The ‘that’ stands in a relation of gradual opposition to the name: the more illegible the name, the more exposed its bearer. Not only the artist: his work still bears his name, even if it also bears another name or title. What is true of the name of the artist is true in every case of the name of the work of art, unless, of course, the name of the artist remains unknown and the name of the work is known. From the name still to be named (nomen nominandum) and the unknown name (nomen nescio) no path, only a thrust leads to the mere bearer, the bearer without a name.

[…] ſuffred the fatall threed to bee ſpunne out to that length for ſome politique reſpects, and then to cut it off in the very nicke.

Nine to five, what a way to make a living; barely getting by, it's all taking and no giving. - 9 to 5 - Dolly Parton

A seventy-ninth of 1580 is 20.