Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport) Ashkenazi: A Renaissance Rabbi of Interest[1]

by Marvin J. Heller

R. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport) is a sixteenth century rabbi of particular interest. An intriguing, eclectic, and erudite figure, his life encompasses events that effected mid-century Jewry, recorded in his work. His books, two only published, are varied and unusual, one due to its subject matter, cryptography, the other a response to the banning of the Talmud and, as a result, turning from study of that work to Kabballah. His Minhah Belulah attempting a returning to more traditional studies by providing a Torah commentary based on Midrashim.

“From His right hand He presented the fiery Torah to them” (Deuteronomy 33:2). “The Torah is compared to fire, when a man comes too close, he is burned, when too distant he is cold, so too the Torah . . . this also alludes to the great destruction our eyes have witnessed, due to our many iniquities” (Minhah Belulah on Deuteronomy 33:2)

R. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport, 1520 – 1596) Ashkenazi is an intriguing, eclectic, erudite figure. He is primarily remembered today for his Minhah Belulah, a commentary on the Torah based on Midrashim and his remarks in that work on the burning of the Talmud in 1553.[2] The Minhah Belulah, certainly worthy of our consideration, eclipses Abraham Menahem’s other accomplishments, which are multifaceted and also deserving of attention. This article addresses the Minhah Belulah but is also intended to draw attention to R. Abraham Menahem’s other books and activities.

A member of the Porto family which came to Italy from Lublin, Abraham Menahem was born in Porto in the vicinity of Verona. The family name Rapa stems from the German (Rappe in Middle High German), for raven. Rappoport is a combination of the Rapa, with Porto, done to distinguish this branch of the family from other Rapa branches, a fact alluded to in the introduction to the Minhah Belulah. At a young age Abraham Menahem went to Venice where he studied secular as well as rabbinic subjects, particularly medicine; his wide scholarship being evident from his works, particularly his Torah commentary, Minhah Belulah (Verona, 1594).

His teachers included R. Elijah Levita (Bahur, c. 1468-1549) the renowned Hebrew philologist and Vittore (Victor) Trincavella (1496-1568) with whom he studied medicine, this in addition to his traditional Talmudic studies.[3] Subsequently, prior to accepting a rabbinic position, Abraham Menahem worked in Venice as a proofreader and editor for the Bragadin press; many of the books he edited have introductions or verse from him. Among the books that he worked on was Maimonides’ (Rambam) Mishnah Torah, that resulted in the controversy leading to the burning of the Talmud.[4] He would subsequently serve as rabbi in Cremona and Verona.[5] In the latter, where he officiated from 1584 to 1592, Abraham Menahem also headed a highly regarded yeshiva.

In addition to the Minhah Belulah, Abraham Menahem wrote and/or is credited with several other works, most still in manuscript, among them commentaries on several books of the Bible and Avot. I. T. Eisenstadt and S. Wiener ascribe another Torah commentary to Abraham Menahem, Soles Belulah, but there is no record of any such work by him. Soles Belulah is also noted, most briefly, by R. Hayyim Joseph David Azulai (Hida, 1724-1806).[6] Moritz Steinschneider (1816-1907) also refers to such a book, the entry in his catalogue of the Bodleian Library stating: “excerpta in Bibliis Rabb,” dating it (1724-27). Steinschneider also references other bibliographies where it is mentioned.[7] Ma’amar’al Mezi’ut ha-Shedim, unpublished, on the existence of devils, is also credited to Abraham Menahem by several bibliographers, among them Eisenstadt and S. Wiener and Israel Zinberg, the latter writing that “A special work about spirits and evil ones was written by the well-known Menahem Kohen Porto” but without specifying the title of the work.[8] In addition to these books, Abraham Menahem wrote responsa, unpublished excepting one entitled Dagim, printed in R. Isaac Hezkiah ben Samuel Lampronti’s (1679-1756) Paḥad Yitzhak.[9] Another responsum credited to Abraham Menahem concerns the wearing of tefillin during hol ha-Moed, reported as being in Teshuvot R. Abraham Menahem Porto ha-Kohen, sect. 163.[10]

Abraham Menahem was among those who prohibited reading the Me’or Einayim (Mantua, 1573) of Azariah de Rossi (c. 1511 – c. 1578). Me’or Einayim (Enlightenment of the eyes) was the most controversial Hebrew book of the sixteenth century. A series of historical essays, de Rossi was motivated to write it by an earthquake that began on November 18, 1571, in Ferrara, destroying his residence, much of the city, but not its ten synagogues, with 200 people perishing in one night. In Me’or Einayim, de Rossi describes the earthquake, and addresses classical and scientific reasons for the disaster. A conversation with a Christian resulted in Azariah translating the Apocryphal, Letter of Aristeas, into Hebrew (Hadrat Zekenim), and in the third part of Me’or Einayim attention is directed to Philo, and other Jewish authors no longer widely read, asserting that the former utilized the Greek Septuagint rather than the Hebrew Bible. De Rossi suggests that Midrashic literature should not be understood literally and questions Talmudic chronology. The resulting herem (ban), stated that “no person of any congregation . . . may have this composition in their possession, either in whole or in part, or study it, unless each individual shall have first obtained permission in writing from the sages of their city.”[11]

Abraham Menahem, despite not having actually seen the Me’or Einayim, not only presented the herem to his congregation but, in a sermon, admonished them to not be led astray by a heretical book that, in contrast to its name, Me’or Einayim, actually “darkens the sight and undermines the foundations of Judaism.” Furthermore, in a letter to R. Menahem de Fano, Abraham Menahem indicates that although he has not yet seen Me’or Einayim he is aware from personal conversations with de Rossi that de Rossi “rejects the Jewish mode of reckoning time.”[12] Subsequently, however, after R. David Provencal and R. Judah Moscato, both rabbis in Mantua, permitted Me’or Einayim to be read, Abraham Menahem retracted his position.[13] Abraham Menahem also signed takkanot (prohibitions) forbidding gambling (1573) and infringing on moneylending franchises held by fellow Jews.[14]

As noted above, the earliest published work, attributed to Abraham Menahem in bibliographies and Encyclopedias, with the exception of Eisenstadt, who attributes it to another Menahem, is Zafenat Pane’ah on cryptography, with a cipher-code of his own invention. Steischneider described Zafenat Pane’ah as “Revelator arcanorum De Cryptographia {w³1433. Rof. Diz., lib. Stmp. P60. 8. en. 1556. 4289:3.[15]

Abraham Menahem spent two years preparing Zafenat Pane’ah. 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.[16] The National Library of Israel records Zafenat Pane’ah, giving the location as Sabbioneta but also notes Riva as a possible place of publication.[17] Zafenat Pane’ah was reprinted twice, in Venice [1620] and in Prague, no date.[18]

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 published as a small booklet, described as either a duodecimo (12⁰) or an octavo (8⁰🙂 consisting of [6ff]. The title, Zafenat Pane’ah, is from, “And Pharaoh called Joseph’s name Zafenat Pane’ah” (Genesis 41:45), which Rashi explains as, “he who reveals hidden things.” As stated on the title-page, the purpose of the book is to enable one may to write a letter to a friend so that all who see it will not understand it.

The text of the title-page, which as noted above, lacks 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).

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

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.

1555, Zafenat Pane’ah
Courtesy of the Jewish Theological Seminary

Turning to the Minhah Belulah, the work for which Abraham Menahem is best known, that work, a commentary on the Torah, based on Midrashim, was published in Verona (1594) as a quarto (4⁰: [3], 208, [1] ff.).[19] His motivation in writing the Minhah Belulah was the lack of Talmudic tractates. This resulted from the dispute between the Bragadin and Giustiniani presses over their editions of the Mishnah Torah, as noted above, which culminated in the burning of the Talmud, this based on a papal bull, dated August 22, 1553, ordering the confiscation and burning of the Babylonian and Jerusalem Talmuds and prohibiting their possession. Among the results was a decline in Talmudic and midrashic studies and a turn to kabbalistic works. The Minhah Belulah is an attempt to achieve something of a balance in such studies under prohibitive conditions.

1594, Minhah Belulah
Courtesy of The Library of Agudas Chassidei Chabad Ohel Yosef Yitzhak

The title, Minhah Belulah, is from the phrase minhah belulah (a meal offering mixed) במנחה בלולה, which appears in seven verses in the Torah, three in Leviticus, four in Numbers, albeit with different prefatory letters.[20] The title-pages states that it is,

Minhah Belulah

A commentary on the Hamishah Homshei Torah, prepared and written by the complete sage R. Abraham Menahem ben R. Jacob Kohen Rapa mi-Porto. The author explains there in detail many Midrashim and straight forward explanations augmenting them with interpretations of his own in a language that is clear and straightforward so that when one rests on the Sabbath, festivals, and appointed times from all his exertions he will peruse it and find in it great value “according to each man’s pleasure” (Esther 1:8) and according to his abilities.

Printed here in the capital city of Verona at the press of Messer Francesco dalle Donne

Beginning of the work was on Monday, the fifth day of the month of Iyar in the year “Rejoice שמחו (354=1594, April 15, 1594) with Jerusalem, and be glad with her, all you who love her [all you who mourn for her].” (Isaiah 66:10). May the Lord in His mercy grant us the merit to publish many books, and save us from errors and show us wonders, great and numerous “to the lawgivers of Israel” (Judges 5:9) “and a redeemer will come to Israel” (Isaiah 59:20) and so may He do. Amen.

In the domain of the rulers of Venice, may their majesty be exalted higher and higher. Amen

In the year of our lord the Duke Pasquale Cigona, may he be exalted, higher and higher Amen.

As noted above, Abraham Menahem varies the manner in which he gives his name. This is most evident in the Minhah Belulah, for as Hida observes, Abraham Menahem gives his name on the title-page of the Minhah Belulah as Rapa mi-Porto and at the end as bar Jacob ha-Kohen Rapa mi-Porto. Afterwards, Abraham Menahem writes it as R. Abraham ha-Kohen mi-Porto. Hida then comments that a source for these variaitions stems from one place, for he saw the Maharikh (R. Isaac Ha-Kohen Rapoport), author of Batei Kehunah (I, Izmir, 1741, II, Salonica 1744) that for Ashkenaz he signed his name as Isaac ha-Kohen Rapa Port from the seed of the priesthood in Lublin. Hida adds that he saw his father’s name who signed as Judah ha-Kohen Ashkenazi.[21]

The title-page informs that the publisher of the Minhah Belulah was Francesco Dalle Donne, an Italian printer whose primary business was Italian not Hebrew books. Active from 1592 into the seventeenth century, Dalle Donne was the first printer to publish books with Hebrew type in Verona, publishing the latter for about three years only, and then issuing less than ten titles, the majority in Yiddish, two only in Hebrew, the Minhah Belulah and the Midrash Tanhuma. Jews were prohibited from owning print-shops during the Counter-Reformation, from the mid-sixteenth century, so the presses publishing Hebrew books in Italy in this period belonged to non-Jews. The involvement of Christian printers, in this case Dalle Donne, with the Hebrew book market was not uncommon.[22]

Christian printers published Hebrew books in association with Jewish partners. The relationship between Christian printers and their Jewish partners 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.”[23] In addition to the non-Jew’s access to the Jewish book market, the Jewish associate was not only able to publish Hebrew books, but he also gained access to the typographical material of his Christian partner. 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 pressmark and 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.[24]

The Dalle Donne press employed Abraham Bath-Sheba to print the Minhah Belulah. Abraham Bath-Sheba was the son of Sabbatai Mattathias Bath-Sheba (Basevi in Italian), an Italian-Jewish family of German (Ashkenazic) origin. Originally from Italy, Sabbatai Mattathias Bath-Sheba and his family relocated to Salonika where they operated a press, active from 1592 to 1605.[25] Interested in printing tractates from the Talmud the press sent Abraham Bath-Sheba to Italy to secure financing for the project. While in Italy he worked briefly for the Dalle Donne press in Verona, soon afterwards returning to Salonica.[26]

The title-page is followed by Abraham Menahem’s introduction, somewhat unusual, as stated in its header “ALEF BET ‘O you who linger in the garden, listening’ (song of Songs 8:13) ‘at the gate of the many-peopled city’” (cf. Song 7:5) You will come, brought into the Temple of your glory, blessings without account.” The header ALEF BET does not refer to the first letters of the Hebrew alphabet. alef bet, but rather to the fact that the introduction is comprised of one thousand (alef) instances of the letter bet, as can be seen from the first two lines of the introduction, below, emphasis added.

בחלון בתי בעד אשנבי אביוני בבנים הקרבים בקרב ובאים בגבורות חובורות
להציב הדרכים לבנות חורבות ולשובב נתיבות קצובות חצובות מחוטבות

“I have looked out of the window of my house though the lattice” (Proverbs 7:6) and the needy of your sons engaged in battle, and coming with mighty bruises,
To establish the ways, rebuild the ruins, and establish paths, . .

The introduction concludes with a page a verse, followed by the text. The enlarged initial words of each of the five books of the Hamishah Homshei Torah (Pentateuch) are set within a like ornate attractive outer frame comprised of an urban scene at the top with a male and female head at either side, below at the sides are bare female figures, and at the bottom two supine figures. The varying initial words are set with different backgrounds and side images (below).

Vayikra (Leviticus)

Devarim (Deuteronomy)

Two examples of the style of Abraham Menahem’s commentary follows.

“[Then the Lord God fashioned the side that He had taken from the man into a woman] and He brought her to the man” (Genesis 2:22). Suddenly, and while distracted, so that he would be most delighted with her, for most joy is felt when sudden, and so sorrow, as it says “Hezekiah rejoiced with them, etc.” (Isaiah 39:2) for the matter was sudden, and so, according to our sages “three things come when they are not expected, [Messiah], a find, [and a scorpion], etc. (Sanhedrin 97a) and a woman is called a find, as it is written “One who has found a wife has found good.” (Proverbs 18:22).

“[And you – lift up your staff and stretch out your arm over the sea ] and split it” (Exodus 14:16) and with the merit that “he split the wood for the offering” (Genesis 22:3) and thus he modified the language “[and the Children of Israel shall come] into the midst of the sea on dry land” in the midst of the place that was sea, and made dry land: “Lift up your staff and stretch out your arm” so that the Egyptians said that Moses did all of this with his staff, therefore [the Holy One, Blessed be He] said lift up your staff, as with “Remove yourself from among the assembly” (Numbers 17:10) and do the miracle with your hand.

Another different type of elucidation of a biblical passage, this on the verse “He said, ‘No longer will it be said that your name is Jacob but Israel . . .” (Genesis 32:29) is given by Abraham Menahem,

Israel ישראל A name that includes all the Patriarchs and Matriarchs י Yitzhak (Isaac) ש Sarah ר Rivkah ר Rachel א Abraham ל Leah. Even though we find that afterwards he is called by the name Jacob, perhaps it was not changed so that they would not say because he was a trickster it was changed (referring to the purchase of the birthright from Esau) and also because the Holy One, blessed be He gave him that name as I explained by “ and He called his name Jacob” (Genesis 25:26).

There is also some commentary reflecting current conditions, as noted above in the lead paragraph. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport, 1520- c. 1594) had been 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), That paragraph, in further detail, says”

And He said: He gave the reason why Israel was more appropriate for the blessing than the other nations, idol worshippers . . . From His right hand [He presented] the fiery Torah [to them]. “The Torah is compared to fire, when a man comes too close, he is burned, when too distant he is cold, so too the Torah . . . and this also alludes to the great destruction our eyes have witnessed, due to our many iniquities, throughout Italy. The burning of the Oral Law [Talmud] in the year שיד[as in] “the hand יד of the Lord was upon us.” The decree went out from the city of Rome to use [the Talmud volumes] as fuel for the fire. In Venice, woe to the eyes that saw this, on the thirteenth and fourteenth of Marheshvan [5]514 (October 31, November 1, 1553), a continuous fire which was not extinguished. 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).

The text concludes on 206b, followed on 207ab by an afterward by Abraham Menahem in which, as noted above, he informs that he has only written this for his generation which lacks Talmudic tractates, they having been taken away, their place replaced by kabbalistic studies; this work has been written not for sages but for those who want the revealed Torah rather than hidden (kabbalistic) meanings, “to quench the thirst of those who want straight forward meanings or midrash,” as noted in the alef bet introduction.

Below the afterward is Abraham Menahem’s escutcheon, consisting of two scantily clad women at the sides holding a streamer that says “Abraham Menahem ben Jacob ha-Kohen.” Between the women is a shield and within it two spread hands giving the priestly benediction, below that a black raven on a branch, and at the bottom another streamer that says “Rapa me-Porto.”[27] In the reprint of the Minhah Belulah (B’nei Brak,1989) the women are more modestly covered.

Yet another modest version of Abraham Menahem’s escutcheon was published in yet another recent work, this Benjamin Shlomo Hamburger’s three volume history, Ha-Yeshiva ha-Rama bi-Fiorda (Bnei Brak, 2010). It is described by Michael K. Silber in an article entitled “Modesty and Piety: Improving on the Past” as having “been modestly transgendered and piously rendered with beards!”[28] Below is original example escutcheon and the two more modest figures.

1594, Minhah Belulah, Verona

1989, Minhah Belulah, B’nei Brak

2010, Minhah Belulah, B’nei Brak

Under the original, that is the first printing of the escutcheon is a statement informing that the work was written [completed] in Cremona on Wednesday, 24 Shevat, [5]342 (January 27, 1582), when Abraham Menahem was, rabbi in Cremona. On the following page is the apologia of the proofreader (editor), Abraham ben Jehiel Kohen Porto.

It begins with a header, initially misspelled, being given asהמגיעה rather than the correct המגיה, resulting in a stop-press correction.[29] The proofreader (editor) Abraham ben Jehiel, a kinsman, addressees the issue of typographical errors in the Minhah Belulah in his remarks, apologizing for any errors in the book, for “Who can discern mistakes” (Psalms 19:13). He informs that not only was he careful but that Abraham Bath-Sheba was diligent in the supervising the compositors reviewing the type setting, “letter by letter.” Nevertheless, the work was done by uncircumcised workers (non-Jews), inexperienced in setting Hebrew letters, and it was not possible to avoid errors. Neither they nor the author, therefore, should be held responsible for any errors, but requests they be judged favorably.[30]

We conclude our discussion of the Minhah Belulah, appropriately, by noting that, in addition to the ornamentation already mentioned there are also tail-pieces at the end of several parts of the books. Most are simply decorative use of florets or of an arch. In two instances, however, the tail-piece is of a figure on both sides of a vase. This too is not an image consistent with traditional Jewish sensibilities, reflecting the use of ornamentation by Jewish printers of their non-Jewish partners’ typographical material.

The Minhah Belulah is concisely noted in Shabetai Bass’s Sifte Yeshenim (Amsterdam. 1680) the first bibliography of Hebrew books by a Jewish author.[31] It has subsequently been regularly recorded in Hebrew bibliographies. The Minhah Belulah was first reprinted in a Pentateuch (Hamburg, 1795), reprinted in Warsaw (1853), and perhaps elsewhere. The only standalone edition of the Minhah Belulah was printed in Bnei Brak by R. Jacob David Kohen (1989).[32]

R. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport) is, as stated at the beginning of this article “an intriguing eclectic figure. . . . primarily remembered today for his Minhah Belulah, a commentary on the Torah.” That work, although not frequently reprinted, is highly regarded by all who are familiar with it. Abraham Menahem’s accomplishments, however, are more varied, making him an unusual and interesting personality. Clearly a person of great erudition, not only for his mastery of rabbinic sources, such as the Talmud and Midrashim, but also for his extensive knowledge, encompassing medicine and, this most unusual, cryptography.

In addition, to the works just noted, Abraham Menahem also wrote responsa and, perhaps in the context of his contemporary activities, he was an important rabbinic figure, leading congregations in Cremona and Verona and head of a yeshivah. Nevertheless, R. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport) is best remembered today for his Minhah Belulah, which, as this article has attempted to show, is a valuable and important contribution to rabbinic exegetical literature.

Life After Death: The Afterlife of Tombstone Inscriptions in the Old Jewish Cemetery of Vilna

By Shnayer Leiman

The ultimate purpose of any Jewish cemetery is to provide a resting place, with dignity, for the Jewish dead. Jewish law and custom have played a major role in regulating almost every aspect of burial from the moment of death through the funeral itself, the period of mourning that follows the funeral, and – ultimately – the erection of a tombstone over the grave.[1] Once the tombstone is in place, the living return to the cemetery for occasional visits, usually on the anniversary of the death (yahrzeit) of a dear one, or to pray at the grave of a righteous rabbi or ancestor in a moment of need.

And, of course, the living return to the cemetery in order to attend the funerals of others. But the last mentioned occurs only in “living” cemeteries, i.e. cemeteries that still bury the dead. But, at some point, cemeteries run out of space, and/or are forced to close by municipal ordinance. In 1830, after serving Vilna’s Jewish community for well over 250 years, the Jewish cemetery ran out of space and the municipal authorities forced it to close.[2] It was no longer a “living”cemetery and it transitioned into a pilgrimage site, where Jews came to pray at their ancestors’ graves, and at the graves of the great Jewish heroes of the past.

Any such transition comes at a cost. It became necessary to provide for the security of the cemetery, despite the lack of income from regular funerals. Guards had to be hired, fences had to be built and repaired, caretakers had to maintain the cemetery grounds, and guides had to be provided for those searching for specific graves in the cemetery. In this brief essay we will focus on only one interesting phenomenon: the need to identify “celebrity” graves, and to create markers, often on the tombstones themselves, that identified the person buried at the foot of the tombstone as a celebrity, or as a close relative of a celebrity (e.g., אם הגאון רבינו אליהו “The Mother of the Gaon R. Eliyahu [of Vilna],” and אבי הרב הגאונים ר‘ חיים ור“ש זלמן מוואלאזין “The Father of the Rabbis and Gaonim R. Hayyim and R. S[hlomo] Zalman of Volozhin ).[3] Clearly, this need was made necessary – in large part – by the wear and tear on the tombstone inscriptions that made many of them almost impossible to read by the end of the19^th century. But it was also made necessary by the passage of time, when a younger generation no longer recognized the names of the deceased, who often were the parents or spouses of celebrities of the past and present.

Our evidence will come mostly from photographs of tombstones in the Old Jewish Cemetery taken during the first decades of the 20^th century.[4] These will be supplemented by the hand copies of the same tombstones published mostly in the second half of the 19^th century.[5] First, a word of caution.

While photographs don’t lie, they often mislead. Thus, a recent work – and a superb one at that – on the leading 20^th century rabbinic figure in Vilna’s long history of rabbinic scholars, i.e., Rabbi Hayyim Ozer Grodzenski (d. 1940), inadvertently suggests that R. Mordechai Meltzer (1797-1883), a distinguished 19^th century Vilna Talmudist, was buried in the Old Jewish cemetery of Vilna.[6] The suggestion is based upon a poor photograph of a group of graves in the Old Jewish cemetery. The Hebrew legend under the photograph reads “The tombstone of the Gaon Rabbi Mordechai Meltzer in Vilna.” Here is the photograph, as it appears in the volume, p. 180:

With a magnifying glass, one can barely make out above the second tombstone from the right, the title and name: הרב הגאון ר‘ מרדכי מעלצער “The Rabbi and Gaon R. Mordechai Meltzer.” Since the third tombstone from the right is clearly identifiable as marking the grave of R. Abraham Danzig (d. 1820), a distinguished Vilna rabbinic scholar who was certainly buried in the Old Jewish cemetery, there is perhaps some reason to think that R. Mordechai Meltzer was, in fact, buried next to him, in the same cemetery.[7]

Interestingly, the author himself states openly the Rabbi Meltzer left Vilna and ultimately served as Rabbi of Lida (today in Belarus), “where he died in 1883.” Apparently, the author assumes that Rabbi Meltzer died in Lida, but was somehow brought to burial in the Old Jewish cemetery of Vilna.

Alas, it cannot be, for many reasons. Among them:

a) R. Mordechai Meltzer died in 1883. The Old Jewish cemetery was officially closed in 1830. No Jew was buried in the Old Jewish cemetery after 1830. From 1831 until 1941, all Jews who died in Vilna, including its most famous rabbis in that period, were buried in the Zaretcha Jewish cemetery (Vilna’s second Jewish cemetery).

b) R. Mordechai Meltzer, after serving 19 years as Chief Rabbi of Lida, was buried in Lida. A mausoleum was built over his grave, one of the few in the Lida Jewish cemetery, and it became a major pilgrimage site until it was destroyed during the Holocaust and its aftermath.[8]

c) More importantly, here is a clear photograph of the tombstone misidentified in the Grodzenski biography. The photograph will also introduce the first of 6 samples of celebrity markers on tombstones.

Sample1. R. Asher Klatzko (d. 1820).[9]

The second tombstone from the right is that of Rabbi Asher Klatzko (d. 1820), father of Rabbi Mordechai Meltzer. One can still read (in the photo) the original epitaph that mentions Asher and his father’s name, Isaac.[10] [Asher was a great talmudic scholar in his own right, and no one would have marked his grave in 1820 with an epitaph that mentions his 23 year-old son, Mordechai, who held no official position at the time. But in 1860 or so, long after the cemetery was no longer a living cemetery, few remembered who “R. Asher son of R. Isaac” was, but everyone knew who R. Mordechai Meltzer was: the head of Vilna’s Ramajles (ראמיילעס) Yeshiva during the first half of the 19^th century, an official rabbi of Vilna with the title מורה צדק, teacher of Vilna’s most distinguished rabbis, and among the Vilna leaders who officially greeted Moses Montefiore when he visited Vilna in 1846.[11] And so the top of the tombstone frame was marked:

הוא אבי הרב הגאון ר‘ מרדכי מעלצער “He [Asher, the person buried here] is the father of the Rabbi and Gaon, R. Mordechai Meltzer.” The message seems to be clear: This is a celebrity related grave, not to be overlooked. This is our first sample of a phenomenon that characterizes the Old Jewish cemetery in its second phase, i.e. after it was no longer a living cemetery. Aside from repairing broken tombstones and re-inking the faded epitaphs, the cemetery authorities saw a need to introduce markers that provided new information that identified celebrity graves of one kind or another. Nor did the cemetery authorities hesitate to post those markers on the original tombstones themselves, when there was sufficient space to do so.

Sample 2. R. Yehuda Leib Gordon (d. circa 1825).

The third tombstone from the right, whose epitaph (in the center of the tombstone) is no longer legible, and is not recorded elsewhere, was accorded a celebrity inscription which reads: פ“נ חותן הרב הגאון ר‘ מרדכי מעלצער “Here lies buried the father-in-law of the Rabbi and Gaon, R. Mordechai Meltzer.” The father-in-law, R. Yehudah Leib Gordon, was a member of a distinguished Vilna family that produced a long line of communal leaders and rabbis.[12]

Sample 3. R. Yosef b. R. Shmuel Zaskewitz (d. 1829).

In the same photo as at Sample 2 above, the first tombstone at the right has a celebrity marker at its top. The outer rim of its rooftop reads:

י[פ“נ ה]רבני המופלג מו“ה יוסף [בן ה]אב“ד דק“ק זאסקעווץ “Here lies buried the outstanding rabbinic authority, our teacher and rabbi Yosef, son of the Chief Rabbi of Zaskewitz.” Inside the rooftop, a celebrity marker has been added. It reads: אבי הרב הגאון ר‘ שמואל שטראשון “The Father of the Rabbi and Gaon, R. Shmuel Strashun.” By 1860 or so, few knew who R. Yosef b. R. Shmuel Zaskewitz was. But every learned Jew in Vilna knew precisely who R. Shmuel Strashun was,[13] and so R. Yosef was now properly identified as the father of R. Shmuel Strashun.[14]

Sample 4. R. Baruch b. R. Shmuel Zaskewitz (d. 1829).

In the same photo as at Sample 2 above, adjacent to R. Yosef b. Shmuel, rests his brother R. Barukh, who also died in 1829. Not surprisingly, he too was accorded a celebrity marker. It reads: דד הרב הגאון ר‘ שמואל שטראשון “The uncle of the Rabbi and Gaon, R. Shmuel Strashun.” In case you don’t know who R. Baruch was, now you know.[14a]

Sample 5. R. Zvi Hirsch b. R. David ha-Levi (d. 1830).

In the same photo as at Sample 2 above, at the extreme left, is the tombstone of R. Zvi Hirsch of Libau, who served with distinction as the lead cantor of the Great Synagogue of Vilna from 1822 until his death in 1830. The original epitaph is legible in the photograph, and has been recorded.[15] It makes no mention of his son. At a later date, perhaps in the 1860’s or later (see below), few remembered who R. Zvi Hirsch was, but everyone knew who his son was. Indeed his son not only eclipsed his father as a cantor, he eclipsed every cantor who would ever serve as lead cantor of Vilna. The son, the legendary “Vilner Balabesel” (Yiddish for: young and married householder in Vilna), R. Yoel David Strashunsky, succeeded his father upon his death in 1830, only 14 years old at the time. At that young age, there was much communal strife as to whether it was appropriate for him to serve as the lead cantor. It was decided that he would share the post with an older cantor until 1836, when in fact, he became the sole lead cantor. There was more trouble ahead, when in 1842 he left Vilna for Warsaw, where he performed in public concerts of operatic music. Ultimately he suffered from severe depression, and – on and off – either lost his voice, or lost his interest in serving as a cantor. He died in a hospital for the mentally ill in Warsaw in 1850, and was buried in Warsaw. He was 34 years old at the time of his death.[16] And so R. Zvi Hirsch too was accorded posthumous celebrity status. The inscription added to the rooftop portion of his tombstone reads:

פ“נ הש“ץ מק“ק ליפי ופה ק“ק ווילנא אבי ר‘ יואל דוד ש“ץ דפה “Here lies buried the Cantor from the holy community of Libau and [who also served] here in the holy community of Vilna, the father of R. Yoel David, the Cantor [who served] here.”

Some, but hardly all, of the celebrity markers include the date when they were installed by the cemetery authorities. It is of particular interest to establish the date when R. Yoel David’s name was entered on his father’s tombstone, given the controversy that surrounded his name. It just happens to be that in the case of R. Zvi Hirsch of Libau, the celebrity marker included the date of its instillation, at least initially, but it no longer is entirely legible. The text at the bottom of the rooftop inscription reads:

 _ _נתחדש ע“י גבאי דצ“ג בשנת תר “It [the grave site][17] was refurbished by the adjutants of the Zedakah Gedolah Society[18] in the year [5]6_ _.” The last two digits are illegible, leaving us with a range of years between 1840 and 1939. We can quickly close the gap a bit, since the photograph at Sample 2 was taken circa 1913.[19] Interestingly, the neighboring grave site just to the right of that of R.Zvi Hirsch Libau in the photograph at Sample 2, was also refurbished by the Zedakah Gedolah Society, and the date of instillation of its new inscription is included. It is the grave site of a pious woman named Roza, about whom we know almost nothing, other than the fact that she died in 1830 or earlier and was buried in the Old Jewish cemetery of Vilna. The text in the rooftop inscription reads: פ“נ ה[אשה] הצנועה המפורסמת מ[רת] רוזא. נתחדש ע“י גבאי דצ“ג בשנת תרע“ג

“Here lies buried Mrs. Roza, the woman renowned for her modesty. It [the grave site] was refurbished by the adjutants of the Zedakah Gedolah Society in the year 673.”[20] The Hebrew year [5]673 was mostly in 1913. Almost certainly, both these grave sites were refurbished at the same time, in 1913. By that year, Yoel David Strashunsky was a legendary figure not only in Vilna, but indeed throughout the world of Yiddish speaking Jews. We will examine one more interesting celebrity marker that, as an aside, provides linguistic support for our dating of the R. Zvi Hirsch of Libau celebrity marker to circa 1913.

Sample 6. R. Shmuel b. R. Hayyim Shebsils (d. 1818).[21

Little is known about him, other than that he was a distinguished talmudic scholar, pedigreed, wealthy, charitable, and modest. He adopted the surname Landau, and one of his sons, R. Yitzchak Eliyahu Landau (1801-1876), was appointed rabbi and official preacher (מורה צדק ומגיד מישרים) of Vilna in 1868. Landau was a remarkable preacher and a prolific author who left an indelible impression on all who knew him. In 1870, among many other charitable deeds, he personally raised the funds necessary to rebuild the fence that surrounded the entire Old Jewish cemetery, where his father was buried.[22]

When his father died in 1818, there was no reason for the epitaph on his father’s tombstone to make mention of his 17 year old son. But this would change in 1912, if not earlier. As can be seen on the photo, the outer rim of the tombstone’s rooftop reads: פה מצבת הרב ר‘ שמואל בהרב ר‘ חיים שבתילס “Here is the tombstone of the rabbi R. Shmuel, son of the rabbi R. Hayyim Shebsils [sic].” Inside the rooftop, a celebrity marker has been added. It reads:

אבי הרב ר‘ יצחק אליהו לנדא מ“מ דפה “ Father of the rabbi R. Yitzchak Eliyahu Landau, [who served as] official preacher here.” Just under, and to the right, of the inscription on the outer rim, one reads: נתחדש ע“י גבאי דצ“ג בשנת תרע“ב “Refurbished by the adjutants of the Zedakah Gedolah Society in the year 672.” The Hebrew year [5]672 was mostly in 1912. Here too, few, if anyone, really remembered who R. Shmuel b. R. Hayyim Shebsils was, but every learned Jew knew who R. Yitzchak Eliyahu Landau was. Gems from his sermons were repeated orally, and his books were published and republished in Vilna, Warsaw, and elsewhere. A celebrity marker was necessary in order to identify R. Shmuel b. R. Hayyim Shebsils.

It is interesting to note that the celebrity markers that highlight the names of Cantor Yoel David Strashunsky and Official Preacher R. Yitzchak Eliyahu Landau, share a specific – and ambiguous – Hebrew turn of phrase. Cantor Yoel David is called ש“ץ דפה and R. Yitzchak Eliyahu is called מ“מ דפה. The term דפה can be rendered as present tense: “who presently serves as…” or past tense: “who served as…” I have preferred the latter sense in the English translations above, largely because in the case of R. Yitzchak Eliyahu Landau, the date of the refurbishing is clearly given as 1912. R. Yitzchak Eliyahu Landau was surely no longer alive in1912; as indicated above, he died in 1876. But it is possible that the celebrity markers come from an even earlier period, and were entered on the tombstones during the lifetime of Strashunsky (in the 1840’s) and Landau (in the 1870’s). When the ink faded, they were redone in 1912.

What argues against this possibility, however, is the written record. None of the 19^th century publications of the tombstone inscriptions discussed in this essay record (or even seem to be aware of) any of the celebrity markers.

In sum, our purpose has been to introduce a topic – the afterlife of tombstone inscriptions – that needs to be developed and applied to many Jewish cemeteries, sooner rather than later.[23] Our purpose has not been to present an exhaustive treatment of celebrity markers – one category of the afterlife of tombstone inscriptions — in the Old Jewish cemetery of Vilna. That would require much research, and would result in a hefty monograph, both of which are well beyond our means. The few samples we examined, however, surely serve to underscore the fact that the study of the afterlife of tombstone inscriptions remains a scholarly desideratum.

Notes

[1] For a comprehensive bibliography on the Jewish cemetery, see Falk Wiesemann, Sepulcra Judaica: Jewish Cemeteries, Death, Burial and Mourning from the Period of Hellenism to the Present, A Bibliography (Essen: Druckerei Runge, 2005). For an eminently readable summary of contemporary Jewish halakhic practice and custom relating to erecting tombstones and visiting graves, see Chaim Binyamin Goldberg, Mourning and Halachah: The Laws and Customs of the Year of Mourning (New York: Mesorah Publications, 14^th edition, 2012), pp. 382-399.
[2] [] See Israel Klausner, קורות בית–העלמין הישן בוילנה (Wilno: An-ski Jewish Historical and Ethnographical Society of Vilna, 1935), pp. 30-32.
[3] For these markers, see the photographs below:

a) 

b) 

a) Tombstone of R. Yitzhak b. R. Hayyim of Volozhin, and just behind it, the tombstone of Traina, mother of the Gaon of Vilna.
b) Frontal view of Traina’s tombstone (in the center of the photograph, and to the right of R. Yitzhak b. R. Hayyim of Volozhin’s tombstone).

R. Yitzhak b. R. Hayyim died in 1780. At the time, his son R. Hayyim of Volozhin was 31 years old, and had just recently been appointed Rabbi of Volozhin, hardly a large and significant Jewish community in Lithuania at the time. The Yeshiva of Volozhin was not founded until 1802. R. Yitzhak’s son R. Shlomo Zalman was 24 years old when his father died, and relatively unknown. Indeed, R. Yitzhak’ eldest son, R. Simhah, 39 years old at the time, and a practicing rabbi, is not even mentioned by the marker. Clearly, the markers come from a much later period when R. Hayyim and R. Shlomo Zalman were the only names (of R. Yitzhak’s 5 sons) that were known widely by learned Jews, and by visitors to the Old Jewish cemetery of Vilna. For R. Hayyim of Volozhin, see, e.g., Dov Eliach, אבי הישיבות (Jerusalem: Moreshet ha-Yeshivot, revised and expanded edition, 2012); and Shaul Stampfer, Lithuanian Yeshivas of the Nineteenth Century (Oxford: Littman Library of Jewish Civilization, 2015), pp. 15-47. For his younger brother R. Shlomo Zalman, see, e.g., R. Yehezkel Feivel, תולדות אדם השלם (Jerusalem: Makhon Moreshet ha-Gra, 2012).

For the little that is known about Traina, who died in 1742, see Bezalel Landau, הגאון החסיד מוילנא (Jerusalem: Torah mi-Ziyyon, third edition, 1978), p. 15, note 14; and Dov Eliach, הגאון (Jerusalem: Moreshet ha-Yeshivot, 2002), vol. 1, pp. 66-70. For the epitaph on her tombstone, see Klausner, op. cit., p. 56. The marker was surely added after the lifetime of Gaon of Vilna (d.1797), who would not have tolerated seeing the title “Gaon” next to his name, permanently etched in stone as it were, in the Old Jewish cemetery. In photo b, one can actually see how an earlier marker on the upper portion of the tombstone, “פ“נ אם הגאון רבינו אליהו“, after fading away, was replaced by new marker “פ“נ אם הגר“א” .
[4] Photographs of Vilna’s Old Jewish cemetery abound in a wide variety of publications and periodicals in different languages. These include: Hebrew (e.g., Y. Kremerman, מוילנא ‘ירושלים דליטא‘ עד חיפה [n.p: privately published, 1995]); Yiddish (e.g., Leyzer Ran, אש פון ירושלים ד‘ליטא [New York: Wilner Ferlag, 1959]); Russian (e.g., G. Agranovskii and I. Guzenberg, Litovskii Ierusalim [Vilnius: Lituanus, 1992]); Lithuanian (e.g., K. Binkis and P. Tarulis, Vilnius 1323-1923 [Kaunas-Vilnius: Švyturio Bendroves Leidinys, 1923]); German (e.g., Paul Monty, Wanderstunden in Wilna [Wilna: Verlag der Wilnaer Zeitung, 1916]); and English (e.g., Gerard Silvain and Henri Minczeles, Yiddishland [Corte Madera, CA: Ginko Press, 1999]), and total many more publications than can possibly be listed here. Postcard reproductions of photos were produced and sold before, during, and after World War I, serving as a major source for some of the publications mentioned above. Some of these photos are posted on line in various collections of ephemera. Numerous photos, not yet published, are available in private collections. All the photos in this essay (with the exception of the misidentified photo in the recently published Grodzenski volume) are from original photographs and postcards in my possession. Artists have also depicted a variety of scenes from the Old Jewish cemetery (e.g., Walter Buhe, “Wilnaer Judenfriedhof,” 1916; a copy can be viewed online at the Wikipedia entry for Walter Buhe, sub: Images for Walter Buhe).
[5] The hand copies were published mostly by Samuel Joseph Fuenn, קריה נאמנה, second edition (Vilna: Notes and Schweilik, 1915), henceforth: Fuenn; Hillel Noah Steinschneider, עיר ווילנא (Vilna: Romm Publishing Company, 1900), henceforth: Steinschneider; and Israel Klausner (see above, note 2), henceforth: Klausner.
[6] R. Dovid Kamenetsky, רבנו חיים עוזר: רבן של כל בני הגולה (Jerusalem: n.p., 2021), volume 1.
[7] Our author may have been misled by Leyzer Ran, ירושלים דליטא (New York: Wilner Verlag, 1974), vol. 1, p. 101, who mistakenly identified the same photograph as containing the graves of both R. Mordechai Meltzer and R. Abraham Danzig in the Old Jewish cemetery of Vilna. The same error appears in Y. Kremerman (see above, note 4), p. 267.
[8] See R. Mordechai Meltzer’s posthumous publication, תכלת מרדכי (Vilna: Matz, 1889). On the reverse side of the second title page, the full text of the lengthy epitaph on his tombstone in Lida appears in print. A short biography appears on pp. 20-24, which makes mention of the mausoleum constructed over his grave, and that it has become a pilgrimage site. Cf. A. Manor et al, eds., ספר לידא (Tel-Aviv: Or-Li Publishers, 1970), pp. 91-92.
[9] See Steinschneider, p. 122, note 1.
[10] Klausner, p. 75, notes that the inner epitaph was no longer extant in 1935.
[11] See Isaac Meyer Dik, האורח (Vilna, 1846), pp. 30-31. The place and date of publication are uncertain; and the volume may have been co-authored. For bibliographical discussions, see the sources cited in the entry האורח in מפעל הביבליוגרפיה העברית accessed at:  https://uli.nli.org.il/permalink/972NNL_ULI_C/4upfj/alma99682727008422).
[12] Steinschneider, pp. 123 and 194.
[13] For R.Shmuel Strashun, see Zvi Harkavy’s “,תולדות רש“ש וכתביו” appended to his edition of מקורי הרמב“ם לרש“ש (Jerusalem: ha-Eretz Yisraelit, 1957), pp. 53-58. Cf. David Abraham, פנקסו של שמואל (Jerusalem: Makhon Yerushalayim, 2011).
[14] For the text of the inner epitaph, see Fuenn, pp. 254-255.
[14a] See note 14.
[15] Klausner, p. 74.
[16] A vast literature has developed regarding the history and legends surrounding the life of R. Yoel David Strashunsky. These include novels, plays, and film productions. For one of the many failed attempts to distinguish fact from fiction, but fascinating nonetheless, see Samuel Vigoda, Legendary Voices (New York: M.P. Press, 1981), pp. 390-427.

Some of the more important scholarly studies are: Hillel Noah Steinschneider “תולדות הש“ץ הנפלא מווילנא ר‘ יואל דוד לעוווענשטיין” in תלפיות (Berditchev, 1895), part 12, pp. 8-13; Abraham Z. Idelsohn, “תולדות הש“ץ יואל דוד ‘בעל הבית‘ל” in Hebrew Union College Monthly 20 (May-June 1933), pp. 27-29; Isaac Schiper, “אונבעקאנטע ארכיון– מאטעריאלען וועגען דעם אויפהאלט פון ווילנער ‘בעל–הבית‘ל “אין ווארשא אין יהאר 1842 Haynt, September 23, 1934, p. 9; Silja Haller et al, eds., Joachim Stutchewsky Der Wilnaer Balebessel (Wiesbaden: Otto Harrassowitz, 2013; and James Loeffler, “Promising Harmonies: The Aural Politics of Polish-Jewish Relations in the Russian Empire,” Jewish Social Studies 20:3 (2014), pp. 1-36 (especially pp. 19-25). קבר
[17] I translate “grave site” [for Hebrew קבר] rather than “tombstone” [for Hebrew מצבה], for –strictly speaking – the form נתחדש can only be the passive verbal form for a masculine noun. But I have some doubts about whether the sign painters in 19^th and 20^th century Vilna cared very much about Hebrew grammar. See below, in the center of the photograph at Sample 6, where the celebrity marker at the top refers to מצבת, yet under it, the marker specifically states נתחדש. In any event, the masculine noun קבר, ordinarily rendered “grave,” bears secondary meanings including “grave site” and “tombstone.” See Klausner, passim, who uses the term regularly for “grave site” and “tombstone; and cf. A. Even-Shoshan, מלון אבן-שושן (Tel-Aviv: Am Oved, 2003), vol. 5, p. 1623.
[18] The Zedakah Gedolah Society was Jewish Vilna’s official communal institution in charge of public welfare. Given the rampant poverty that prevailed throughout much of Vilna’s Jewish history, this was one of the most important institutions in Vilna. It assumed even greater significance when the Czarist regime abolished Jewish Vilna’s “Kahal” structure in 1844. One of the Zedakah Gedolah’s many tasks was to provide the lion’s share of the funding necessary for the upkeep of Vilna’s Jewish cemeteries. See Israel Cohen, Vilna (Philadelphia: Jewish Publication Society, 1943), pp. 121-122; cf. Israel Klausner, וילנה ירושלים דליטא: דורות הראשונים 1495-1881 (Tel-Aviv: Kibbutz Ha-Me’uhad, 1988), pp. 393-394. For a vivid description of how the Zedakah Gedolah provided Passover aid for the poor in late 19^th century Vilna, see David Livni, ירושלים דליטא (Tel-Aviv, 1930), vol. 1, pp. 9-43. With the advent of World War I, it fell into a period of steady decline and would ultimately be liquidated under Polish rule in 1931. See Israel Cohen, op. cit., pp. 394-397; and cf. Andrew N. Koss, “Two Rabbis and a Rebbetzin: The Vilna Rabbinate during the First World War,” European Judaism 48:1 (2015), pp. 120-122.
[19] It is clearly a Jan Bulhak photograph, taken between 1912-1915 at the Old Jewish cemetery.
[20] The date תרע“ג = [5]673 = 1913, and not תרס“ג = [5]663 = 1903, is confirmed by several different photographs, taken from different angles, of Roza’s grave site (in my personal collection of Vilna materials).
[21] Fuenn, p. 230 and cf. his Introduction, p. xxxi. R. Hayyim’s father’s name was Shabsai. For the form “Shebsil” derived from “Shabsai,” see Alexander Beider, A Dictionary of Ashkenazic Given Names (Avotaynu: Bergenfield, 2001), pp. 409-411.
[22] Steinschneider, p. 97. For the date, see the essay “דער אלטער בית עולם” authored by “ב–מ–ב” in the weekly ווילנער וואכענבלאט, August 12, 1910, pp. 2-3.
[23] Anyone who has frequented, for example, the old Jewish cemeteries in Frankfurt, Mainz, Worms, Prague, and Cracow, will know that celebrity markers are commonplace and mostly late, and that many faded tombstones have been re-inked, often wrongly. Sadly, even the Gaon of Vilna’s epitaph, while yet in the Old Jewish cemetery, was – in part – re-inked wrongly. See the discussion of the Gaon’s epitaph in my “The Paper Brigade’s Recording of Epitaphs in Vilna’s Old Jewish Cemetery: A Literary Analysis,” The Seforim Blog, February 26, 2024 (SeforimBlog.com). It should also be noted that there are different categories of celebrity markers, such as large maps or lists of famous names (often encased in glass) at the cemetery entrance, arrows posted along the route to a celebrity grave, new inscriptions on old tombstones or mausoleums, and entirely redone tombstones (enlarged and enhanced to underscore their celebrity status). I am indebted to Marcin Wodzinski (Professor of Jewish Studies at the University of Wroclaw in Poland), who in a personal communication kindly informed me about yet another factor that plays a role in celebrity markers: the material out of which a tombstone is made, and its malleability. If you cannot easily engrave an inscription on a tombstone, others ways will be found to mark a celebrity grave. Thus, local geophysical factors may well influence the kind of celebrity markers used in a particular cemetery.