His book The Secrets of Judas, published at the same time as the text itself, tells the story of its discovery, and of the skulduggery involved in getting it eventually into a laboratory and thence into print. But, instead of the sense of sustained excitement, and of a great project brought to a triumphant conclusion, Robinson makes the heroes into villains, and constantly portrays himself as the man who should have been playing the hero but wasn’t even allowed on stage.2 He writes in a scornful