When Takumi was talking with Project D's mechanics, he explains that he really enjoys what he's doing now. As the race between Project D and the wildcard Toudou School looms in the near future, each team meticulously prepares for battle. Vehicles are tuned to precision and strategies are carefully considered. When the day finally arrives the first meet is between Tak and Touduo's Daiki Ninomiya. And then it's on.

"Treasures of a Lost Art presents 144 leaves, cuttings, and illuminated manuscript fragments from the collection of Robert Lehman (1891-1969), one of the largest and most impressive private holdings of Italian manuscripts assembled after the First World War. Discussed here - with many of them handsomely illustrated in full color - are important examples of the major schools of illumination in southern Italy, Umbria, Tuscany, Emilia, Lombardy, and the Veneto. Previously unpublished, and perhaps even unknown to scholars, are works by some of the foremost Italian painters of the Middle Ages and Renaissance, including a leaf here attributed for the first time to the Sienese master Duccio di Buoninsegna and cuttings by Stefano da Verona and Cosimo Tura. Lesser-known arists, such as Neri da Rimini, Belbello da Pavia, and Girolamo da Cremona, once renowned for their beautifully illuminated volumes, are also discussed in full."--BOOK JACKET.

From the contents: Old Frisian 'fendsen' and 'hwendsen' (Alfred Bammesberger).- Puzzling datives in Old Frisian (Dirk Boutkan).- Vowel raising in the anonymous Lithuanian catechism of 1605 (Rick Derksen).- Laryngeals and Vedic metre (Jost Gippert).- Indo-European initial yod in Greek (Eric P. Hamp).- Vedic denominatives to thematic a-stems (Stanley Insler).- Syncope and anaptyxis in Hittite (H. Craig Melchert).

List of fellows in v. 1-5, 7-16, 20-30, 32-33, 35-41, 45; continued since 1908 in the Proceedings, v. 28-

This edition, for the first time, presents a complete modern rendering of an extensive repertoire of works crucial to the development of polyphonic Western music, the organa at Notre Dame cathedral of Paris ca.1165-1225. The two chief composers, Leonin and Perotin, devised the first musical notation to indicate pitch and rhythm, and formulated several musical styles and types of composition which were sung throughout Europe for approximately two centuries. Hans Tischler's edition explores the evolution of compositional methods for both composers, examining the individual styles of organum purum, discant, copula, and pseudo-discant. A second evolutionary factor considered is the selected use of melodic formulae and the recurrence of whole phrases and sections which interrelate numerous organa. A third consideration of the analysis is the increasing complexity of the rhythmic treatment in the tenors of discant clausulae, from Leonin's creation of modal notation, to Perotin's invention of additional rhythmic patterns and their notational symbols. The repertoire comprises settings of well over one hundred chants, the majority of them in two or three versions; and each setting is comprised of several independent and exchangeable sections, totaling approximately 1,500. Only portions of this vast repertoire have been previously published, however, this edition includes all relevant extant material, drawn from sixteen manuscripts, several of which contain two or more collections of organal works . It also refers to related compositions in seven additional collections and to chant sources in eight medieval and eight modem codices.