Liebe friesische Freundin: Erzählung (German Edition)

Alta , Media and Baja upper, medium, and lower. By the s, the Segura had become one of the most polluted rivers in Europe , [1] due to the canning industry and urban and agricultural residues originating in the densely populated area in the medium and lower areas of the basin. Public outcry peaked in , with a demonstration gathering 40, people. Between and , water treatment plants and kilometres of wastewater collection systems were built. In addition, a wastewater reclamation levy was established to finance the operation, maintenance and monitoring of these systems, applying the principle "the polluter pays".

By the quality of the Segura's water started improving. Since , pollution has been unnoticeable, leading to the recovery of fauna and flora including increased otter population in parts of the river they had once abandoned. Birds now rest at two recovered wetland areas recognised by the Ramsar Convention , during their migration between Europe and Africa.

In addition, around million m 3 of reclaimed water is reused annually for agriculture in the region. With the river coming back to life, by , otters and eels —both species particularly sensitive to water pollutants— had repopulated large tracts of the river where they had been absent for decades. This recognizes the fact that the Segura went from being one of the most polluted major rivers in Europe to being the Spanish river with the lowest average pollution considering the average of all tracts of the river in the span of just one decade.

The Segura is usually in a state of semi-permanent drought , however, now and then, it does occasionally flood as the consequence of the torrential rains cold drop , which typically take place once every 6—9 years approximately, always in Autumn and Spring. In the twentieth century significant flooding occurred in , , , , and Since the lower reaches of the river have been canalized, removing meanders and hence improving the evacuation of flood waters.

The new canal was put to the test in September , in October and in December when heavy rainfall resulted in significant runoff. The definitive study of the Roman rite, summarizing more than one hundred years of scholarly research, notably by Samuel David Luzzatto — and Leopold Zunz — , was published in by Ernst Daniel Goldschmidt — The Braginsky manuscript reflects some interesting textual variants and contains a number of readings that would gradually be replaced, such as the text she-lo asani goy, [Blessed. The manuscript was copied by Samson ben Elijah Halfan. The ornamentation includes many attractive initial word panels, decorated with geometric designs and floral pen work, usually in red and blue ink.

The opening page is illuminated. On it the initial word Ribbon Master [of all Worlds] is set within a rectangular panel with red and blue filigree pen work and gold-leaf letters. Surrounding the page is a border filled with red, blue, and green flowers ornamented with gold pen work; gold-leaf dots embellish the border throughout. The inner margin is filled with a vertical arrangement of lush green leaves.

An unidentified family emblem, which depicts a rampant lion, appears in the bottom border. This is the second manuscript in the Braginsky Collection that was copied by a member of the Halfan family of scribes and scholars, whose ancestors were among a group of Jews expelled from France in and found refuge in Piedmont, in northern Italy see cat. In colophons of other manuscripts by the scribe Samson ben Elijah, he refers to himself as ha-Tzarfati, the Frenchman. Zwei Textillustrationen sind szenisch gestaltet. Five manuscripts by him were discussed in by Iris Fishof.

She included this manuscript from the Braginsky Collection, to which she did not have access. Two more signed examples have since been identified: At minimum another five unsigned manuscripts may also be attributed to him. The Braginsky manuscript has a simple decorated title page with the name of an owner, Joseph ben Samuel, and an unidentified coat of arms. Between the liturgy for the circumcision ceremony and the Grace after Meals a basket with flowers is used as a space-filling device. There are two red and two more elaborate multicolored ornamental initial words. The first, ve-kharot on folio 3r, has the outlines of the letters filled with delicate floral designs, while the second, ha-Rahaman on folio 16v, has letters that were executed to look like pleated fabrics.

The first of two text illustrations, on folio 10r, depicts a circumcision in a synagogue. The mohel is raising the knife, while the sandak the one who holds the infant is sitting on the Chair of Elijah. It is hard to discern whether the infant is, in fact, on the sandak's knees, as the raised knife seems to suggest. The second text illustration, on folio 18r, is more original and illustrates the blessing over wine. A man, standing in a vineyard next to nine wine casks, holds a glass of wine in his right hand and a corked bottle in his left. Three more bottles are on a table to the right.

This is not only instance in which Uri Fayvesh displays an interest in the production and consumption of wine. Den mystischen Gebeten wurde eine wichtige Rolle beigemessen: Den Anfang bildet eine unvollendete Titelseite. Dabei kann es sich um den Kopisten oder den Auftraggeber handeln.

Das Buch befand sich einst im Besitz der orthodoxen Amsterdamer Kaufmannsfamilie Lehren, aus der eine Reihe prominenter Philanthropen und Bibliophiler hervorgegangen ist. To this end special daily prayer books were composed; these contain not only the statutory prayers, but also prayers with mystical content. The authorship of these prayer books is generally attributed to Isaac ben Solomon Luria — Yitzhak The Divine Rabbi Isaac. In the Braginsky prayer book, kabbalistic commentaries and kavvanot mystical intentions were included see cat.

Shlomo Zucker, in a description kept with the manuscript, established that the text of the Braginsky manuscript underwent yet another redaction by a student of Hayyim Ha-Kohen, Nathan Nata Hannover d. Hannover lived and worked in Broda from circa until his violent death there at the hands of anti-Habsburg rebels, on 14 July The manuscript begins with an unfinished title page that contains a decorative floral border in red, yellow, and green, but without any text. Throughout the manuscript the scribe included initial words with letters in alternating colors, occasionally using silver paint.

The manuscript was part of the collection of Naphtali Herz van Biema — , an Amsterdam collector, whose books were auctioned in As his wife was a member of the Amsterdam Lehren family, many of his books had previously belonged to members of that family of prominent orthodox philanthropists and bibliophiles. The manuscript was copied from a printed edition by the Amsterdam printer of Hebrew and Spanish books, David de Castro Tartas, who was active between and Although Tartas printed two editions of the Psalms, in and , only the duodecimo edition contained the introduction to the cantillation of the Psalms by Solomon de Oliveyra that was included here as well.

At the end of the manuscript, there is a text by the corrector, Isaac Saruk, who praised the precision of the manuscript and wrote a poem in honor of the patron. The manuscript has a decorated title page, one illustrated initial word panel, and two devices that imitate printed ornamental elements.

All decorations, including the title page, were executed in brown ink similar to that of the text ink. The illustrated title page is signed by its artist: Also included are the crowns of the Torah commonly associated with Moses, who does not, however, appear here , of priesthood Aaron , and of kingship David , taken from the Talmudic Sayings of the Fathers, 4: Although copied when a school of manuscript decoration in central and northern Europe flourished in the eighteenth century, this psalter is not typical of the manuscripts it produced.

The pen-work decoration in the De Pinto Psalter, instead, reflects an autonomous calligraphic tradition found in some Amsterdam Sephardic, often polemical, manuscripts in Spanish and Hebrew of the seventeenth and early eighteenth centuries, as does the monumental Sephardic square script. Such cycles are otherwise unknown in post-medieval Hebrew manuscripts.

The fine-quality illustrations, executed in gouache, are the work of a highly skilled artist, probably trained in Venice. Surrounded by a floral border, each miniature bears a Hebrew inscription, usually a biblical verse, identifying the scene. Facing each of the images are Hebrew prayers, poems, and sayings, unrelated to the illustration.

The left-to-right sequence of the paintings indicates they were executed separately from the text, probably by a non-Jewish artist. An unidentified monogram, MC, appears in many of the scenes. The text consists of prayers, blessings, and poems for a wedding ceremony, following the custom of the Jews of Corfu. Additional poems are by a variety of poets, some by writers of the Hebrew Golden Age in medieval Spain, others by local authors, including Rabbi Eliezer de Mordo.

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The de Mordos were a prominent Jewish family in Corfu whose members included physicians, rabbis, and community leaders. The family played an important role in the defense of Corfu, then under Venetian rule, against Ottoman invaders. At least two people by the name Eliezer de Mordo graduated as physicians at the university of Padua, in and , respectively.

It seems likely that Rabbi Eliezer de Mordo, whose poems appear in the Harrison Miscellany , is the physician who received his medical diploma in Although the illustrations and the texts do not relate directly to one another, the depictions of the wedding scenes based on biblical stories, as well as the frequent representations of women, suggest that this extraordinary manuscript may have been commissioned as a bridal gift, perhaps from a member of the de Mordo family to his bride.

Cecil Roth made this manuscript famous by including numerous re- productions of its biblical scenes in the Encyclopaedia Judaica , which he edited. The manuscript, named after its former owner, was identified previously as Italian, probably from the seventeenth century.

Later research proved conclusively that it was written in Corfu in the first half of the eighteenth century. Zwischen den Illustrationen und Texten besteht allerdings kein direkter Zusammenhang. Jahrhunderts auf der Insel Korfu entstand. Weitere Poeme schliessen sich an, einige stammen von Dichtern aus dem Goldenen Zeitalter der Juden im mittelalterlichen Spanien, andere von lokalen Autoren wie Elieser de Mordo.

Die Hochzeitsszenen ebenso wie die Frauendarstellungen basieren auf biblischen Geschichten. Wahrscheinlich ist diese Handschrift als Brautgeschenk eines Mitglieds der Familie de Mordo in Auftrag gegeben worden. Die mit goldener Farbe gesetzten Punkte zeigen die Sterne in ihren jeweiligen Konstellationen an. It is in part through translations into Hebrew that the Christian world learned of medieval Arabic scientific works. This manuscript was most probably copied by the scribe of a much larger miscellany with similar content, which was once part of the Sassoon Collection of London Sassoon ; also see cat.

The name of the scribe of both manuscripts, Moses, is known because he emphasized it with decorations in the larger manuscript. The Sassoon manuscript is now part of the Schoenberg Collection at the University of Pennsylvania in Philadelphia ljs The Braginsky manuscript contains excerpts from a number of texts contained in the Philadelphia codex: Tzvi Langermann, in an article on the Philadelphia codex, claimed in regard to the latter text that "to the best of my knowledge, this is an unicum," but the Braginsky manuscript contains the text as well.

The fragment of a "star catalogue" shown here, calculated for the epoch , appears in full in the larger codex and represents three relatively close stellar constellations. The golden dots indicate the stars within each constellation. What is known comes from his own works, some poems and a few other texts.

Among these is his homiletical commentary on the Pentateuch, of which this Braginsky manuscript is an early example. Many legends about the national poet existed among the Jews of Yemen. During his lifetime the political situation for the Jews of Yemen was one of great turmoil, persecution, and messianic anticipation. Shabazi invested his poetry, written in a popular, relatively accessible style, with feelings of hope and redemption. The text of the manuscript, containing the commentary on Genesis 37—Deuteronomy 31, differs from other known versions of the commentary, some of them autographs as well.

This indicates that Shabazi, like so many other Jewish authors, considered his commentary a work in progress rather than a final composition. During his lifetime he must have made copies of different versions of his work. The dating of the Braginsky manuscript is based on a statement by Shabazi in a later version of the commentary, published in Jerusalem in on the basis of a manuscript from , in which he noted that he finished an earlier version of the commentary in The Braginsky volume, from which the beginning of Exodus 21 is shown here, may well be the earliest version of the commentary.

Bereits zu seinen Lebzeiten als herausragender Gelehrter verehrt, zirkulierten bald nach seinem Tod ihm zugeschriebene Manuskripte, doch hatte er in Wahrheit nur wenig Schriftliches hinterlassen. Eines davon wird hier gezeigt. Die Kommentare der Braginsky-Handschrift erschienen im After Maimonides, it is Rabbi Elijah ben Solomon of Vilna — who epitomizes the highest achievements in learning and piety in post-Talmudic rabbinic Judaism.

A man of great fame in his own life time, he left few manuscripts behind. Shortly after his death, writings attributed to him began to circulate. The rabbinic court of Vilna found it necessary to issue a statement declaring that any work that was to be published under the name of the Gaon had to be authenticated by the court.

Indeed, today only four manuscripts are known as being genuinely in the hand of the Gaon. The work displayed here is one of them. Two other leaves are treasures of the National Library in Jerusalem; a third is reproduced in a biography of Rabbi Elijah. The text of this manuscript contains comments by the Vilna Gaon on a passage of the Zohar , the classic work of Jewish mysticism.

In that publication, the beginning and end of the present text are clearly and explicitly marked as having been printed from an autograph manuscript mi-guf ketav yad kodsho. Indeed, the marginal notes and the corrections in the Braginsky Collection copy appear exactly as in the printed edition, indicated by parentheses and square brackets. All other aspects of the manuscript, including even the dimensions of the paper, are identical with those of the other documented autographs. Prague, a center of Jewish learning, was also the home of the famous Rabbi Ezekiel Landau, an older contemporary and friend of Ranschburg.

The rabbinic learning of Ranschburg is manifest in his commentaries on two difficult Talmud tractates, Horayot and Niddah , the manuscript displayed here. In his introductions to these works, Ranschburg wrote that he chose them because of their difficulty and because they were not among the regular staples of the yeshivas.

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His glosses were printed on the pages of the standard Talmud editions; he was also the author of responsa and other commentaries, now lost. In addition, Ranschburg possessed a remarkable library of Hebrew books. In order to be printed in the Kingdom of Austria in the eighteenth and early nineteenth centuries, Hebrew books required the permission of the royal censor.

Fischer, of Christian birth, was extremely well-versed in Hebrew language and literature. He was an enlightened person who defended Talmudic and rabbinic writings against their Christian detractors. An extensive Hebrew correspondence, consisting of about fifty letters between him and Ranschburg, is extant. For reasons unknown, however, this work was not printed at that time. It was first published from this manuscript in Die in Frankreich entstandene Kurzfassung der biblischen Gebote fand auch in Deutschland bald Anerkennung und galt da in der Folge als massgebliches religionsgesetzliches Werk.

He divided the positive and negative biblical commandments, and a few additional rabbinic ones, into seven daily sections to be read sequentially and completed once a week. Rabbinic leaders in France instructed students to copy the work into their prayer books and recite the daily reading of the commandments instead of supplications or the book of Psalms. The SeMaK quickly reached Germany where it was recognized as an authoritative halakhic work.

By not identifying the source of these glosses, scribes frequently created difficulties in determining authorship of the commentaries. The three manuscripts discussed here exemplify the complex diffusion of the SeMaK. The latest BC contains the glosses of Moses of Zurich, who lived in Zurich in the middle of the fourteenth century. There is disagreement whether he and his students died in the pogroms following the Black Death or if he escaped to Bern.

The other two manuscripts BC and originally formed one volume. Their scribe, Moses Winik, whose name is derived from Windecken, near Frankfurt am Main, lived in Cologne in the s. Later he moved to Treviso, Italy, where he died in His tombstone indicates he was the head of a yeshiva. He corresponded with rabbinic contemporaries and engaged in mystical studies.

A charm for the healing of burns is attributed to him. Moses Winik copied the SeMaK and a prayer book together, as was customary. He also added a commentary, referred to as Gournish. Although several rabbinic works with this name are known, its etymology is undetermined. Die angesehenste Handschrift des Pentateuchs war in Spanien unter dem Namen Hilleli bekannt und wird heute als Hilleli Kodex bezeichnet. Zu dieser Zeit nahmen sie mit sich die 24 Heiligen Schriften, die rund Jahre zuvor von Rabbi Hillel ben Moses ben Hillel geschrieben worden waren, weshalb das Buch mit diesen Schriften Hilleli genannt wurde.

Diese Handschrift war ausserordentlich korrekt und diente allen anderen Fassungen als Korrekturvorlage. A number of manuscripts that were in circulation, some of which no longer exist, were considered of particular value. The most famous among these was the manuscript known in Spain as the Hilleli, or the Hillel Codex. The Braginsky Pentateuch manuscript was copied in Spain, most likely in the second half of the fourteenth century, based on what was considered the original Hillel Codex. Around Abraham Zacuto —ca. At that time they removed from there the 24 holy books that were written some years before.

They were written by R. I saw the remaining two parts of it, containing the Former and Latter Prophets, written in large and beautiful characters.

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These had been brought by the exiles to Portugal and sold at Bugia in Africa, where they still are, having been written about years ago. In truth, it is not clear whether the Hillel Codex ever even existed, or whether it was a legend known only from secondary sources. In any case, the antiquity suggested by Zacuto is incorrect, as it would then have preceded all known Masoretic Bible manuscripts by no less than three centuries. In this, the first of the four parts of this halakhic work, the author deals with laws about prayers and the synagogue.

Jacob was the son of another great rabbi and codifier, Asher ben Jehiel. At the beginning of the fourteenth century Asher left Germany and settled in Spain, "a German rabbi on Spanish soil. Countless commentaries and glosses were composed to accompany the Turim. The Braginsky Collection copy of this manuscript also contains copious marginal glosses, including some Slavonic ones. In the glosses reference is made to an otherwise unknown commentary, called Sova Semahot. In addition to the glosses, there is an autograph note by the influential fifteenth-century German rabbi, Jacob Weil.

The text of the Tur itself in this manuscript offers variant readings to the standard editions. There are also some unknown responsa in the manuscript by Rabbi Israel Isserlein, of Germany-Austria — , the author of the well-known book, Terumat ha-Deshen. Thus a relatively slender volume provides a dynamic view of the continuous process of rabbinic learning and teaching.

Die Handschrift umfasst Tur orach chajjim , den ersten der vier Teile des grossangelegten halachischen Werks. Zahllose Kommentare und Glossen entstanden rund um die Turim. In den Glossen wird auf einen ansonsten unbekannten Kommentar Sowa semachot Bezug genommen. Ausserdem findet sich eine autografische Anmerkung des einflussreichen deutschen Rabbiners Jakob Weil aus dem Der Text des Tur orach chajjim selbst bietet auch Lesarten, die von den Standardausgaben abweichen.

Jahrhunderts und Autor des Buches Terumat ha-deschen. Daran wird deutlich, dass auch ein vergleichsweise schmaler Band wie der vorliegende einen Einblick in den kontinuierlichen Prozess des rabbinischen Studiums und Lehrens zu bieten vermag. Arabic scholars translated these from Greek into Arabic in the eighth and ninth centuries; the Arabic translations were then translated into Latin in the twelfth and thirteenth centuries. Hebrew translations can be based on both Arabic and Latin versions. The only distinctive feature of medieval Jewish medical texts, therefore, is their language: Among medieval Jewish scholars of medicine the seven chapters of the medical aphorisms of Hippocrates of Cos fifth century BCE were particularly popular; a number of Hebrew translations and commentaries exist.

Unlike most other extant Hebrew translations, it is based on the Latin translation of Constantinus Africanus ca. The text is accompanied by the commentary of Moses ben Isaac da Rieti —after His father, Isaac ben Mordecai, or Maestro Gaio, is known to have been friendly with the translator Hillel ben Samuel, while the latter was in Rome. He was also a poet. His commentary is based largely on the commentaries of Moses Maimonides — and on the renowned Greco-Roman medical author Galen of Pergamum second century CE.

A later inscription on folio 6v documents the doctorate of a Jewish physician in Rome in After the expulsion of the Jews from the Iberian peninsula at the end of the fifteenth century, the small city of Safed, Upper Galilee, soon became the new center of the kabbalistic movement; it was from there that Kabbalah conquered both the Jewish and non-Jewish worlds. One of the most important concepts among the kabbalists of Safed was that of mystical prayer.

Tefillah le-Moshe contains kavvanot for weekdays and the Shabbat. Its text was published in Przemysl in , based in part, perhaps, on this manuscript. The round Hebrew cursive, semi-cursive, and square scripts used in the manuscript are enhanced by a variety of pen-work foliage designs.

It is tempting to identify this copyist with the well-known writer Judah Aryeh Leone Modena — , who was at the height of his activity in At the bottom of a dedication page he signed his name: Aryeh ben Judah Leib is the first recorded scribe to have written his manuscripts "with Amsterdam letters.

Aryeh ben Judah Leib transposed this custom to manuscripts. As a number of his manuscripts contain images that were printed on parchment, he may have been involved in the printing industry, although there was no Hebrew printing in Vienna at the time. On the basis of certain scribal features unique to him, this mohel book can be attributed to Aryeh ben Judah Leib with certainty. Its title page appropriately depicts a circumcision in a synagogue. The image inspired by the apocryphal book of Tobit on folio 2r, however, is highly unusual.

It depicts Tobias, the son of Tobit, who is traveling with his guardian angel Raphael and a small dog. Although quite well known in Christian art, the inclusion of this theme in a Hebrew circumcision book, or even in a Jewish object of art, is unexpected. The idea that Raphael was the guardian angel of children, prevalent especially among Catholics, seems likely to have been borrowed as an apt symbol of filial protection for this circumcision book. It seems likely that Aryeh ben Judah Leib took this image from an unknown Christian, perhaps printed, source. Auf einer Widmungsseite trug der Schreiber seinen Namen ein: Bemerkenswerterweise sind dabei auch Frauen anwesend.

This combination of blessings and prayers was common during the eighteenth century. The inclusion of the three commandments incumbent upon women, hallah the obligation to separate dough , niddah the obligation to immerse in a ritual bath , and hadlakah the obligation to kindle Shabbat and Festival lights , indicates that the book was done for a woman, perhaps as a wedding present.

The manuscript contains an architectural title page with Moses and Aaron, twenty-two smaller, color illustrations for the various blessings, which often rely on Christian iconographic sources, and three decorated initial word panels. Seen here are seven miniatures belonging to the Birkhot ha-Nehenin: In Hebrew the name of the town appearing on the title page reads: Tzilem Adam , a name often used to refer to the eastern Austrian town of Deutschkreutz.

Although the manuscript is not signed, it may be attributed to the well-known scribe-artist Aaron Wolf Herlingen see cat. This attribution rests on an analysis of certain scribal and artistic characteristics of this manuscript and on the similarity between this work and a number of signed manuscripts by him with similar content and decoration. Von ihm sind insgesamt zehn Birkat ha-mason -Handschriften bekannt.

Eine davon ist undatiert, die anderen entstanden zwischen und Besonders eindrucksvoll ist das Bild zu Beginn des ersten Psalms. He was born in the Moravian town of Trebitsch now Trebic, Czech Republic , where the first scribe of the eighteenth-century school, Aryeh ben Judah Leib, originated as well. Including the Braginksy psalter a total of seven manuscripts by Moses Judah Leib are known, produced between and The manuscript has an architectural title page with Moses and Aaron standing in arches.

The psalms are subdivided according to the days of the week on which they are to be read and, with the exception of the psalms for Friday, these daily sections have decorated monochrome or multicolored initial word panels. Following the first word of Psalms 1, ashre, on folio 6r, is a depiction of King David sitting outside on the terrace of a palace. He plays the harp while looking at an open volume, possibly his psalms.

Moses Judah Leib was perhaps the most accomplished painter among his contemporaries. The binding of the manuscript has the emblem of the De Pinto family of Amsterdam tooled in gold on the front and back covers. In the catalogue of the auction at which this manuscript was acquired for the Braginsky Collection, mention is made of a De Pinto family legend in which the artist was invited to Amsterdam to come and write the psalms for the family.

This may indicate that one of the most accomplished eighteenth-century scribe-artists attracted an international clientele. The prohibition against work was lifted in Talmudic times; since then Rosh Hodesh has been considered a minor festival. At the end of the sixteenth century a custom developed among the mystics of Safed, in the Land of Israel, to fast on the day preceding Rosh Hodesh. A new liturgy was developed, based on penitential prayers for Yom Kippur. In the course of the seventeenth century the custom spread to Italy and on to Northern Europe.

Manuscripts for Yom Kippur Katan , in vogue in the eighteenth century, included few illustrations. The Braginsky manuscript has only a baroque architectural title page with depictions of Moses and Aaron. The name of the owner was intended to be added to the empty shield at the top. No other manuscripts by him are known. The script in this manuscript is similar to that of the famous scribe-artist Aaron Wolf Herlingen of Gewitsch.

Moreover, the title page is strongly reminiscent of his works. It is possible that Judah Leib bought an illustrated title page from Herlingen that was devoid of text. This would explain the presence of the empty shield and the fact that the title page is bound into the manuscript as a separate leaf. Another explanation may be considered as well.

If this is true, existing attributions of unsigned works to Herlingen based only on images that appear in the manuscripts should be carefully reconsidered, as this evidence may be insufficient. Seither gilt Rosch chodesch als sogenannter Halbfeiertag. It was the site of the rabbinic and scholarly activities of many great Jewish leaders, first and foremost among them Rashi. The scholarship and ancient traditions characteristic of the Jewish community in Worms are reflected in the minhagim customs that Juspa, the author of this volume, and others recorded and preserved.

These customs reflect Jewish life in the synagogue and the home throughout the entire year. Juspa was born in Fulda in and died in Worms in As shammes, Juspa served the Worms community in many capacities, including those of scribe, notary, trustee, mohel, and cantor. He was a talented writer and compiler; he paid special attention to the music of the synagogue and also composed poems. In addition he authored Sefer Likkutei Yosef , displayed here. Previously in the Schocken Library in Jerusalem, this autograph manuscript contains later ownership entries, including testimony that the manuscript served as a pledge that was redeemed in by Rabbi Michael Scheyer.

The original text includes commentaries on the prayer book, the Grace after Meals, the Passover Haggadah, and the Sayings of the Fathers, interspersed with records of prayer-related customs and autobiographical remarks. The comments on minhagim were incorporated into the printed edition of the Wormser Minhagbuch , but the bulk of the manuscript remains unpublished. This carefully written codex therefore serves as a primary source for the religious history of one of the most significant Jewish communities in Europe. After that library was sacked by Napoleonic forces, the manuscript may have been in the Vatican Library for a short while; the only source for this information is an English auction catalogue of in which the manuscript appeared.

It remained in England until it was acquired from the library of the bibliophile Beriah Botfield for the Braginsky Collection. Although the manuscript was bound into four volumes in England during the nineteenth century, the original consisted of two parts, each with its own colophon. The first part comprised the Pentateuch and the Hagiographa, while the second contained all the books of the Prophets. At the end of the original first volume, now the second volume, he wrote a colophon with another year of completion, page This appears within a detailed interlaced frame with pen flourishes along the outer and part of the inner borders.

He finished this part, however, in Evora, in the Kingdom of Portugal. With his fellow Jews Isaac had been expelled from Spain in and forced to flee to Portugal, where he copied the Pentateuch and Hagiographa. In the latter colophon the scribe even indicated that it had been two years since the expulsion from Castile.

Whether he did indeed copy the manuscript in this unusual order, first Prophets, then Pentateuch and Hagiographa, or whether an original first part got lost as a result of the expulsion, necessitating its replacement, cannot be known. According to tradition, the text of the Song of Moses, Ha'azinu Deuteronomy Paolo dei Carmelitani Scalzi in Florenz. Heightened awareness of calendars caused by this action, and the resultant feelings of superiority by Jews regarding their own, stimulated the production of separate books on the calculation of the Jewish calendar in the Ashkenazic world.

Sifrei Evronot , or Books of Intercalations, exist, among others, in illustrated Ashkenazic manuscripts of the seventeenth and eighteenth centuries. The understanding of the relationship between the texts and images of these owes a great deal to a recent study on the topic by Elisheva Carlebach. A common image in Sifrei Evronot manuscripts is that of a man on a ladder, or near it, who reaches to heaven to obtain the secrets of the calendar. His presence may be explained by I Chronicles His appearance in each is different, but in both he holds an hourglass in his hand and stands on a ladder that rests on an unusual structure that contains letters of the Hebrew alphabet between its columns.

Whereas the text facing the first image refers to Issachar, that facing the second contains no mention of him or any other figure. The first image incorporates another common element found in Sifrei Evronot illustrations, the moon with a human face, here, again, in two variant forms. The manuscript begins with a panel containing only the word tzivvah He [God] commanded. The page contains a portal, intended as a gateway to the celestial spheres, but which is also typical of the architectural motifs commonly used on title pages to signify a symbolic entry into the text.

By writing on the construction of the calendar, scribes believed they fulfilled a religious commandment. In this manuscript, there are numerous other decorative elements, but only one additional illustration; it portrays Moses seated at a table holding the Tablets of the Law. Depictions of Moses appear in other Sifrei Evronot manuscripts as well. The three illustrations in the Braginsky manuscript are all flat line drawings, filled in with watercolor.

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Denn in 1 Chronik Auch dieses Moses-Motiv ist aus anderen Handschriften der Sifre ewronot bekannt. He studied in Germany with famous halakhic scholars such as Jacob of Wuerzburg 13th century and Meir ben Baruch of Rothenburg d. It encompasses a systematic overview and discussion of the rules concerning the liturgy and laws of Shabbat, holidays, and fasts, interspersed with other halakhic material. It has a strong Ashkenazic tone and makes no mention of the works of the great Sephardic codifier Moses Maimonides — Shibbolei ha-Leket has twelve sections, subdivided into a total of numbered paragraphs.

Zedekiah ben Abraham was a member of the well-known Italian Anav, or Anau, family, most of whose members lived in Rome during the Middle Ages. Famous members of the family included the lexicographer Nathan ben Jehiel ca. Other family members were important halakhists and poets. The Braginsky manuscript, although undated, may have been copied during the lifetime or shortly after the death of the author; it is among the earliest surviving copies of the text. Andere waren bedeutende Halachisten oder Dichter. The first seeks to limit the study and practice of Jewish mysticism to a limited circle of students as an esoteric system, while the second wants to reach out to larger Jewish audiences.

In medieval Spain one of the most important kabbalists was Abraham Abulafia —after Abulafia did not consider Kabbalah to be a form of gnosis, or a theosophical theory; his conceptions of Kabbalah have little or nothing to do with the well-known kabbalistic schools that concentrate on the Sefirot , or the structure of the Divine being. Instead, through certain mystical techniques and experiences, Abulafia attempted to achieve a state of prophetic-mystical ecstasy, inspired by his conviction that the experience of the prophets was an ecstatic one and that all true mystics are prophets.

Abulafia met with fierce opposition, but that did not prevent his doctrine from becoming extremely popular. Particularly important among his many works are his kabbalistic manuals, the best known of which is Hayyei ha-Olam ha-Ba Life of the World to Come. This work contains ten circles executed in red and black ink and slightly different circles executed in black, which are, in fact, detailed instructions for mystical meditation. Einer der bedeutendsten Kabbalisten im mittelalterlichen Spanien war Abraham Abulafia —nach Er betrachtete die Kabbala weder als eine Form der Gnosis noch als eine Art theosophischer Philosophie.

Das Manuskript zeigt zehn in konzentrischen Kreisen verlaufende Inschriften in Schwarz und Rot sowie nur in Schwarz. Its teachings rely on the insights of Jacob Moellin — of Mainz, one of the major halakhic codifiers in the Ashkenazic world. The Braginsky manuscript contains seven fine, red ink drawings. These are part of a tradition of scribal decoration that flourished in northern Italy in the last third of the fifteenth century. The most important representative of that tradition was Joel ben Simeon, the scribe-artist of such famous medieval Haggadot as the Ashkenazi Haggadah London, British Library, Add.

Particularly striking in the manuscript are the human heads, usually depicted in profile. Suspended from an initial word panel, on folio 31, the bearded head of a man with a long bumpy nose and heavy eyelids appears in many works associated with Joel ben Simeon. Some of his most frequently rendered motifs, such as hares and large architectural structures with round towers, appear in this manuscript as well. Although the art clearly is similar to that found in manuscripts by the hand of Joel ben Simeon, it cannot be determined with certainty that he decorated this work.

This is also a recurring motif in works by Joel ben Simeon. In the bottom margin a man, viewed in profile, wears what is known as a cappuccio a foggia. This contemporary head covering also appears in other manuscripts associated with Joel ben Simeon. Standing near a lectern on which an open book rests, the man holds a lulav palm branch and an oversize etrog citron.

Delicate red pen work embellishes the inner margin of this page. Sie stehen in der Illustrationstradition Norditaliens im letzten Drittel des Beide liegen in Faksimileausgaben vor. This is especially true of prayer books, which tended to be used intensively. The overall condition of this medieval prayer book, therefore, is noteworthy.

The graceful Ashkenazic square and semi-cursive hands and the fine parchment used resulted in an elegant volume. It contains daily prayers, selected piyyutim for festivals and certain special occasions, a variety of special prayers, and the full text of the Passover Haggadah, the first page of which folio 54v is reproduced here. The Haggadah, which had grown within the daily prayer book from the days of the Geonim onward, was already considered to be a separate book when this prayer book was copied; its inclusion in a prayer book, however, was not yet uncommon.

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The manuscript presents an interesting example of the impact of censorship. During the Middle Ages the Alenu le-shabbeah prayer, which is recited at the end of the statutory services, was believed to contain an implied insult to Christianity. In this manuscript fol.

He left an open space, however, perhaps for a later owner to add the omitted passage. In hindsight this common case of medieval Jewish self-censorship was only a prelude to the active inquisitional censorship that the Jews of Italy would have to deal with later. From the second half of the sixteenth century onward, Christian censors in Italy, many of whom were converted Jews, inspected Hebrew books, signed them, and often expurgated controversial passages also see cat. He did not expurgate any passages, but only signed the last page of the manuscript.

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Signatures and entries by censors are proof, of course, of Italian ownership at the time of censorship. Known since the first half of the tenth century, it consists of hymnal sayings by all creatures: The sayings are mostly biblical verses, usually from the Psalms. There is hardly any connection between the texts and the creatures singing praise.

On account of its unusual content, many rabbis disapproved of the work, but this did not prevent it from becoming popular. More than a hundred manuscripts, as well as some hundred printed editions, survive from the late Middle Ages on. Often published as a separate volume, the text appeared in daily prayer books as well. Perek Shirah was illustrated by almost all important artists of the eighteenth-century Central European School, including Meshullam Zimmel ben Moses, the scribe-artist of this manuscript. Although Meshullam Zimmel is known to have worked in Prague, as well as in his native Polna Bohemia , most of his manuscripts were executed in Vienna.

He was most likely a copper engraver by profession, which explains his unparalleled drawing skills. To date sixteen signed manuscripts by Meshullam Zimmel, produced between and , are known to exist. Another dozen manuscripts, including this unsigned manuscript, can be attributed to him with certainty. Among his works are two other manuscripts of Perek Shirah , both in private hands. The manuscript contains an architectural title page and eight initial word panels executed in the same ink as the text. Folios 19 and 20 were added later in black ink. A small initial word panel appears on folio 19r.

The initial word panel on folio 8r, illustrating the song of creeping animals, depicts ten frogs set within abundant foliage, while the one on folio 15r illustrates the song of domestic animals, represented by a horse, a cow, a sheep, and two species of goat. Die Lobpreisungen sind biblischen Versen entnommen, zumeist den Psalmen. Jahrhunderts illustrierten das Perek schira. Meschullam Simmel ben Moses verfertigte die vorliegende Handschrift aus der Braginsky Collection und versah sie mit Federzeichnungen.

Soweit bekannt, existieren von ihm 16 signierte Manuskripte aus dem Zeitraum von bis It is quite likely that the manuscript was produced as a wedding gift. The bride wears a horned headdress, a light veil, a pleated, full-skirted gown, with sleeves of a different material, a fashion that originated in Ferrara. The groom wears a pleated, short cloak cinched with a gold belt, a jerkin, and hose.

The floral border that frames the two pages includes a half-length figure of a man at either side. Possibly intended as the witnesses, the one on the right holds a book with a red velvet cover, while the man on the left points to the couple. As noted in the catalogue of the auction in which the manuscript was acquired for the Braginsky Collection, this type of illumination is consistent with that found in fifteenth-century Ferrara. Leon ben Joschua, der alles, was oben steht, dementiert. Most of the manuscripts of Nathan ben Simson of Mezeritsch do not mention a place of production; this Haggadah is no exception.

Although it is not known if personal or political reasons motivated his movements, it is obvious that he traveled. He may well have spent a number of years in Rotterdam, or have visited that city regularly; at least four of his manuscripts can be linked to Rotterdam patrons. The Haggadah in the Braginsky Collection contains a decorated title page, a cycle depicting ceremo- nial rituals performed during the seder, nine text illustrations, one decorated initial word panel, three historiated initial letters, and two pages with a cycle of illustrations for the concluding hymn Had Gadya 23r—v.

These illustrations were an invention of the scribes of the eighteenth century and do not occur in printed Haggadot of the period, such as the Amsterdam Haggadot of and , which otherwise were sources of inspiration for most of the handwritten, illustrated eighteenth-century Haggadot. Whereas most of his colleagues were draughtsmen, Nathan ben Simson was a talented painter. As such, his work is strongly reminiscent of another Moravian artist of the period, Moses ben Judah Leib Wolf Broda, the scribe-artist of the famous Von Geldern Haggadah also see cat.

It is possible that the manuscript was written in Sierre Valais , Switzerland. More than two centuries after the writing of the manuscript, in , Joseph ben Kalonymos acquired it in Posen from someone called Ezekiel, and completed the few leaves that were missing by that time. In the twentieth century the manuscript was one of the proud possessions of the famous Schocken Collection. In addition to being a leading rabbinic scholar, Moses of Coucy was also an interesting public figure. In he traveled from his native France to Spain, where he delivered fiery speeches to wide audiences and urged them to observe the commandments more strictly, particularly those pertaining to tefillin, mezuzah, and tzitzit.

He also admonished the people to be more ethical in their behavior toward Gentiles, both in the realms of business and personal relations. In Moses took part in the disputation on the Talmud held in Paris. His magnum opus, the SeMaG, is arranged according to the negative and positive commandments, with rich material related to them under each. He was deeply influenced by the legal code of Maimonides, the Mishneh Torah. The writings of Moses of Coucy, therefore, were one of the channels through which the Maimonidean code gained wide recognition in Ashkenaz. The SeMaG became a major and accepted source for halakhic rulings.

It was frequently quoted and abridged; many commentaries were composed on it. Surviving in a relatively large number of manuscripts, it was one of the earliest Hebrew books ever printed. Other practices associated with the holiday include dressing in costume, participating in satirical plays or parodies, sending gifts of food to friends and neighbors shlakhmones in Yiddish , giving charity to the poor, and partaking in a festive meal. The celebration reenacts the rejoicing of Jews saved from destruction in Persia, mentioned at the end of the book of Esther. Born in in Arles, he was living in Rome when he wrote this work in the early s.

Massekhet Purim , which humorously imitates the style and idiom of the Talmud, deals with eating, drinking, and drunkenness during Purim. The scarce historical documents available indicate that the Ashkenazic Jews of Amsterdam were active revelers who immersed themselves in carnivalesque festivities, including masquerades and pageants in which music was played and torches were carried. These celebrations, which extended outside the borders of the Jewish quarter, often continued after the festival.

Consequently, in addition to fearing the desecration of the Sabbath, which often occurred, the Ashkenazic authorities were concerned about the effect these public festivities had on their relationships with the non-Jewish authorities. In the Amsterdam Ashkenazim even issued a statement that when Purim occurred on a Sunday Jews had to respect the Sunday rest and could not celebrate outside the Jewish quarter.

Angesichts ihrer problematischen Beziehung zum Judentum blieb dieses davon nicht ausgenommen. Dort verbrannte man auf der Piazza San Marco am Die Dokumente entstammen vermutlich den Akten eines venezianischen Inquisitors. This interest increased after the invention of printing, which enabled a much wider dissemination of presumed heretical ideas. Jews were under particular scrutiny, for obvious religious and historical reasons. These public events were part of a strategy that developed in the s and s and resulted in the banning and burning of larger groups of Jewish and non-Jewish eretical books.

On 12 September another papal decree was issued, demanding that all copies of the Talmud throughout the Catholic world be gathered and destroyed. In Venice — then the world center of Hebrew printing, largely through the efforts of Daniel Bomberg — the order was interpreted to include other Jewish books as well.

This collection of eleven documents in Italian, which relate to this dark period in the history of the Hebrew book, was probably part of a file that belonged to a Venetian Inquisitor. They constitute a more or less chronological account of the events in Venice. Die Abbildung auf fol. Today over forty manuscripts signed by Herlingen are extant, while approximately a dozen more are attributed to him. The Braginsky Collection contains one attributed and three signed works; this Haggadah of ; a book of Psalms from Braginsky Collection 63, not in this catalogue ; a sheet with Latin micrography dated cat.

This Haggadah has sixty painted illustrations and three decorated initial word panels. The title page portrays Moses and Aaron, who flank the arch that frames the title. The Hebrew text between the panels is from the Babylonian Talmud Sota 11b ; it recounts that the Israelites were delivered from Egypt as a reward for the righteous women who lived in that generation.

It is possible that the Haggadah was produced for a woman named Miriam. On folio 3v the five Talmudic sages of Bene-Berak are shown seated at a table. The text recounts that they discussed the Exodus from Egypt through the night until their students came to tell them that the time for the Morning Prayer had arrived. In the Haggadot from Amsterdam printed in and the illustration accompanying this text was modeled after a biblical scene depicting the banquet Joseph gave for his brothers, in which more than five figures are present.

The handwritten eighteenth-century copies based on these printed editions usually portray anywhere from six to over a dozen men in this scene. This Haggadah is one of the few exceptions in which only the five sages mentioned in the text are depicted. He also copied numerous single-leaf manuscripts of contemporary poetry, mostly for family occasions, which are now housed in various collections worldwide.

Binger began his career as a bookkeeper, but later worked primarily in a clothing rental business; he also may have been active in international trading. In he inherited a lending library from his brother, Meijer Binger, to which he devoted most of his time. Both the above-mentioned prayer book and the Hijman Binger Haggadah typify Hebrew manuscript decoration in Central and Northern Europe at the end of the eighteenth and the beginning of the nineteenth centuries.

The previous flowering of Hebrew manuscript ornamentation and illustration started to decline around the middle of the eighteenth century. With few exceptions, notably a number of late-eighteenth and early-nineteenth century examples from Hungary such as cat. As a result, the later manuscripts lack the internal consistency and relative unity of style of the earlier examples. In light of similarities between the illustrations in the Hijman Binger Haggadah and those in some of the later Haggadot executed by Joseph ben David of Leipnik, for example, the Rosenthaliana Leipnik Haggadah of and a Leipnik Haggadah from cat.

The inclusion of a Hebrew map of the Holy Land, printed in the Amsterdam Haggadah of , though not unique to eighteenth-century manuscripts, may well be considered a rarity. PDF-version of the catalogue: Zwar ist nicht belegt, dass dieses Manuskript in Nitra entstand. Von ihm stammen rund ein Dutzend Manuskripte sowie eine gravierte Estherrolle. Die obere Randinschrift lautet: An inscription on the title page states that it was a gift from Mendel Rosenbaum to his brother-in-law Joseph Elsas of Nyitra, Hungary now Nitra in Slovakia. Although it cannot be known with certainty where the scribe copied the manuscript, Nyitra is the likeliest option for two reasons.

First, it is not likely that the scribe would have signed his name with his city of birth if he were still residing there. Second, the manuscript is reminiscent of the work of the most important Hungarian scribe of the early nineteenth century, Mordecai ben Josl, also known as Marcus Donath, who worked in Nyitra. Donath is known to have produced around a dozen manuscripts, as well as an engraved megillah.

The artistic school of Nyitra is known for its use of Hebrew micrography. Using this technique, Moses is depicted here as a calligram, holding the Tablets of the Law and pointing to the five volumes of the Pentateuch. The text above reads: The letters marked with a dot have a total numerical value of , i. Within the frame in the right-hand bottom corner is a paraphrase of Exodus I made the designs for the subjects, and she carried them out in the style of old missals.

For this she procured. She included a German dedication and wrote her initials on the back of a chair in the scene of a contemporary seder. This Haggadah, the only Hebrew manuscript known to have been illuminated by a woman, contains ten full-length and eight smaller text illustrations, in addition to decorated and historiated initials, and smaller ornamental devices. Framed within foliate designs and placed in a columnar arrangement within the text space, to the left on pages 92 and 94 or right 96 and 98 of the writing, a small vignette illustrates each of the references in the two songs. The inclusion of these scenes reflects the familiarity of Rothschild and Oppenheim with manuscripts of the eighteenth century, which included such cycles created in that period for handwritten, rather than printed, versions of the Haggadah.

Instead, original compositions and images based on previous sources were combined to create a masterpiece of nineteenth-century book art. Die Szene mit Abraham, der vor den drei Engeln kniet, scheint ebenfalls auf diese Bildquelle des Die Sederszene des Pessachfests verbindet auf einzigartige Weise zwei unterschiedliche Herangehensweisen, dessen Inhalt darzustellen: Lapislazuli und Gold beherrschen die Farbskala.

Die Textfelder sind mit winzigen Goldsprengseln bedeckt. Allerdings fehlen auf dem Tisch die traditionellen symbolischen Speisen der Pessachtafel. Perfektion, erlesener Geschmack und Luxus sind die eindringlichsten Signale, die von dieser Haggada ausgehen. Das Werk ist nicht signiert. Every page is illuminated with geometrical designs executed in lapis lazuli and gold; subtle, multicolored floral elements with separate designs surround individual lines of text, while delicate blue pen-work extends into the outer margins.

Tiny sprinkles of gold embellish the pages. The manuscript emulates closely works from a school of Arabic manuscript illumination of Shiraz, Persia, of the period between and The designs also appear in later Arabic manuscripts, especially from Turkey and Afghanistan. The sole illustration depicts a seder scene in which five men and two women, most of whom are dressed in orientalized clothing, sit at a table.

The central male figure is reciting the benediction over wine. It is striking that the table is devoid of anything related specifically to Passover, including the ceremonial foods eaten at the seder. The Haggadah was decorated by Victor Bouton, who is best known as a heraldic painter. It was commissioned by Edmond James de Rothschild — for his mother Betty — Notably, Bouton signed his name in Hebrew there, followed by the Hebrew words Sofer mahir skilled scribe , a common designation of professional Jewish scribes.

Bouton, therefore, may also be identified as the scribe of both masterpieces. Heili reports that Bouton received the enormous sum of 32, gold francs for a Haggadah he executed for a wealthy Israelite. It is likely that Heili was referring to the Braginsky manuscript, which may have been another Rothschild commission.

Sie formen hier in mikrografischen Minuskeln die Figur Davids. Am Ende der letzten Kalligramm-Zeile ist nochmals vermerkt: Herlingen war im Ausserdem werden ihm zwei unsignierte mikrografische Estherrollen zugeschrieben. It comprises the Latin texts of what is known as the Seven Penitential Psalms 6, 31, 37, 50, , , and and of Psalm The grouping of these psalms is in the Roman Catholic, not Jewish, tradition.