Synopsis

Part III is the Harley recension of Part II’s penitential matter. The codex order forces the twins a hundred pages apart, and the printed edition rightly keeps them there. Here they stand together.

⚠ The columns are not aligned line for line, and must not be. These are two recensions, not two printings: measured against each other they share ten identical Latin lines out of 157 and 208 between §23 and §1, and none at all between §17 and §2 — because §17 is a schema of headings and brace catalogues and §2 is that schema written out as prayer. Identical Latin keeps identical English; divergences stand as divergences and are never conformed.

The Creed — thanksgiving turned into belief

Part II

Part II §23 In magnum pietatis sacramentum

printed 340–345
Part III

Part III §1 Confessio Fidei

printed 398–406

STRUCTURE.md: a second recension of §23 (and of §38's close), plural where §23 is singular. The note at printed 340 puts it exactly: the same six titles, in this order and in these mysteries, stand again at printed 402–403, turned from thanksgiving into belief — and there they carry not one reference.

The confession of sins — the schema and the prayer

Part II

Part II §17 Peccatorum Confessio

printed 324
Part III

Part III §2 Confessio Peccatorum

printed 407–416

STRUCTURE.md: a second recension of §17. ⚠ The two are not verbally parallel and no alignment could make them so — §17 is a SCHEMA of numbered heads and brace catalogues (Aggravatio · Peccati Species · Quoties? Quamdiu?), and Part III §2 is that schema written out as prayer (Peccavi, Domine, Tibi, Domine, Tibi). One page against ten.

The estate-catalogue — with the antitheses stripped out

Part II

Part II §24 Confessio Laudis

printed 346–348
Part III

Part III §4 Gratiarum Actio

printed 426–431

STRUCTURE.md: the thirteen-line Quod brace at printed 428 is §24's estate-catalogue stripped of its antitheses. The note at printed 346 adds that the schools' division — bona gratiae, naturae, fortunae — stands again at printed 429 as Pro bonis.

Where the volume names itself

47 places where a note on one page points at another in a different part — a phrase returning in a new dress, a verse cited under two different numbers, a catalogue standing again with its antitheses stripped out. Invisible in a codex, and the reason this edition is worth having on a screen.