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For some works, there may have been more than one original, for example in the case of a revision. A known example of this phenomenon is the transmission of Liutprand of Cremona's Antapodosis. Two redactions of this work were copied and have given rise to extant manuscripts. Cf. ill. 2 below and the study by Paolo Chiesa (Chiesa 1997). In this case the archetype (understood as the ancestor of all extant witnesses) is equal to redaction I's original (Ω).

 

Fig. 1. A re-drawn and somewhat simplified version of the stemma published in Maas (1960), p. 7. X represents the original, α the archetype, and β and γ are hyparchetypes.

Fig. 2. The upper branches of the stemma to Liudprand's Antapodosis as proposed by Paolo Chiesa. Both Ω and "II Redaz." were written by Liutprand and are therefore two originals.

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