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.