi emperors, there are several independently created portraits of the emperors of the Komnenian dynasty (1081–1185). The portraits of these emperors in Mutinensis gr. 122 generally accord well with other known portraits. Alexios I Komnenos (r. 1081–1118) is depicted with a square-shaped beard in the codex, a feature shared with depictions of the emperor in another manuscript, Vat. gr. 666. Alexios I's successor John II Komnenos is represented in the codex with a rounded beard, a feature also reflected in other sources such as a mosaic in the Hagia Sophia and a depiction in the manuscript Vat. Urb. gr. 2. The third Komnenos emperor, Manuel I Komnenos (r. 1143–1180), is depicted with a short beard in his coinage and in the manuscript Vat. gr. 1176, a feature shared by his portrait in the Mutinensis gr. 122. Manuel's heir, the child emperor Alexios II Komnenos (r. 1180–1183) is depicted without a beard and Alexios II's successor, his uncle and the adventurer Andronikos I Komnenos (r. 1183–1185) is depicted as an old man with a long, white beard ending in two points, similar to how he is depicted in his own coins. The shape of the Byzantine imperial crown was changed in the 12th century, gaining a semi-spherical top, which is reflected in portraits of emperors in the codex from John II onwards.[29]

可靠性

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該抄本中巴西爾二世的肖像(左),一份11世紀抄本中同一皇帝的肖像(中),硬幣上的肖像(右圖,左邊的人物)。巴西爾二世是少數幾個在該抄本的肖像與其他現存形象明顯不太一致的皇帝之一

因為抄本製作於15世紀,後期諸王朝的皇帝肖像顯然會比早期諸帝的肖像更可能可靠[25]。自7世紀之後,該抄本中的肖像與其他來源的皇帝肖像高估相似,希拉克略(610-641年在位)之後,只有少數幾幅肖像與其他來源的皇帝形象間存在較大差異[23]。而希拉克略之前的皇帝肖像很大程度上,甚至可以說純憑想像繪製[23]。例如,君士坦丁大帝時代留下來的皇帝形象沒有鬍鬚,但抄本中的君士坦丁大帝卻留着小鬍子[28]。 Different garments and crowns are applied to different early emperors, but the designs are all imaginary and do not match known ancient Roman imperial regalia.[8]

Two prominent examples of post-Heraclius portraits that appear to be erroneous are those of Theophilos (r. 829–842) and Basil II (r. 976–1025).[23][13] The portrait of Basil II is entirely unlike portraits of the emperor in other sources, and the portrait of Theophilos is equally dissimilar from his portraits on contemporary coins, though in Theophilos' case the coins were highly schematized and produced during the Iconoclastic period and probably carry little relevance in terms of being accurate likenesses. The portrait of Heraclius in the codex is similar to portraits of the emperor on a rare set of early coins, but dissimilar from portraits from the last 30 or so years of his reign. The portraits of emperors Constantine VII (r. 913–959), Romanos I (r. 920–944), Romanos II (r. 959–963) and Nikephoros II do not match the highly standardized portraits on the coinage of these emperors, though perhaps other sources were used for these portraits.[13] The portrait of Romanos IV Diogenes (r. 1068–1071) is similar to the portraits on the coinage of Romanos III Argyros (r. 1028–1034).[30] There are also examples of portraits of earlier emperors that match other depictions very well. For instance, the portrait of Michael V Kalaphates (r. 1041–1042) closely matches the depiction on his coins, with the same head/face shape, beard and mustache.[31]

史學分析

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「紫衣貴族」佐伊女皇(左)與她的丈夫君士坦丁九世「單獨戰鬥者」(右)在抄本中的肖像

2001年,彼特·古蘭(Petre Guran)認為約翰六世·坎塔庫澤努斯的肖像值得注意。因為約翰六世雖確實於1347-1354年稱帝掌權,但他的統治標誌着巴列奧略王朝的短暫中斷(最後一組肖像是在約翰六世失位、巴列奧略王朝皇帝恢復統治幾代後創作的),而且他後來被廢黜,退居修道院,以修士而非皇帝的身份結束了自己的政治生涯[32],儘管如此,他的肖像仍帶有與其他皇帝相同的光圈

Barbara Hill, Liz James and Dion Smythe erroneously claimed in 1994 that the codex only includes portraits of male rulers, omitting portraits of the ruling empresses Irene, Theodora and Zoë. Hill, James and Dion believed that this exclusion of the ruling empresses may perhaps be attributable to the scribes behind the codex viewing 'imperial' as exclusively pertaining to men.[33] Contrary to the claim in their study, Mutinensis gr. 122 does contain portraits of Zoë and Theodora (though Irene does not have a portrait).[34] Excluding Zoë and Theodora would have been strange, since numerous other Byzantine writings and artworks show them as being on the same level as the male emperors. Notably, the Madrid Skylitzes depicts Zoë's marriages to emperors (her co-rulers) Romanos III, Michael IV and Constantine IX, in each case appearing to note Zoë as being ahead of her consorts in power and prestige.[35] A notable detail of the portraits of the empresses in Mutinensis gr. 122 is that they are depicted with radiate crowns, different in design from those of the male rulers. Though the crowns of Byzantine empresses are not described in any known surviving literary source, other surviving Byzantine depictions of empresses also depict crowns of female rulers and consorts in this way, confirming the designs to be accurate.[36]

精選肖像

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註釋

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  1. ^ 這份抄本有時也被稱為「codex Mutinensis A. S. 5.5」,之前曾被稱為「codex Mutinensis III D, S 14」[2]
  2. ^ 佐納拉斯的作品原本是自上帝創造天地開始的世界編年史,這份抄本省略了作品的開頭,直接從克里奧帕特拉統治時期的記載開始[4]
  3. ^ 這裏的「張」指的是兩頁紙,從左到右,一張紙的右面為正面,左面為反面。
  4. ^ An alternative interpretation of the creation of the codex, challenging the traditional view of two scribes, was forwarded by Olga Gratziou in 1997. She claimed that the codex was not illustrated at all originally, and that all the portraits contained within it, including both the portraits in the margins of the text and the portraits at the end, regardless of the different methods used to add them to the manuscript, were done by the same hand. Gratziou theorized that given that all portraits must then have postdated the Fall of Constantinople, and might have been created gradually by the first "post-Byzantine" owner of the book, who repaired the work and added brief historical records to update it to reflect events since original manuscript's end. Gratziou further claimed that later owners of the book then continued in a similar manner, adding notes at different points, retouching portraits and repairing damages, with the manuscript ending up being used as something akin to a "historical notebook".[12]

引用

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  1. ^ 1.0 1.1 Treadgold 1979,第1248頁.
  2. ^ Burke 2014,第18頁.
  3. ^ Ἐπιτομὴ Ἱστοριῶν.
  4. ^ 4.00 4.01 4.02 4.03 4.04 4.05 4.06 4.07 4.08 4.09 4.10 4.11 4.12 4.13 Tsamakda 2017,第133頁.
  5. ^ 5.0 5.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 Spatharakis 1976,第172頁.
  6. ^ 6.0 6.1 6.2 Tsamakda 2017,第134頁.
  7. ^ 7.0 7.1 7.2 Spatharakis 1976,第176–179頁.
  8. ^ 8.0 8.1 8.2 8.3 8.4 Gratziou 1997,第46頁.
  9. ^ Gratziou 1997,第48頁.
  10. ^ 10.0 10.1 Mattiello & Rossi 2019.
  11. ^ Gratziou 1997,第45頁.
  12. ^ 12.0 12.1 Gratziou 1997,第62頁.
  13. ^ 13.0 13.1 13.2 13.3 13.4 13.5 Breckenridge 1978,第362頁.
  14. ^ 14.0 14.1 Spatharakis 1976,第175–176頁.
  15. ^ 15.0 15.1 Spatharakis 1976,第173頁.
  16. ^ 16.0 16.1 Spatharakis 1976,第174頁.
  17. ^ Spatharakis 1976,第175頁.
  18. ^ 18.0 18.1 Allen 1890,第18頁.
  19. ^ Allen 1890,第4頁.
  20. ^ Gratziou 1997,第39頁.
  21. ^ Gratziou 1997,第40頁.
  22. ^ Gratziou 1997,第41頁.
  23. ^ 23.0 23.1 23.2 23.3 Spatharakis 1976,第182頁.
  24. ^ Burke 2014,第16頁.
  25. ^ 25.0 25.1 25.2 Spatharakis 1976,第176頁.
  26. ^ Spatharakis 1976,第183頁.
  27. ^ Anderson 2021,第141頁.
  28. ^ 28.0 28.1 28.2 Spatharakis 1976,第179頁.
  29. ^ 29.0 29.1 29.2 29.3 29.4 Spatharakis 1976,第180頁.
  30. ^ 30.0 30.1 Wroth 1908,第xcvii頁.
  31. ^ 31.0 31.1 Wroth 1908,第liv, xcvi頁.
  32. ^ Guran 2001,第95–96頁.
  33. ^ Hill, James & Smythe 1994,第215頁.
  34. ^ Wroth 1908,第liv頁.
  35. ^ Hill, James & Smythe 1994,第218–222頁.
  36. ^ Bárányné Oberschall 1937,第84–85頁.

參考文獻

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網絡資源

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外部連結

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