Cherubim: Winged Celestial Beings on the Title-Pages of Early Hebrew Books
by
Marvin J. Heller^[1]

 

And having driven out the man, He stationed at the east of the Garden of Eden the Cherubim and the flame of the ever-turning sword, to guard the way to the Tree of Life (Genesis 3:24).

You shall make two Cherubim of gold—hammered out shall you make them—from both ends of the cover. You shall make one cherub from the end at one side and one Cherub from the end at the other; from the cover shall you make the Cherubim at its two ends. The Cherubim shall be with wings spread upward, shielding the Cover with their wings with faces toward one another; toward the cover shall be the faces of the Cherubim being turned toward the cover. (Exodus 25: 18-20).

Rav Ketina said: When the Jewish people would ascend for one of the pilgrimage festivals, the priests would roll up the curtain for them and show them the cherubs, which were clinging to one another, and say to them: See how you are beloved before God, like the love of a male and female (B.T. Yoma 54a).

Cherubim (angels) are a frequent presence on the title-pages of early Hebrew imprints in the sixteenth century and afterward, the latter beyond the scope of this article. They are also to be found in incunabula, on the frames of initial pages and head-pieces for text.

How do you define what are cherubim? One definition, that of the Encyclopedia Judaica, is “a winged celestial being which appears in the Bible in several different guises.” It then proceeds to give several descriptions of cherubim. The Jewish Encyclopedia begins with a more detailed description, stating cherubim are “the name of a winged being mentioned frequently in the Bible. The prophet Ezekiel describes the cherubim as a tetrad [set of four] of living creatures, each having four faces—of a lion, an ox, an eagle, and a man—the stature and hands of a man, the feet of a calf, and four wings.”^[2]
The use of cherubim is also noted in the 1911 Encyclopædia Britannica where they are described as “imaginary winged animal figures of a sacred character, referred to in the description of Solomon’s temple (1 Kings vi. 23-35, vii. 29, viii. 6, 7), and also in that of the ark of the tabernacle (Ex. xxv. 18-22, xxvi. 1, 31, xxxvii. 7-9). . . . In Gen. iii. 24 the cherubim are the guards of Paradise . . .”^[3]
The frequency of the appearance of cherubim in Hebrew literature can be found on Sefaria, a bibliography of Jewish texts, which records fifty-six entries for cherubim under biblical, Mishnah 27, and Talmud 991. Among other entries are Midrash, 590; Halakhah 7947; Kabbalah 747; and yet still others as well as multiples of commentaries on the first works.^[4]

These multi-winged creatures are also a feature in general literature. Franz Sales Meyer, under the heading Miscellaneous heads, describes the “Angel faces, youthful heads, with a circular or disc-like halo, are first met-with in the Byzantine style, as the result of ecclesiastic articles,” He continues that in the early Italian Renaissance such renderings were charmingly naïve. They appeared as adornments on friezes and arches, medallions, and in borders. They also are to be found on tombs and are “Much used in Modern ecclesiastical decorations.” The text is accompanied by a page of examples of the cherub head, including one of a skull.^[5]

It had been my intention to describe Hebrew title-pages with images of cherubim over a period of two centuries.^[6] The numerous instances of such usage, however, has necessitated a considerable limiting of our subject period. Indeed, rather than noting all the examples in our current period, in the sixteenth century, we only describe several exemplars, giving background about the books in which they appear, that is, the publisher, author, and book subject.^[7] This article is expansive, that is, in describing cherubim, it discusses the varieties of Hebrew literature, the authors of the subject works, the presses that published them, and even Hebrew book history. The title-pages and infrequent text pages with displays of cherubim addressed here are in chronological order, but from diverse locations and, again, on a variety of books, indicative of how widespread Hebrew publishing was and even more so the depth and nature of Hebrew literature.^[8]

1514-18, Hameshei Humshei Torah – Our first work with the appearance of cherubim is a folio (2⁰) edition Hameshei Humshei Torah (Pentateuch) with haftorat and commentary of Rashi printed in 1514-18 in Prague at the press of Gershom ben Solomon ha-Kohen and partners. Gershom later received a royal privilege from King Ferdinand of Bohemia, allowing him, that is Gershom alone, to enjoy a monopoly on Hebrew printing in Prague. His descendants, known as the Gersonides, continued to print in Prague until the mid-seventeenth century.

 

1514, Hameshei Humshei Torah
Courtesy of the Library of the Jewish Theological Seminary

A magnificent edition, with ornate woodcut frames and large type for the text. Each book has a unique decorative opening page, there is no title page, comprised of four separate pieces, those on the pillared sides with vases, leaves, and cherubim, similar but not identical, the top piece with a concave bottom edge. Genesis has a convex curved piece to fit with this top piece on the upper half of the page, with winged cherubim holding a shield with the spread hands of the Kohen giving the priestly blessing.^[9]

Work on the Pentateuch began on 10 Sivan (June 14, 1514) but, perhaps as a result of the success of the prayer book, the partners found they had overextended themselves and found it necessary to suspend work on this project for two years. In 1530 Gershom and his sons reprinted this Pentateuch in an identical format, except for changes to the decorated initial pages.

1527, Dictionarium Chaldai – Our next entry with cherubim is an Aramaic grammar by the Christian-Hebraist scholar Sebastian Muenster (1489-1552). It was printed in Basle in 1527 at the press of Johannes Froben in quarto format (4⁰: [1], 434, [7] pp.). The Froben family was the most significant printers of Hebrew books in Basle. Johannes Froben published as many as 250 titles, among them Hebrew/Latin books of the Bible and grammatical works, primarily works by Muenster.

Sebastian Muenster, a cosmographer, astronomer, and orientalist was, for twenty three years, professor at Basle. Born in Niederingelheim, Hesse, the son of a Spitalmeister (hospital master), Muenster had no university education nor did he ever receive a degree. His education consisted of some private instruction in Latin and later studies at Frieberg and attendance at lectures given by the Franciscans. In 1506, Muenster entered the Minorite order and was sent to study in Rufach under Conrad Pellican (Pellicanus, 1478-1556). The following year he took vows and, in 1512, was ordained a priest. Muenster assisted Pellican in teaching in Pforzheim and, from 1524-29, occupied the chair of Hebrew at the University of Heidelberg. In 1529, Muenster converted to Protestantism and moved to Basle, where he occupied the chair of Hebrew, at a salary of 60 gulden; from 1547/8 he was rector. From about 1525, Muenster was a student of Elijah Levita, translating and editing his grammatical works. Muenster also translated a number of other Hebrew works into Latin and was a prolific author in his own right. By the time of his death more than 100,000 volumes of his works were in circulation. His Jewish oeuvre, more than three-score publications, covers all aspects of Judaica, excepting Kabbalistic studies, which did not interest him. In 1523, Muenster published Dictionarium Hebraicum . . . adiectis Chaldaicis vocabulis, his study of the Aramaic language. The book reads from left to right but the text follows the Hebrew alphabet. Words are given in vocalized Hebrew, followed by their etymology, definition and examples.

The title page of the Dictionarium Chaldai has an architectural frame with cherubim in various positions, as well as additional cherubim below mounted and otherwise. This title page, designed by Hans Holbein, was used as early as 1516 on Basel statutes and into the seventeenth century.^{[10] [11]}

Not long afterwards, from 1540 through 1543, at least five titles were printed in three locations with varied images of cherubim on the title-page, that is Augsburg, Prague, and Bologna. That is not to say these frames were not used on other books, most likely they were, but rather these are examples of cherubim used by the printers of Hebrew books at the time.

Augsburg has an early history related to Hebrew printing. Several early anti-Jewish works beginning with the apostate Johannes Pfefferkorn’s Der Judenfeind (1509) and other anti-Semitic books by apostates were published there. Another early Augsburg publication of note, this certainly more positive, albeit not a Hebrew edition of that popular and much republished work, is the first printing of R. Joseph ben Abraham Gikatilla’s (1248–c. 1325) kabbalistic classic, Sha’arei Orah, which explains and analyzes the ten Sefirot. This edition of Sha’arei Orah is a Latin translation of that work by the apostate Paulus Ricius (Paulus Israelita, 1480-1541) under the title Portae lucis, published in 1516 at the press of Johann Miller.

1527, Dictiorionarim Chaldai
Courtesy of the Fales Library and Special Collections, New York University

Serious Hebrew printing in Augsburg begins when Hayyim ben David Shahor, among the pioneers of Hebrew printing outside of Italy, came to Augsburg in about 1533/34. In Augsburg, Schwarz worked in the print shop of Silvan Otmar (d. 1540), a renowned and highly productive printer, and resided in the home of Bonifacius Wolfhart, a Protestant pastor who also served as the censor of Hebrew books for Augsburg.^[12] Shahor printed several works in conjunction with his son, Isaac, and his son-in-law, Joseph ben Yakar, who assisted him at the press, although their names are not mentioned on the title-pages.^[13]

Shahor likely joined with a non-Jewish printer, perhaps August Wind, a printer of Hebrew works for Christian clergyman. Hayyim left for Italy, returning to Augsburg in 1540. He then printed three books, Avkat Rokhel, Arba’ah Turim and a prayer book for, according to the Thesaurus of the Hebrew Book, a total of ten works in Augsburg. Due to a lawsuit by an apostate, Paulus Aemilus, with whom Shahor had been associated in Ferrara, resulting from their failed venture, Shahor and his family were forced to cease publication and leave Augsburg. Aemilus, seeing a market in Augsburg for Hebrew/Yiddish books, began to print on his own account. He issued a small number of titles, most notably the Melokhim Bukh (1543) and the Shmuel Bukh (1544), Yiddish poetical renditions of the books of Kings and Samuel, both with images of cherubim (below).^[14]

1540, Avkat Rokhel – Our first Augsburg title is Avkat Rokhel, an eschatological work on the principles of faith attributed to R. Machir ben Isaac Sar Hasid, a student of R. Judah ben Asher, son of the Rosh. Printed in octavo format (8⁰: 18 ff.), perchance by Shahor. The Thesaurus of the Hebrew Book attributes it, albeit in brackets, to Hayyim Shahor, in contrast to the National Library of Israel that records the printer as unknown.^[15]

The text of the title page is set within a decorative frame with nineteen cherubim and a number of animals. The title-page states that it is,

Sefer Avkat Rokhel

Printed by the printers named at the end of the volume. Edited with great care, with all our ability, “the good hand of our [Lord] upon us,” (ref. Ezra 8:18). And it was completed, here Augsburg, the great city, with the help of the Lord and His salvation. In the year, “[Rejoice, O you nations, with his people; for he will avenge the blood of his servants,] and will render vengeance to his adversaries, and will make expiation כפר (300=1540) for the land of his people” (Deuteronomy 32:43).

The names of the printers, Hayyim Shahor, Isaac ben Hayyim, and Joseph ben Yakar, the statement on the title page notwithstanding, are not given at the end of the volume. A brief introduction informs that the work was named Avkat Rokhel (the perfumer’s powders, Song of Songs (3:7)) for as the perfumer’s powders strengthen the soul, so too when one reads this book will he fear and cause his soul to be pure and free from all sin and transgression, thus meriting the good.

1540, Avkat Rokhel
Courtesy of the Dorot Jewish Division New York Public Library

The like title-pages of Avkat Rokhel and Unterricht Wie ain Christenmensch, the latter a non-Hebrew work printed approximately two decades earlier, reflect a relationship between Jewish and Christian printers, that is, Christian printers published Hebrew books in association with Jewish associates. The relationship between the printers was mutually beneficial. For the Christian publisher “the Hebrew books sector, being unique, was attractive to investors, being more limited and not so wildly competitive as the Italian book sector.”^[16] In addition to the non-Jewish printer’s access to the Jewish book market, the Jewish publisher was able to not only publish Hebrew books, but he also gained access to the typographical material of his Christian associate. The latter, for example, frequently provided attractive frames to the former after having used them for his market and the Jewish partner also utilized the printer’s other ornamentation. This was of value to the Jewish partner as he did not have to go the expense of having decorative material prepared, at a relatively much greater expense as it would be utilized for a much smaller market. This despite the fact that the frames were often incompatible with traditional Jewish sensibilities.^[17]

1521, Unterricht Wie ain Christenmensch ^[18]

The like title-pages of Avkat Rokhel and Unterricht Wie ain Christenmensch, the latter a non-Hebrew work printed approximately two decades earlier, reflect a relationship between Jewish and Christian printers, that is, Christian printers published Hebrew books in association with Jewish associates. The relationship between the printers was mutually beneficial. For the Christian publisher “the Hebrew books sector, being unique, was attractive to investors, being more limited and not so wildly competitive as the Italian book sector.”^[19] In addition to the non-Jewish printer’s access to the Jewish book market, the Jewish publisher was able to not only publish Hebrew books, but he also gained access to the typographical material of his Christian associate. The latter, for example, frequently provided attractive frames to the former after having used them for his market and the Jewish partner also utilized the printer’s other ornamentation. This was of value to the Jewish partner as he did not have to go the expense of having decorative material prepared, at a relatively much greater expense as it would be utilized for a much smaller market. This despite the fact that the frames were often incompatible with traditional Jewish sensibilities.^[20]

The title-page of Avkat Rokhel has the largest number of cherubim of our title-pages, nineteen in all, of our title-pages. The cherubim appear on the bottom, sides, and top of the frame, all active, albeit in different activities. The text of Avkat Rokhel is in three parts, each further subdivided. The first section addresses the struggle against one’s evil urge prior to redemption and the birth pangs and advent of the Messiah, and an explanation of the pertinent midrashim; the second part discusses the rewards and punishments of the soul after the resurrection, the nature of the world to come according to Judaism, in contrast to the views of non-Jews, and resurrection; and the third part the laws stated by the sages of the Talmud as halakhah Moshe me-Sinai, the formation of man and the number 248 limbs in a person, the statement of our sages concerning three partners in that process (God, man, and woman) and some gematriot.

This is the third edition of Avkat Rokhel, it having been printed previously in Constantinople (1516) and Rimini (1526). Ch. B. Friedberg records, in his Bet Eked Sepharim, more than twenty-five printed editions of Avkat Rokhel. It was translated into Latin by A. Hulsius and printed in his Theologia Judaica, (Breda, 1653) and a Yiddish edition was prepared by Naphtali Pappenheim (Amsterdam, 1647).^[21]

1543, Melokhim Buch – Two additional works printed in Augsburg, attributed to Moses (Esrim ve-Arbeh) Ashkenazi, are Yiddish poetical renditions of the books of Kings and Samuel. Moses’ appellation, Esrim ve-Arbeh (24), derives from either his birthplace, Vierundzwanzig Hoefe (24 courts) in Wuerttemberg, or from his extensive knowledge of the 24 books of the Bible. Moses’ accreditation with either authoring or transcribing the Melokhim Bukh is due to its similarity to the Shmuel Bukh, more reliably attributed to him. Nevertheless, sufficient differences exist between the two works that many scholars believe they do not share a common author. It is clear, however, that the author, even if not this Moses, was an Ashkenazi Jew. The Melokhim Bukh was published in quarto format (4⁰: [123] ff.) by, according to the colophon, Paulus Aemilus. A Latin colophon states, Augustae Vindelicorum/ per Paulum Aemilium, Anno/ Domini M. D. XLIII. Meyer Waxman suggests that it is doubtful, the colophon notwithstanding, that the publisher was Aemilus; more likely it was Hayyim Shahor.

We have noted above that the frames on these title-pages were first used by Christian printers and that when that market no longer needed the frames, they were made available to Jewish printers. The cherubim frames noted above were generally acceptable to a contemporary renaissance Jewish public, although some, many, were questionable and would not be used today. In contrast, the title-page of the Melokhim Buch has a border made up of a four-part frame, the top with a representation of a king, the left and right sides respectively with images of Adam and Eve, unclad, the latter with the snake, two small children, and expecting. At the bottom are two cherubim. Use of this frame is surprising, for in contrast to other frames its’ contents appear to be objectionable, more so than other frames, even those with mythological characters. It seems likely that this frame might also be distasteful to Christian sensibilities.^[22]

1543, Melokhim Buch
Courtesy of Dr. Moshe Rosenfeld

The title page states that it is “The book Melokhim (Kings) in Taytsher sprach, beautiful and clear and very entertaining to read. Printed in the imperial city of Augsburg in the year 303 (=1543)” ^[23] The colophon dates the completion of the work to Friday, 14 Av, 303 (July 25, 1543), which was a Sunday in 1543.

The Melokhim Bukh was not written as a sequel to the Shmuel Bukh. It is the older of the two books, originally written as a separate work, possibly as early as the fourteenth century. The format of the Melokhim Bukh, a rhymed paraphrase of the book of Kings, is that of the heroic epic, stylistically modeled after comparable German sagas, such as the Nibelungen. The subject matter is the events in Kings I and II, imaginatively and colorfully enhanced by material from the Talmud and Midrashim, all expressed with a deep piety. Intended as a complete history, it begins with a hymn of praise to God in three strophes followed by nine strophes from the Exodus to the last days of David, the contents of Kings, and as a sequel, the history of the Jews to the end of the second commonwealth in thirty strophes). An example of the text is,

You have frequently performed signs for the children of Israel;

Therefore they are obliged to have You for their Lord.

And to fear Your name-that is useful and good for them.

That man is foolish who acts contrary to Your word.^[24]

1544, Shmuel Bukh – The Shmuel Bukh was published, also likely by Hayyim Shahor in quarto format (Format 4⁰: [102] ff.). It has an ornate title page made up of figurines above and about pillars with cherubim on the sides. It too is in Vaybertaytsh; among its reprints is a Latin edition (Ingolstadt,(1562). Waxman suggests that the Shmuel Bukh was likely written at least a hundred years earlier, most likely an original production of medieval Jewry. The author reworked the biblical material and incorporated aggadic elements. It was written in “vigorous poetic style” in eight line strophe and was meant to be sung.^[25]

1544, Shmuel Bukh
Courtesy of Dr. Moshe Rosenfeld

In contrast to what was written above, “works that many scholars believe they do not share a common author,” Zinberg informs that both the Melokhim Bukh and the Shmuel Bukh are composed in the same verse-meter. Moreover, the title-page states that “Shmuel is the first part of

the book Melokhim, for it is all related.” Nevertheless, Zinberg quotes other sources that “these are two quite different works and were probably written by two different poets.”^[26]

1553, Ma’yan Gannim – A composition book comprised of sample letters from R. Samuel ben Elhanan Jacob Archivolti (c. 1515-1611). Ma’yan Gannim was published in a small sextodecimo format (16⁰: 45, [1] ff.) at the Venice press of Alvise Bragadin. The Bragadin press was active before the papal bull, dated August 22, 1553, by Cardinal Giovanni Pietro Caraffa, the future Pope Paul IV, an extreme reactionary and bitter anti‑Semite, who ordered the confiscation and burning of the Babylonian and Jerusalem Talmuds. This had a chilling effect on Hebrew printing and resulted in a considerable decline if not outright cessation of printing in Venice, and the subsequent expurgation and censorship of Hebrew books. When Hebrew printing resumed in Venice in 1563, among the Christian printers who took up the publication of Hebrew books was Alvise Bragadin. Bragadin died in the mid-1570’s, he was succeeded by his son, and after him by successive members of the family well into the eighteenth century, the last known Bragadin being Alvise III. Throughout that time the press remained a leading printer of Hebrew books in Venice.

1553, Ma’yan Gannim
Courtesy of the Library of Agudas Chassidei Chabad Ohel Yosef Yitzhak

Archivolti, a student of R. Meir Katzenellenbogen (Maharam, 1473-1565), served as rabbi, av bet din, and rosh yeshivah in Padua. Among his students was R. Judah Aryeh (Leon) Modena (1571-1648). Prior to settling in Padua in 1568, Archivolti worked as a corrector for the Hebrew presses in Venice.

In contrast to our preceeding examples of cherubim, this exemplar does not appear on the title-page of the book, which has the Bragadin device, that is, three crowns, but rather at the beginning of each of the book’s five chapters, a woodcut illustration comprised of three cherubim in a cage, surrounded on all four sides by a verse.

The title is from “A fountain of gardens (ma’yan gannim), [a well of living waters, and streams from Lebanon” (Song of Songs 4:15). The text states that there are fifty letters, that is, twenty-five letters with their responses, written by Archivolti. There is a preface and introduction from Archivolti, followed by a table of contents, and, beginning on 7a, the text. Ma’yan Gannim is the first book written by Archivolti, for he describes it as his first fruits, an offering to the Lord. Archivolti also wrote Degel Ahavah (Venice, 1551), an ethical work; He’arot le-Sefer he-Arukh (Venice, 1553), textual references for the Arukh of Nathan ben Jehiel; and, his most important title, Arugat ha-Bosem (Venice, 1602) a grammatical work in 32 chapters.

The sections or chapters, each on a different theme, are correspondence between a father and son; between friends; from an older to a younger man; with government officials; and others, including letters of a romantic, and even sensual nature. Such letters, at the very least inappropriate by modern religious standards, are intermingled with those of a sacred nature, reflecting contemporary mores and addressing current issues, including therefore, information of historical and cultural value. Ma’yan Gannim is designed to teach through example the rules of correspondence. The letters are in metrical form, designed by Archivolti as literary models, many with ethical content, for his students.^[27]

1556, She’ilot u’Teshuvot Jacob ben Moses Moellin (Maharil) – Two hundred and five responsa from R. Jacob ben Moses Moellin (Maharil, c. 1360-1447). The She’ilot u’Teshuvot were published in Cremona at the press of Vincenzo Conti in octavo format (8⁰: [7] 79 ff.). After the Talmud was burned in Venice in 1554 there was a precipitous decline, if not a complete cessation, in the number of Hebrew books printed in Venice for several years. The breach was filled by presses in Ferrara, Sabbioneta, Cremona, and Riva di Trento. Vincenzo Conti (d. 1569) printed briefly in Sabbioneta and subsequently in Cremona, where his press was active from 1556 to 1567, issuing more than forty titles.

Maharil was the leading halakhic authority of his time. His most important work is Sefer Maharil (Minhagei Maharil, 1556, Sabbioneta), a popular and influential work on customs and laws. It was composed by his pupil Eleazar ben Jacob (Zalman of St. Goar), from the discourses that he heard from Maharil. She’ilot u’Teshuvot is comprised of Two hundred and five responsa, a small part only of Maharil’s responsa. The subject matter, as in the Sefer Mahril, deals to a great extent with custom, but also includes much personal material. They also reflect Maharil’s considerable humility and compassion.

1556, She’ilot u’Teshuvot Jacob ben Moses Moellin (Maharil)
Courtesy of the Library of Agudas Chassidei Chabad Ohel Yosef Yitzhak

The title-page has an ornamental frame made up of four parts, enabling the printer to use them in other arrangements, although this is the manner in which the parts are most often employed. The top frame has the face of a man and cherubin; on the sides are suits of armor, shrubs, and musical instruments and, in the center of the left vertical frame the letters SPQR, reputedly standing for Senatus Populusque Romanus; and on the bottom a two headed crowned eagle and on the sides the cherubim. This frame was used by Conti on his early imprints, appearing on about ten works.

1558, Sefer Rav Alfas – Sefer Rav Alfas, (Hilkhot Rav Alfas, Sefer ha-Halakhot of Alfasi, Rif) was published in Riva di Trento by R. Joseph Ottolenghi and Cardinal Cristoforo Madruzzo in a three volume folio format (2⁰: 288, 268, 302 [8] ff.). The Tyrolese town of Riva di Trento is the source of an unusual episode in the history of the Hebrew book. It was for a short time, from 1558 to 1562, a refuge for the Hebrew book; one in which about forty Hebrew titles were printed. Believed to be the first work printed in Riva di Trento, Hilkhot Rav Alfas was likely selected, in addition to its inherent popularity and value, due to the ban on the Talmud, the Rif, being a halakhic compendium of the Talmud, filling, to some extent, the gap left by the scarcity of that work.

It was in Riva di Trento that Cardinal Cristoforo Madruzzo (1512-78), Cardinal of Trent, a scholar and supporter of learning, who argued at the Council of Trent (1562) for leniency and moderation in condemning books, became the patron and protector of a Hebrew press, which was also a source of revenue for him. Ottolenghi (d. 1570), originally of Ettlingen, in Baden, Germany, reflected in its Italianized form in his name, was rosh yeshivah at Cremona, and under his tutelage Talmudic studies had continued in Cremona after that work had been banned and burned elsewhere. He assisted the press, providing indices and annotations to a number of works and assuring that material offensive to the church had been deleted from those books of value to his yeshiva. and R. Jacob Marcaria, a dayyan on the bet din presided over by Ottolenghi and a physician, recruited by Madruzzo help finance and play a role in the press. Marcaria edited and wrote brief prefaces for most of the books printed in Riva di Trento. The press was located in the house of Antonio Broën.

Sefer Rav Alfas is a halakhic compendium by R. Isaac ben Jacob Alfasi (Rif, 1013-1103). Alfasi, born in the Algerian village of Qal’at Hammad, was a student of the great sages R. Nissim ben Jacob (c, 990-1062) and Hananel ben Hushi’el (d. c. 1055) in Kairouan. After learning with them Alfasi relocated to Fez, from where his surname al-Fasi (Rif) is derived, and became recognized as the leading Talmudic sage of the time. In 1088, at the age of 75, two informers denounced him to the government – the charges are unknown – and he was forced to flee to Spain. Eventually settling in Lucena, Alfasi succeeded R. Isaac ben Judah ibn Ghayyat (c. 1020-89), who had died a few months earlier, as head of the yeshiva.

1558, Sefer Rav Alfas
Courtesy of the National Library of Israel

The text of the title-page of each volume has cherubim at the sides, and below bears the Cardinal’s coat‑of‑arms , a significant statement of the Cardinals’ support and protection of the press at a time when his church was burning and banning Hebrew books. Furthermore, the title pages informs that Sefer Rav Alfas was edited with great care by the gaon R. Joseph Ottolenghi and was printed and financed by him, and that this was done, “in the dominion of” the following in bold letters “Cardinal Cristoforo Madruzzo.”

Sefer Rav Alfas, Alfasi’s major work, is one of the greatest works in halakhic literature. It is extracts all pertinent legal decisions from the Talmud, eliminating non-halakhic material, discussions, and subject matter not applicable today. It covers the following orders of the Talmud, Mo’ed, Nashim, and Nezikim, as well as tractates Berakhot and Hullin. Laws in Kodashim and Tohorot, such as mezuzah and tefillin, are organized as Halakhot Ketannot. Sefer Rav Alfas differs from earlier works, such as Halakhot Gedolot, in that it is more comprehensive, more detailed, and by the inclusion of material from the geonim, although, like them, it follows the order of the tractates.

1559-60, Zohar – Classic kabbalistic work of Jewish mysticism, attributed to R. Simeon bar Yohai (second century). This, the second printing of the Zohar, it was published previously in Mantua (1558-60), published in Cremona at the press of Vincenzo Conti in a three volume folio format (2⁰: 132, 122, 146 ff.) by Vincenzo Conti (d. 1569). Conti, who had printed briefly in Sabbioneta, is better known for his activity in Cremona, where his press, active from 1556 to 1567, issued more than forty titles.

The title page of has a decorative architectural frame with an arch, at the top a vignette of Akedat Yizhak (the binding of Isaac), surmounted by an eagle, and accompanying cherubim; below in the bottom squares, figurines, perchance also cherubim. It is dated, “For the Lord will not forsake כי לא יטש (319=1559) his people [for his great name’s sake] (Samuel I 12:22), and it was completed in the year ש”ך ([5]320=1560).” At the bottom of the page is an imprimature from the Inquisition on the title page, the sole Cremona imprint to place it there, as well as a longer permission at the end of the book.

1559-60, Zohar
Courtesy of the Library of the Jewish theological Seminary

Written in Aramaic and Hebrew, Sefer ha-Zohar al ha-Torah is a comprehensive system of kabbalistic theosophy, encompassing cosmology, the soul, and good and evil. It is an esoteric commentary on the Torah, with homilies, midrashic passages, parables, and numerous discursive passages. It is based on the concept that within scriptures is a concealed stratum, deciphered by Kabbalah, expressing the inner meaning of the Torah, with its “splendor, beauty, and greatness.”

The corrector (and expurgator) was the apostate Vittorio Eliano, grandson of the foremost grammarian, Elijah Bahur Ashkenazi Segal. A member of a Dominican commission to review Hebrew books, Eliano was associated with all the books published by Conti from 1558 through 1559. Although begun later than the Mantua edition, noted above, this printing, done in haste, was completed earlier. Nevertheless, it was not immediately released for sale, for when more than 10,000 Hebrew books were burned in Cremona, with the complicity of Eliano, the entire edition was seized. It was just barely saved, in contrast to other works, by the apostate Dominican, Sixtus of Siena. It is known as the Zohar Gadol (large Zohar), in contrast to the smaller Mantua edition (Zohar Katan), and is also referred to, because of Eliano’s involvement, as the “Christian edition.” This notwithstanding, the Cremona edition was the preferred of the two editions by eastern European kabbalists.^[28]

1560, Shir ha-Yihud – Shir ha-Yihud (Hymn of Divine Unity) an anonymous piyyut (liturgical poem) written in the mid-twelfth century, most often attributed to Samuel ben Kalonymus he-Hasid (c. 1130-1175), less often to his son, Judah ben Samuel he-Hasid (c. 1150-1217), author of the Sefer Hasidim, both among the foremost representatives of the Hasidei Ashkenaz, and, on occasion, to yet others.

Shir ha-Yihud
Courtesy of the National Library of Israel

Shir ha-Yihud was published at the press of Eliezer and Joseph ben Naphtali Hertz Treves. Active for one year only, in 1560, they issued six books, before being forced to close by a meeting of the leaders, both Protestant and Catholic, of the Swiss Confederation in June, 1560, who feared that they were about to print the Talmud.

The frame, one of several with cherubim employed by the press, also was used on the title-page of Begidat Hazman, an allegoric maqāma (a poetic narrative in rhymed prose) by Mattathias (Mattityah ben Moses), a 15th century Spanish or Provençal Hebrew poet or Mattathias ha-Yiẓhari, a representative of the Jewish communities of Aragon at the Tortosa disputation (1413–14).

1568, Passover Haggadah – Passover Haggadah printed in Mantua in folio format (2⁰: 36 ff.) by Joseph Shalit ben Jacob Ashkenazi of Padua. This edition is a reprint of the 1560 Passover Haggadah, also printed in Mantua, but with modifications and the addition of the marginalia of R. Joseph Shalit ben Jacob Ashkenazi of Padua entitled Nimukei Yosef.

1568, Passover Haggadah
Courtesy of the National Library of Israel

The title page frame has representations of the Mars and Minerva followed by the first text page, which has two woodcuts of cherubim along the top. Following text pages have those cherubim image, as well as numerous other cherubim images, including several marginal cherubim images. This Haggadah shares some features with the Prague Haggadah of 1526. Woodcuts are accompanied by captions, given as rhymed couplets, a feature of Ashkenaz manuscript Haggadot. In some instances, for example, by the four questions, the earlier edition was framed by a lush Italian border, without illustrations. Here the types and the top and upper left borders with their vines and cherubs only are alike.^[29]

 

1576, Yosef Lekah – Yosef Lekah is a commentary on Megillat Esther by R. Eliezer ben Elijah Ashkenazi (1513-86). It was published in Cremona in 1576 by Christopher Draconi in octavo format (4⁰: 83, 1 ff.). Draconi, previously associated with Vincenzo Conti, attempted to publish Hebrew books in Cremona. Although he would issue Latin books from 1569 to 1614, he printed one Hebrew book only, Yosef Lekah.

1576, Yosef Lekah
Courtesy of the Fales Library and Special Collections, New York University

R. Eliezer ben Elijah Ashkenazi was a multi-faceted individual, a Talmudist, physician, and well-rounded scholar, who served as rabbi in a number of varied communities. His first rabbinic position, from 1538-61, was in Fostat, Egypt. Forced to leave Fostat, Ashkenazi went to Famagusta, Cyprus, where he was rabbi for two years, and then to Venice. He left for Prague (1561), after a dispute with the Maharam of Padua, and after traveling as far as the Crimea, returned, via Famagusta, to Venice. Ashkenazi was next rabbi in Cremona, where he published Yosef Lekah. Shortly after he left to be rabbi of Posen, and, from 1584, was in Cracow. Ashkenazi experienced difficulties in Poland, disputing over his right to open a yeshiva in close proximity to an existing yeshiva, so that Joseph Solomon Delmedigo (1591-1655) wrote about him, “You have brought a vine from Egypt; you have cast out the nations, and planted it” (Psalms 80:9). Ashkenazi was highly regarded by his contemporaries, corresponding with prominent rabbinic figures such as R. Joseph Caro, R. Joseph Ha-Kohen (Katz), R. Moses Isserles (Rema), and R. Solomon Luria (Maharshal), several mentioning him in their responsa. R. Elijah of Pesaro, in Famagusta in 1563, praised Ashkenazi’s scholarship, noting that he was fluent in twelve languages.

The title-page has four cherubim images, two reclining at the top of the structure, two standing erect by the pillars at the sides. The title-page is dated “Therefore they called these days Purim קראו לימים האלו פורים (336 = 1576)” (Esther 9:26). Yosef Lekah is dedicated to Don Joseph Nasi, Duke of Naxos, whom Ashkenazi, in the introduction, compares to Joseph in Mizraim and Mordecai at the time of Ahasuerus. Ashkenazi, therefore, entitled this work Yosef Lekah. Two, almost identical, editions of Yosef Lekah exist, both dated 1576. Although almost exact copies of the original, it is clear, upon close examination, that the book was reset. Christopher Draconi’s Yosef Lekah was the last Hebrew book printed in Cremona.

Ashkenazi’s most important work is Ma’aseh HaShem (Venice, 1583), on the historical occurrences in the Torah, with a commentary on the Passover Haggadah; selichot; and, not extant today, a super-commentary on the Ramban (Nachmanides) and annotations to R. Caro’s Beit Yosef.^[30]

Conclusion – In this article we have described books printed in Augsburg, Basle, Cremona, Mantua, Prague, and Venice. The cherubim imagery on these title-pages, reflecting the influence of Renaissance humanism, their attractiveness notwithstanding, do not appear on the title-pages or accompanying the text in Hebrew books published in more modern times. A review of the title-pages reproduced here, all dissimilar, with their numerous depictions of cherubim, attest to the popularity of that image. Given the strictures on Hebrew printing from the mid-sixteenth century in Italy, the frequent use of cherubim testify to the cooperation of Jewish and non-Jewish printers, their frequency perchance suggesting a positive relationship going beyond mere monetary gain.

We conclude with the Talmudic statement above, which suggests why the image of cherubim was so popular:

Rav Ketina said: When the Jewish people would ascend for one of the pilgrimage festivals, the priests would roll up the curtain for them and show them the cherubs, which were clinging to one another, and say to them: See how you are beloved before God, like the love of a male and female. (Yoma 54a)

Lastly, in conclusion an image of a cherub, both chronologically and, in cherubian activity, quite different from those depicted in this article. It is included as it is unusual and eye catching, an image of a Cherub smoking a pipe. It appears in in at least two Basle imprints published by Israel ben Moses ben Abraham Halle, active in Offenbach, although not continuously, from 1718/19 to c. 1738/43. The works are Anaf Etz Avot, R. Benjamin ben Yekutiel Wulff’s commentary on Pirke Avot, and tractate Sanhedrin (1721).^[31]

1. Once again, I would like to express my gratitude and appreciation to Eli Genauer for reading the article and his insightful comments. ↑
2. Emil G. Hirsch, W. Muss-Arnolt, J. Frederic McCurdy, Louis Ginzberg, “Cherub ( ; plural, Cherubim)” Jewish Encyclopedia IV (New York, 1901-06), pp. 13-16; Shalom M. Paul, Louis Isaac Rabinowitz, “Cherub” Encyclopedia Judaica IV (Jerusalem, 2007), pp. 600-01. ↑
3. Thomas Kelly Cheyne, 1911 Encyclopædia Britannica, Volume 6, reproduced in https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Cherubim ↑
4. https://www.sefaria.org/search?q=%D7%9B%D7%A8%D7%95%D7%91%D7%99%D7%9D&tab=text&tvar=1&tsort=relevance&svar=1&ssort=relevance. ↑
5. Franz Sales Meyer, Handbook of Ornament: a Grammar of Art, Industrial and Architectural Designing in all its Branches for Practical as well as Theoretical use (New York, 1957), pp. 108-09. ↑
6. Codices and early imprints did not have title-pages, the first leaf normally being left blank to protect the book, that page later becoming a dedicated page. The first book with a detailed title-page was the Calendarium of Johannes Regiomontanus, appearing in 1476 (Venice), being a fifty-five year calendar (1475-1530), printed by Johannes Regiomontanus. The first Hebrew book with a title-page was the Sefer ha‑Roke’ah (Fano, 1505) of R. Eleazar ben Judah of Worms (c. 1165 – c. 1230). ↑
7. Cherubim also appear on the frames of Hebrew books printed in the incunabular period. For examples of such frames see Marvin J. Heller “Behold, you are beautiful, my love: The Use of Ornamental Frames in Hebrew Incunabula” Printing History NS 10 (New York, July, 2011), pp. 39-55, reprinted in Further Studies in the Making of the Early Hebrew Book (Leiden/Boston, 2013), pp. 3-33. ↑
8. The following book descriptions are selected, modified from Marvin J. Heller, The Sixteenth Century Hebrew Book: An Abridged Thesaurus ( Brill, Leiden, 2004), var. cit. ↑
9. Avraham Yaari, Hebrew Printers’ Marks (Jerusalem, 1943), pp. 7 and 126-27 n. 10 [Hebrew]. ↑
10. Jerome Friedman, The Most Ancient Testimony. Sixteenth-Century Christian-Hebraica in the Age of Renaissance Nostalgia (Athens, Ohio, 1983), pp. 44-48, 214-15; A. M. Habermann, Title Pages of Hebrew Books (Tel Aviv, 1969), p. xi [Hebrew with English introduction], pp. 19-20, 125-26 nos. 4-5; Joseph Prijs, Die Basler Hebräischen Drucke (1492-1866) (Olten, 1964), pp. 49-51 n. 26; Frank Rosenthal, “The Rise of Christian Hebraism in the Sixteenth Century,” Historia Judaica II (New York, 1945), (New York, 1945), pp. 182-91; and Richard S.Westfall, “Sebastian Muenster,” http://es.rice.edu/ES/humsoc/Galileo/Catalog/Files/muenster.html ↑
11. An interesting example of this later usage is R. Moses ben Hanokh Altschul’s (c. 1546–1633) Brant Shpigl, a popular Yiddish work on ethics, correct demeanor, and customs for women, published by Konrad Waldkirch (Basle, 1602), also indicative of the passage of typographic material between printers. ↑
12. Stephen G. Burnett, “German Jewish Printing in the Reformation Era (1530-1633),” University of Nebraska – LincolnUniversity of Nebraska – Lincoln DigitalCommons@University of Nebraska – LincolnDigitalCommons@University of Nebraska. ↑
13. Ch. B. Friedberg, History of Hebrew Typography of the following Cities in Central Europe: Altona, Augsberg, Berlin, Cologne, Frankfort M., Frankfort O., Fürth, Hamberg, Hanau, Heddernheim, Homberg, Ichenhausen, Neuwied, Wandsbeck, and Wilhermsdorf. Offenbach, Prague, Sulzbach, Thannhausen from its beginning in the year 1513 (Antwerp, 1935), pp. 29-31 [Hebrew]. ↑
14. A. M. Habermann, “The Printer Hayyim Shahor, his Son Isaac and Son-in-law Joseph Yakar,” in Studies in the History of Hebrew Printers and Books (Jerusalem, 1978), pp. 103-07 [Hebrew]. ↑
15. Yeshayahu Vinograd, Thesaurus of the Hebrew Book. place, and year printed, name of printer, number of pages and format, with annotations and bibliographical references II (Jerusalem, 1993-95), p. 2 no. 10 [Hebrew]. ↑
16. Zipora Baruchson, “Money and Culture: Financing Methods in the Hebrew Printing Shops in Cinquecento Italy,” La Bibliofilia 92 (1990), 25. ↑
17. For examples of such usage see Marvin J. Heller, “Behold, you are beautiful, my love: The Use of Ornamental Frames in Hebrew Incunabula” Printing History NS 10 (New York, July, 2011), pp. 39-55, reprinted in Further Studies in the Making of the Early Hebrew Book. (Brill, Leiden/Boston, 2013), pp. 3-33; “Mars and Minerva on the Hebrew Title Page,” The Papers of the Bibliographical Society of America 98:3 (New York, N. Y., 2004), pp. 269-92, reprinted in Studies in the Making of the Early Hebrew Book (Brill, Leiden/Boston, 2008), pp. 1-17; and the “The Printer’s Mark of Marc Antonio Giustiniani and the Printing Houses that Utilized It,’ Library Quarterly, 71:3 (Chicago, July, 2001), pp. 383-89, reprinted in Studies, pp. 44-53. ↑
18. Unterricht Wie ain Christenmensch by Urbanus Rhegiosu (1489-1541), a Protestant Reformer active in Northern and Southern Germany promoting Lutheran unity in the Holy Roman Empire. Unterricht is one of several titles with this frame printed by Silvan Otmar of Augsburg (https://www.flickr.com/photos/58558794@N07/6576279085). ↑
19. Zipora Baruchson, “Money and Culture: Financing Methods in the Hebrew Printing Shops in Cinquecento Italy,” La Bibliofilia 92 (1990), 25. ↑
20. For examples of such usage see Marvin J. Heller, “Behold, you are beautiful, my love: The Use of Ornamental Frames in Hebrew Incunabula” Printing History NS 10 (New York, July, 2011), pp. 39-55, reprinted in Further Studies in the Making of the Early Hebrew Book. (Brill, Leiden/Boston, 2013), pp. 3-33; “Mars and Minerva on the Hebrew Title Page,” The Papers of the Bibliographical Society of America 98:3 (New York, N. Y., 2004), pp. 269-92, reprinted in Studies in the Making of the Early Hebrew Book (Brill, Leiden/Boston, 2008), pp. 1-17; and the “The Printer’s Mark of Marc Antonio Giustiniani and the Printing Houses that Utilized It,’ Library Quarterly, 71:3 (Chicago, July, 2001), pp. 383-89, reprinted in Studies, pp. 44-53. ↑
21. Ch. B. Friedberg, Bet Eked Sepharim, (Israel, n. d), alef 286 [Hebrew]. ↑
22. A later example of an objectionable title-page is the responsa of R. Joel ben Samuel Sirkes’ (Bach, 1561-1640), She’elot u-Teshuvot Bayit Hadash, printed in Frankfurt am Main (1697) by Johann Wust. The title-page had an ornate frame with forms of unclad women which aroused rabbinic opposition, for those authorities considered the title-page inappropriate and offensive to Jewish sensibilities. The quire had to be reprinted with a new title-page, now with two cherubim holding a floral wreath with grapes. A similar situation occurred earlier in Hanau in 1630. Sefer ha-Roke’ah, by R. Eleazer of Worms, was issued in a small format, 12×16 cm., due to the economic restrictions resulting from the Swedish War. On the title-page “Venus rises naked from the waters on a seashell – a common pagan motif” (The book was issued by a press belonging to a non-Jew, Hans Jacob Hena, so that, it has been suggested, no attention was initially given to the title-page. When the book was sold, “many Jewish purchasers tore out the offending page” (Raphael Posner and Israel Ta-Shema, ed. The Hebrew Book: An Historical Survey [Jerusalem: Keter Publishing House, 1975]). There does not appear to have been any opposition to this last title-page in Venice, for the Venus rising from the waters motif appears in Hebrew works printed there, where it was the press mark of Alessandro Gardoni (Venice, 1577-78) and can be found in the Mishneh Torah printed by Meir Parenzo at the press of Alvise Bragadin in 1574. ↑
23. Taytsher sprach (Vaybertaytsh), is a type generally but not exclusively reserved for Yiddish books, so named because these works were most often read by the less educated and women. Concerning the early use of Vaybertaytsh see Herbert C. Zafren, “Variety in the Typography of Yiddish: 1535-1635,” Hebrew Union College Annual LIII (Cincinnati, 1982), pp. 137-63. ↑
24. Israel Zinberg, A History of Jewish Literature, translated and edited by Bernard Martin VII (Cleveland, 1973), p. 116.
    ↑
25. Meyer Waxman, A History of Jewish Literature (1933, reprint Cranbury, 1960), II pp. 632-33. ↑
26. Zinberg, p. 106. ↑
27. Robert Bonfil, Jewish Life in Renaissance Italy (Berkeley, 1994), tr. Anthony Oldcorn, pp. 133, 169; Deror Schwartz, “Samuel Archivolti, his Life and Writings,” Asufot VII, ed. Meir Benayahu (Jerusalem, 1993), pp. 82-83 [Hebrew]; and Zinberg, II p. 130. ↑
28. Amram, pp. 324-27; Robert Bonfil, “Change in the Cultural Patterns of a Jewish Society in Crisis: Italian Jewry at the Close of the Sixteenth Century,” in Essential Papers on Jewish Culture in Renaissance and Baroque Italy, ed. David B. Ruderman (New York, 1992), p. 418; Rachel Elior, “Messianic Expectations and Spiritualization of Religious Life in the Sixteenth Century,” in Essential Papers . . ., p. 286. ↑
29. Yaari, Printers’ Marks, pp. 12, 132 n. 19; Yosef Hayim Yerushalmi, Haggadah and History (Philadelphia, 1975), nos. 28-31; and Isaac Yudlov, The Haggadah Thesaurus. Bibliography of Passover Haggadot: From the Beginning of Printing until 1960 (Jerusalem, 1997). p. 4 n. 25 [Hebrew]. ↑
30. David Amram, The Makers of Hebrew Books in Italy (Philadelphia, 1909, reprint London, 1963), p. 319; Meir Benayahu, Hebrew Printing at Cremona: Its History and Bibliography (Jerusalem, 1971), pp. 22-24, 232-34; and Jacob Elbaum, Openness and Insularity. Late Sixteenth Century Jewish Literature in Poland and Ashkenaz (Jerusalem, 1990), p. 47, [Hebrew]. ↑
31. This image appeared in my article “Offenbach Revisited: An enigma Reexamined,” published in the Gutenberg-Jahrbuch (Mainz, 2012), pp. 219-28, and reprinted in Essays on the Making of the Early Hebrew Book (Brill, Leiden/Boston, 2021) pp. 273-92. It was noted there that “in his observations to a draft of this paper, Professor Dr. Hans Schneider observes that he has never seen ‘a cherub smoking a pipe’ and suggests that if the figure is an angel the instrument is a flute. He agrees, however, that the object in question does look like a clay pipe as in the self-portrait of Gerrit Dou. Professor Dr. Schneider suggests that the figure might be an oriental man or boy, as was often painted in the seventeenth and eighteenth century, wearing a turban-like cap with plumes, and that what appears to be an angel’s wings might be a fluttering cape. The reader may draw his or her own conclusions.” ↑

 

Lekah Tov What’s in a Name?
by Marvin J. Heller[1]

For I give you good doctrine (lekah tov); do not forsake My Torah (Proverbs 4:2).

The entitling of Hebrew books is a subject of considerable interest, varying as it does from the more common manner of labelling comparable works. Book titles generally reflect a book’s subject matter. In contrast, however, Hebrew book titles often reflect a subtle theme, considerably wide-ranging between books with a like title.

This subject has been addressed previously, by me and by others, in the latter case even in book format, and as the subject of encyclopedia articles. My previously addressed book titles are Adderet Eliyahu and Keter Shem Tov.[2] What the books with those titles and Lekah Tov have in common is that the books so entitled frequently do not share common subject matter.

Our listing of editions entitled Lekah Tov, a popular title, is based on the editions recorded in bibliographic works, primarily Ch. B. Friedberg’s Bet Eked Sepharim, which covers the period 1474 through 1950, and Yeshayahu Vinograd’s Thesaurus of the Hebrew Book, which covers titles printed from 1469 through 1863. Shabbetai Bass’ (1641-1718) Siftei Yeshenim (Amsterdam, 1680), the first bibliography of Hebrew books by a Jewish author, records five works entitled Lekah Tov. Isaac Benjacob, in his Oẓar ha-Sefarim, records fourteen works (through 1863) entitled Lekah Tov.[3]

The editions of Lekah Tov described in this article are the earliest editions from the sixteenth and seventeenth centuries and one title from the first decade of the eighteenth century, that is, in 1704. The order of the works addressed in this article is in chronological order, that is the order in which they were printed, rather than the time of writing or the author’s names.

I

We begin with four sixteenth century editions of Lekah Tov, the lead edition being R. Tobias (Tovyah) ben Eliezer’s Lekah Tov, known as Pesiḳta Zuṭarta (Venice, 1546), followed by R. Moses ben Levi Najara Lekah Tov (Constantinople, 1575), then R. Yom Tov ben Moses Zahalon’s commentary on the book of Esther, and R. Abraham ben Hananiah dei Galicchi Jagel’s Lekah Tov (Venice, 1595).

R. Tobias (Tovyah) ben Eliezer: Our first Lekah Tov, by R. Tobias (Tovyah) ben Eliezer (eleventh cent.), is also known as Pesiḳta Zuṭarta. A midrashic commentary on the Pentateuch and the Five Megillot, it published in רננ”ו (306 = 1546) at the renowned press of Daniel Bomberg in folio format (2⁰:93 ff.). Bomberg, a non-Jew, came to Venice from Antwerp, obtained a privilege from the Venetian Senate to print three books, and issued as his first imprint a Latin Psalterium (1515). Soon after, in December, 1515, Bomberg requested and received the right to print Hebrew books, with a monopoly based on the expenses already incurred with such an activity. By the time his press closed, more than four decades later in 1548/49, it had published between two hundred to two hundred fifty titles, covering the gamut of Jewish literature, encompassing liturgy, Talmud, halakhah, philosophy, and grammatical works, books of high quality.

1546, Venice

R. Tobias (Tovyah) ben Eliezer 1880, Vilna
Courtesy of the National Library of Israel

Tobias (Tovyah) ben Eliezer’s (eleventh-twelfth centuries) place of residence has variously been given as Kastoria, Bulgaria, while others suggest Ashkenaz. Isidore Singer and M. Seligsohn suggest that Tobias might have been a native of Mayence (Mainz) and a son of Eliezer ben Isaac ha-Gadol, a teacher of Rashi. Ashkenaz is given suggested because Lekah Tov was written after 1097 and reference is made several times to the tribulations of the Crusades. In parashat (weekly Torah reading) Emor (Leviticus 21:1 – 24:23), for example, Tobias writes about the slaughter of the Jews in Mainz. However, as Tobias also frequently attacks Karaites and shows a knowledge of Mohammedan customs, it is suggested, by Solomon Buber, that that he was a native of Castoria in Bulgaria. Towards the end of his life Tobias settled in Eretz Israel.[4]

The pillared title-page of Lekah Tov has a header that, in a small font, states “There is neither wisdom, nor understanding, nor counsel against the Lord” (Proverbs 21:30). Below it is the phrase “the light of the righteous [will rejoice]” (Proverbs 13:9). Below in a larger font, is the title, given as Pesikta Zutarta, included here because later editions entitle and record Pesikta Zutarta as Lekah Tov.

This edition is on Vayikra, Bamidbar, and Devorim (Leviticus, Numbers, and Deuteronomy). Because the first edition was based on an incomplete manuscript which was lacking a first page, the printer entitled it Pesiḳta based on the word piska leading the words in the text. Tobias had entitled the work Lekah Tov because of the allusion to his name (tov, Tovyah, Tobias) in the title and begins each weekly Torah portion with a header verse with the word tov. For example, parashat Kedoshim begins with “Depart from evil, and do good (tov); seek peace, and pursue it” (Psalms 34:15); parashat Beha’aloscha “How sweet is the light, and it is good (tov) for the eyes to behold the sun!” (Ecclesiastes 11:7); and parashat Hukat “ You are good (tov) and beneficent, teach me Your laws.” (Psalms 119:68).

Tobias supports the literal meaning of the text but also quotes aggadot, midrashim, and the Talmud. He gives the grammatical meaning of words and quotes many halakhot, a recurrent source being R. Achai Gaon’s She’eltot. Tobias frequently refers to his father R. Eliezer, whom he refers to as ha-gadol or ha-kodesh (the great or the holy). As noted above, he attacks the Karaites and has a thorough knowledge of Mohammedan customs.

Tobias’ Lekah Tov has been cited by such leading rabbinic writers as R. Abraham ibn Ezra, R. Asher ben Jehiel (Rosh), R. Zedekiah (ha-Rofei) ben Abraham (Shibbolei ha-Leket), R. Menahem ben Solomon (Sekhel Ṭov, Even Boḥan), Rabbenu Tam, R. Isaac ben Abba Mari (Ba’al ha-Ittur), and R. Isaac ben Moses of Vienna (Or Zarua).[5]

Several editions of Tobias’ Lekah Tov on the Megillahs have been printed. The first reprint on the Torah commentary was in Vilna (1880) followed four years later by a second printing (1884), both by R. Solomon Buber at the Romm press.

R. Moses ben Levi Najara: Our next Lekah Tov is a commentary on the Torah with reasons for the mitzvot by R. Moses ben Levi Najara. This edition of Lekah Tov was printed in Constantinople at the press of the brothers, Jacob and Solomon ibn Isaac Jabez in folio format (2⁰:150 ff.). They had printed previously in Salonica, for a brief interval in Adrianople and, after an outbreak of plague in Salonica in approximately 1570-72, Joseph Jabez sold his typographical material to David ben Abraham Azubib and left that city to join his brother Solomon in Constantinople. Solomon Jabez, had, in 1559, settled in Constantinople, founding a press that was active for about three decades. The brothers, issued more than forty titles in Constantinople.[6]

R. Moses ben Levi Najara was born in Turkey in c. 1502, perchance from a family whose origins were in Nájera, Spain. The family head, Levi Najara, settling in Constantinople after the expulsion of the Jews from Spain in1492. Moses Najara served as rabbi in Danaiditsch, spent time in Safed where at the age of thirty Najara was considered among the leading rabbinic scholars of Safed. In that location Najara was a student of R. Isaac Luria (Ari ha-Kodesh). He subsequently served as rabbi in Damascus. Moses Najara’s son, Israel Najara (c.1555 – c. 1625) was a noted poet, author of Zemirot Yisrael (Safed, 1587).

1575, Constantinople, Moses ben Levi Najara
Courtesy of the National Library of Israel

The title-page of this edition of Lekah Tov has a decorative border of florets, typical of Jabez brother publications. It dates the beginning of work to Friday, 4 Shevat, then gives the year with the chronogram “Truth will sprout from the earth אמת מארץ תצמח (331 = January 10, 1571) [and righteousness will peer from heaven]” (Psalms 85:12). The dating of this edition of Lekah Tov is problematic. With the exception of Shabbetai Bass, who gives the Hebrew chronogram date, the above bibliographic sources date publication as 1575, as does the National Library of Israel, despite the date on the title-page of מארץ (331 = 1571). Avraham Yaari transcribes the text of the title-page and then also dates it 1575.[7] In contrast to the preceeding, Abraham David, M. Franco, and Shimon Vanunu, respectively writing entries for the Najara entry in the Encyclopedia Judaica, the Jewish Encyclopedia, and Encyclopedia Arzei ha-Levanon, all date Lekah Tov to 1571. This is also the case for Isaac Benjacob who, in his Oẓar ha-Sefarim, dates publication to 1571.[8] Perchance, indeed likely, one early source erred and the later works copied and repeated the error without ever seeing the book. Another apparent error is the weekday date for the beginning of work as Friday, 4 Shevat. In 1571 that was a Sunday and in 1575 a Saturday, so that, whichever year is correct, the date for the beginning of work also appears to be in error.

There is an introduction from Najara in which he informs that he has entitled Lekah Tov for it is a good and important study, one that will guarantee the completion of their souls, truly and completely, as it was given at Sinai, to them for a goodly portion. The text follows, organized by parashah, in two columns in rabbinic letters and homilies on the Talmud, Mechiltah, Sifrah, and Sifri.

This is the only edition of Moses ben Levi Najara’s Lekah Tov. Sha’ar ha-Kelalim, published in the beginning of R. Hayyim Vital’s Etz Hayyim, is attributed to Najara in several manuscripts.

R. Yom Tov ben Moses Zahalon: Commentary on the book of Esther by R. Yom Tov ben Moses Zahalon. Entries in this article are supposed to be in chronological order of printing and this Lekah Tov was published two years after the preceding entry. However, bibliographical sources record and discount a possible, albeit questionable, Constantinople [1565], which is not noted in Avraham Yaari’ Hebrew Printing at Constantinople so that we too are discounting it. The definite publication of Zahalon’s Lekah Tov was in Safed on Friday, Rosh Hodesh Sivan, in the year “[Hear, O Lord, and have mercy on me;] O Lord, be my help! ה” היה עזר לי ([5]337 = Friday, May 27, 1577)” (Psalms 30:11) in quarto format (4⁰: 83, 1 ff.) by Eliezer ben Isaac Ashkenazi.

This Lekah Tov is not only the first book printed in Safed, it is the first book printed in Asia, excluding Chinese imprints. Eliezer ben Isaac Ashkenazi who had printed previously in Lublin for almost two decades, leaving, with his son, to dwell in Eretz Israel – printing also, for a short time on the way, in Constantinople – anticipating that he would print books for a European market eager to purchase books from the land of Israel. Eliezer Ashkenazi became partners with Abraham ben Isaac Ashkenazi, mentioned in the colophon (apparently not a relative), the former supplying the expertise and typographic material, the latter the location and the financing.[9]

R. Yom Tov ben Moses Zahalon (Maharit Zahalon, 1558-1638), born to a Sephardic family in Safed, was a student of R. Moses Bassudia and R. Joseph Caro. He received semicha (ordination) from R. Jacob Berab II. Highly regarded by his contemporaries, who often requested his opinion on complex halakhic issues, Zahalon was a person of great integrity, not influenced by status. For example, it was his opinion, although he had the utmost respect for Caro, that the Shulhan Arukh was, “a work for children and laymen.” Zahalon made several trips as an emissary of the community in Safed to Italy, Holland, Egypt and Constantinople.[10]

1577, Safed, R. Yom Tov ben Moses Zahalon
Courtesy of the Library of the Jewish Theological Seminary

Lekah Tov was written by Zahalon at an early age, seventeen or eighteen, to send, as stated on the title page, for mishlo’ah manot (Purim gifts), to his father. Also on the title page is the prayer that, “the Lord should grant us the merit to print many books, for “from Zion shall go forth Torah, and the word of the Lord [from Jerusalem]” (Isaiah 2:3).

On the verso of the title page is a brief introduction, in which Zahalon refers to the burning of the Talmud in Italy and remarks that, “Great was the cry of the Torah before God and when He remembered the covenant that He made with us at Horeb (Sinai), the Lord roused the heart of the printer Eliezer [so that] honor dwelled in our land . . .” He encourages others to also print their books at the press in Safed. A second brief introduction from Joseph ben Meir follows, and then a longer introduction from the author. Zahalon informs that the book was named Lekah Tov because it has a reference to his name and because of the words of earlier sages on, “For I give you good doctrine (lekah tov); do not forsake my Torah” (Proverbs 4:2). The commentary, which is lengthy, includes both literal, homiletic, kabbalistic, and messianic interpretations. Zahalon does not reference a large number of other works. At the end of the volume is a copy of Marco Antonio Giustiniani’s (Justinian) device, a reproduction of the Temple in Jerusalem. Ashkenazi had used this mark previously in Constantinople.[11]

Zahalon was the author of more than 600 responsa, only partially printed (She’elot u’Teshuvot Yom Tov Zahalon, Venice, 1694); additional volumes of responsa and novellae on Bava Kamma were printed in Jerusalem (1980-81); and an extensive commentary on Avot de-Rabbi Natan entitled Magen Avot, still in manuscript.

R. Abraham ben Hananiah dei Galicchi Jagel: Catechism, or handbook on the principles of the faith, for Jewish youth by Abraham ben Hananiah dei Galicchi Jagel (1553-after 1623). This is the first edition of Jagel’s popular and much reprinted Lekah Tov. A small work, it was published as an octavo (8⁰: 18ff.) by the press of Giovanni di Gara in Venice in 1595. Parenthetically, although the name Giovanni is given in non-Hebrew sources, the Hebrew name, which appears on the title-pages is Zoan, that is, Iohannes. The di Gara press, active from 1564 to 1611, is credited with more than 270 books, primarily in Hebrew letters, and only infrequently in non-Jewish languages.[12]

Jagel was born to the Galicchi (Gallico) family, one of the four noble families exiled from Jerusalem to Rome. The family name Jagel is taken from the liturgy of the afternoon Sabbath services (Abraham would rejoice יגל). Much of what is known about Jagel’s life is from Gei Hizzayon, an autobiographical and ethical work in the style of Dante. He settled in Luzzara, in the vicinity of Mantua in the 1570s, where, after his father’s death, he inherited the latter’s banking business, a venture, by his own admission, for which he was unqualified.

Jagel, mistakenly identified as Camillo Jagel, a censor of books from 1611, has been accused of apostasy. This identification has, however, been shown to be false. Jagel also had difficulties with business associates, particularly Samuel Almagiati, which resulted in their arranging his incarceration on several occasions, for carrying a small dagger, dining at night with a Christian, and for slander. In the last and longer imprisonment, he composed portions of Gei Hizzayon. Jagel later practiced medicine, but retained close ties with several Jewish bankers, among them Joseph ben Isaac of Fano, to whom Lekah Tov is dedicated. Jagel instructed Fano’s children, when, perhaps, he wrote Lekah Tov. In 1614, together with another banker, Jagel was kidnapped, but was able to pray three times a day with Tefillin and eat permitted foods only (Gei Hizzayon).

1595, Venice, Abraham ben Hananiah dei Galicchi Jagel
Courtesy of the Dorot Jewish Division, New York Public Library

Lekah Tov, the first catechism by a Jew, is stylistically copied from and conforms to the Catholic catechism of Peter Canisius (1521-97). It summarizes the principles of Judaism, based on Maimonides’ Thirteen articles of Faith, emphasizing Judaism’s moral and ethical aspects. Jagel also copied passages from Canisius = catechism, but without violating Jewish dogma and beliefs. The dedication, in Renaissance style, begins, “how a servant may benefit to find favor in the eyes of his lord,” followed by the introduction, in which Jagel defines his purpose as, to make a fence for the Torah and state the principles of Judaism, so that they should be fluent in the mouths of all, as did the prophets. He concludes that it is in truth a lekah tov (good doctrine, Proverbs 4:2) that I give you. The text is in the form of a dialogue between a rabbi and student, emphasizing the proper conduct for attaining happiness in the hereafter. Seven classes, each of sin and of virtue, are enumerated. The section on love towards one’s neighbor is quoted extensively in the Shelah’s Shenei Luhot ha-Berit.[13]

Lekah Tov has been reprinted thirty times, and translated into Latin, German, English, and Yiddish. Western European editions, beginning with a 1658 (Amsterdam) edition published by Naphtali Pappenheim, to compensate for insufficient Torah study. Pappenheim writes that Lekah Tov, a concise summary of the principles of the Torah, is suitable for all ages. A Yiddish edition (Amsterdam, 1675) by Jacob ha-Levi was intended for those who had difficulty with the Hebrew text and were engaged in earning a livelihood, not studying Torah sufficiently and who felt that it should be read daily by everyone.

Several editions were published by apostates, who found its style comfortable, and Christian-Hebraists, who wished to learn about Judaism, both utilizing it for missionary purposes. Eastern European editions are associated with precursors of the Haskalah in Russia. Jagel’s other works are Eishet Chail (Venice, 1606), an ode to womanhood and a code of behavior; Beit Ya’ar Levanon, a scientific encyclopedia, mostly unpublished; Be’er Sheva, also an encyclopedic compendium, and works on philosophy, astrology, and halakhah, also unpublished.

II

R. Moses ben Issachar Sertels: A Hebrew Judeo-German (Yiddish) glossary on the Prophets and Hagiographa, printed at the renowned Gersonides press in Prague, headed, from 1601, by Moses ben Joseph Bezalel Katz, his name appearing on the title-page. It was published in quarto format (4⁰:284 ff.) in the year “Now I know that the LORD will give victory to His anointed עתה ידעתי כי הושיע ה” משי“חו (364 = 1604)” (Psalms 20:7) in conjunction with Sertels’ Be’er Moshe (1605, 4⁰: 104 ff.), a comparable work on the Torah, Hagiographa and Megillot.

Sertels (d. 1614-15) has been described by Aleander Kisch, et. al, as an exegete, resident in Prague in the first half of the seventeenth century. His name a “(סערטלש) is a matronymic from ‘Sarah.’” Olga Sixtová informs that he “shows up at the turn of the 17^th century as one of the most active figures in Prague Yiddish (and Hebrew) book printing, as such he deserves more of our attention.” Sixtová writes that Sertel and his family came from Germany, likely from the Wurzburg area. A son, Issachar, died in Venna in 1625 and a daughter, Shendel, in Prague in 1631. His mobility is reflective of a Ashkenaz Jewish family, more so than of a settled Christian population. Sixtová also notes that the surname name Sertel (variously Sertl[e]in, sertl, Sertln), was after Sarah, his mother.[14]

Sertels’ Lekah Tov is described by Moritz Steinschneider as “a glossary on Pent. etc. (Moses explained), in which text is expressed separately and together with the text. Beginning as a paraphrase preceding it, in which is completed the version of words or sentences together with the expositions.”[15] It is similarly described by Otto Muneles, who records Lekah Tov together with “be’er Moŝe . . . lekah. Prag 1604, 4⁰. (Yidd. Glossary on the Prophets and Hagigrapha.).[16] Be’er Moshe, is also glosses and notes in Yiddish.

1604, Prague, R. Moses ben Issachar Sertels
Courtesy of the National Library of Israel

Sixtová writes that Sertel’s glossaries reflect his long years and experience as a teacher. In the preface to Be’er Moshe he suggests that it could be used in place of a teacher, as the rabbis, who wander from place to place lack the time to go through the entire text with their pupils. 

The title-page of Lekah Tov has a somewhat lengthy text which begins that it is an attractive explanation in [Ashkenaz] (Judeo-German), informing that it is done with understanding and wisdom on the twenty-four books [of the Bible], of great benefit to the aged and the young. Further on Sertels notes that it was written with “an iron pen (stylus)” (Jeremiah 17:1; Job 19:24) and he entitled it Lekah Tov and included reasons. The text begins with Joshua and concludes with Daniel and Chronicles. Lekah Tov is primarily set in Vaybertaytsh, a semi-cursive type generally but not exclusively reserved for Yiddish books, so named because these works were most often read by women and the less educated.[17]

Strangely, Lekah Tov, which preceded Be’er Moshe, is recorded as a supplement to that work. Moreover, Lekah Tov, as noted above, is comprised of 284 ff. whereas Be’er Moshe, is comprised of 104 ff.

R. Abraham ben Hananiah dei Galicchi Jagel: As noted above, Jagil’s Lekah Tov has been translated into several languages. An example of these translations is the 1679 Latin edition with the title Catechismus Judaeorum. It was published in London at the press of Anne Godbid & J. Playford in duodecimo format (16⁰: [26], 58, 58 pp.).

1679, Catechismus Judaeorum (Lekah Tov), Abraham Jagel, London
Courtesy of the National Library of Israel

It is a bi-lingual Hebrew-Latin c6atechism, or handbook on the principles of the faith, based on Maimonides’ thirteen principles of faith, for Jewish youth. Lekah Tov was written at a time when catechisms became popular as a genre due to the Reformation and Counter-Reformation. It is the first such work written for Jews. This notwithstanding, Lekah Tov became popular not only with practicing Jews but also with non-Jews and converts as a window into the beliefs of Judaism.

More unusual is this edition, the first Hebrew-Latin translation. It was prepared by an apostate, Ludovicus de Compeigne de Viel, who had been engaged by Colbert, Louis XIV’s minister of finance, to translate Maimonides’ Yad ha-Hazakah into Latin. Originally a convert to Catholicism, he subsequently converted to Protestantism under the tutelage of Henry Compton, Bishop of London.[18]

The title page, entirely in Latin, is followed by a dedication to Compton [3-10], an introduction in Latin with Hebrew [11-19] which traces the history of Jewish theology and works on Judaism, and errata. The text is in Hebrew and Latin on facing pages, each with its own pagination. The Latin text has marginal biblical references. The volume concludes with a prayer and a colophon from Meshullam ben Isaac. De Viel’s purpose, as expressed in the introduction, is to demonstrate the similarity of much Jewish and Christian doctrine. He also paraphrases Jagel’s introduction. The popularity of Lekah Tov with non-Jews may be partially attributed to the false belief, based on a misidentification, that Jagel had converted to Christianity; that unlike other works by apostates it was used to emphasize similarities rather than differences between the two religions; and that c7atechisms were part of the conversionary experience. None of this was Jagel’s intent when he wrote Lekah Tov, which was intended solely for Jewish youth.

Translations of Lekah Tov in our period were p8rinted previously in Amsterdam (1658, 1675 [Yiddish]), 9and reprinted in London (1680 [English]), Amsterdam (1686), Leipzig (1687 [Hebrew-Latin]), Franeker (1690 10[Hebrew-Latin]), Frankfurt am Oder (1691[Hebrew-Latin]), and Leipzig (1694 [Hebrew-German]).[19]

III

R. Eliezer Lipman ben Menahem Maneli (Menli) of Zamosc: Discourses and explanations of Talmudic aggadot and midrashim by R. Eliezer Lipman ben Menahem Maneli (Menli) of Zamosc, published at the Frankfurt on the Oder press of Michael Gottschalk. Originally a bookbinder and book-dealer, Gottschalk was brought into the press by Johann Christoph Beckmann, a professor of Greek language, history, and theology at the University of Frankfurt on the Oder. The latter, to, whom the press originally belonged, found that he had insufficient time to operate the press and he contracted with Gottschalk to operate the press. Among the latter’s publications is the Frankfurt on the Oder Talmud (1693-99).[20]

The title-page has a decorative frame comprised of two cherubim blowing horns at the top, at the bottom an eagle with spread wings. Within the wings is a carriage and figures, and in the middle of this scenario is a depiction of the Patriarch Jacob meeting Joseph in Egypt.[21] The text of the title-page begins “[The] wise man, hearing them, will gain more wisdom (Lekah ha-tov) ישמע החכם ויוסף הלקח הטוב” (cf. Proverbs 1:5). The initial letters of the first four words in that phrase enlarged, spelling the Tetragrammaton.

1704, Frankfurt on the Oder, Eliezer Lipman ben Menahem Maneli
Courtesy of Hebrewbooks.org

The title-page is followed by several pages of approbations, from fourteen rabbis, two pages of material that had been omitted from the text, an introduction that begins “come and partake of my food and drink of the wine that I mixed” (Proverbs 9:5). Below it a listing of the section heads, the author’s apologia, his introduction, further apologia, and finally the text, set in a single column in rabbinic letters.

IV

Seven editions of Lekah Tov have been described in this article, representing editions of that work published in the sixteenth and seventeenth centuries, as well as one work published in 1704. Among them are two editions of Abraham Jagel’s popular Lekah Tov, that is a Hebrew and a bilingual Hebrew-Latin edition. These works are varied, beginning with a midrashic commentary on the Pentateuch and the Five Megillot; a commentary on the Torah with reasons for the mitzvot; a commentary on the book of Esther; a Hebrew-Judeo-German (Yiddish) glossary on the Prophets and Hagiographa; discourses and explanations of Talmudic aggadot and midrashim, and as already noted, two editions of Abraham Jagel’s popular Lekah Tov.

These works encompass Bible commentaries, a glossary, and a Jewish catechism. None of these works are polemic, but rather, in keeping with the verse from which the title is taken “For I give you good doctrine (lekah tov); do not forsake My Torah (Proverbs 4:2), they are intellectually challenging and inspiring. That authors, from disparate places, and perchance cultures chose this title for their works, is clear, for the books described in this article represent “good doctrine.”

[1] I would like to express my appreciation to Eli Genauer for reading this paper and his editorial; comments.
[2] Previous articles on the varied use of a single book titles by Marvin J. Heller are “Adderet Eliyahu; a Study in the Titling of Hebrew Books” in Studies in the Making of the Early Hebrew Book (Brill, Leiden/Boston, 2008), pp. 72-91; and “Keter Shem Tov: A Study in the Entitling of Books, Here Limited to One Title Only,” http://seforim.blogspot.com, December 17, 2019 reprinted in Essays on the Making of the Early Hebrew Book, (Brill, Leiden/Boston, 2021), pp. 85-111. Menahem Mendel Slatkine wrote a two- volume work, Shemot ha-Sefarim ha-Ivrim: Lefi Sugehem ha-Shonim, Tikhunatam u-Te’udatam (Neuchâtel-Tel Aviv, 1950-54) on book names, Abraham Berliner, Joshua Bloch, and Solomon Schechter wrote articles on the subject and there are encyclopedia entires on the subject.
[3] Shabbetai Bass, Siftei Yeshenim (Amsterdam, 1680), pp. 35-36 nos. 44-48; Ch. B. Friedberg, Bet Eked Sepharim, (Israel, n. d), lamed 745-54 [Hebrew]; Isaac Benjacob, Ozar ha-Sefarim (Vilna, 1880, reprint New York, n. d.), p. 17 nos. 329-37; Yeshayahu Vinograd, Thesaurus of the Hebrew Book. place, and year printed, name of printer, number of pages and format, with annotations and bibliographical references I (Jerusalem, 193-95), p. 71 [Hebrew].
[4] Isidore Singer, M. Seligsohn, “Tobiah ben Eliezer,” Jewish Encyclopedia v. 12 (New York, 1901-06), pp. 169-71.
[5] Mordechai, Margalioth, ed., Encyclopedia of Great Men in Israel II (Tel Aviv, 1986), cols. 565-69 [Hebrew]; Shmuel Teich, The Rishonim: biographical sketches of the prominent early rabbinic sages and leaders from the tenth-fifteenth centuries, ed. Hersh Goldwurm (Brooklyn, 1982), p. 186; https://en.wikipedia.org/wiki/Tobiah_ben_Eliezer#Lekach_Tov.
[6] C. B. Friedberg, History of Hebrew Typography in Italy, SpainPortugal, and Turkey (Tel Aviv, 1956), pp. 134, 144 (Hebrew).
[7] Avraham Yaari, Hebrew Printing at Constantinople (Jerusalem, 1967), pp. 117-18 no. 183 [Hebrew].
[8] Isaac Benjacob, Oẓar ha-Sefarim (Vilna, 1880; reprinted New York, 1965), p. 269 no. 380; Abraham David, “Najara,” Encyclopedia Judaica 14 (Jerusalem, ) pp. 760-61; M. Franco, “Moses Najara,” 9 Jewish Encyclopedia (New York, 1901-06), p. 151; Shimon Vanunu, Encyclopedia Arzei ha-Levanon. Encyclopedia le-Toldot Geonei ve-Ḥakhmei Yahadut Sefarad ve-ha-Mizraḥ III (Jerusalem, 2006), p. 1574 [Hebrew]. A possible solution to the misdating was suggested by R. Aharon Berman, who wrote in a private communication dated December 5, 2023, “I would guess that the words on the line after “me’eretz” indicate that we are counting the 4 letters of the word “me’eretz” as part of the date. That is 331 + 4 equals 335.”
[9] Concerning Eliezer ben Isaac Ashkenazi see Marvin J. Heller, “Early Hebrew Printing from Lublin to Safed: The Journeys of Eliezer ben Isaac Ashkenazi,” Jewish Culture and History 4:1 (London, summer, 2001), pp. 81-96, reprinted in Studies in the Making of the Early Hebrew Book (Leiden/Boston, 2008), pp. 106-20.
[10] Hersch Goldwurm, The Early Acharonim: Biographical Sketches of the Prominent Early Rabbinic Sages and Leaders from the Fifteenth-Seventeenth Centuries (Brooklyn, 1989), pp. 127-28; Mordechai, Margalioth, ed., Encyclopedia of Great Men in Israel III (Tel Aviv, 1986), cols. 735-36 [Hebrew]; Abraham Yaari, Sheluhei Erez Yisrael (Jerusalem, 1951), pp. 236 [Hebrew]; Avraham Yaari, Sheluhei Erez Yisrael I (Jerusalem, 1951), pp. 238-40 [Hebrew];
[11] Concerning the widespread us of the temple device see Marvin J. Heller, “The Cover Design, ‘The Printer’s Mark of Marc Antonio Giustiniani and the Printing Houses that Utilized It,’” Library Quarterly, 71:3 (Chicago, July, 2001), pp. 383-89, reprinted in Studies, pp. 44-53; Avraham Yaari, Hebrew Printers’ Marks (Jerusalem, 1943), pp. 11 and 129-30 nos. 16-17 [Hebrew].
[12] Concerning the Di Gara press see A. M. Habermann, Giovanni di Gara: Printer, Venice 1564-1610. ed. Y. Yudlov (Jerusalem, 1982) [Hebrew].
[13] Morris M. Faierstone, “Abraham Jagel’s Leqah Tov and Its History,” The Jewish Quarterly Review LXXXIX (Philadelphia, 1999), pp. 319-50; David B. Ruderman, Kabbalah, Magic, and Science: the Cultural Universe of a Sixteenthcentury Jewish Physician (Cambridge, 1988), pp. 8-24, 158-68.
[14] Executive Committee of the Editorial Board, Aleander Kisch, “Moses Saerteles (Saertels) b. Issachar ha-Levi” J. E. 9, p. 92; Olga Sixtová, “The Beginnings of Prague Hebrew Typography 1512-1569,” in Hebrew Printing in Bohemia and Moravia, Ed. Olga Sixtová (Prague: Academia, 2012), pp. 67-68.
[15] “in ejus Glossario in Pent. etc. (Explicavit Moses), quod seorsim expressum et una cum textu (1604-5. etc.). [Incipit ut Paraphr. praecedens, sed in Ed. I. foll.12 absolvitur, sistitque Versionem verborum seu sententiarum una cum Expositionibus].” Moritz 2Steinschneider, Catalogus Liborium Hebraeorum in Bibliotheca Bodleiana (CB, Berlin, 1852-60), cols. 2428-29 no. 7038.
[16] Otto Muneles, Bibliographical survey of Jewish Prague: The Jewish State Museum of Prague (Prague, 1952), p. 29 no. 63-64.
[17] Concerning the early use of Vaybertaytsh see Herbert C. Zafren, “Variety in the Typography of Yiddish: 1535-1635,” Hebrew Union College Annual LIII (Cincinnati, 1982), pp. 137-63; idem, “Early Yiddish Typography,” Jewish Book Annual 44 (New York, 1986-87), pp. 106-119. In the former article, Zafren informs that the first book in which Yiddish was a segment was major was Mirkevet ha-Mishneh (Sefer shel R. Anshel), a concordance and glossary of the Bible (Cracow, 1534/35). In the latter article he suggests that the origin of Vaybertaytsh, which he refers to as Yiddish type, was the Ashkenaz rabbinic fonts, supplanted by the more widespread Sephardic rabbinic type which prevailed in Italy (p. 112).
[18] Morris M. Faierstone, op. cit.
[19] Charles Berlin and Aaron Katchen, eds. Christian Hebraism. The Study of Jewish Culture by Christian Scholars in Medieval and Early Modern Times (Cambridge, Ma., 1988), p. 44 no. 71; L. Fuks and R. G. FuksMansfeld, Hebrew Typography in the Northern Netherlands 1585 – 1815 (Leiden, 1984-87), II pp. 249 no. 283, 267-68 no. 332; Cecil Roth, Magna Bibliotheca Anglo-Judaica; a Bibliographical Guide to Anglo-Jewish History (London, 1937), pp. 329 no. 5, 428 no. 1.
[20] Concerning the see Gottschalk press and the Frankfurt on the Oder Talmud (1693-99) see Marvin J. Heller, Printing the Talmud: Complete Editions, Tractates, and Other Works and the Associated Presses from the Mid-17th Century through the 18th Century, (Brill, Leiden/Boston, 2019), pp. 47-73
[21] Concerning the eagle motif on the title-page of Hebrew books see Marvin J. Heller “The Eagle Motif on 16^th and 17^th Century Hebrew Books,” Printing History, NS 17 (Syracuse, 2015), pp. 16-40, reprinted in Essays on the Making of the Early Hebrew Book, (Brill, Leiden/Boston, 2021), pp. 5-29.

Legacy Judaica‘s Spring auction is on May 8, 2022. The catalog includes some especially rare first editions, Siddur ha-Shelah, (no. 119), Mesilat Yesharim (no. 45), a volume of the Bomberg edition of the Talmud (lot 10), and some other items of interest.

Sefer Evronot, Offenbach, 1722, (lot no. 63) is an unusual Hebrew book because it includes paper cut-outs that are reattached to the book and form an interstellar calculator allowing precise determination of the calendar. Despite the celestial nature of the work, at the top center of the title page, held aloft by putti, is a depiction of the universe. The earth is in the center, but unlike a geocentric approach with the sun circling the earth, there is no reference to the sun, only the planets. The image depicts the orb system of planets and pre-dates even Copernicus’s theory. (See, Ariel Cohen, “The Celestial Host, the Calendar, and Jewish Art,” in Written in the Stars: Art and Symbolism of the Zodiac, ed. Iris Fishof (Jerusalem: Israel Museum, 2001), 18). Israel ben Meir (his father was a noted publisher) and his non-Jewish partner, Bonaventura de Launoy, published the book. (See Marvin Heller, Essays in the Making of the Hebrew Book (Leiden: Brill, 2021), 273-92).

The Sefer Evronot is not the book for which this title page was designed. Instead, Israel first used the illustration on Abraham ben Hiya’s, Tzurat ha-Arets (Offenbach, 1720). The image is appropriate for the book as it also discusses the solar system’s depiction. This is one of the earliest examples of a title page illustration allusion to the book’s contents and not serving an aesthetic purpose.

A similar illustration to the title page’s celestial illustration appears in the book. 58a. But the one in the book is less sophisticated than the title page; that one contains a very detailed zodiac. Although it was specifically created for a Hebrew book it didn’t stop the ubiquitous error of depicting Aaron with a bishop’s miter, this time with a cross clearly visible. The Moses and Aaron theme title page first appeared in 1610 in Hanua. One year later, it was used in another book, Nishmat Adam, (lot no. 11), although that one does not have a cross.

The zodiac title page illustration appears on at least two other of Israel’s books that have no association with celestial ideas: a commentary on Birkat ha-Mazon and Zemirot, Mateh Yehuda, (Offenbach,1721) and a Haggadah with the commentary Zera Yehuda (Offenbach, 1721). Israel printed over 40 books, and it is unclear why he decided to use it on these two books that seemingly have no relationship to the image.

There are two items related to R. Hutner’s Torat ha-Nazir. Lot 70, is the first edition published in softcover format in Kovno in 1932. This is the only edition that R. Kook’s approbation appears. The later editions of Torat HaNazir remove it. In some editions, all the approbations are removed and in others, R. Chaim Ozer’s was retained. (although the printers did not alter the original heading, “Letters of the Ge’onim.” See Marc Shapiro, Changing the Immutable (Oxford: Littman, 2015), 157-160.

Another item related to the Torat Ha-Nazir is a letter to an unidentified correspondent (lot 236). Apparently, R. Hunter chanced upon that person’s copy of Torat ha-Nazir with their notes. One of which took issue with R. Hutner’s approach, and he defended himself. R. Hutner added a postscript that the tone was inappropriate whatever the objections (in the margins).

Lot 223 is a letter from R. Chaim Ozer regarding cremation.  Although today after the Holocaust it seems difficult to imagine cremation widely accepted by Jews, in the early 20th century, some Orthodox rabbis permitted cremation.  R. Ozer’s letter discusses one the main works, Hayyi Olam.

Lot 77 is two broadsides. One is from a list of Rabbis against Heichal Shlomo, against attending a convention. These Rabbis consistently opposed the creation of Heichal Shlomo and the idea of a Central Organization that controlled and spoke for all Orthodox Jews. The Heichal Shlomo board discussed how best to respond to those objections. Ultimately, Zerach Warhftig, argued against responding as they tried to engage and even discuss changing the name but received no response. (See Protocols of the Merkaz HaRuchani HaOlami, January 28, 1958).

The inauguration of Heichal Shlomo occurred on Lag Be’Omer, 1958, to great pomp and circumstance. The mayor held a cocktail party in the garden, and the gentleman was told to wear suits and hats.

There are both editions of the “Survivors Talmud.” (lots 160 & 161).The first edition, published in Munich in1946, only included Nedarim and Kiddushin. In 1948, the American Army published a complete edition of the Talmud. These are the only editions of the Talmud that any government published before the establishment of the State of Israel. There are three introductions, one in English and two in Hebrew. The English one reads in part:

This edition of the Talmud is dedicated to the United States Army. This Army played a major role in the rescue of the Jewish people from total annihilation and after the defeat of Hitler bore the major burden of sustaining the DPs of the Jewish faith. This special edition of the Talmud published in the very land where, but a short time ago, everything Jewish and Jewish inspiration was an anathema, will remain a symbol of the indestructibility of the Torah. […]

Rabbi Samuel A. Snieg, Chief Rabbi of the United States Zone, “Dedication.”

Munich, Germany, 1948 edition of the Talmud printed under the supervision of the Procurement Division, European Quartermaster General Depot, United States Army.

Interesting personal copies one is R. Chaim Ozer’s Achiezer with his inscription (lot 176), R. Chaim Keanievsky’s personal siddur (lot 181), and R. Yaakov Loberbaum’s, the author of the Nesivot ha-Mishpat, copy of Shev Shema’ata (lot 183) and R Chaim Berlin (item 182) a rare volume of Shut Harshaba that R Hirsch got as a gift from his father (item 179) and two items from the Beis Halevi’s Library (items 192 &194) [One with unpublished glosses].

The Image of the Menorah in the Early Printed Hebrew Book

By Dan Rabinowitz

The menorah is one of the most recognizable Jewish symbols. Today it has been adopted by the State of Israel as her official symbol, and throughout history there are numerous examples of its use. Coins, headstones, paintings and synagogue walls etchings, lamps, mosaics, manuscripts, and books, all provide examples of the widespread usage and mediums. Many of these examples have been addressed by scholars, but there is a lacuna regarding the depiction of the menorah in the Hebrew book.[1]

Despite that it is one of the most recognizable and ubiquitous symbols, the image of the menorah barely makes an appearance on Hebrew books. The first appearance of the menorah in a Hebrew book was Yosef Yikhya’s, Torah Or, Bologna, 1538. There is appears on the verso of the titlepage. The menorah is created via micrography and extols the value of the work. The designer even correctly places the menorah on a stand (and not a solid base as shown in the Arch of Titus). [2] 

From the inception of printing, Hebrew printers, like others, created and populated their works with their unique marks. These symbols served advertising for the publisher. Perhaps the only other symbol with such wide resonance and connection to the Jews as the Menorah is the star of David. There are over 200 printers’ marks, or emblems, close to 20 examples of the Magen David, and multiple appearances of other Jewish symbols, lions, David, Solomon, eagles, but two only of a menorah. [3]

Meir ben Jacob Parenzo, (aka Parentio, Parintz, or Maggius Parentinus), operated in Venice from 1545 until his death in 1575. He apprenticed in Daniel Bomberg’s printing shop, and in 1545 he began working for the Venetian printer, Cornelio Adelkind. Although most of his career was in the service of others, he did publish a handful of books on his own. He did not own a press and likely used Bomberg’s Press. All of these books bear Parenzo’s printers mark, a menorah. Whatever ambiguity there is about his surname, his personal name, Meir, alludes to lighting, thus a natural connection to the menorah. On either side of the menorah, “This is Meir’s menorah, he is the son of Yaakov Parenzo.”

Parnezo’s mark comprises around half of the title page. This grotesque design was called out for being unique among his contemporaries, but that it was “a pathetic bid for immortality.” As a measure of divine justice, according one scholar of Hebrew Italian printing, that “Meir Parenzo, notwithstanding his hope for immortality, is completely forgotten except for a small circle of Hebrew bibliographers, who, although conscious that the individual contributions of the men they commemorate are negligible in the great current of human affairs as it flows majestically down through the ages, nevertheless handing down (or transmitting) the knowledge of the existence of so many faithful men who have contributed their share to the enlightenment of the world.” [4] 

Another printer, also a Meir, incorporated the menorah into his mark, although on a much smaller scale. Meir ben Yaakob Ibn Ya’ir, here too, the surname, Ibn Ya’ir, references light. The menorah appears inside a border, flanked by olive trees surrounded by four verses, all mentioning either oil or light. Meir was active between 1552 and 1555. He published a few books abridged books on the laws of shehitah, as well as a work on Hebrew grammar, all exceedingly rare. [5]

The menorah next makes an appearance in Moshe Cordovero’s, (1522-1570), first book, Pardes Rimonim. This illustration is not of the biblical menorah, rather it is a kabbalistic representation of the sefirot overlaid on the menorah frame. This illustration was printed in most subsequent editions of Pardes Rimonim, although not as an exact reprint of the first edition.

The first illustration of the menorah that was an attempt to depict and elucidate complexities of the biblical menorah only occurred in 1593. There were two books that include the illustration, Biurim and Omek Halakha.

R. Yaakov ben Shmuel Bunim Koppelman, (1555-1594) studied with R. Mordechai Jaffe, author of the Levush. In addition to traditional subjects, he was also well-versed in (my astronomy and mathematics. He published Omek Halakha in Cracow, 1593, a commentary on the Talmud. This slim volume of just 95 pages, is rich in illustrations, which appear on nearly every page. For example, there is a thirteen page an in-depth discussion of astrology with two full page diagrams of the lunar paths and many of the other pages include multiple illustrations. Koppelman includes a detailed diagram of the menorah with an accompanying commentary. [6]

The Biurim on Rashi was published in 1593 in Venice and attributed to R. Nathan Shapira. Shapira had died in 1577; his work includes three illustrations, the menorah, a map of Israel, and a diagram of how the spies carried the large bunch of grapes. This is the first Hebrew book to contain a map.

The book is one of the handful of examples of literary forgeries in Hebrew books. R. Shapira’s son, Yitzhak, published his father’s comments on Rashi in 1597 in a work titled Imrei Shefer. In the introduction he explains why there are two books that are attributed to his father on the same topic published within a few years of one another.

ואתם קדושי עליון אל תתמהו על החפץ שזה שתנים ימים יצא בדפוס איזה ביאורים הנקראים על שם הגאון אדוני אבי ז”ל, כי המציאוהו אנשים, אנשי בלי עול מלכות שמים, חיבור אשר מצאו, ומי יודע המחבר אם נער כתבו ורצו לתלותו באילן גדול אדני אבי ז”ל, חלילה לפה קדוש להוציא מפיו דברים אשר אין בהם ממש, כי הכל תוהו ובוהו ומזויף מתוכו, כלו עלו קמשונים כסו פניו חרולים. וכאשר הגיעו הספרים ההם בגלילות אלו הכרוז בהסכמת כל רבני ורשאי המדינות שלא ומכרו ויהיו בבל יראה ובבבל ימצא בכל ארצות אלו. ואשר קנו מהם יחזר להם המעות ולא ימצא בביתך עולה

[“Do not wonder why I am publishing what was published just two years ago, the Biurim, in my father’s name. As wicked people, people who found a book, a book which may have been written by a child. However, they wanted to use my father’s good name to publish their work. But, my father would never say such stupidities which appear in that book, their book is worthless and a forgery. When this was discovered all the Rabbis agreed that this book [Biurim] should be under a ban, no one should be allowed to keep it. Whomever purchased it should have their money returned, they should not allow a stumbling block into their home.”]

According to R. Shapiro’s son, the Biurim, is illicitly associated with his father. His son was not the only one to question the authenticity of the Biurim. R. Yissachar Bear Ellenburg in his Be’er Sheva and in his Tzedah L’Derekh states unequivocally that R. Shapiro did not write the Biurim.

The diagram of the menorah does not appear in Imrei Shefer. [7]

The diagram of the menorah appears in Yosef Da’at printed in Prague in 1609 by Rabbi Yosef ben Issachar Miklish (1580 -1654). He was a student of the Maharal of Prague and of Rabbi Ephraim Lonchitz, the author of the Klai Yakar. The purpose of the book was to correct errors in Rashi’s commentary. He used a 14^th century manuscript to make those corrections. To better facilitate studying Rashi, the book includes illustrations including the menorah. This a full page with detailed descriptions of each part of the menorah. Interestingly, the base seems to combine two different approaches, one that has three legs and the other with a solid base. Miklish reproduces a solid base on top of three legs.

In 1656/57 Yalkut Shimoni with the commentary of Berit Avraham was published in Livorno, Italy. This one includes a menorah created via micrography, but unlike the others that appear at the front of the books, this one appears at the end. It is a colophon.

A unique example of the menorah appears in the 1684 edition of the Humash. It is the sole illustration on the title page. When the menorah appears on the title page, it is almost always in conjunction with other vessels or other symbols. This is perhaps the only instance of a stand-alone menorah on a title page.

The next appearance is the first time it illustrated a titlepage, in R. Shabbati ben Joseph Meshorer Bass’s (1641-1718), most well-known work, his commentary on Rashi, Siftei Hakhamim. This edition was published in Dyhernfurth, Germany at Bass’s press. This was the second edition of the work, (the first was published in 1680 in Amsterdam), and includes one of the most unusual Hebrew titlepages.

The titlepage depicts Moshe and Aaron, with the ark and other temple vessels, and prominently, and occupying the bottom third of the page, a menorah. Bass makes multiple luminary allusions on the title page. This edition includes

“.עם תרגום אנקלוס וביאור מאור הגדול רש״י ז״ל: ועליו מפרשי דבריו ככוכבים יזהירו: ובש״בעה נרות יאירו”

The menorah makes another appearance on the next page. Like the Torah Or, Bass uses micrography, in praise of the book, to form the shape of the menorah.

Aside from the figurative arts there was also a musical component to the page. This is not surprising as Shabbati was a musician and singer, and a noted bassist singer, hence the “Meshorrer”/“Bass” surname. On the bottom of the page, in the left corner, appears “Az Yashir Moshe” the beginning of the one of the fundamental Jewish musical pieces, and musical notes appear at the bottom of the page, in what appears to be a composition of sorts. This is one of the few times musical notations appears in early Hebrew religious books. Another is Immanuel Hayi Ricci’s commentary on the Mishna, Hon Ashir, printed in Amsterdam in 1731. Appended to the end of the book are three songs, two set to music with notation.

Another menorah appears in Bass’s edition. On the next page, like the Torah Or, the menorah is comprised of micrography extoling this edition with the commentary. [8]

In 1694, R. Avraham Tzahalon published a portion of his grandfather’s, R. Yom Tov Tzahalon’s (c. 1559-1638), responsa. R. Yom Tov was a child prodigy, only eighteen when he published his first work. That same year he was included in granting an approbation alongside R. Moshe Tarani (Mahrit) and R. Moshe Alschech. R. Yom Tov was no shrinking violet. And he had a dim view of R. Yosef Karo’s Shulhan Arukh. He belittled it, calling it only fit for children. The title page and the verso of the 1694 edition include depictions of the temple vessels and specifically the menorah. But his responsa do not discuss the temple vessels and this was included, “to beautify and embellish the title page of the book in a manner fit for print; the students illustrated holy concepts, the form of the Tabernacle and the Third Temple.” A rare of example of acknowledging the aesthetic beauty in the Hebrew book.

Three years later, the Italian scholar, Moshe Hafetz, (1663-1711), (aka Moses Gentili) published Hannukat ha-Bayit which discusses the Temple in great detail and includes numerous illustrations. Because of the illustrations, the book was printed in two parts. First all the text was printed with space left for the illustrations and illustrations were then added using etched copperplates.

His other work, Melekhet Mahshevet, includes his portrait, the first rabbinic portrait included in a Hebrew book, which is somewhat controversial because he is bareheaded. In a 19^th century edition, a yarmulke was drawn on his head.[9]

The Bass titlepage served as the model for another lavishly illustrated titlepage. Although it served as a model, it was only a model and not a perfect facsimile. This was intentional. In this instance, the Menorah was the most important visual element of the titlepage and therefore is significantly larger than before and is in the center not the bottom of the page. Of course, this is because the book’s title includes menorah, Menorat haMeor. The book’s structure is based upon the biblical menorah and divided into seven parts, like the seven branches of the menorah. The title page was likely executed by the well-known engraver, Avraham ben Jacob, whose lavishly illustrated 1695 edition of the Haggadah, remains among the most remarkable illustrated haggadot and served as a model for dozens of other illustrated haggadot. Like in the Biruim, Jacob also produced a map, this one much more refined than the basic one in the Biruim. It is a large fold-out map of the Jews travels from Egypt to Israel. Most of his illustrations are copied from the Mathis Maren, a Christian, whose biblical illustrations were very popular. [10]

The illustration was reused by another Amsterdam printer, Solomon Proops, in 1723. Thus, this is one of the few instances of Hebrew titlepage images reflecting the title or the work itself rather than serving a mere ornamental purpose. The titlepage imagery was reused for a 1755 edition of the Torah. This time the menorah is significantly reduced in size.

While these menorahs depicted in Hebrew books, might differ in small details, they are consistent in depicting curved, and not straight, arm. Nearly every manuscript and all the archeological finds similarly depict the curved branches. Of late, this is subject to controversy. The Lubavitcher Rebbe heavily promoted his position that the arms of the biblical menorah were straight and not rounded. In the main, he based this on a manuscript in the Rambam’s hand that includes a depiction of the menorah with straight arms and the confirming testimony of his son that, according to Rambam, the arms were straight. This produced one of the more unusual exchanges in a haredi journal, in his instance, Or Yisrael, published in Monsey, New York. Those historic and documentary materials are used by R. Yisrael Yehuda Yakob, from Kollel Belz, as evidence against the Rebbe’s position. The article uses the mosaics in the 7^th century Shalom al Yisrael Synagogue. The menorah is at the center of a large mosaic. The inscription near the mosaic indicates that the entire congregation, men, women, old and young, all took part in the creation of the mosaic. The Burnt House in Jerusalem’s Old City, that dates to the Second Temple period. Yakob then moves on to numismatic, citing a coin from the Hasmanoim period. Section three is then devoted to a discussion of the menorah on the Arch of Titus. Yakob references unidentified “hokrim” who posit that the base of the menorah was broken en route to Rome and was replaced with a base of a Roman creation. This explains why the base does not conform with the Rabbinic description and contains bas reliefs of various mythical and real animals. It was not the true one. Although unidentified, this position is that of the former Chief Rabbi of Israel, Rabbi Herzog as well as the nineteenth-century British Protestant academic, William Knight. Only in section four does Yakob turn to the more traditional Medieval Jewish commentaries. Ultimately, Yakob concludes that the rounded arms is the correct depictions and “justifies” the custom to draw it that way. Following the text, is a reproduction of the menorah from the second century synagogue, Dura Europas. A most unusual conclusion for a rabbinic article. (The image of the Dura Europos menorah actually depicts a straight arm menorah, that follows the Rebbe’s opinion. This is one of the only archeological examples of a straight arm menorah. The value of this image, however, is questionable. The menorah appears four times at Dura Europos. The straight arm one appears at the upper left corner of the opening for entrance. But, in the panel that specifically depicts the Mishkan and its vessels, there is a rounded arm menorah. While we don’t know what to attribute the differences to, it is more likely that greater care was placed in the accurate reproduction of the menorah within the context of the mishkan rather than were it serves as mere decoration.)

As would be expected, there was a rebuttal article that is more in line with the Haredi approach. The author concedes that his main objection is to Yakob’s approach, the “fundamental point which is almost litmus test of one’s religiosity: any evidence adduced from pictures and archeological evidence, God forbid, to rely upon these things or the conclusions of archeologists.” Although never directly discussed, presumably the author would dismiss the examples in the Hebrew book.[11]

* I would like to thank the bibliophile par excellence, Marvin Heller, for his assistance and close read of the article, and William Gross, whose library of objects and books is among the richest private collections, and provided most of the images, with credit to the Gross Family Collection. Many are available at the Center for Jewish Art website (https://cja.huji.ac.il/browser.php).

[1] See for example, Rachel Hachlili, The Menorah, The Seven-Armed Candelabrum (Leiden: Brill, 2001) who exhaustively catalogs the examples of menorah depictions but does not discuss the Hebrew book.
[2] For the history of the menorah, see Steven Fine’s comprehensive study, The Menorah, From the Bible to Modern Israel (Cambridge: Harvard University Press, 2016). Also see L. Yarden, The Tree of Light, A Study of the Menorah (Ithaca: Cornell University Press, 1971.
[3] Avraham Yaari, Degali Madfisim ha-Ivriyim (Jerusalem: Hebrew University Press, 1944), see index s.v. magen David and menorah; Yitzhak Yudlov, Degali Madfisim (Jerusalem: Old City Press, 2002); For examples of lions, eagles, and fish, see Marvin Heller, Essays on the Making of the Early Hebrew Book (Leiden: Brill, 2021), 5-84
[4] See Steinschnider, Catalogus Libr Hebr., col. 2984, no. 8761 (discussing his surname); Yaari, Degali, 128-29; Encyclopeadia Judaica, vol. 13 col. 101-02 (1996); David Amram, The Makers of Hebrew Books in Italy (London: Holland Press, 1963), 367-71.

Parenzo may have a second printers mark that only appears once, in the 1574 Bragadini edition of the Rambam. On the verso of the title page is, according to EJ, “a rather daring design” illustrating Venus hurling arrows at a seven-headed dragon. Unmentioned is Venus’ clothes, or lack thereof.

This mark is similar to the Cremona-Sabbioneta, printer, Vincenzo Conti’s mark, with the seven-headed hydra. His, however, has Hercules rather than Venus.

A nude Venus was also used by Allesandro Gardano for his printers mark. He only published one book, a pocket edition of the Shulhan Orakh in 1578. A naked Venus rising appears at the bottom.

Hans Jacob, who published in Hanau in the 1620s, also has a naked Venus rising from a seashell at the bottom of at least four works, R. Moshe Isserless, Torat Hatas, Sefer Mahril, and a Siddur.

For a detailed discussion of Parenzo’s printing activities, see A.M. Haberman, “Ha-madfeshim beni R’ Yaakov Parenzoni be-Veniztia,” in Areshet 1 (1959), 61-88.
[5] See Yudolov, Degali Madfisim (Jerusalem: Old City Press, 2002), 23-24.
[6] See Marvin Heller, “Jacob ben Samuel Bunim Koppelman: A Sixteenth Century Multi-Faceted Jewish Scholar,” Gutenberg-Jahrbuch (Mainz, 2018), pp. 195-207.
[7] Introduction Imrei Sefer, Lublin 1697 (on differences in the printings of the Imrei Shefer see Yudolov, Areshet, 6 (1981) 102 no. 7); Biurim, Venice 1693; R. E. Katzman, “Rabbi Nathan Nata Shapiro – Ha-Megaleh Amukot” in Yeshurun 13 (Elul 2002) 677-700; Introduction [R. E. Katzman], Seder Birkat HaMazon im Pirush shel R. Noson Shapiro, 2000 Renaissance Hebraica, 1-10.
[8] His original surname may have been Strimers. See Shimeon Brisman, A History and Guide to Judaic Bibliography (Cincinnati: Hebrew Union College Press, 1977), 267n.33. For additional biographical information see id. collecting sources.
[9] Dan Rabinowitz, “Yarlmuke: A Historic Cover-up?,” (here) Hakirah (4).
[10] Regarding the map, see Harold Brodsky, “The Seventeenth-Century Haggadah Map of Avraham Bar Yaacov,” in Jewish Art 19-20 (1993-1994): 149-157; David Stern, “Mapping the Redemption: Messianic Cartography in the 1695 Amsterdam Haggadah,” in Studia Rosenthaliana 42/43 (2010-2011), 43-63; Amir Cahanovitc, “Mappot be-haggadot pesah” (Masters thesis, Achva Academic College, 2015), 34-85. For a discussion of this edition and reproductions of some of its images and a comparison with Mathew Merian’s illustrations see Cecil Roth, “Ha-Haggadah ha-Metsuyyeret she-bi-Defus,” Areshet 3 (1961), 22-25; Yosef Hayim Yerushalmi, Haggadah and History (Philadelphia: The Jewish Publication Society, 2005), plates 59-62, 67, 69.
[11] See R. Yisrael Yehuda Yakob, “Tzurot Kani Menorah,” in Or Yisrael 18 () 131-139; R. Nahum Greenwald, “Kani Menorah Ketzad Havei,” in Or Yisrael 18 () 140-154.

Zafenat Pane’ah—A Further Example in the Titling of Hebrew Books
by Marvin J. Heller[1]

Pharaoh called Joseph’s name Zafenat Pane’ah and he gave him Asenath daughter of Poti-phera, chief of On, for a wife. Thus Joseph emerged over the land of Egypt (Genesis 41:45). Zafenat: Zafenat Pane’ah. This name means decipherer of the cryptic (revealer of secrets). There is nothing similar to pane’ah in Scripture (Rashi).

The titling of Hebrew books is a beguiling subject. It has been addressed in several works and I too have addressed the subject in a number of articles. My articles differ, however, from the other studies which are concerned with the titling of books in an overview or general manner, that is, in the manner in which books are titled.[2]

Hebrew book titles often do not reflect the contents of a book, for as Dr. Joshua Bloch observes, that among the most curious characteristics of Hebrew books is that titles “frequently conceal the contents of important works which might otherwise be consulted in the course of research.” As an example, he quotes “Isaac Samuel Reggio (1784-1855), an eminent Italo-Jewish scholar, in his edition of the Behinot HaDaat (Examination of Religion) by Elijah Del Medigo (1460-1497), significantly observed that the book in addition to its other good qualities carries a title corresponding to its contents – a distinction rare among Hebrew books.”

In contrast, my articles explore the various and multiple uses of single titles, themed book titles, as well as titles from Shir ha-Shirim (Song of Songs).[3] In these cases, as Bloch observed, the subject of the book is not immediately obvious from the book title, indeed it might be considered concealed. This article focuses on a title from a unique biblical verse, employing a name that implies cryptic meaning, making its employ by varied books all the more intriguing.

The books with the cryptic title we are concerned with are entitled Zafenat Pane’ah, from the verse noted above “Pharaoh called Joseph’s name Zafenat Pane’ah.” Sixteen varied books, as well as two books with the expanded title Ẓafenat Pane’aḥ Hadash, are recorded in the Bet Eked Sefarim, a bibliography of titles set in Hebrew letters printed from 1474 through 1950.[4] In addition to the works recorded in the Bet Eked Sefarim there have been several additional printings of books with that title as well as books printed under other titles that are composites of several works, some including parts entitled Ẓafenat Pane’aḥ or with subsections or commentaries so entitled.

The examples of books entitled Ẓafenat Pane’aḥ follows, in chronological order, in two parts. The first part is comprised of expansive descriptions of books with our title, the second is concise descriptions of examples of other works with our subject title. In neither case are the titles to be considered comprehensive but rather an example of the varied and expansive uses made by authors in entitling their books Ẓafenat Pane’aḥ.

I

Abraham Menahem Rapa mi-Porto (Rapaport) Ashkenazi, Sabbioneta , 1555: Our first title, appropriately enough, is a work on cryptography by R. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport) Ashkenazi, 1520-c.1594). Abraham Menahem served as rabbi in Verona, as well as heading a famed yeshiva in that location. Prior to accepting his rabbinic position, Abraham Menahem studied secular as well as rabbinic subjects, particularly medicine, and worked as an editor in Hebrew print-shops. His wide scholarship is evident from his other works, particularly his Torah commentary based on Midrashim, Minhah Belulah (Verona, 1594).

1555, Zafenat Pane’ah Abraham Menahem ha-Kohen Rapaport
Courtesy of the Jewish Theological Seminary 

1555, Zafenat Pane’ah
Courtesy of the National Library of Israel

Abraham Menahem spent two years preparing Zafenat Pane’ah. It is a small work, actually a small booklet, described as either a duodecimo (12⁰) or an octavo (8⁰) consisting of [6ff]. In the absence of the place of publication, locations such as Venice (Steinschneider), Ferrara (BenJacob), and Sabbioneta (Sonne) have been suggested. Avraham Yaari, following Sonne, records Zafenat Pane’ah as a Sabbioneta imprint, including it among the books published by the Foa press in that location.[5] The National Library of Israel records Zafenat Pane’ah, giving the location as Sabbioneta but also notes Riva di Trento as a possible place of publication.[6]

The title-page, perchance intentionally cryptic, does not identify the publisher, place of printing, or author, although the latter is evident from the text. Zafenat Pane’ah was, as noted above, published as a small booklet. The text of the title-page, again, lacking the date and place of publication, as well as having no ornamentation, states,

“See, this is new!” (Ecclesiastes 1:10); “In a levelled way” (cf. Jeremiah 18:15); “that they should do according to every man’s pleasure” (Esther 1:8); to write letters to one’s companion as a sealed book that will not be intelligible to those who see it. Even if alien eyes peruse the writing, in this manner it will be a great marvel, that tens of thousands of men all together should write in this way, that one should not understand the thinking of his companion. Even if “all go to one place” (Ecclesiastes 3:20) and hew from one quarry, something impossible to be heard and from intelligence withheld. If not after searching this page, confirming its great benefit as “your eyes uphold righteousness” (cf. Psalms 17:2).

The title-page is followed by Abraham Menahem’s lengthy effusive dedication to his uncle, R. Jacob Mugil, in which he also discusses the need for and value of cryptography, concluding with the date Tuesday, 15 October, 1555, Venice, signed Menahem of Porto. Next is a brief introduction in which the rules of encryption are discussed. He writes that there should be a sign between the writer and the recipient, whether in Hebrew, Ashkenaz, or whichever language the writer chooses, and it does not matter if the signs are numerous or few in number. “‘One who does much sacrifice and one who does less, as long as’ (Berakhot 5a, 17b) he places one letter with another as I will explain.” After some brief instructions on spacing Abraham Menahem signs his name as Menahem ben Jacob ha-Kohen from Porto.

Abraham Menahem’s name follows given in a bold, brief statement referring to the coding of his name, and, also in bold letters, the verse “If you had not plowed with my heifer, you would not have found out my riddle,” (Judges 14:18 ) This is followed by an example, in which Porto’s name appears as Menahem bar Jacob ha-Kohen mi-Porto, followed by the verse. His name is then spelled out over the verse as an encryption example. The text follows, discussing the subject of cryptography.[7]

Abraham Menahem was an eyewitness to the burning of the Talmud in Venice in 1553, which tragic event is reported in the Minhah Belulah, on the phrase “. . . a fiery law unto them,” (Deuteronomy 33:2), where he writes “I fixed these days for myself, for each and every year, for fasting, weeping, and mourning, for this day was as bitter for me as the burning of the House of our God (the Temple).

Anonymous, Prague, [1617]: Our second Zafenat Pane’ah, also a small work, is a very different type of book from Abraham Menahem’s Zafenat Pane’ah. This Zafenat Pane’ah is an alphabetical listing of the chapter heads of Mishnayot in the Babylonian Talmud. It was published at the press of Moses ben Joseph Bezalel Katz in Prague ([1617]) as a quarto (4⁰: 4 ff.). Neither the compiler’s name nor the date are given, the latter being an estimate only. The anonymous author provides a detailed title page in lieu of an introduction, writing:

1617, Zafenat Pane’ah, Prague
Courtesy of the Jewish National and University Library

“O taste and see” (Psalms 34:9) this book, small in size but of great value. “The bed is too short” (cf. Isaiah 28:20) the presentation is long. Many run to and fro, seeking but do not find, “for it was not seen to this day” (I Kings 10:12). How do I think to reset that “which the early ones marked out” (cf. Deuteronomy 19:14), to establish markers and to wrap myself in a tallit stolen from its owner. Who is the man who would think so, to think of me an unfit thought, that I draw waters that are not mine, and I had already “hidden myself among the baggage” (I Samuel 10:22) to avoid the complaints of the mockers. However, the majority urgings of my associates and their desire convinced me to fulfill their requests, because “He who withholds grain [the people will curse him]” (Proverbs 11:26). As not everyone is able to acquire every book which is included and mentioned in this work, all is included here, and whatever time would be lost in trying to locate whichever chapter in all of the books, for it is a spread table (shulhan arukh) with all the savory food from which all the house of Jacob will be fed and nurtured. And I say concerning it, “fortunate is he who comes here and has the learning of all his books is in his hand” (cf. Pesahim 50a, Mo’ed Katan 28a, Ketubbot 77b, Bava Batra 10b). . . .

He concludes that that it is Zafenat Pane’ah (revealer of secrets, Genesis 41:45) for it reveals that which is hidden in the hearts of man. One should acquire this book, honor the Lord, and merit to see the coming of the Messiah speedily in our day.

The text follows in three columns in square letters. Each entry is comprised of the initial words of the first Mishnah in a chapter, the chapter umber, and the tractate name, arranged alphabetically by the first word in a Mishnah. At the end of the volume is a brief colophon summarizing the contents.

Joseph di Trani’s (Maharit), Venice, 1648: In 1648, the Venentian Vedramin press published a folio (2⁰: [2], 236, 13 ff.) edition of R. Joseph ben Moses di Trani’s (Maharit, 1568–1639) discourses on the weekly Torah portion and festivals, entitled Zafenat Pane’ah. Trani was born in Safed under auspicious signs. On the night that he was born R. Moses Alshekh reputedly saw a great light over his house; his name was selected prior to his birth by R. Moses Cordevoro; his father noted that the year of his birth equaled איש חי (329 = late 1568; a valiant man, II Samuel 23:20), and he received a blessing from R. Joseph Caro prior to the latter’s death. Plague forced him to leave Safed for Egypt, returning, spending some time in Damascus and Jerusalem, but, by 1594 in Safed for an extended period of time where he headed a yeshivah. In 1599, he was sent as an emissary from Safed to Constantinople, and after a second visit, in 1604, heading a yeshivah, and eventually becoming chief rabbi. Among his students were R. Hayyim Benveniste, R. Joshua Benveniste, R. Hayyim Algazi, and R. Solomon ha-Levi.

The title page says that it is Zafenat Pane’ah, “satisfied with favor, and full of” (Deuteronomy 33:23) discourses on the Torah, updated, that were written and corrected by the great man . . . Printed “In the year of this הזאת (5408 = 1648) jubilee you shall return” (Leviticus 25:13).

The title page is followed by two quatrains of verse from the author’s son, R. Moses di Trani, with the heading, “I am the poorest of the poor” (cf. Judges 6:15) “my mouth shall praise you with joyful lips” (Psalms 63:6). Next is Moses’ introduction, the introduction of R. Yom Tov ben Yaish, and verse in praise of the author from his young pupil R. Isaac Alankowa, each paragraph beginning with the word kol (voice), all in a single column in rabbinic letters. At the end of the volume is the introduction of the second editor, R. Jacob ben Moses ha-Levi. The last introduction is printed twice, once with and once without Moses’ name and with variant headings. Zafenat Pane’ah concludes with indexes of verses, Midrashim, and rabbinic sayings. In his introduction Moses begins paragraphs two through nine with the phrase “before the light of the Torah became submerged” due to the destruction of the first Temple; decrees of the wicked Greek kings; destruction of the second Temple; etc. The following ten paragraphs begin “This” is in praise of his father and his work.

1648, Zafenat Pane’ah, Joseph ben Moses di Trani (Maharit), Venice
Courtesy of the Library of Agudas Chassidei Chabad Ohel Yosef Yitzhak

Zafenat Pane’ah is comprised of two to three sermons on each parashah and on festivals. Each homily begins with a quote from a Midrash or equivalent source in square letters, which is then explicated. Sources are given in the margins. The only decorative material is the frame about the heading of the first discourse and a design after the introduction of Jacob ben Moses with his name.

This is the only edition of Zafenat Pane’ah. Other works, excepting di Trani’s responsa and novellae, are no longer extant.

Samuel ha-Kohen di Pisa Lusitano, Venice, 1656: Controversial commentary on the difficult passages in the books of Ecclesiastes and Job by R. Samuel ha-Kohen di Pisa Lusitano (16th-17th cent.). Printed as a quarto (4⁰: [4], 3-33 (should say 31) ff.) in 1656 by the Vendramin press in Venice, this is the only edition of this Zafenat Pa‘ane’ah, the only work of Lusitano, a scholar of Portuguese origin. The title, appropriately, reflects Lusitano’s purpose, to be, appropriately enough for our title, a revealer of secrets (Rashi on Genesis 41:45). Zafenat Pane’ah’s title page states that it is “on the unusual terms in Ecclesiastes and an explanation of Job, ‘a blameless and upright man, one who fears God and turns away from evil’ (Job 1:1, 8, 2:3). Also included are correct allusions on the precept of Parah Adumah (red heifer, Numbers 19:2).”

1656, Zafenat Pa‘ane’ah, Samuel ha-Kohen di Pisa Lusitano, Venice
Courtesy of Virtual Judaica

The title page is dated in the month Sivan in the year 416 (1656). Nevertheless, some bibliographic works, such as the Hebrew Bibliographic Project, based on references in the text, record it as a [1640] imprint. There are several pages of verse (2a-4a) in praise of the book by R. Leone (Judah Aryeh) Modena, R. Jacob ben Moses Levi, יא”ק (R. Joshua Abraham Kalimoni), אמ”ט (I, Moses Treibush of the seed of Jacob), and R. Jacob ben Abraham Shalom, nephew of Lusitano. Next is a warm letter ([4b]-4a) to Lusitano from R. Simhah Luzzatto, who raises the question of whether Job, at the time of his afflictions, denied reincarnation. Lusitano’s brief introduction (4b) follows, in which he notes that it is incumbent upon every Jew to learn Torah and to delve into the books of the Bible. He has turned to the works of “the sage Solomon” in the deep work Ecclesiastes and portions of Job and also to the precept of Parah Adumah. It is not Lusitano’s intent to bring novel interpretations but to elucidate the explanations of the sages.

Zafenat Pane’ah, in a single column in rabbinic letters, is divided into fourteen chapters, one through seven on Ecclesiastes, eight through thirteen on Job, and fourteen on Parah Adumah. Several chapters deal with the Messiah, or other controversial subjects: for example, 2) the time of the Messiah, 3) whether a person born after his coming will die, 4) if after reincarnation the Lord will renew the world in such a manner that they will be angels, 8) whether Job is Job ben Issachar ben Jacob, and 11) allusions to Leviathan on the war of Gog and Megog and whether the Lord revealed to Job his ways, wisdom, and knowledge.

Lusitano’s positions, particularly on reincarnation, incurred opposition from several rabbis. Most notable is R. Samuel Aboab (1610-94), who in his responsa, Devar Shemu’el (Venice, 1702), writes that when he saw the manuscript of Zafenat Pane’ah he was greatly pained and wrote to Lusitano attempting to prevent its publication. Attempting to explain the coming of the Messiah and reincarnation from the verses in Ecclesiastes is like attempting to “make an elephant pass through the eye of a needle” (Berakhot 55b) and attempting to determine these times is in opposition to the Rambam. Worst of all, he endangers the people by confirming that for this generation is written the end of days and Moses’ promise of redemption.

Joseph (Ashkenazi), Frankfurt on the Oder, 1693-94: Zafenat Pane’ah Hadash, homilies on diverse subjects by R. Joseph ben Moses (Ashkenazi), darshan of Przemyslany and rabbi and dayyan in that location (17th cent.) was printed in Frankfurt on the Oder in 1693-94 at the press of Michael Gottschalk as a quarto (4⁰: 60 ff.). Joseph ben Moses was also the author of Keter Torah (Berlin, 1699), and a commentary on the Haggadah included in Haluka de-Rabbanan (Amsterdam, 1695). The title page describes it as:

Discourses, pleasing and delightful, a “work well set” (cf. Isaiah 3:24), a work of great sharpness, “more precious than fine gold” (cf. Isaiah 13:12) and pearls. His Torah was expounded with forty-nine faces, and within each and every entry you will find many views. Written by the great rav, the darshan of Przemyslany, R. Joseph ben Moses, grandson of the gaon R. Abraham Ashkenazi, descended from Rashi, son-in-law of R. Naphtali of Przemyslany, and author of Ketonet Passim.

Beginning of work is dated to Tuesday, the day that it states two times “it was good טוב (15)” (Genesis 1:10, 12) Kislev “And Pharaoh called Joseph’s name Zafenat-Pane’ah (he who explains what is hidden) שם יוסף צפנת פענח (454 = December 5, 1693)” (Genesis 41:45). The colophon (59b) dates completion of the work to Thursday, 2 Shevat, “One law shall be for him who is native born, and for the stranger who sojourns among you תורה אחת יהיה לאזרח ולגר הגר בתוככם (454 = January 28, 1694)” (Exodus 12:49). There is an approbation signed by nine rabbis from the Va’ad Arba Aratzot (1b); Joseph’s introduction (1b-2b), beginning that the Torah is expounded in 49 ways and concluding that the book is named Zafenat Pane’ah for it reveals that which is concealed; the text (3a-59b) in two columns in rabbinic letters; concluding with errata (60a-b) and a list of abbreviations (60b).

Zafenat Pane’ah Hadash is comprised of 60 discourses on diverse subjects, most discourses addressed in several homilies, varying in number from one homily (17 discourses) to sixteen (1) entries and in length from several pages to brief paragraphs The subjects are Adam and Hava, explained in sixteen entries; Patriarchs and Matriarchs; Eretz Israel; first-born; creation; blessing; exile and redemption; robbery; redemption and David (15 Shir ha-Ma’alot); judgment, mercy, and David; hekdesh; confession and repentance; merit and obligation; sin and punishment; tohorah and tuma; Jacob and tribulation; Judah, yibum and halizah; priesthood; honor of Torah and Torah scholars; honor, praise, and rising; learning the written and oral Torahs; Mizraim; Tabernacle and Temple; Moses and Aaron; flood and dispersion; angels; damages, marital property (melog and zon barzel); marriage and divorce; Sodom and Gomorrah; Sanhedrin; witnesses; slaves; Pesah, removal of hamez; Pharaoh and Mizraim; zaddikim; curse and blessing; Korah and his assembly; Cain and Abel and the splitting of the Reed Sea; Kri’at Shema; betrothal; considerable possessions; the wicked; Shabbat; representatives; tribes; oaths; reward and punishment; reward of mitzvah and Torah; resurrection; repentance; and terumot and ma’aserot.

1693-94, Tzofnat Pa’aneah Hadash, Joseph ben Moses of Przemyslany, Frankfurt am Oder
Courtesy of the Society for the Preservation of Hebrew Books

The title-page has an elaborate pillared form comprised of two cherubim at the top blowing horns and at the bottom an eagle with spread wings. Within the wings is a carriage and figures, and in the middle of this scenario is a depiction of the Patriarch Jacob meeting Joseph in Egypt, recalling “And Joseph made ready his chariot, and went up to meet Israel his father, to Goshen, and presented himself to him; and he fell on his neck, and wept on his neck a good while” (Genesis 46:29).[8]

Jacob Joseph ha-Kohen Katz, Koretz, 1782: A commentary on Exodus by R. Jacob Joseph ben Zevi ha-Kohen Katz of Polonnoye (d. c. 1782). Among the foremost disciples of the Baal Shem Tov, Jacob Joseph was a scion of the kabbalists R. Samson ben Pesah of Ostropol (Ostropoler, d. 1648) and R, Joseph Katz (17^th century), and of R. Yom Tov Lipman Heller (1579–1654). Jacob Joseph’s most famous work is Toledot Ya’akov Yosef (Korets, 1780), discourses on the weekly Torah readings and the first Hassidic book to be published.[9]

1782, Zafenat Pa‘ane’ah, Jacob Joseph of Polonnoye, Koretz
Courtesy of the National Library of Israel

Jacob Joseph’s Zafenat Pane’ah was printed in Koretz ([1] 35 ff.) at the press of Tsevi Hirsh ben Aryeh Leib Margolis (Margoliot), the first of two of Jacob Joseph’s works printed there at this time. Zafenat Pane’ah was preceded by Ben Porat Yosef (1781), on Genesis. The title-page, dated “How abundant is the good that You have in store [for those who fear You] מה רב טובך אשר צפנת (542 = 1782)” (Psalms 31:20) references Jacob Joseph, noting his Toledot Ya’akov Yosef and refers to the man of God, ISRAEL [Ba’al Shem Tov], informing that it was brought to press by his, Jacob Joseph’s, son-in-law R. Abraham Dov Ber, av bet din Hamaltzik.

The title-page is followed by the introduction which has an interesting and unusual heading, stating that the introduction to this work “has been printed before, twice in two of the author’s books, and is included here so as not to have a blank page. Printed here is an omission from Parasha Ki Sisa (Exodus 30:11-34:35).” It is not only the introductions that are alike, for Ya’aḳov Shemuʼel Shpigel informs that the title-page of Zafenat Pane’ah and Ben Porat Yosef, are also alike. He suggests that Jacob Joseph was not present and it is difficult to know who was responsible for the title-pages. Shpigel does note, however, that the reference to Jacob Joseph’s son-in-law is modified and either he or the printer might be responsible. The reference to the Ba’al Shem Tov is unchanged.[10]

Jedaiah ben Abraham Bedersi (Ha-Penini); Isaac Eisig ben Isaiah Auerbach (Reis) 1797: Classical ethical work, Beḥinat Olam (Examination of the World), by R. Jedaiah ben Abraham Bedersi (Ha-Penini, c. 1280 – c. 1340) with the commentary Zafenat Pane’ah by R. Isaac Eisig ben Isaiah Auerbach (Reis, early 18^th century). A popular work, the Bet Eked Sefarim records as many as many as seventy-three printings of Beḥinat Olam, including editions with varied commentaries, three with Zafenat Pane’ah.[11] This printing of Beḥinat Olam, with the commentary Zafenat Pane’ah, was published in Brunn at the press of Joseph Karl Neiman as an octavo (8⁰: 45 ff.). It was preceded by a Sulzbach edition (1744). Parenthetically, Beḥinat Olam was first printed in Mantua in 1478. This is the twenty-fifth edition of that work.

Jedaiah ben Abraham Bedersi (Ha-Penini), was a poet, physician, and philosopher. Among the other works credited to him is Baḳḳashat ha-Memim (The Mem Prayer) composed when he was fifteen. A versified prayer of 1,000 words each of which begins with the letter mem. He also wrote a commentary on the Haggadah, Ohev Nashim (In Defense of Women), Sefer ha-Pardes on such various subjects as isolation, worship, science, and grammar. Beḥinat Olam, Bedersi’s best known work, written after the expulsion of the Jews from France in 1306, is a versified examination, in thirty-seven chapters, of the vicissitudes and vanities of life, with religious and philosophical insights.

This Zafenat Pane’ah is a commentary on Beḥinat Olam by Isaac Eisig ben Isaiah Auerbach. Auerbach was a German grammarian and commentator. He was the author of several books on Hebrew grammar, reputedly motivated by his inability to understand Rashi, causing him to study philology. He eventually wrote Be’er Reḥovot (Sulzbach, 1730), a commentary on the Rashi on the Torah. He was the author of this Zafenat Pane’ah, a Yiddish translation and adaptation of Beḥinat Olam.[12]

1789, Beḥinat Olam with Zafenat Pane’ah, Brunn
Courtesy of the Jewish National and University Library

The title-page is followed by Auerbach’s introduction in which, at both the beginning and the end he describes Zafenat Pane’ah as being an explanation and interpretation (Zafenat Pane’ah). It is followed by the text which is in two columns, the inner columns the text of Beḥinat Olam in square vocalized letters, the outer column Zafenat Pane’ah set in Yiddish in Vaybertaytsh, a type generally but not exclusively reserved for Yiddish books, so named because these works were most often read by the less educated and women.[13]

II

Zafenat Pane’ah, as noted above, is an intriguing title for a book. Based on the rare appearance of the verse “Pharaoh called Joseph’s name Zafenat Pane’ah . . . (decipherer of the cryptic (revealer of secrets), a name that appears once only in the Bible. Zafenat Pane’ah is a name of Egyptian origin, it being the name given by Pharoah to Joseph, albeit one recognizing his rare ability to decipher Pharoah’s dreams. As a title, Zafenat Pane’ah has had an allure for authors. Of the books described above one only deals with cryptography, while several of the first group of books’ authors are named Joseph. Perhaps the allure of the name, Zafenat Pane’ah, decipherer of the cryptic (revealer of secrets) is seen by the authors as being applicable to their works, finding meaning in their interpretations of obscure passages in scriptures and other challenging works.

Our Zafenat Pane’ahs, the subject matter of this article, are early printings. It is important to note that later publications with our title, beyond the scope of this article, while not addressed in any detail, are also of interest. Indeed, note should be taken that several of these later works are, valuable and noteworthy. Below are concise examples of several later works entitled Zafenat Pane’ah

R. Elijah Guttmacher (1795–1874), a student of both Kabbalah and general studies, served as rabbi in Pleschen and Grodzisk Wielkopolski, attracting followers who came to him for amulets, cures, and guidance. He was unusual, in contrast to both Orthodox and assimilationist rabbis, in being a supporter of the Ḥibbat Zion movement. Author of works on Mishnayot and the Talmud, Guttmacher’s titles also include a Zafenat Pane’ah (Brody, 1875, below) “devoted to the tales of Rabbah b. Ḥana as told in Bava Batra.”[14] R. Saul Nathan Nathansohn, in his approbation to this work, writes that Zafenat Pane’ah is so entitled because it is an explanation of the aggadah of Rabbah bar Ḥana which is “obscure and sealed,” all the earlier geonim put their hearts to elucidating it and even the Vilna Gaon wrote a commentary on it.

A sad, tragic Zafenat Pane’ah is the eulogy by R. Asher Nissan ben Judah Leib Levinsohn for his only son, R. Menahem Nahum Nathan. Printed in Vilna (1875), the title-page describes Menahem Nahum Nathan as a gaon, gadol, and sage, and informs that Asher Nissan was the author of such works as Gan Ne’ul, Afikei Yehudah, and Likkutei Shoshanim. In a preface to the reader, Asher Nissan informs that he has entitled the eulogy Zafenat Pane’ah “Because his name is becoming נאה to him and he is becoming to his name, for my son, the gaon.”

Among the later editions of Zafenat Pane’ah are several books entitled Zafenat Pane’ah by the illustrious R. Joseph Rozin (Rosen, Rogachover, 1858–1936). A prolific author, all of his numerous and varied works on the Torah, Talmud, Rambam, and responsa have the title Zafenat Pane’ah.[15]

Our final Zafenat Pane’ah is a commentary on the Torah and festivals by R. Pinchas Shapira ben Shalom, published in Jerusalem (1964). A resident of Kozakonyha, Marmaros from from 1905, he was deported by the Hungarians during World War I to Galicia, settling, in 1918, in Felsovisso. He perished in the Holocaust.[16] His Zafenat Pane’ah was published by his son-in-law, R. Menahem Mendel Taub, the Kaliver rebbe. In the introduction Pinchas Shapira writes that he has entitled this work Zafenat Pane’ah because it alludes to his name and to the names of his father and of his mother. The initial numerical values of Zafenat Pane’ah צפנת פענח are, together with the number of its letters and general number (828 + 8 + 1 = 837), equal to Pinchas פינחס (208) ben במוה”ר (253) Shalom שלום (376 = 837). A second example is Pinchas פינחס ben Hanna Sarah בן חנה שרה (208 + 620 = 828).

III

Our Zafenat Pane’ahs and a [Hadash], noted both in some detail and concisely, encompass such varied subjects as cryptography, an alphabetical listing of Mishnayot chapter heads, biblical interpretations, a eulogy, an ethical work, and other diverse subjects. All reflecting the authors’ concerns with clarifying, making clear, that which is not clear, not immediately obvious without insightful interpretation. What then, could be more appropriate than the title Zafenat Pane’ah, “decipherer of the cryptic (revealer of secrets)”?

1875, Zafenat Pa‘ane’ah, Elijah Guttmacher, Berlin
Courtesy of Ozar ha-Hachms

Jacob’s Dream: Reproducing a Talismanic Illustrated Title Page

(Illustrations are from the following sources: the Edut Be Yosef, Rabot, Shivim Tekunei Zohar, and Yefeh Anaf are from the Gross Family Collection.  The Minhat Shai is from Dan Rabinowitz’s personal collection, and the rest are courtesy of the internet.)

One of the earliest examples of Jewish art are the biblical paintings at the Dura Europos Synagogue, completed in 244-5 C.E. Among those images is that of Jacob’s dream. The importance of the Dura Europos iconography in the development of Jewish art is hard to overestimate. “The iconographic formulas, seen for the first time in the Dura synagogue would recur both in Jewish art and Christian art, in widely differing media – manuscripts, murals, mosaics, ivories and silver utensils – frequently without modification, or with only the modifications necessitated by different materials or techniques, or the need to emphasize a new theological perspective.”[1]

By the time of its discovery in the 1920s, only a fragment of Jacob’s dream scene remained visible. Nonetheless it is possible to discern the subtly of the artist. In the fragment, Jacob is depicted as a figure wearing Greek costume – the then contemporary dress – leaning on his elbow, in the posture of Palmyrene funerary reliefs. Only the body is preserved, the head and upper body are lost. Near the figure is planted an inclined ladder, which one or perhaps two (it is unclear) personages in Persian dress are ascending. This custom, consisting of a short-belted tunic adorned with braid at the throat and hem, and wide trousers gathered into short supple boots, represents in the language of the Dura painter the garb of kings and princes, and court temple  personnel.[2] 

Scholars have voiced a number of opinions to explain the Persian court dress. According to one scholar the artist was referencing a midrash that appears in Pirkei de-Reb Eliezer. The angels, rather than merely serving as Jacob’s protection, also allude to “the four kingdoms that would conquer and subjugate the Jews, each as represented by its prince.”[3]One of the kingdoms is Persia. Thus, the artist’s choice of iconography was deliberate.

Jewish Title Pages

The first illustrated Jewish title pages appeared in the early seventeenth century. In 1693, the first depiction of Jacob’s dream graced a Jewish title page. That book, Sefer Rabbot, Midrash Rabba, with the commentary of R. Yisachar ben Naftali Katz, printed in Frankfurt on the Oder by Michael Gottschalk.

He was a local bookbinder and bookdealer who took over the management of Johann Christoph Beckman’s printing press in Frankfort d.O. in 1693, and led the press for almost forty years.[4]  Sefer Rabbot’s title page includes Moses and Aaron (who first appear in the 1610 edition of the She’a lot u-Teshuvot Mahril, printed in Hanau (see “Aaron the Jewish Bishop”), at the top, angels around the ark, and at the bottom, three biblical scenes, Jacob wrestling with the angel, David praying, and Jacob’s dream. It is obvious that these images are modeled after Matthaeus Merian’s engravings of biblical scenes that accompanied his Icones Biblicae printed between 1625-1630. All three of these images can be traced to Merian based upon a number of similarities and artist conventions.

The image of Jacob’s dream depicts, in both instances, Jacob laying next to a tree, boats and houses appear in the background, and angels’ hands are outstretched to greet Jacob. There is one significant puzzling difference. In Merian’s depiction, he substitutes the letters (reversed) of tetragram for God. In the Jewish book, God is depicted as an old man with a beard wearing a crown. This, despite Judaism’s strong prohibition on depicting God in a human form.

(This is not the only instance of a Jewish book containing a human image for God. The title-page of the first edition of R. Yedidia Shlomo of Norzi’s commentary on the biblical mesorah, Minhat Shai, Mantua, 1742-44, includes a depiction of God with a human face.   The images on the title page are various biblical vignettes and in the one for the resurrection of the “dry bones” that appears in Yehkezkel, God is shown as an old man with a white beard.)

Here is that image in detail:

Michael Gottschalk reused the Rabot title page at least five times; in 1695, for R. Shmuel Yaffe, Yafe Anaf, in 1696, Mattityahu ben Asher Lemle Liebermann, Mattat Yah, in 1698 in R. Benjamin Ze’ev Wolf ben Samuel Romaner’s Ir Binyamin,  in 1699 in Ohel Yaakov, and in 1602 in Yisrael b. Aaron Yaffa, Or Yisrael.

 

These title pages are just a few of Gottchalk’s illustrated title pages. Gottshalk artistic sensibilities are on full display in his 1697-99 edition of the Talmud, a work for which the Frankfurt press is best known to this day. It contains arguably the most magnificent Talmudic title page ever printed.

In 1695, the first illustrated copperplate Haggadah was published in Amsterdam. All the images are modeled based upon Merian. The title page too contains a number of biblical scenes in circular medallions. One of which is Jacob’s dream.

The next title page that depicts Jacob’s dream appears in Tzvi Hirsch ben Rachmiel Chotsh’s, Shiv’im Tikunei ha-Zohar, Hemdat Tzvi, Amsterdam, Moshe ben Avraham Mendes Coutinho, 1706.[5] Like the Gottchalk’s image that includes heretical iconography, those of Shiv’im Tikunei ha-Zohar would prove equally problematic.[6]

Despite Hemdat Tzvi’s impressive approbations, R. Jacob Emden accused Chotsh, and specifically this book, of holding and expressing Sabbatian beliefs.[7] It has been conclusively demonstrated that indeed Chotsh’s book contains Sabbatian ideas.[8] Evidence of Chotsh’s embrace of Sabbateanism is identifiable amongst the title page images. Indeed, Chotsh calls attention to the larger meaning of the title page’s images. At the bottom of the title page Chotsh provides that “whosoever wishes to know the secret of the above frontispiece, should see the introduction to the Tikkunim at the beginning of the first article.” An inspection of that section yields likely Sabbatian passages. Thus, Chotsh is indicating that like the introduction, the title page also contains allusions to Sabbateanism.

The title page depicts a variety of biblical figures and Jacob’s dream appears at the top center of the page. Above that are two deer holding a crown with the verse from Isaiah 28:5, “On that day will the Lord of the hosts be for a crown of glory, and for a diadem of beauty.” The “crown of glory” or in Hebrew “Ateret tzvi” has a double meaning here, “glory” and “deer” and, of course, is alluding to Sabbatia Tzvi, who, “on that day” will be presumably wearing the crown.[9]

The most long-lasting depiction of Jacob’s dream is that which appeared in Siddur Shaarei Shamyim from R. Isaiah ha-Levi Horowitz (Shelah), Amsterdam, 1717.[10]

This title page is notable in that the accompanying images that align with the book which was not always the case. This is a complete machzor and as such four holidays, Sukkot, Pesach, Shavout, and Rosh Hashana, are represented on the top encased in circles, and underneath the columns. On one side of the bottom of the pillars. On either side is a niche, on the right with Abraham with the legend and on the left, Isaac, underneath each is a verse corresponding to prayer. Displayed prominently at top center, depicting his dream, with the verse from which the book’s title is derived. Underneath the title is a depiction of the Levites pouring water over the priest’s hands with the legend above, Ze hasher la-leviim. This is a reference to R. Horowitz’s lineage. All of the biblical images correspond with Merian’s depictions.

This title page, with small modifications, was repeatedly copied and is found in books from across Europe. One explanation for the ubiquity of this title page is that the Siddur ha-Shelah was imbued with talismanic effect. R. Yoel Sirkes in his approbation assures that whoever prays from this book their prayers would be answered. As evidence of the talismanic effect of the book one only needs to look to recent auctions where the book is regularly sold for tens of thousands of dollars. Perhaps printers looking to capitalize on the aura surrounding the Siddur ha-Shelah incorporated the images in their books.

For example, the title page appears in Edut be-Yaakov, Sulzbach, 1741,[11] in 1765, Furth, Siddur Korban Minha, and in 1797, in the north west of France in Luneville, Sha’ar Selihot ve-Tahanunim. In the latter, the Levite is substituted for Jonah as that is more aligned with the High Holiday themes of the book, and the four depictions of the holidays are removed because they conflict with the singular nature of the book.

Illustrated Hebrew title pages are perhaps the most ubiquitous, and certainly the most accessible form of Jewish art. Yet, the study of the art of the Hebrew title page has not attracted commensurate scholarly interest. Our example, tracing the depiction of Jacob’s dream, is but one instance that illustrated Hebrew title pages fit within the larger history of Jewish art. Here, the Hebrew title pages seventeenth- and eighteenth-century Hebrew books harken back to the iconography identified at Dura Europos that continued to appear in Jewish artistic forms, in this instance books.