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From the proposal:

The first manuscript will be written in Greek, a fascinating challenge for me, as I have never done calligraphy using the Greek alphabet. This page will be centered around an excerpt from Plato’s Cratylus, a Socratic dialogue which discusses the origin, derivation, and meaning of words. The passage in question, 424d- 425a, in which authors are actively compared with painters, emphasizes the inseparably visual element of writing, both literally on the page and in the imagination. This page will be illuminated in the Byzantine style. The most common depictions found in Byzantine manuscripts involve Orthodox Christian icons, in which religious figures were represented in a highly stylized manner which emphasized the flatness of the artwork. By using such a style, I will suggest, as does the Cratylus text, all of the various elements that go together to make up a single work of art, be it a painting or a poem. This page can be supplemented with interlinear translations, in addition to any or all of the possible enhancements mentioned in respect to the Latin manuscript.

Plato's Cratylus, 424d-425a (Available courtesy of the Perseus Project):

''hôsper hoi zôgraphoi boulomenoi aphomoioun eniote men ostreon monon epênenkan, eniote de hotioun allo tôn pharmakôn, esti de hote polla sunkerasantes, hoion hotan andreikelon skeuazôsin ê allo ti tôn toioutôn-- hôs an oimai dokêi hekastê hê eikôn deisthai hekastou pharmakou--houtô dê kai hêmeis ta stoicheia epi ta pragmata epoisomen, kai hen epi hen, hou an dokêi dein, kai sumpolla, poiountes ho dê sullabas kalousin, kai sullabas au suntithentes, ex hôn ta te onomata kai ta rhêmata suntithentai: kai palin ek tôn onomatôn kai rhêmatôn mega êdê ti kai kalon kai holon sustêsomen, hôsper ekei to zôion têi graphikêi, entautha ton logon têi onomastikêi ê rhêtorikêi ê hêtis estin hê technê.''

''Just as painters, when they wish to produce an imitation, sometimes use only red, sometimes some other color, and sometimes mix many colors, as when they are making a picture of a man or something of that sort, employing each color, I suppose, as they think the particular picture demands it. In just this way we, too, shall apply letters to things, using one letter for one thing, when that seems to be required, or many letters together, forming syllables, as they are called, and in turn combining syllables, and by their combination forming nouns and verbs. And from nouns and verbs again we shall finally construct something great and fair and complete. Just as in our comparison we made the picture by the art of painting, so now we shall make language by the art of naming, or of rhetoric, or whatever it be.''