The Atlas of One Day

Colophon — every image, and where it came from

This is the attribution surface for all eighteen panels. CC BY 4.0 §3(a)(2) permits it to sit here rather than beside each image; CC BY-SA 2.0 permits it only while the panels stay bare. The panels themselves are licensed CC BY-SA 4.0. No photograph on this page is cropped: every photograph is shown whole and padded to the slot, because cropping a share-alike photograph to fit a grid is an adaptation and this atlas stays clear of that boundary. Every map frame is a region of a named sheet — selected, not cropped, under the author's map-region ruling of 27 July 2026 — and is disclosed below, sheet by sheet. Corrected 4 August 2026: this paragraph read “No image on this page is cropped” — a claim about the photographs written as a claim about the page. A map frame is a region of a named sheet, ruled a selection of the document rather than a crop to fit the grid (RIGHTS.md clause 7, 27 July 2026), and the sentence as written would have read as false the day the first map frame arrived.

Map frames — regions of named sheets

A six-inch sheet covers about eight kilometres and a slot renders at about a hundred pixels, so the whole sheet was never the document a slot names. Every map frame on this page is a region of a named Ordnance Survey sheet — positioned by the sheet's own lettering naming the place, never trimmed to make a composition — under the author's map-region ruling of 27 July 2026 (RIGHTS.md clause 7). CC BY 4.0 §3(a)(1)(B) requires that modification to be indicated, and a caption-free panel cannot indicate anything, so this table is the indication.

Reproduced with the permission of the National Library of Scotland.

What is missing, and why

An empty slot on this page is a fact about the record, not a gap in the work.

Institutional marks on the scans

A caption-free panel cannot tell a reader that the stamp is a modern library's and not part of the 1896 printing. That is the limitation, it is real, and 'mention them where needed' is what is done about it: every admitted mark is recorded against its image and must appear in the Atlas's colophon, which is the only surface the form leaves available. The ruling, 2026-07-26, in the author's own words: “We have to accept limitations and mention them where needed and continue.”

Institutional marks are admitted and disclosed — still gated regardless of the licence: the institutional-marks question was RULED on 2026-07-26, in the author's own words: “We have to accept limitations and mention them where needed and continue.” — an ownership mark on a scan of a period document is admitted and disclosed where it bites; a photographer's watermark remains an authorship credit and stays refused (C-76, L-34).

Caveats

• 1 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to The Martello tower key; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 1 place — This is not a portrait of the whole tower and it does not show Sandycove. It is the upper third only — the granite ashlar courses, the string course, the parapet of the gun platform, and the machicolation over the door — shot from below against a clear blue sky. Nothing establishes the sea, the rocks, the Forty Foot, or the headland; a reader with no caption sees a massive round granite fortification cropped at the shoulder, and could not tell it from any other Dublin Bay Martello tower. What it buys in exchange is that the frame contains not one modern object: no museum entrance, no signage, no plaque, no cars, no visitors, no flag. Every surface visible in it is 1804 fabric, which is the rare property in this pool — nearly every other clean-licensed view of this tower carries the museum's glass kiosk, its brick retaining wall or its interpretive plaque somewhere in shot. It stands for the tower as Joyce's characters would have met it, and it does so by showing less rather than by pretending more.
• 2 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to Mr Deasy's foot-and-mouth letter; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 3 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to Stephen's boots (Mulligan's castoffs); no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 3 place — It is the weaker picture. The sky is a flat overcast grey with no modelling, and the horizon is a row of container gantries, silos and a single tall modern stack — which in a caption-free panel reads as a working port rather than as Joyce's shore. The rusted iron post and rock armour in the near left corner are modern sea defence. It stands for the strand as Stephen's route, and for very little else; if the panel is meant to make a reader feel the strand rather than locate it, prefer the "looking south" frame.
• 4 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to the Agendath Netaim flyer; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 4 place — A wide view straight down the roadway, taking in both terraces and no single doorway. The camera (Structured Data P1259: 53.357650, -6.263443) stands at the northern end of Dorset Street Upper — which Nominatim bounds at roughly 53.3530-53.3574 / -6.2683 to -6.2639 — looking south along it. What the frame does NOT show: it does not show Eccles Street. The camera stands close to where Eccles Street's east end meets Dorset Street, but it is turned to look directly away, so no part of Eccles Street enters the picture. It also shows no butcher's shop and no shopfront framed large enough to be mistaken for one; the shopfronts on the left run away from the camera in sharp perspective and none is legible as a subject. Nothing in the frame existed on 16 June 1904: the surviving street fabric is largely later rebuilding, and the picture additionally contains motor cars, a red delivery van, a white van, a bus, painted lane markings and a hatched yellow box, steel bollards, a modern litter bin, a black refuse sack, tall modern street lamps, traffic and bus-lane signage on galvanised poles, a wheeled advertising board, and pedestrians in 2010 dress. The light is flat bright overcast, not a June morning.
• 5 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to the Freeman's Journal (Bloom's copy); no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 5 place — The widest single frame found: it holds the church portico, the Georgian terrace running away to the right, AND the Loop Line bridge with the station's curved roof at the left — three of the quarter's four landmarks at once. It does NOT show Sweny's or the post office. Not on 16 June 1904: a red-surfaced cycle lane and modern painted road markings, modern lamp standards, a traffic signal, printed notice boards on the railings, the station's twentieth-century curved roof and modern hoardings on the bridge — and, at the right edge, a white camping tent pitched against the churchyard railings, which is a piece of contemporary Dublin the panel would carry silently and which the author should see before ruling.
• 6 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to the brown macintosh; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 6 place — The frame is a raking wide view over a dense field of 1860s-1900s headstones, Celtic crosses and a standing Sacred Heart figure, running back to a treeline. It does NOT show the O'Connell round tower, the Finglas Road gates, the mortuary chapel, the museum, any path a funeral cortege would take, or any open grave — so it claims the burial ground and nothing more specific. Objects that did not exist on 16 June 1904: a small blue-and-white adhesive grave-maintenance sticker on the shaft of the nearest Celtic cross (I found it only by zooming to that region at full resolution — at panel size it is an illegible blue fleck, not readable text); a modern asphalt road carrying a painted white edge-line along the right margin; red and white decorative gravel chippings, concrete grave kerbing and clipped box borders, all late-20th-century grounds practice; the background trees are later plantings. The monuments themselves are overwhelmingly of the right period.
• 7 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to the Keyes ad cutting; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 8 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to The Elijah throwaway; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 8 place — A wide view along the Grafton Street footway, taken from behind a rank of about a dozen parked bicycles, with the street receding to a hazy distance of motor traffic and a cyclist. Two men in caps and a woman in a coat stand at the shop window on the left. WHAT THE FRAME DOES NOT SHOW: Duke Street, Davy Byrne's, the Burton, and any part of Grafton Street's smart end - this is the working-shop stretch. ANACHRONISM: dated 1946. 'F. W. WOOLWORTH & CO. Lᵀᴰ' runs across the fascia at the left in the picture's largest lettering (Woolworth's Grafton Street opened in 1914, ten years after Bloomsday), with a 'SINGER' projecting sign beyond it; the saloon cars in the distance are 1930s-40s, the bicycles are 1940s roadsters, the clothes are 1940s, and the roadway is tarmacked. The reader with no caption gets 'a busy shopping street in an old city, bicycles everywhere' - true, and not misleading about the century, but the Woolworth's fascia is the single most legible object in the frame and it is a twentieth-century chain store.
• 9 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to Stephen's Latin Quarter hat; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 9 place — It shows the National Library only — not the National Museum, and not Kildare Street. It is a close view of the forecourt gate, so a reader gets "the gate of the Library" rather than "the street with its two rotundas", and the slot is named for both institutions. Second, the panel will carry a legible word: LIBRARY, in gilt, is lettering cast into the photographed gate, part of the fabric and not a caption or credit we add, so it breaches nothing — but it is worth the author knowing that this panel will read as labelled where no other panel does, and deciding whether that is a virtue or an inconsistency. Third, it is a 2010 photograph. The gates, the gilt lettering and the rotunda were all standing in 1904 and nothing in the frame contradicts that, but the photograph proves nothing about 1904 and does not pretend to.
• 10 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to Boylan's fruit basket (port and peaches); no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 11 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to The blind stripling's tapping cane; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 11 place — Stated plainly rather than stretched. FIRST, this is not a photograph of the Ormond Hotel and does not claim to be. It is a photograph of the quay the hotel stood on. That is exactly why it is safe: a wide view of a terrace claims the terrace, whereas the 7 Eccles Street failure happens when a photograph frames one door and the caption-free panel silently turns it into Bloom's door. Nothing here is framed as a single building, and no building in it is identifiable as the hotel without a caption — which in a caption-free atlas is a virtue, not a defect. SECOND, and this must be flagged hard: nothing in this frame is 1904 fabric in the sense a reader might assume. The photograph is from September 2012. The Ormond Hotel was demolished in 2018 and rebuilt, so the present-day quay does not contain it at all; and the building demolished in 2018 was itself a much-altered twentieth-century thing, not the hotel Joyce put Bloom in. So this image is one remove from the book on both counts — it shows a 2012 streetscape, and even the 2012 streetscape was not Joyce's. What survives across all of it is the alignment: the river, the quay wall, the line of the terrace, the Four Courts dome in the same place. That continuity is the whole of the claim. THIRD, aspect ratio: 3168x1505 is 2.105:1, a wide letterbox, which will pad awkwardly in a grid. Note that this file is CC BY 2.0 and not share-alike, so the no-crop rule (which RIGHTS.md states for share-alike images) does not bind it and a crop would be licit — but that is the author's call, not mine, and padding uncropped keeps the whole Atlas on one rule. FOURTH, the photograph is HDR tone-mapped: the sky and the brickwork carry a visible processing signature that is the photographer's style and not the Atlas's. If that reads as authorial interference, the geograph backup is a plain documentary frame.
• 12 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to the Jacobs' biscuit tin; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 13 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to the lemon soap; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 13 place — The two red-and-white striped chimneys are the ESB Poolbeg station's, built 1971 and 1978. They did not exist on 16 June 1904, and nothing of the 1903 Pigeon House generating station that Stephen and Bloom would have seen is legible in this frame. State it plainly: the chimneys stand roughly where the Pigeon House stood, on the same spit, but they are twentieth-century objects and this is a 2020 photograph. What is authentically 1904 here is the strand itself, the tidal geometry, the reach of the bay and Howth closing it — the constants. The seawall at bottom-left carries modern graffiti. This is a photograph of the PLACE across time, not a reconstruction of the place in 1904, and a reader with no caption will read it as contemporary Dublin, correctly.
• 14 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to Stephen's wages (three pounds twelve); no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 15 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to Stephen's ashplant; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 16 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to Sweets of Sin; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• 16 place — State this plainly: the cabman's shelter is NOT in this photograph, and no photograph of it exists on Commons. The shelter is gone. What is more, the road bridge in the foreground is NOT the bridge Bloom crossed — the 1904 Butt Bridge was the 1879 iron swing bridge (Beresford Bridge), demolished and replaced by the present fixed concrete span in 1932. Only the Loopline railway viaduct behind it is 1904 fabric. The image also carries visible modern Dublin: green double-decker buses on Eden Quay at the left edge, IFSC glass office blocks behind the Custom House, contemporary lamp standards and quay railings. Caption-free, a reader sees 'the Liffey at the Custom House, with a railway bridge' — which is true, is the right stretch of river, and claims nothing it cannot support. It does not read as 1904 and should not be presented as though it did. This is the site, honestly; it is not the hut, and it is not the 1904 bridge.
• 17 document — THE TAG'S STATED GROUND IS NOT TRUE OF THIS AUTHOR, AND THE CLEARANCE HOLDS ANYWAY — recorded rather than smoothed over, because a licence this Atlas would rest on should not rest on a reason that does not apply. {{PD-old-100-expired}} asserts a life-plus-100 basis. Buchanan died on 11 October 1936 — verified against two sources that did not write the Commons page: The National Archives' authority record ('Buchanan, Sir George Seaton, (1869-1936)') and Nature's obituary of 14 November 1936. That is 90 years, not 100. The work is public domain on TWO independent country-of-origin grounds, either of which alone satisfies RIGHTS.md clause 7: it is an 1896 H.M.S.O. publication, so UK Crown copyright ran 50 years from publication and expired in 1946; and life-plus-70 for an author who died in 1936 expired on 1 January 2007. The tag names the wrong one of the available grounds. L-17, and the second instance of that shape in one day.
• 18 object — A KIND, WHICH IS WHAT THIS LAYER COLLECTS. The slot is keyed to the orangekeyed chamberpot; no photograph of that thing exists, because it is Joyce’s invention or is unphotographable as itself. What is shown is a member of its KIND, cleared and licensed on its own terms. RULED by the author on 2026-07-27: this atlas is a museum of the day’s kinds rather than of its relics, and it says so here rather than letting the first slot’s position assert an identity it cannot support. Rule 4(i) is therefore satisfied on its own terms — the slot names a kind and the frame shows a member of it — instead of being suspended over seventeen panels. Raised by the joint session of 27 July 2026 as catch C-84, where this sentence was an apology for a defect; it is now the description of the form, and the pictures did not change (catch C-92).
• What this page weighs is measured rather than estimated: 2.1 MB across 43 images, the largest of them 0.3 MB. The panels ship panel-width derivatives; the archive-resolution files stay in the repository beside them — this dimension is the strongest candidate for the project's eventual physical form — and the colophon's source links remain the route to the originals. The images load lazily. Corrected 4 August 2026: this caveat read “This page is heavy” and recorded the weight as a defect — the panels then shipped the archive-resolution files themselves, and a reader on a phone downloaded about twenty times the pixels the screen used. The panels now ship a display derivative fetched from Commons at panel width; the archive files remain in the repository, where a reader downloads none of them.
• This atlas is built from one reader's first cover-to-cover reading of the book, in July 2026. n = 1 (anchor A10) — and the arrangement is not that reader's. Of the 10 place frames on this page, 5 were chosen by the chair of this build with no ratified rule reaching them, 2 by the chair applying a rule the author ratified, and 3 were admitted by the author's own ratified rules. Every choice of the chair's is recorded as the chair's, dated, and reversible by a sentence; not one is recorded as the author's. Corrected 27 July 2026: this caveat read “the arrangement is that reader's”, and named the wrong hand — the reader read the book, and somebody else chose these pictures. A10 asks a document to say its n = 1 in its own voice, which means saying whose voice it is (catch C-88).
• Sourced and inferred are marked apart throughout (A5). A panel's place is the place base document 03 documents in that episode's hours, or the place the author chose from several the record does not rank — and which of those it is, is recorded.