(W. R. S.; S. A. C.)
[1] A Hebrew fragment probably of the 2nd century A.D., in the University Library, Cambridge, containing the Decalogue with several variant readings; see S. A. Cook, Proceed. Soc. Bibl. Archaeology (1903), pp. 34-56; F. C. Burkitt, Jewish Quarterly Review (1903), pp. 392-408; N. Peters, D. älteste Abschrift d. zehn Gebote (1905).
[2] So, for example, Augustine, l.c., Thomas, Summa (Prima Secundae, qu. c. art. 4), and recently Sonntag and Kurtz. Purely arbitrary is the idea of Lutheran writers (Gerhard, Loc. xiii. § 46) that the ninth commandment forbids concupiscentia actualis, the tenth conc. originalis.
[3] It is generally assumed that the addition in Exodus is from a hand akin to Gen. ii. 2 sqq.; Ex. xxxi. 17 (P.).
[4] So Hitzig (Ostern und Pfingsten im zweiten Dekalog, Heidelberg, 1838), independently of a previous suggestion of Goethe in 1783, who in turn appears to have been anticipated by an early Greek writer (Nestle, Zeit. für alt-test. Wissenschaft (1904), pp. 134 sqq.).
[5] See also W. E. Barnes, Journ. Theol. Stud. (1905), pp. 557-563.
[6] The last three sentences of this paragraph are taken almost bodily from Robertson Smith’s later views (Old Testament in the Jewish Church2, pp. 335 seq.).
DE CAMP, JOSEPH (1858- ), American portrait and figure painter, was born in Cincinnati, Ohio, in 1858. He was a pupil of Frank Duveneck and of the Royal Academy of Munich; became a member of the society of Ten American Painters, and a teacher in the schools of the Pennsylvania Academy of Fine Arts, Philadelphia, and the Boston Museum of Fine Arts; and painted important mural decorations in the Philadelphia city hall.