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Zürich, Braginsky Collection, B119
Parchment · 163 ff. · 19.5 x 15 cm · Spain · second half of the 14th century
Pentateuch based on the Hillel Codex

e-codices · 09/21/2016, 15:03:13
During the Middle Ages Jews found it important to accurately transmit the text of the Hebrew Bible. 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. Its importance for the textual criticism of the Hebrew Bible is comparable to that of MS L44a of The Library of The Jewish Theological Seminary in New York, copied in Toledo in 1241; a facsimile edition of it was published in 1974, with an introduction by N.M. Sarna.
Around 1500 Abraham Zacuto (1452–ca. 1515), astronomer to Kings John II and Manuel I of Portugal, wrote in his Sefer ha-Yuhasin (Book of Family Relations): “On … [14 August 1197] there was a great persecution of the Jews in the kingdom of Léon at the hand of the two kingdoms that came to besiege it. At that time they removed from there the 24 holy books that were written some 600 years before. They were written by R. Hillel ben Moses ben Hillel, and his name was given to the codex, which was called ‘Hilleli.’ It was extremely correct and all other codices were revised after it. I saw the remaining two parts of it, containing the Former and Latter Prophets, written in large and beautiful characters. These had been brought by the exiles to Portugal and sold at Bugia in Africa, where they still are, having been written about 900 years ago. [David] Kimhi in his grammar on Numbers 10:4, says that the Pentateuch of the Hillel Codex was extant in Toledo.”
No trace of an original Hillel Codex has survived; it may have been used for the last time for a Pentateuch edition of uadalajara, Spain, shortly before 1492. 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.

A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 42.
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Zürich, Braginsky Collection, B124
Parchment · 162 + 1 ff. · 27.8 x 20.2 cm · [Ashkenaz] · [end of the 14th/first half of the 15th century]
Jacob ben Asher, Tur Orah Hayyim ("Row: Way of Life")

e-codices · 01/15/2015, 14:12:40
Dieses Manuskript ist wahrscheinlich eine der ältesten Kopien des einflussreichen religionsgesetzlichen Kodex Arba’a turim («Vier Reihen») von Jakob ben Ascher. Die Handschrift umfasst Tur orach chajjim, den ersten der vier Teile des grossangelegten halachischen Werks. Darin behandelt der Verfasser alle mit den Gebeten und der Synagoge zusammenhängenden religionsgesetzlichen Vorschriften.
Zahllose Kommentare und Glossen entstanden rund um die Turim. Die Handschrift der Braginsky Collection enthält umfangreiche Randeinträge, ja sogar einige in slawischer Sprache. 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 15. Jahrhundert. Der Text des Tur orach chajjim selbst bietet auch Lesarten, die von den Standardausgaben abweichen. Ferner gibt es in der Handschrift einige ansonsten unbekannte Responsa (rabbinische Antworten) von Israel Isserlin (1390–1460), dem bedeutendsten Rabbiner im deutschsprachigen Raum während des 15. 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.

Aus: Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 62.
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Zürich, Braginsky Collection, B124
Parchment · 162 + 1 ff. · 27.8 x 20.2 cm · [Ashkenaz] · [end of the 14th/first half of the 15th century]
Jacob ben Asher, Tur Orah Hayyim ("Row: Way of Life")

e-codices · 01/15/2015, 13:54:39
This manuscript is probably among the oldest copies of the first section of one of the most influential Jewish codes, Jacob ben Asher’s Arba’ah Turim (Four Rows). 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." In the works of father and son the teachings and methodologies of two distinct rabbinical schools found a harmonious blending, as they display both Sephardic and Franco-German aspects. In the sixteenth century Jacob’s code was characterized by Rabbi Abraham Zacuto as "very useful, for both the learned and unlearned, [as it was] better organized than all previous [works]." Perhaps the main reason for the success of the Turim is that it has a "universal Jewish character." The canonical Shulhan Arukh by Joseph Karo follows the arrangement of Jacob’s Turim.
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 (1390–1460), 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.

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 44.
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Zürich, Braginsky Collection, B125
Paper · 111 ff. · 18.8 x 13.3 cm · [Italy] · [around 1470]
Hippocrates, Aphorisms

e-codices · 11/27/2014, 11:56:09
Almost all medieval Jewish, Christian, and Arabic medical texts are based on Greek scientific works. 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: Hebrew, Judeo-Arabic (Arabic in Hebrew characters), or toward the very end of the Middle Ages, Yiddish.
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. The Braginsky Collection manuscript contains the rare Hebrew translation by Hillel ben Samuel of Verona (ca. 1220-ca. 1295). Unlike most other extant Hebrew translations, it is based on the Latin translation of Constantinus Africanus (ca. 1020–1087) rather than Arabic translations of the Greek original.
The text is accompanied by the commentary of Moses ben Isaac da Rieti (1388–after 1460). 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. A renowned physician who worked in the Vatican during the pontificate of Pius II (1458–1464), Moses da Rieti served as the Chief Rabbi of Rome. He was also a poet. His commentary is based largely on the commentaries of Moses Maimonides (1138–1240) and on the renowned Greco-Roman medical author Galen of Pergamum (second century CE). Da Rieti’s commentary exists in two recensions. The Braginsky Collection manuscript represents the first, in which the commentaries of da Rieti are introduced as “the pupil said” and those of Maimonides as “the commentator said.” The dating of the manuscript to 1470 is based primarily on the identification of the watermarks in the paper.
A later inscription on folio 6v documents the doctorate of a Jewish physician in Rome in 1544: “I toiled and succeeded on the day on which the title of doctor was given to me, on 6 June 1544 . . . and with their questions and answers . . . the judges in Rome today allowed me to be a judge in medical sciences.”

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 60.
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Zürich, Braginsky Collection, B125
Paper · 111 ff. · 18.8 x 13.3 cm · [Italy] · [around 1470]
Hippocrates, Aphorisms

pSaraS · 03/02/2018, 16:07:50
seven chapters: read 'books' or 'sections'. The so-called Translatio antiqua of the Hippocratic aphorisms, often attributed to Constantinus Africanus, ir more likely a reworking of the old Latin version edited by Inge Müller-Rohlfsen (Die lateinische ravennatische Übersetzung der Hippokratischen Aphorismen aus dem 5./6. Jahrhundert n. Chr. Textkonstitution auf der Basis der Übersetzungscodices, Hamburg 1980 [Geistes- und sozialwissenschaftliche Dissertationen. 55]) based on access to a Greek ms.
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Zürich, Braginsky Collection, B133
Paper · 249 ff. · 24.9 x 18.8 cm · Modena, copied by a copyist named AR”I · 1615
Tefillah le-Moshe (Moses' Prayers; mystical intentions)

e-codices · 09/21/2016, 15:09:29
During the Middle Ages Spain was the Jewish world’s center of kabbalistic thought and practice. The classic kabbalistic text of the late thirteenth century, the Zohar (Book of Splendor), was written in Spain, where more controversial movements, such as Abraham Abulafia’s school of ecstatic kabbalah developed as well (see cat. no. 9). 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.
The leading figures in Safed were Moses ben Jacob Cordovero (1522–1570) and his pupil Isaac ben Solomon Luria (1534–1572). One of the most important concepts among the kabbalists of Safed was that of mystical prayer. For them prayer was not, as Gershom Scholem wrote, “merely the institutionalized acknowledgment and praise of God as Creator and King by the religious community.” Rather, “the individual’s prayers . . . are under certain conditions the vehicle of the soul’s mystical ascent to God.” The central concept in this doctrine was that of kavvanah (mystical intention; plural, kavvanot). Tefillah le-Moshe contains kavvanot for weekdays and the Shabbat. Its text was published in Przemysl in 1862, 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. On the title page the scribe wrote “copied by the young and insignificant, worm and not a man, AR”I, in the city of Modena.” Ari is the Hebrew word for “lion,” but should be understood here as an abbreviation of the copyist’s name; it is also the nickname of Isaac Luria (see cat. no. 33). It is tempting to identify this copyist with the well-known writer Judah Aryeh (Leone) Modena (1571–1648), who was at the height of his activity in 1615. Although Leone Modena’s hand resembles that of the scribe of the Braginsky manuscript, the paleographical evidence for such an attribution is unconvincing, as was confirmed by Benjamin Richler.

A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 94.
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Zürich, Braginsky Collection, B173
Parchment · 29 + 1 ff. · 12 x 8.5 cm · Vienna, [Aryeh ben Judah Leib] · 1716
Sefer Sod Adonai im Sharvit ha-Zahav (Book of the Lord’s Mystery with the [commentary] "Golden Scepter")

e-codices · 01/15/2015, 15:01:23
Der versierte Sofer (Schreiber) Arje ben Juda Leib aus Trebitsch (Ťřebíč) setzte den Anfang einer «Nachblüthe» (David Kaufmann) der Illustrierung hebräischer Handschriften in Mittel- und Nordeuropa im 18. Jahrhundert, und zwar mit einem zwischen 1712 und 1714 verfertigten täglichen Gebetbuch, das heute in der Bibliothek des Jewish Theological Seminary in New York (MS 9240) aufbewahrt wird. Auf einer Widmungsseite trug der Schreiber seinen Namen ein: «Der junge Arje Juda Leib Sofer, Sohn des verstorbenen Elchanan Katz, gesegnet sei sein Andenken, der an einem Freitag, dem 28. Ijjar des Jahres 5468 [1708], in Jerusalem verstarb». Gegenwärtig kennen wir einige Dutzend Handschriften aus seiner Produktion, wovon mindestens fünf zum Genre der täglichen Gebetbücher zählen.
Arje ben Juda Leib war auch der erste Sofer, der seine Werke nach dem Muster der Amsterdamer Drucktypen schrieb. Damit stand er am Anfang der Mode be-otijjot Amsterdam, der «mit den Buchstaben von Amsterdam» verfertigten Handschriften. Auch die Titelseiten zeitgenössischer hebräischer Druckausgaben heben häufig den Hinweis auf die Amsterdamer Druckbuchstaben hervor, womit auf die hohe Druckqualität dieser Bücher hingewiesen werden sollte. Da mehrere von Arje ben Juda Leibs Handschriften auch auf Pergament gedruckte Kupferstiche enthalten, wäre zu prüfen, ob er nicht selbst in irgendeiner Form mit dem Druckgewerbe verbunden war, obwohl es eine hebräische Druckerei zu seiner Zeit in Wien noch nicht gegeben hatte. Aufgrund von Kriterien des Stils und der Schrift kann das vorliegende Mohelbuch (Beschneidungsbuch) Arje ben Juda Leib mit Sicherheit zugeschrieben werden.
Die Titelseite zeigt eine wohl in einer Synagoge stattfindende Szene, in der drei jüdische Männer mit ihren dicken Büchern inmitten einer Diskussion dargestellt sind. Bemerkenswerterweise sind dabei auch Frauen anwesend. Höchst ungewöhnlich ist ferner die Illustration zum apokryphen Buch Tobias auf fol. 2r. Sie zeigt den Erzengel Rafael mit dem jungen Tobias, der einen Fisch nach Hause bringt, um mit dessen Herz, Leber und Galle seinen blinden Vater zu heilen. Dieses Motiv des Schutzengels für Kinder ist sonst nur aus der christlichen Kunst bekannt. Möglicherweise verwendete der Künstler eine katholische, jedoch noch nicht identifizierte Vorlage, um damit die Schutzfunktion der Beschneidung für den jüdischen Knaben bildlich hervorzuheben. Im jüdischen Kontext gehört Rafael zu den drei Engeln, die Abraham besuchen, und sein Name bedeutet «Gott heilt».

Aus: Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 40.
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Zürich, Braginsky Collection, B173
Parchment · 29 + 1 ff. · 12 x 8.5 cm · Vienna, [Aryeh ben Judah Leib] · 1716
Sefer Sod Adonai im Sharvit ha-Zahav (Book of the Lord’s Mystery with the [commentary] "Golden Scepter")

e-codices · 01/15/2015, 14:33:39
In 1712 an accomplished Moravian scribe in Vienna, Aryeh ben Judah Leib of Trebitsch, started what would soon become a second flowering of Hebrew manuscript decoration in Central and Northern Europe. Between 1712 and 1714 he copied a daily prayer book that is now in The Library of The Jewish Theological Seminary in New York (MS 9340). At the bottom of a dedication page he signed his name: "The young Aryeh Judah Leib Sofer, son of the late Elhanan Katz, of blessed memory, who passed away on Friday, 28 Iyyar in the year 5468 [1708] in Jerusalem." Today some dozen manuscripts of his are known, among which at least five are daily prayer books.
Aryeh ben Judah Leib is the first recorded scribe to have written his manuscripts "with Amsterdam letters." Title pages of books printed outside of Amsterdam in the late seventeenth and early eighteenth centuries often contained a statement that the books were printed with Amsterdam letters, as an indication of quality. 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. On his shoulder he carries a fish whose heart, liver, and gall he needs to cure his father’s blindness. 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.

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 104.
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Zürich, Braginsky Collection, B217
Parchment · 24 ff. · 9.5 x 5.2 cm · Deutschkreutz · 1751
Seder Birkat ha-Mazon (Grace after Meals and other prayers and blessings)

e-codices · 11/27/2014, 17:18:14
Das Büchlein wird zwar Seder birkat ha-mason («Gebetsordnung des Tischsegens») genannt, doch umfasst es auch Birchot ha-nehenin («Segenssprüche vor dem Genuss von Dingen»), Schalosch mizwot naschim («Drei Gebote für Frauen») und Seder keri’at schema al ha-mitta (»Ordnung des Schema-Gebets zur Nacht vor dem Einschlafen») – eine im 18. Jahrhundert durchaus gängige Kombination von Segenssprüchen und Gebeten. Wegen der Abschnitte über die drei den Frauen auferlegten Pflichten, nämlich Challa – die Absonderung des Teigs für das Challa-Brot am Sabbat –, Nidda – die rituelle Reinigung nach der Menstruation und nach der Entbindung – und Hadlaka – das Anzünden der Kerzen am Sabbat und an Feiertagen –, spricht viel dafür, dass dieses Büchlein als Hochzeitsgeschenk für eine Braut in Auftrag gegeben worden war.
Neben der konventionellen Gestaltung der Titelseite mit Moses und Aaron im Architekturrahmen enthält die Handschrift mehrere Initialwörter in fein ausgeführten Zierrahmen sowie 22 kleinere farbige Illustrationen zu verschiedenen Segenssprüchen. Unter den Birchot ha-nehenin finden sich der Spruch über Gewürze, den der Blick in eine Apotheke illustriert, und andere Sprüche, die man sagen soll, wenn man einen Blitz sieht, einen Donner hört, einen Regenbogen erblickt, einen König zu Gesicht bekommt oder ungewöhnlich aussehenden Menschen begegnet – die hierzu passende Illustration zeigt einen Kleinwüchsigen und einen Mann mit dunkler Hautfarbe in exotischer Aufmachung.
In einer eigenartigen hebräischen Formulierung erscheint auf der Titelseite der Name des Ortes Deutschkreutz im Burgenland. Um jede Nähe zu dem christlich konnotierten Wort «Kreuz» (zelem) zu vermeiden, vollzog der Schreiber einige semantische Verrenkungen, indem er den Ortsnamen mit Zillem Adam wiedergab, wobei er zelem, das auch «Bild» bedeutet, wohl absichtlich falsch schrieb. In Genesis 1:27 heisst es, Gott habe den Menschen (Adam) nach seinem Bilde geschaffen. Somit konnte der für Juden offensichtlich problematische Ortsnamen Deutschkreutz in der hebräischen Schreibweise Zillem Adam vermieden und als «Bild des Menschen» gelesen werden.
Obwohl der Schreiber und Illustrator seinen Namen im Manuskript nicht nennt, kann es Aaron Wolf Herlingen aufgrund von stilistischen Eigentümlichkeiten der Schrift und der künstlerischen Ausführung der Illustrationen zugeschrieben werden (Katalog Nr. 18 und 23). Von ihm sind insgesamt zehn Birkat ha-mason-Handschriften bekannt.

Aus: Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 104.
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Zürich, Braginsky Collection, B217
Parchment · 24 ff. · 9.5 x 5.2 cm · Deutschkreutz · 1751
Seder Birkat ha-Mazon (Grace after Meals and other prayers and blessings)

e-codices · 11/27/2014, 17:08:47
In addition to Birkat ha-Mazon (Grace after Meals) this manuscript contains Birkhot ha-Nehenin (Blessings over Enjoyments), Shalosh Mitzvot Nashim (Three Commandments for Women), and a Seder Keri’at Shema al ha-Mittah (Reading of the Shema before retiring at night). 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: the blessing over spices (alluded to by the image of a pharmacy), blessings upon seeing lightning, upon hearing thunder, upon seeing a rainbow, upon seeing a king, upon seeing different-looking people (depicted here as a dark-skinned man and a dwarf), and upon seeing the ocean.
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. The Hebrew word for “cross” is tzelem, which can also mean “image.” This is the same Hebrew word used in Genesis 1:27: “in the image of God He created him,” where the word refers to Adam. In the Braginsky manuscript the problematic geographical name Deutschkreutz is translated with words that can be understood as “Image of Man.” The Hebrew name is also misspelled, to further distance any identification with the Christian symbol.
Although the manuscript is not signed, it may be attributed to the well-known scribe-artist Aaron Wolf Herlingen (see cat. nos. 39 and 48). 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. This would prove that Aaron Wolf Herlingen worked not only in Vienna and Pressburg, but also in Deutschkreutz.

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 132.
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Zürich, Braginsky Collection, B222
Parchment · 129 ff. · 12 x 8.1 cm · [Vienna/Amsterdam?] copied and decorated by Moses Judah Leib ben Wolf Broda of Trebitsch · 1723
Tehillim (Psalms)

e-codices · 09/21/2016, 15:15:19
Obwohl Moses Juda Leib die wohl berühmteste illustrierte hebräische Handschrift des 18. Jahrhunderts geschaffen hat, nämlich die Von Geldern Haggadah von 1723, die Heinrich Heine als Inspirationsquelle für die Haggada in seinem Romanfragment Der Rabbi von Bacherach von 1840 gedient haben soll, ist über das Leben dieses Meisters nur wenig bekannt. Er wurde in der Stadt Trebitsch (Tˇrebíˇc) geboren, wo eine der grössten Synagogengemeinden Mährens mit einem bedeutenden Rabbinat bestand. Aus Trebitsch stammte auch Arje ben Juda Leib, der als erster die typischen, an den Vorbildern der Amsterdamer hebräischen Drucke orientierten Luxushandschriften herstellte. Diese Psalmenhandschrift der Braginsky Collection eingeschlossen, sind sieben Manuskripte von Moses Juda Leib bekannt. Eine davon ist undatiert, die anderen entstanden zwischen 1713 und 1723.
Die Titelseite zeigt die beliebte Darstellung von Moses und Aaron in einer portalähnlichen Bogenarchitektur. Die Tehillim («Psalmen») sind nach den Wochentagen ihrer Lesung angeordnet und – mit Ausnahme der Psalmen für die Freitage – jeweils mit einem Initialwort in einem monochromen oder vielfarbigen Zierrahmen versehen. Besonders eindrucksvoll ist das Bild zu Beginn des ersten Psalms. Unter dem Initialwort aschre («glücklich ist») erscheint König David, der auf der Terrasse seines Palastes vor einer altarähnlichen Architektur mit Draperie sitzt und Harfe spielt, neben ihm ein aufgeschlagenes Buch, das wohl den Psalter repräsentieren soll. Ähnlich wie in Moses Juda Leibs beiden Hauptwerken, der Second Cincinnati Haggadah (Klau Library des Hebrew Union College 244in Cincinnati) und der Von Geldern Haggadah (The Frank Family, Lexington), stechen hier vor allem die malerischen Fähigkeiten des Künstlers hervor.
Der Einband trägt auf der Vorder- und Rückseite das Emblem der Amsterdamer Familie De Pinto, die 1646 von Antwerpen nach Rotterdam geflohen war, dort offiziell zum Judentum zurückkehrte und bald eine bedeutende Stellung im internationalen Handel Hollands einnahm. Nach einer in der De Pinto-Familie tradierten Legende soll Moses Juda Leib einer Einladung nach Amsterdam gefolgt sein, um dort diese Psalmenhandschrift anzufertigen – wohl ein Beleg für die internationale Reputation dieses aussergewöhnlichen Künstlers.

Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 244.
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Zürich, Braginsky Collection, B222
Parchment · 129 ff. · 12 x 8.1 cm · [Vienna/Amsterdam?] copied and decorated by Moses Judah Leib ben Wolf Broda of Trebitsch · 1723
Tehillim (Psalms)

e-codices · 09/21/2016, 15:19:23
Although Moses Judah Leib ben Wolf Broda is the artist responsible for perhaps the most famous decorated Hebrew manuscript of the eighteenth century – the Von Geldern Haggadah of 1723, which may have been a source of inspiration for the Haggadah described in Heinrich Heine’s Der Rabbi von Bacherach – hardly anything is known about his life. 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 1713 and 1723.
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. Two of his most famous Haggadot, the Second Cincinnati Haggadah (Cincinnati, Klau Library, Hebrew Union College, MS 444,1) and the Von Geldern Haggadah (private collection), contain full-page seder scenes that stand out as highlights of eighteenth-century Jewish pictorial art.
The binding of the manuscript has the emblem of the De Pinto family of Amsterdam tooled in gold on the front and back covers. The De Pinto family fled Antwerp for Rotterdam in 1646, to return to Judaism officially and to profit from Holland’s international trade network. 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.

A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 114.
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Zürich, Braginsky Collection, B235
Parchment · 24 ff. · 14.4 x 90 cm · Pressburg, Judah Leib ben Meir of Glogau · 1730
Tefillot Yom Kippur Katan ("Prayers for the Minor Day of Atonement"), with Yiddish translation

e-codices · 01/15/2015, 15:25:08
In biblical times Rosh Hodesh, the first day of the lunar month, was a day on which work was not allowed and important events took place. 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. This fast was called Yom Kippur Katan, or the Minor Day of Atonement. 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. The city of Pressburg and name of the scribe, Judah Leib ben Meir of Glogau (Silesia, Western Poland), are noted. 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. If Judah Leib’s signature were not present, this manuscript almost certainly would have been attributed to Herlingen. 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. In a 1736 census mention is made of an unknown assistant living in Herlingen’s house in Pressburg (see cat. no. 39). Perhaps Judah Leib was Herlingen’s assistant. 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.

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 120.
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Zürich, Braginsky Collection, B235
Parchment · 24 ff. · 14.4 x 90 cm · Pressburg, Judah Leib ben Meir of Glogau · 1730
Tefillot Yom Kippur Katan ("Prayers for the Minor Day of Atonement"), with Yiddish translation

e-codices · 01/15/2015, 15:44:59
In biblischen Zeiten war Rosch chodesch, der Tag des Erscheinens des Neumonds, ein Feiertag, an dem nicht gearbeitet werden durfte. Dieses Verbot wurde während der Kompilation des Talmuds aufgehoben. Seither gilt Rosch chodesch als sogenannter Halbfeiertag. Im 16. Jahrhundert begannen die Mystiker von Safed in Obergaliläa, am Tag vor Rosch chodesch zu fasten. Dafür wurde eine an den Bussgebeten von Jom Kippur (Versöhnungstag) orientierte Liturgie entwickelt, weshalb dieser Fasttag die Bezeichnung Jom kippur katan (Kleiner Versöhnungstag) erhielt. Bald breitete sich der Brauch auch nach Italien und in die Länder nördlich der Alpen aus.
Im 18. Jahrhundert erfreuten sich Handschriften für Jom kippur katan sehr grosser Beliebtheit, waren jedoch selten illustriert. Beim Exemplar der Braginsky Collection ist lediglich die Titelseite geschmückt mit einem barocken Architekturrahmen und den Figuren Moses und Aaron. Das ursprünglich wohl für den Namen des Besitzers vorgesehene Oval in der Rocaille über dem Architrav blieb frei. In der Titelinschrift findet sich jedoch der Name des Schreibers sowie die Jahreszahl und der Ort der Herstellung: Juda Leib ben Meir aus Glogau (Schlesien), Pressburg 1730.
Von diesem Kopisten ist kein weiteres Manuskript bekannt, aber Schrift und Illustration der Titelseite weisen alle Merkmale des Stils von Aaron Wolf Herlingen aus Gewitsch auf. Wäre Juda Leib als Schreiber nicht erwähnt, würde man dieses Manuskript bestimmt Herlingen zuschreiben. Möglicherweise erwarb Juda Leib eine von Herlingen illustrierte Titelseite ohne Texteintrag und integrierte sie in sein Buch. Das würde das leere Textfeld ebenso erklären wie die Tatsache, dass die Titelseite als separates Blatt in die Handschrift eingebunden ist. Zudem ist ein Eintrag in einem Pressburger Census von 1736 bekannt, der einen nicht namentlich genannten famulus (Gehilfen) in Herlingens Haushalt erwähnt. Ist dieser mit Juda Leib gleichzusetzen, wäre die Herkunft des Titelblatts geklärt.

Aus: Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 102.
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Zürich, Braginsky Collection, B242
Parchment · 164 ff. · 20 x 15.4 cm · Worms, Juspa shammes · [17th century]
Juspa (Jousep), Sefer Likkutei Yosef ("Joseph’s Compilation")

e-codices · 01/15/2015, 16:05:40
One of the oldest and most important Jewish communities in Europe was in Worms. 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. In minute detail and with close attention to all manifestations of religious behavior, both public and private, the ways of everyday life are revealed in Juspa’s works.
Juspa was born in Fulda in 1604 and died in Worms in 1678. He was a student of Elijah Loanz, the Ba’al Shem of Worms (cat. no. 27). 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. Juspa’s works are a mine of information on the Jewry of Worms and beyond. He wrote the Wormser Minhagbuch and Ma’aseh Nissim, in which he retold stories of Worms Jewry as recounted by the elders of the community. 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 1782 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.

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, S. 90.
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Zürich, Braginsky Collection, B243 Vol. 1
Parchment · 270 ff. · 32.2 x 26.3 · Evora (Portugal), copied and vocalized by Isaac ben Ishai Sason · 1494
Hebrew Bible

e-codices · 01/20/2015, 08:30:09
In the eighteenth century, this Hebrew Bible with Masorah Magna and Parva was housed in the library of the Convent of the Discalced Carmelites of S. Paolo in Florence. 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 1827 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 second volume, now the fourth volume (page 73), the scribe and vocalizer Isaac ben Ishai Sason stated that he finished copying the manuscript in 1491 in Ocaña, in Castile. At the end of the original first volume, now the second volume, he wrote a colophon with another year of completion, 1494 (page 71).
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 1492 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 32:1–43 (page 74), is ar- ranged as two columns composed of bricks placed one above the other. The vertical arrangement of the Masorah Magna on either side of the single column of text of the end of the chapter that precedes the song, displays Isaac ben Ishai Sason’s keen artistic sensibility.

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 70.
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Online Since: 12/17/2015

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Zürich, Braginsky Collection, B243 Vol. 1
Parchment · 270 ff. · 32.2 x 26.3 · Evora (Portugal), copied and vocalized by Isaac ben Ishai Sason · 1494
Hebrew Bible

e-codices · 01/20/2015, 08:46:51
Im 18. Jahrhundert befand sich diese hebräische Bibel mit masoretischen (textkritischen) Anmerkungen in der Bibliothek des Klosters S. Paolo dei Carmelitani Scalzi in Florenz. Nach der Plünderung des Klosters durch napoleonische Truppen dürfte die Handschrift in die Vatikanische Bibliothek gelangt sein, wie aus einem Eintrag in einem englischen Auktionskatalog von 1827 hervorgeht. Sie blieb in England, bis sie aus der Sammlung des Bibliophilen Beriah Botfield für die Braginsky Collection erworben wurde.
Die ursprünglich zweibändige Handschrift wurde im 19. Jahrhundert neu in vier Bänden gebunden. Der erste Teil umfasste zuvor den Pentateuch und die Hagiografen (die «poetischen» und «historischen» Schriften sowie die fünf Rollen), der zweite Teil enthielt die prophetischen Schriften. Am Schluss des zweiten und heute vierten Bandes notierte der Schreiber Isaak ben Ischai Sason, der auch die Vokalisierungen vorgenommen hatte, er habe das Manuskript im Jahr 1491 in der kastilischen Stadt Ocaña beendet. Am Schluss des ursprünglich ersten und heute zweiten Bandes befindet sich ein weiteres Kolophon, das von einem Schmuckrahmen mit verschlungenen Bandornamenten umschlossen ist. Dieses gibt an, die Handschrift sei 1494 in Evora im Königreich Portugal fertiggestellt worden, zwei Jahre nach der Vertreibung der Juden aus dem spanischen Kastilien. Es mag irritieren, dass Isaak ben Ischai Sason die beiden Teile nicht in der kanonischen Abfolge der biblischen Bücher geschrieben haben soll. Möglicherweise ging der Pentateuch-Teil bei der Vertreibung verloren und musste deshalb ein zweites Mal abgeschrieben werden.
Der kalligrafischen Tradition entsprechend, sind die Wörter des Liedes des Mose (Deuteronomium 32:1–43) in zwei Kolumnen wie übereinandergeschichtete Ziegelsteine arrangiert. Die vertikale Anordnung der Masora magna zu beiden Seiten der Schlusspartie des vorangehenden Textes zeugt von der einfühlsamen Fertigkeit dieses jüdischen Schriftkünstlers.

Aus: Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 238.
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Zürich, Braginsky Collection, B243 Vol. 2
Parchment · 182 ff. · 32.2 x 26.3 · Evora (Portugal), copied and vocalized by Isaac ben Ishai Sason · 1494
Hebrew Bible

e-codices · 05/21/2015, 14:52:23
In the eighteenth century, this Hebrew Bible with Masorah Magna and Parva was housed in the library of the Convent of the Discalced Carmelites of S. Paolo in Florence. 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 1827 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 second volume, now the fourth volume (page 73), the scribe and vocalizer Isaac ben Ishai Sason stated that he finished copying the manuscript in 1491 in Ocaña, in Castile. At the end of the original first volume, now the second volume, he wrote a colophon with another year of completion, 1494 (page 71).
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 1492 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 32:1–43 (page 74), is ar- ranged as two columns composed of bricks placed one above the other. The vertical arrangement of the Masorah Magna on either side of the single column of text of the end of the chapter that precedes the song, displays Isaac ben Ishai Sason’s keen artistic sensibility.

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 70.
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Online Since: 12/17/2015

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Zürich, Braginsky Collection, B243 Vol. 2
Parchment · 182 ff. · 32.2 x 26.3 · Evora (Portugal), copied and vocalized by Isaac ben Ishai Sason · 1494
Hebrew Bible

e-codices · 05/21/2015, 14:51:51
Im 18. Jahrhundert befand sich diese hebräische Bibel mit masoretischen (textkritischen) Anmerkungen in der Bibliothek des Klosters S. Paolo dei Carmelitani Scalzi in Florenz. Nach der Plünderung des Klosters durch napoleonische Truppen dürfte die Handschrift in die Vatikanische Bibliothek gelangt sein, wie aus einem Eintrag in einem englischen Auktionskatalog von 1827 hervorgeht. Sie blieb in England, bis sie aus der Sammlung des Bibliophilen Beriah Botfield für die Braginsky Collection erworben wurde.
Die ursprünglich zweibändige Handschrift wurde im 19. Jahrhundert neu in vier Bänden gebunden. Der erste Teil umfasste zuvor den Pentateuch und die Hagiografen (die «poetischen» und «historischen» Schriften sowie die fünf Rollen), der zweite Teil enthielt die prophetischen Schriften. Am Schluss des zweiten und heute vierten Bandes notierte der Schreiber Isaak ben Ischai Sason, der auch die Vokalisierungen vorgenommen hatte, er habe das Manuskript im Jahr 1491 in der kastilischen Stadt Ocaña beendet. Am Schluss des ursprünglich ersten und heute zweiten Bandes befindet sich ein weiteres Kolophon, das von einem Schmuckrahmen mit verschlungenen Bandornamenten umschlossen ist. Dieses gibt an, die Handschrift sei 1494 in Evora im Königreich Portugal fertiggestellt worden, zwei Jahre nach der Vertreibung der Juden aus dem spanischen Kastilien. Es mag irritieren, dass Isaak ben Ischai Sason die beiden Teile nicht in der kanonischen Abfolge der biblischen Bücher geschrieben haben soll. Möglicherweise ging der Pentateuch-Teil bei der Vertreibung verloren und musste deshalb ein zweites Mal abgeschrieben werden.
Der kalligrafischen Tradition entsprechend, sind die Wörter des Liedes des Mose (Deuteronomium 32:1–43) in zwei Kolumnen wie übereinandergeschichtete Ziegelsteine arrangiert. Die vertikale Anordnung der Masora magna zu beiden Seiten der Schlusspartie des vorangehenden Textes zeugt von der einfühlsamen Fertigkeit dieses jüdischen Schriftkünstlers.

Aus: Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 238.
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Zürich, Braginsky Collection, B243 Vol. 3
Parchment · 184 ff. · 32.2 x 26.3 · Ocaña (Spain), copied and vocalized by Isaac ben Ishai Sason · 1491
Hebrew Bible

e-codices · 05/21/2015, 14:55:05
In the eighteenth century, this Hebrew Bible with Masorah Magna and Parva was housed in the library of the Convent of the Discalced Carmelites of S. Paolo in Florence. 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 1827 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 second volume, now the fourth volume (page 73), the scribe and vocalizer Isaac ben Ishai Sason stated that he finished copying the manuscript in 1491 in Ocaña, in Castile. At the end of the original first volume, now the second volume, he wrote a colophon with another year of completion, 1494 (page 71).
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 1492 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 32:1–43 (page 74), is ar- ranged as two columns composed of bricks placed one above the other. The vertical arrangement of the Masorah Magna on either side of the single column of text of the end of the chapter that precedes the song, displays Isaac ben Ishai Sason’s keen artistic sensibility.

From: A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 70.
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Online Since: 12/17/2015

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