To attribute the work on the Fish House exclusively to Sidney V. Stratton ignores the basic dynamics of the McKim, Mead & White office.
Some copies of De modis significandi attribute the work to an early fourteenth-century English cleric named Thomas of Occam, but scholars have been skeptical about this because it occurs in just a handful fifteenth-century manuscripts.[4] The vast majority of the manuscript evidence, and all of the earliest witnesses, refer to its author as Thomas of Erfurt.
However, the author's identity was so well-concealed that even repeated scholarly investigations in recent decades have proven unable to attribute the work.
Two other names appear in the colophons, Sadananda Yati and Nityatma Sukayogi, prompting some scholars to attribute the work to the group while others consider them alternate names of the same writer.
Walsh, a decorated Iraq war veteran, said his failure to properly attribute the work of other scholars in a 2007 paper was due in part to post-traumatic stress disorder.
A handsome 42-year-old, Washington attributes the works to his great-grandfather, a little-known African-American wood engraver named Earl Mack Washington, who lived from 1862 to 1952.
The arguments attributing the works to van Eyck are circumstantial and based mainly on the style and quality of the panels.
The panels came into the possession of the Hermitage Gallery in 1917, credited to Jan. Bryson Burroughs, writing for the Metropolitan at the time of their acquisition in 1933, attributed the works to Hubert.
Banksy's publicist attributed the work to Mr. Brainwash.
Mr. Wouk and Mr. Warshaw have attributed the work to a little-known artist with the pleasing name Hermannus Posthumus.
