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1892 May 24th, Augustus Jessopp, Wise Words and Quaint Counsels of Thomas Fuller: Selected and Arranged with a Short Sketch of the Author’s Life, Oxford: at the Clarendon Press, published 1892, Preface, pages v–vi:The attempt to resuscitate these and to win for them a perennial acceptance can only end in disappointment for such as would fain put too high a value upon the obiter dicta or the obiter scripta of every giant of literature.
1910, Thomas Newbigging, Literary Bypaths and Vagaries, and Other Papers, London: Elliot Stock, pages 256–257:It will be admitted that these obiter scripta are all of excellent quality, and I don’t think I err when I assert that it is the authorship of these that will entitle the writers to remembrance.
1918 April, Richard Morris Stewart, “Bijdragen en Mededeelingen van het Historisch Genootschap”, in The Scottish Historical Review, volume XV, number 59, →JSTOR, page 254:Whilst disclosing nothing of importance, the documents contain some interesting obiter scripta.
1930 April, James Bonar, “John Stuart Mill, the Reformer (1806–1873)”, in Indian Journal of Economics, volume X, number 4, page 774:You are quoting my obiter dicta and obiter scripta alongside of my books.
1941, Sir Charles Oman, Memories of Victorian Oxford and of Some Early Years, third edition, Methuen & Company Limited, published 1942, page 214:Somewhere in the late ‘eighties’ or early ‘nineties’ I kept a note book for strange obiter scripta from various schools, which turned up lately from the dusty bottom of a drawer.
1988 September, Gordon Stevens Wakefield, “Ministerial Training: James Alexander Findlay (1880–1961)”, in Epworth Review, volume 15, number 3, page 28:Some of Maltby’s obiter dicta and obiter scripta are still remembered.
2003, Frederic Raphael, The Benefits of Doubt: Essays, Manchester: Carcanet, →ISBN, page 1:Who do I think I am to publish my obiter scripta? The question recalls the story of when an indignant author said to someone who had not liked his play, ‘Who are you to criticise?’ To which the unanswerable answer was, ‘Who do you have to be?’
2011, Roger Nichols, Ravel, New Haven/London: Yale University Press, →ISBN, →LCCN, chapter III. “1905–1908: Mirrors, birds and the supernatural”, page 91:The insistent rhythm acts as a perfect foil for the acrobatics of the voice, but the piece hardly calls for concentrated analysis. It was possibly an obiter scriptum derived from the finale of the one-act opera L’heure espagnole on which Ravel was engaged during the first part of the year.