Research on the relationship between John Calvin and John Chrysostom has been based on Calvin’s alleged use of the 1536 Chevallon edition of Chrysostom’s Opera Omnia throughout his literary career. This article questions the evidence for Calvin’s intensive use of the Chevallon edition by discussing the opinions that underlie Alexandre Ganoczy and Klaus Muller’s interpretation of the marked sections and their influence on scholars after them. It argues that at best Calvin used the copy in question as one among others only during his last Genevan period. This challenges future research on the relationship between Calvin and Chrysostom not to focus on one edition that Calvin always used to read, but to establish which particular Chrysostom edition or editions Calvin used for each particular work he wrote.

中文翻译：

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加尔文使用金口琴的《歌剧全能》的雪佛龙版

关于约翰·加尔文与约翰·金口之间关系的研究是基于加尔文在整个文学生涯中使用金口琴的《歌剧全能》的1536年雪佛龙版。本文通过讨论亚历山大·甘诺齐和克劳斯·穆勒对标记部分的解释及其对后继学者的影响所基于的观点，来质疑加尔文大量使用Chevallon版本的证据。它认为，加尔文充其量只是在他上一个日内瓦时期才将有关副本用作其中之一。这挑战了对卡尔文和金口之间关系的未来研究，而不是专注于卡尔文一直读过的一个版本，而是确定卡尔文为他撰写的每本特定作品使用了哪个特定的金口版。