A recent article begins:

While some Jewish families see Halloween as a pagan holiday that should not be observed, the fact is, Jewish tradition is itself no stranger to the otherworldly, with its own history of golem-makers, sorcerers, and demon wranglers, and throughout the centuries Jews have been as afraid of evil spirits as anyone else

The Illusory Portrait of R. Yom Tov Lipmann Heller: Deceptive Art and Jewish Images in Vienna

By: Dan Rabinowitz

For if I am deceived, I am.
for he who is not, cannot be deceived;
and if I am deceived,
by this same token I am.

Wolfgang Kemp after St Augustine of Hippo
(Epigraph to Rembrandt Hoogstraten: Colour and Illusion)

On October 8, 2024, Vienna’s Museum of Fine Arts, the Kunsthistorisches Museum, opened the exhibit “Rembrandt – Hoogstraten Colour and Illusion.” The museum’s permanent collection features remarkable works by Rembrandt, including a self-portrait and a now-confirmed portrait of his son, Titus van Rijn. This exhibit showcased many more items from its collection and loans from other museums. The term “illusion” in the exhibition’s title primarily refers to Samuel van Hoogstraten, a student of Rembrandt, and his exceptional use of the trompe-l’oeil technique. Trompe-l’oeil, from French, “fools the eye,” is an art that typically uses architectural elements, light, and perspective to trick the viewer into seeing a three-dimensional image, even when rendered on a single plane. Hoogstraten was one of the most skilled practitioners of this technique. It remains among the canonical approaches to art. Most recently, the Metropolitan Museum of Art recently held an exhibition, “Cubism and the Trompe-l’oeil Tradition,” featuring works by Picasso and his contemporaries.

In the lead-up to the Vienna museum’s exhibit, the city’s Morris columns were adorned with posters, and large billboards were scattered throughout the city announcing the exhibit. There were three variations of these advertisements: one featuring a Rembrandt self-portrait and two “illusory” portraits, Rembrandt’s “Girl in the Window” and Hoogstraten’s “Old Man at a Window.” In Rembrandt’s painting, the girl gazes directly at the viewer, gripping the exterior window frame, with her fingers extending beyond it. Combined with Rembrandt’s unparalleled usage of light and color, the image is unsettlingly realistic, even when reproduced in books.

Hoogstraten’s painting, “Old Man at a Window,” depicts an old, wizened, bearded man, crowned with a round fur hat, seemingly poking his head out of the window like a gargoyle protruding from the building. While the exhibit’s advertisements are silent about the man’s identity, many Orthodox Jews might recognize him as R. Yom Tov Lipman Heller, the author of, among other works, the Tosefos Yom Tov commentary on the Mishna. Heller is associated with Vienna, having served as its Chief Rabbi in the early 17th century; however, art historians and Jewish scholars have conclusively shown the impossibility of this being an authentic representation of Heller. Nonetheless, much like the trompe l’oeil technique, the Old Man at a Window continues to deceive, and many still believe it is Heller.

Figure 1 Samuel Von Hoogstraten, Old Man at a Window, Kunsthistorisches Museum, Vienna

Rabbi Heller’s Chronicle of Imprisonment & Redemption

Rabbi Yom Tov Lipman Heller was born in 1578 in Wallerstein, a small village in Southern Germany, home to around twenty Jewish families (Davis 21). As a teenager, he married into a prominent family in Prague. His perspicacity and deep knowledge were quickly recognized, and at 19, he was appointed to serve on the Prague Beis Din, overseeing the largest Jewish community in Christian Europe (Davis 25-33). A year later, he published his first book, a somewhat unusual choice for a traditional rabbinic scholar, a commentary on the philosophical work Behinas Olam. He subsequently authored dozens of books across varied genres, completing his magnum opus, Tosefos Yom Tov in Heshvan 1616 (Davis 225-231). His identity quickly became bound up with this work, and even on the epitaph of his daughters’ headstone from 1639, he is referred to by the book and not his given name (Muneles 321). (The book’s original title is Tosefes Yom Tov, and later Tosefos Yom Tov. While some posit that this change was first documented in 1653, it already appears on the epitaph. (cf. Haberman 125n1)). He also “left ample records of himself… books, letters, archival documents, responsa, poems, prayers, sermons, commentaries, and even a memoir” (Davis 1). Nevertheless, there are no surviving portraits or other images.

Rabbi Heller spent time in Vienna on two occasions. The first, in 1625, he was induced to leave Prague for Vienna’s chief rabbi position. Despite his short tenure of only two years, he scored a significant victory for the Viennese Jewish community. Until then, it was dispersed throughout the city, and Heller secured the right for the community to reside in a single area and strengthen its ties. That cohesion was shattered in 1670 when Emperor Leopold I expelled them (one of the many expulsions Viennese Jews suffered), and the area was renamed after its extirpator, Leopoldstadt. Prague, however, drew him back, and in 1627, he took on the role of chief rabbi there.

Just two years later, some of the city’s Jewish community bristled at his involvement in tax collection, accusing him of determining tax rates unfairly. In June 1629, they denounced him to the government, which resulted in his arrest and summons to Vienna. He recounts the events in his autobiographical work, Megilas Eivah—an allusion to the first letters of the first four words of Megilas Eicha, written between 1644 and 1648. Initially placed under house arrest, he was imprisoned on the 17th of Tammuz and confined in a common jail with prisoners awaiting execution. He was denied visitors and remained isolated, “no one could speak with him, even via the window.” Two days later, following appeals from the Jewish community, he was transferred to a special prison and granted visitation rights. After forty days, the community agreed to pay a substantial fine, and he was released, almost immediately departing for Prague, never to return to Vienna. By 1643, he arrived in Krakow, where he served as chief Rabbi until his death in 1654. 

Megilas Eivah circulated in various manuscripts but was published only in 1836 (Davis 228 n31). While its authenticity is beyond doubt, the additional section that first appeared in the Hebrew 1880 edition is considered a forgery. Allegedly written by Heller’s son Samuel, it “has a quality reminiscent of Dumas and The Three Musketeers: [Heller] saves a young woman from a bull, and her husband, the French ambassador, intercedes on behalf of Rabbi Yom-Tov.” In 1905, “Moritz Steinschneider identified the source as based on a short story written by Ludwig Philippson (1811‒89), a rabbi and journalist, and the author of a series of Jewish historical novelettes and stories for young readers” (Davis 146 n36).

Samuel van Hoogstraten, Master of Illusion

Samuel van Hoogstraten was born in Dordrecht, one of the oldest cities in the Netherlands, on August 2, 1627. He was the eldest child of the artist Dirk van Hoogstraten and Maeiken de Coninck. Samuel started his art studies with his father, continuing until his father passed away in 1640. Around 1642, Samuel moved to Amsterdam and began studying under Rembrandt. He rapidly proved himself to be a standout student, leading classes, reviewing his classmates’ work, and so effectively absorbing his teachers’ lessons, that some of his works were mistakenly attributed to Rembrandt (Brusati 16-31). As part of the preparation for the current exhibit, “Young Woman at an Open Half-Door” (1645) has been reassigned to Hoogstraten (Illes; Van Sloten 125).

In 1651, Samuel traveled to Vienna, the epicenter of power and prestige within the Hapsburg Empire, seeking to enhance his reputation and standing among elite society. He succeeded almost immediately. Samuel’s student, Arnold Houbraken, recounted how, on August 6, 1651, Samuel presented three of his paintings to the emperor. The first two were well received, but “the third piece,” in the trompe l’oeil style, was a still life that captivated the Emperor, who appeared to be completely taken by it. He looked at it for a long time and, finding himself still deceived, said, ‘This is the first painter who has deceived me.’ And he went on to say that he would not get the picture back as a punishment for that deception, for the Emperor wished to keep it forever.” (Houbraken 2:157-58). However, Samuel did not leave empty-handed. The Emperor awarded him an imperial medallion and a gold chain, which he took immense pride in; this would become a standard element in his subsequent self-portraits and among the items he viewed as symbolic of successful artists (Hoogstraten 371-72; Brusati 54).

Hoogstraten broadly characterized art as a form of deception. In his magnum opus on the theory of painting and color, Inleyding tot de hooge schoole der schilderkonst: anders de zichtbaere werelt (Introduction to the Academy of Painting; or, The Visible World), he describes what he considers the “perfect painting.” It “is like a mirror of nature; it makes things that are not there appear to exist and deceives in a permissible, pleasurable, and praiseworthy way” (Hoogstraten 79). One way to achieve this effect is by combining architectural elements such as open doors or windows and adding “some figures” to the composition, “by which many have been artfully deceived” (Hoogstraten 304). He takes pride in having accomplished this with his paintings completed in Vienna. One is “Old Man at a Window,” painted in 1653. (Brusati 65).

The Religious Conversion and Reversion of the Old Man at a Window 

The earliest catalogs describing the painting Old Man at a Window do not mention the man’s religious affiliation. It was not until the 19th century that two scholars suggested a Jewish connection, and even then, there was no mention of Heller. Nonetheless, this association never gained traction, and the painting continued to be described without any reference to Jews. We must wait until the 1950s for Heller’s connection to emerge. However, that link lacked any supporting evidence, leaving us in the dark about what prompted the change from an Old Man to Heller. Even that association was quickly dismissed due to the significant gap between when Heller was imprisoned and when Hoogstraten painted Old Man at a Window.

The 1653 painting is one of the first works by Hoogstraten that Emperor Charles II acquired for his castle in Prague, possibly commissioned specifically for him. The painting is described in detail in an early catalog:

No. 4. By Samuel van Hoogstraten. A lifelike, grey-bearded old man looks out of a window. His fur hat, the furrows on his face from his age, and his grey beard are so well painted that one believes one can see nature itself in each one. Hoogstraten, who did not only paint as a mere colorist, showed his deep insight into the subject and reflected light in the chiaroscuro and the deep and penetrating shadows. Just look at the head . . ., and you will find that in it, the master’s hand, which . . . expresses itself quite magnificently. The lead on the round window pane, the wooden frame, that is the glass frame, is also very well painted, but the window’s stone frame makes you believe entirely that it is the work of a mason, almost as if you can see the mason’s hand on it. The straw stalk lying on the window stone, the feather, and the bottle standing there are no less well-painted and serve to prove the excellence of the whole. This picture is painted on canvas, 3 feet 6 inches high, 2 feet and 9 inches wide. The head is life-size. The artist has engraved his monogram and the year 1653 on the window stone of this painting” (Rigler 163-164).

During the 17th century, two inventories were created for the collection. In both, the painting is described as “a man sticking his head out of the window through the shutter,” without any reference to the man’s religious affiliation or any connection to Rabbi Heller (Köpl clvnn330; Brusati 361n76). Hoogstraten’s Old Man at a Window was relocated to Vienna after the Habsburgs acquired the Belvedere Palace in the 1730s. The Palace is perhaps best known today for Gustav Klimt’s “The Kiss” and other notable Viennese Expressionists. In one of the earliest catalogs of the Belvedere by Christian van Mechel from 1783, the subject is referred to simply as a “grey-bearded man with a round fur hat on his head, looking out curiously from a window” (Mechel 84n4). That is how the description remained, unadorned with any religious identity until the 19^th century.

In the 19th century, two descriptions of the Old Man at a Window added his religion: he was a Jew. In 1839, German art historian Georg Rathgeber, in his study of Netherlandish art, asserts that “this picture’s title is “Böhmischen Juden,” “Bohemian Jew.’” Rathgeber disputes the identification not for its lack of historicity but because “the character of the facial features does not seem to correspond very well to” his antisemitic views on Jewish physiognomy (Rathgeber 147). Similarly, in 1861, French art critic Charles Blanc, in his encyclopedic work Histoire des Peintres de Toutes les Écoles, asserts that the Belvedere catalog now refers to the painting as “Un vieux juif (dit le Catalogue)” or “an old Jew (as it appears in the Catalog)” (Blanc 4). This portrait impressed Blanc and is among the few he reproduced in his discussion of Hoogstraten (Blanc 1). However, Blanc is notorious for identifying Jews in Rembrandt’s and his school’s works without any supporting evidence (Knotter and Schwartz 7-9). Contrary to the “catalog’s identification,” Blanc, like Rathgeber, asserts that the face “is not Israelite” (Blanc 2). Neither Blanc nor Rathgeber mentions Rabbi Heller.

Figure 2 Charles Blanc, Histoire des Peintres de Toutes les Écoles

Blanc’s and Rathgeber’s Jewish association did not take hold. For example, G.H. Veth, in his 1889 article discussing artists from Dordrecht, including Hoogstraten, cites Blanc and notes his reproduction of Old Man. However, Veth describes it without mentioning any Jewish connections (Veth 145). Similarly, a 1903 tour guidebook of Vienna confirms that at the Belvedere, the painting’s title remains unchanged as “Old Man at a Window” (Baedeker 73; cf. Gerson, 282).

Despite the absence of objective evidence and the dismissal of Blanc’s and Rathgeber’s 19th-century Semitic connection, one scholar in the 1950s cryptically associated Rabbi Heller with Hoogstraten’s painting. Margarethe Poch-Kalous, the head of the Academy of Fine Arts in Vienna (Akademie der bildenden Künste in Wien), in her 1959 survey of Dutch art in Vienna, refers to the figure as “ein bärtiger alter Mann (Rabbi Heller),” “a bearded old man (Rabbi Heller)” (Poch-Kalous 198). The basis for her identification is opaque. Poch-Kalous’ two citations offer no support; neither mentions Heller nor suggests that the figure is even Jewish, nor does she reference Blanc or Rathgeber (Poch-Kalous 198 citing Engerth 207n928 and Köpl clvnn330).

Oddly, unlike other personalities, artists, and subjects discussed in her article, which consistently include personal names and birth and death dates, Poch-Kalous provides nothing beyond “Rabbi Heller.” This is especially puzzling for an article in the Jahrbuch der Kunsthistorische Sammlungen, whose readership is unlikely to be sufficiently familiar with the history of 17th-century Bohemian rabbis to provide the missing details.

Whatever the basis for Poch-Kalous’s connection between Hoogstraten’s painting and Heller, it was swiftly dismissed. In 1972, Klaus Demus, the art historian and curator at the Kunsthistorisches Museum, demonstrated that it was impossible for Heller to be the model. He explains that Heller was imprisoned in 1629, and by 1644, he was serving as a rabbi in Krakow, where he remained until his death in 1654. Hoogstraten, who was only two years old when Heller was imprisoned in Vienna, painted Old Man at a Window in 1653, long after Heller had left Vienna (Demus 47-48). Today, the Kunsthistorisches Museum’s website alludes to Poch-Kalous’ attribution and rejection: “According to a tradition that is now presumed to be mistaken, the man is Rabbi Yom Tov Lipmann Heller.” Hoogstraten’s “deception” and “illusion” did not extend to rendering persons he never saw.

Illustrious Jews and Illusionary Jewish Sources

Jewish sources similarly are not more persuasive in linking Heller to Hoogstraten’s painting. Generally, rabbinic portraits prior to the 19th century lack authenticity (Cohen), and Heller is no exception. Most of the few early verifiable images exist as frontispieces in books rather than as paintings, and none depict Eastern European rabbis. Heller’s image first appears in Jewish sources in the early twentieth century. It depicts an old man, yet he is completely different from Hoogstraten’s version. The first instance of Heller masquerading as the Old Man at a Window is over a decade after Demus debunks that theory!

Figure 3 Bader, Drasig Doyres, 175

The first Jewish source of an alleged portrait of Rabbi Heller appears in a Yiddish collection of stories and hagiographies of rabbis in Gerson Bader’s Drasig Doyres Yiden in Poylen, published in 1927 (Bader 175). Bader’s depiction of Rabbi Heller does not resemble the individual shown in Hoogstraten. Bader claims that his source is an “old drawing,” yet he does not provide any further details, such as where or when it was published.

Bader’s book features other alleged rabbinic images from “old drawings” that are demonstratably false. For example, Bader’s portrait of R. Aaron Shmuel Kaidanover, author of the Birkas ha-Zevach on Kodshim, is of the Karaite and forger Avraham Firkovich (1787-1875) (Bader 185). It is undoubtedly Firkovich, as it appears in his Avnei Zikaron, published in 1872, during his lifetime. Similarly, Bader misattributes Joseph Delmedigo’s (1591-1655) portrait from the frontispiece of his Sefer Elim (Amsterdam, 1629), and the photo of R. Shmuel Salant by Zadok Bassan, assigning them to alternative rabbinic figures (Bader 204, 321). Nonetheless, Bader’s depiction of Heller was often reproduced, to the extent that in a 2000 biography of Heller, it is referred to as “iyur amimi nafuts shel ha-Tosefos Yom Tov,” “the widespread folk image of the Tosefos Yom Tov” (Herskovics 32).

Figure 4 Bader, Drasig Doyres Yiden in Poylen, 175.

Figure 5 Firkovich, Avnei Zikhron, From the Gross Family Collection, The Center for Jewish Art

It was only in 1984 that a Jewish source connected the Hoogstraten painting to Rabbi Heller. The cover of the book The Feast and the Fast: The Dramatic Personal Story of Yom Tov Lipman Heller, a translation of Megilas Eivah, depicts Rabbi Heller in prison and is modeled on the figure in the Hoogstraten painting. To eliminate any doubt about the source of the cover art, the back of the book features reproductions of title pages from Heller’s works and his gravestone, along with a photo “of the drawing in the Kunsthistorisches Museum in Vienna, Austria, entitled ‘Man at the Window’ (1653) by Samuel Van Hoogstraten (1627-1678)” (Lipschitz and Rosenstein). A similar image was used for the cover illustration of another translation of Megilas Eivah published in 1991 (Heller). The English section of the 2000 biography of Heller reproduces the cover of The Feast and the Fast, describing it as “featuring a picture of the Tosefot Yom Tov” (Herskovics 101). However, it does not attempt to reconcile this image with the clearly different “widespread folk image” presented in the Hebrew section of the biography. Although not mentioned in any of these sources, they were presumably misled by the bars on the window. However, those are not prison bars; rather, as was common in that era, the windows were supported by these architectural elements (Hermans 249).

Figure 6 Cover, Feast and the Fast, 1984

By 1999, however, Jewish sources also recognized the impossibility of associating Heller with the painting. R Ya’akov Yeruchum Wreschner republished Megilas Eivah based on four editions and two manuscripts and includes a comprehensive introduction regarding Heller. In two footnotes within the introduction, Wreschner briefly addresses Heller’s connection, or lack thereof, to Old Man at a Window. Like Demas, Wreschner contends that the nearly twenty-five-year gap between Heller’s departure from Vienna and Hoogstraten’s painting of Old Man renders it impossible for Heller to have been the model. Wreschner asks rhetorically, how could Hoogstraten “paint Rabbenu [Heller] when he never set eyes on him?” (Wreschner Megilas 48n3). Wreschner also contacted the Kunsthistorisches Museum and received a response confirming that “not only is it not the Rabbi, but it is not even a Jew” (Wreschner Megilas 17n4). As a result, Wreschner refused to reproduce that portrait in his book. Similarly, despite being titled Portrait of a Seventeenth-Century Rabbi, the most recent academic biography of Heller by Joseph Davis includes neither the Hoogstraten portrait nor any other image of Heller (Davis).

In 2024, Wreschner published a significantly revised and retitled edition of his book. Despite discrediting Heller’s connection to the painting over twenty years ago, various Jewish books, newspapers, and other ephemera continue to publish Old Man at a Window and link it to Heller (e.g., Alfasi 137; Stern 184-86; Berman). Wreschner was, therefore, compelled to revisit the painting, presenting additional arguments and greater detail regarding his discussions with the Kunsthistorisches Museum.

Wreschner, in 1999, first spoke telephonically with the Director of the Kunsthistorisches Museum, Dr. Karl Schütz, who confirmed that the painting was not connected to Heller. Schütz followed up with a letter detailing the sources for his rejection. Schütz stated that, with one exception, from the earliest catalogs to contemporary analyses of the painting, it was never associated with any specific individual, Jewish or otherwise. This is consistent with Hoogstraten’s intent, showcasing the trompe l’oeil technique rather than portraiture. The only time it appears – in Demus’s “detailed catalog of Dutch painters from 1972”—is solely to repudiate Poch-Kalous’s chronologically impossible and otherwise undocumented connection to Heller. Schütz also discredited the claim that following the Anschluss, the painting was categorized as Jewish art and consigned to the museum’s basement. On the contrary, a coterminous catalog lists the painting among those on display.

Despite Wreschner’s certitude about Schütz’s rejection, for unclear reasons, Wreschner attributes an otherwise unrecorded episode to Schütz. This alleged event appears to offer some support for linking Heller to the painting, but it is completely absent from the letter. According to Wreschner, the letter references an event in 1972 when an unidentified Jew approached the museum and claimed there was “a tradition that it was Tosefos Yom Tov” (Wreschner 2024, 24-26). The museum expressed skepticism about that tradition but did not completely dismiss it. In Wreschner’s retelling, it suggested the possibility that “a Jew conjured up Heller’s image and Hoogstraten copied it.” The actual text of the letter directly contradicts Wreschner’s account. Schütz references 1972 not as the date of an important meeting that supports the “legend” but as the first substantial discussion – by Demus – and his definitive rebuttal without mentioning a meeting with the Jew.

Beyond Schütz’s letter, Wreschner adds internal reasons why the painting cannot depict Heller in jail. The window is large enough for the man to stick his head out and features high-quality glass, an uncommon design for a prison. Furthermore, the expensive fur hat worn by the Man at a Window is an unlikely accessory in a prison housing hardened criminals sentenced to death and an incongruous headpiece for the July heat when Heller was imprisoned. Wreschner could have included another element in the painting that contrasts with a prison – the wall behind the Old Man has patterned wallpaper.

Following his earlier edition, Wreschner learned of an earlier source linking Heller to the painting, which is summarily dismissed. R. Shimon Fuerst, who lived in Vienna before 1940, in his book, Shem mi-Shimon, published in 1967, recalls visiting the museum where he saw firsthand “the painting made during the imprisonment” (Fuerst 426). Wreschner is unmoved by Fuerst’s identification. First, Fuerst was not an expert on Heller. Fuerst writes that Heller left Vienna to assume the Chief Rabbi position in Krakow, which is false. After his release, Heller returned to Prague, only leaving for Krakow fifteen years later. Aside from this obvious mistake, Fuerst’s opinion is irrelevant. Wreschner does not dispute Fuerst’s rabbinic bona fides, yet he is not an art historian. When faced with questions of rabbinic law, we defer to rabbis, but, according to Wreschner, “when it comes to questions of attribution of art, we look to experts in that field” (Wreschner 2024, 26). Regardless of the reliability of Fuerst’s claim, the mystery of Poche-Kalous’ source remains unsolved as her work predates Fuerst’s by four years.

Going Once, Twice, Three Times – Sold!

The identification of Heller with the Old Man at a Window is not the first, nor likely the last portrait erroneously attributed to a well-known Jew. One such example is the “traditional” portrait of the founder of the Hassidic movement, R Yisrael Ba’al Shem Tov. This portrait depicts a Ba’al Shem, a Wonderworker, but not Yisrael; rather, it is of Ya’akov Falk of London (Oron). He was an alchemist and an eccentric, and according to R Ya’akov Emden, a crypto-Sabbatian. However, evidence does not always prevail. Books and numerous sukkah decorations continue to utilize this portrait.

There is even another Hoogstraten portrait that falls into this category. A 1670 Hoogstraten portrait now in the Jewish Museum in New York was previously associated with Baruch (Bento, Benedictus) Spinoza. This is just one of many alleged portraits of Spinoza. Yet, most, if not all, lack independent verification or directly contradict the existing evidence (Ekkart). Indeed, “It is the same with the portraits as with so many other aspects of Spinoza’s life: little can be said with any certainty” (qtd. in Ekkart 25). This portrait was first linked to Spinoza in 1929, partly based on “a slip of paper on the back bearing the scholar’s name” (Ekkart 5). It is unclear who made that determination or even when the paper was inserted into the back of the painting. Consequently, the Jewish Museum now describes the painting as “Portrait of a Man (previously thought to be Baruch Spinoza).”

Similarly, despite art historians and Jewish sources resoundingly rejecting Heller’s connection to the Old Man at a Window, it seems unlikely that the idea of Hoogstraten depicting Heller will be dislodged in the collective Jewish consciousness. The attribution is so deeply ingrained that someone spent a staggering $120,000 before fees on a late 19th-century reproduction of Hoogstraten’s painting.

Figure 7 Lot 318, Kestenbaum Auctions, March 12, 2014

In 2014, the American Judaica auction house Kestenbaum & Company listed an 1887 painting described as “Yom Tov Lipman Heller, Portrait: Imprisoned in Vienna,” with a $12,000-$18,000 estimate. The portrait also served as the front cover image of the catalog. It is described as “the celebrated portrait of the Tosefos Yom Tov” and claims that Hoogstraten “painted Rabbi Heller in 1653 and entitled it ‘Old Man in the Window.’” The catalog warns that “it is not known if van Hoogstraten ever met or saw [Heller]; however, it is likely that he was aware of the Rembrandt (School) painting of 1643 entitled ‘Portrait of an Old Jew’ (today in the National Gallery of Denmark) – where a similar, bearded Jewish man, with head cocked, looks emotively at the viewer.” Scholars acknowledge that elements of Man at a Window and other Hoogstraten paintings evoke “the face studies of costumed figures routinely produced in Rembrandt’s studio,” but this does not transform the man into a Jew, let alone Rabbi Heller. The Jewish identification of the painting in the National Gallery of Denmark is also of questionable relevance. Some aspects of that painting, most notably the chain around the man’s neck, make it highly unlikely that it depicts a Jew (Alexander-Knotter 80-81). The catalog’s only citation for attributing the subject to Heller is the 1984 book, The Fast and the Feast, mentioned earlier. It does not reference Demus’ or Wreschner’s discussions that challenge that attribution. 

The significance assigned to the artistic rendition of the original is also debatable. The 1887 reproduction bears the signature of the artist “Paul Krüger.” However, Krüger was not a recognized artist; instead, it was a commercial reproduction company in Vienna that commonly attached its labels to the works. Its full name is “Paul Krüger Atelier für Porträtmalerei in Wien” (Paul Krüger Studio for Portrait Painting in Vienna). The studio functioned in the late 19th century and reproduced numerous paintings from the Kunsthistorisches Museum. Today, for those wanting to display a similar commercial reproduction of the painting on their wall, it is available through many websites that specialize in creating highly accurate copies of famous artworks. One such site offers a hand-painted version, almost the exact size of the original, with a similar frame, for about $1,400.

If the buyer had waited a year, they could have acquired an earlier reproduction by a recognized and significant artist. On May 18, 2015, Ferdinand Waldmüller’s (1793-1865) painting “Old Man at the Window,” modeled after Hoogstraten and executed in 1819, was auctioned with an estimate of €22,400 to €28,000. Unlike Krüger’s shop, which served as a commercial entity, Waldmüller is regarded as one of “the most important Austrian painters of the Biedermeier period.” Nevertheless, the lot remained unsold.

The Krüger copy may not be the best reproduction, but the auction catalog description proved worthwhile for reproduction. Rabbi Moshe Bamberger is the author of a series of books on “Great Jewish” items published by Artscroll. One book focuses on letters, another on important Jewish books, and another titled Great Jewish Treasures, is “A Collection of Precious Judaica, Associated with Torah Leaders.” This work contains a chapter dedicated to “Artwork” that discusses some well-known examples of rabbinic images. He ably covers several of these topics and discusses the traditional portrayal of Yisrael Ba’al Shem Tov, accurately aligning it with London’s Ba’al Shem, Jacob Falk.

Bamberger also includes a section focused on the “famous depiction of Rabbi Yom Tov Lipmann Heller (1579-1654) peering through the window of his prison cell” and reproduces a version of the Hoogstraten painting. Bamberger tries to reconcile the inconsistency between the dates of imprisonment and the time when Hoogstraten painted Old Man. Bamberger’s source is the auction catalog, yet he seems to disagree with one item: which of Rembrandt’s “Jews” Hoogstraten supposedly used as a model for Heller. Rather than the 1643 “Portrait of an Old Jew” attributed to Rembrandt’s school and currently housed in the National Gallery of Denmark; according to Bamberger, the model was the subject of a painting by Rembrandt, also titled “Portrait of an Old Jew,” now held in the Hermitage Museum in Leningrad. Bamberger does not provide a rationale for selecting the Hermitage painting over the one in the National Gallery. Nevertheless, the Hermitage painting is equally unlikely to depict a Jew and is now referred to generically as “Man in an Armchair.” (Schwartz 371-373). Ironically, Bamberger’s use of the Hermitage painting only reinforces the unlikelihood that Heller served as a model for Hoogstraten. The Hermitage Rembrandt originates from 1654, one year after “Old Man in a Window.” Hoogstraten certainly did not use a nonexistent painting to model his artistic expression.

Whether we will ever fully explicate to our satisfaction the enigmatic history of Hoogstraten’s 1653 painting Old Man at a Window, Hoogstraten’s masterful execution of the Trompe l’oeil technique makes the painting worth seeking out on its own. The exhibition closed in Vienna on January 12, 2025, but relocated to Rembrandt House in Amsterdam, “The Illusionist. Samuel van Hoogstraten,” from February 1 to May 4, 2025. The Amsterdam exhibition is entirely dedicated to Hoogstraten. To accompany the Vienna exhibit, the Kunsthistorisches Museum published a collection of articles titled Rembrandt Hoogstraten: Colour and Illusion, edited by Dr. Sabine Pénot, the Curator of Netherlandish and Dutch Paintings at the museum. This book is of excellent quality, beautifully reproducing many of the exhibit’s paintings and etchings. One article is a detailed study of Hoogstraten’s process and technique in Old Man at a Window (Hermens). While it employs various infrared and other technologies to uncover what lies beneath the surface, no rabbi is lurking behind the layers of paint.

* I want to thank Dr. Shnayer Leiman for bringing to my attention Gershom Bader as the earliest source of Heller’s representation within Jewish sources. I also wish to thank Professor Marc Michael Epstein, Professor Marc Shapiro, Dr. Lara Lempertienė, and Menachem Butler for their thorough review of the draft and invaluable feedback, Dr. Sabine Pénot for scouring the Kunsthistorisches Museum’s collection for information regarding Heller’s link to the painting, and Shaul Seidler-Feller for his expertise in translating Yiddish. Additionally, I am grateful to Rabbi Yaakov Yeruchum Wreschner for sharing his correspondence with the Kunsthistorisches Museum, and, as always, Eliezer Brodt, whose enviable encyclopedic knowledge, which he freely shares, ensured I did not overlook crucial materials.

Sources:

Alexander-Knotter, Mirjam, et al. The ‘Jewish’ Rembrandt, The Myth Unraveled. Waanders Publishers/Jewish Historical Museum, [2006].

Bader, Gershom. Drasyig Doyres Yiden in Poylen. Oriom Press, 1927.

Bamberger, Moshe. Great Jewish Treasures. Artscroll, 2015.

Blanc, Charles. Histoire des Peintres de Toutes les Écoles, vol. 2, “Samuel van Hoogstraten”. Paris, 1861.

Brusati, Celeste. Artifice and Illusion: The Art and Writing of Samuel Van Hoogstraten. University of Chicago Press, 1995.

Cohen, Richard I. Jewish Icons: Art and Society in Modern Europe. California UP, 1998.

Davis, Joseph M. Yom-Tov Lipmann Heller: Portrait of a Seventeenth-Century Rabbi. Littman Library of Civilization, 2004.

Demus, Klaus. Friderike. Katalog der Gemäldegalerie: Holländische Meister des 15., 16., und 17. Jahrhunderts. Kunsthistorisches Museum, 1972.

Ekkart, Rudi. Spinoza in Beeld: Het onbekende gezicht/Spinoza in Portrait: The Unknown Face. Amsterdam Vereniging het Spinozahuis, 1999.

Engerth, Eduard van. Gemälde Beschreibendes Verzeirchness, vol. 2. 1884.

Gerson, Horst. Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts. De erven F. Bohn n. v, 1942.

Haberman, A.M. “Piyutav ve-shirav shel R. Yom Tov Lipman Heller.” Le-Kovod Yom Tov, edited by Judah Leib Maimon. Mosad HaRav Kook, 1956, pp. 125-145.

Heller, Yom Tov Lipmann. A Chronicle of Hardship and Hope. Translated by Avraham Yaakov Finkel, C.I.S. Publishers, 1991.

Hermens, Erma, et al. “Samuel van Hoogstraten’s Illusionistic Paintings for Emperor Ferdinand III – Two Case Studies.” Rembrandt Hoogstraten: Colour and Illusion, edited by Sabine Pénot. Hannibal, 2025, pp. 232-51.

Herskovics, Mayer. Two Guardians of the Faith: The History and Distinguished Lineage of Rabbi Yom Tov Lipman Heller and Rabbi Areyeh Leib Heller. Graphit Press, 2000.

Hoogstraten, Samuel Van. Introduction to the Academy of Painting; or, The Visible World. Edited by Celeste Brusati and Translation by Jaap Jacobs. Getty Research Institute, 2021.

Illes, Angelina. “List of Works.” Rembrandt Hoogstraten: Colour and Illusion, edited by Sabine Pénot. Hannibal, 2025, 258.

Knotter, Mirjam, and Gary Schwartz, editors. Rembrandt Seen Through Jewish Eyes: The Artist’s Meaning to Jews from His Time to Ours. Amsterdam UP, 2024.

Lipschitz Chaim Uri, and Neil Rosenstein, The Feast and the Fast: The Dramatic Personal Story of Yom Tov Lipman Heller. Moriah, 1984.

Mechel, Christian van. Verzeichniß der Gemälde der Kaiserlich Königlichen Bilder-Gallerie in Wien, Vienna, 1783.

Oron, Michal. Rabbi, Mystic, or Imposter. Translated by Edward Levin. Littman Library of Jewish Civilization, 2020.

Poch-Kalous, Margarethe. “Das Legat Wolfgang van Wurzbach-Tannenberg an die Gemäldegalerie der Akademie der bildenden Künste in Wien,” in Jahrbuch der kunsthistorischen Sammlungen in Wien vol. 55, 1959.

Rathgerber, Georg. Annalen der Niederländischen Malerei und Kupferstecherkunst: Van Rubens Abreise nach Italien bis auf Rembrandt’s Tod. Gotha, 1839.

Rigler, Hieronumus. “Beschreibung und Beurtheilung verschiedener Gemälde der S.S. Bildergalerie in Belvedere van Hieronymus Rigler aus dessen 1783 herausgegebenen, ausser Wien wenig bekannten und bereits geendigten mächentlichen Anzeigen van Künstlern und Kunstsachen,” in Miscellaneen artistischen Innhalts, 21, 1784, pp. 158-177.

Schwartz, Gary. The Rembrandt Book. Abrams, 2006.

Stern, Yechiel Michel. Gedoli Ha-Doros. Minchas Yisrael, 1996.

Van Sloten, Leonore and David de Witt. “Challenged by Rembrandt,” in Samuel van Hoogstraten, The Illusionist. Edited by Nathalie Maciesza and Epco Runia. WBOOKS, 2025.

Wreschner, J. Megilat Eivah le-Ba’al Ha-TY”T.  [], Jerusalem, 1999.

Wreschner, J. Ha-Tosefos Yom Tov u-Megilaso. [], Beni Brak, 2024.

Appendix:

Hoogstraten’s painting was copied and reinterpreted multiple times, with variations in style and even gender. (See Brusati 361, which discusses two copies in royal collections.)

A few more examples:

A more compact version with a whiter and shaped bear is attributed to a Dutch painter of Hoogstraten’s school and possibly one of the versions mentioned by Brusati.

Described as 18^th Century Flemish School, without identification of a specific artist, sold for CHF 800.

Two versions: a man that is a crude likeness of Old Man in a Window and a woman wearing a linen cap sold for $2,000.

An alternative version of a woman was painted by Josef Hauzinger, (1726-1787), currently at the Pushkin Museum in Moscow. A later version of this rendering appeared at auction in 2022.

Another example of a woman at the window is a 1936 Picasso painting.

Jews, Medicine and the University of Padua: A Behind the Scenes Tour of a New Exhibit at the Jewish Museum of Padua
November 2, 2022- December 31, 2022
By Rabbi Edward Reichman, MD

The city of Padua (or Padova), just twenty-five miles southwest of Venice, has a rich and expansive Jewish history, though it is not typically on the itinerary of the Jewish traveler to Italy. One might perhaps recognize the city name as the penultimate stop on the train from Florence to Venice. The likes of Rabbi Yehuda Minz (Mahari Minz- 15^th century), Rabbi Meir Katzenellenbogen (Maharam Padua- 16^th century), and Rabbi Moshe Ḥayyim Luzzatto (Ramḥal- 18^th century) all lived and taught there, as did many other great personalities in Jewish history.

One of the centerpieces of the city is the University of Padua, one of the oldest universities in the world, which is celebrating its 800^th anniversary this year. To this day, it remains one of the premier universities in Europe. The Jewish history of this city is very much intertwined with the university. One remarkable connection between the two is geographical. As divine providence would have it, the Ghetto of Padua was established literally meters away from the university campus. A casual stroll from Palazza Bo, the iconic architectural center of the University of Padua, to the Ashkenazi Synagogue in the Ghetto, now home to the Jewish Museum in Padua, takes less than five minutes.

A new exhibit at the Jewish Museum of Padua, in collaboration with the University of Padua, explores the unique relationship between the university and the Jewish community in the pre-modern era, with particular focus on the medical training of Jewish students. The exhibit commemorates a key role the university played in Jewish medical history, beginning in the fifteenth century, as the first university to officially allow Jews to gain formal training in the field of medicine. Since the formation of the earliest universities,[1] Jews were officially barred by papal decree from attending, as the universities were by and large under the auspices of the Catholic Church. In the pages of this blog, we have drawn attention to the role the University of Padua played in Jewish medical education.[2] Most recently we focused on a rare genre of poems written in honor of Jewish medical graduates of this institution from the 16^th-18^th centuries.[3]

I am now delighted to inform you of a new exhibit at the Jewish Museum of Padua- Jews, Medicine and the University of Padua– which will run through December 31, 2022. The exhibit was inaugurated with an event on November 2, 2022. Introductions by representatives of the museum, the Jewish community of Padua and the University of Padua were followed by a recorded video address by Chief Rabbi Dr. Riccardo Di Segni of Rome, himself a prominent physician, on Judaism and medicine. The program concluded with my presentation about the training of Jewish medical students in Padua.[4]

The archival material occupies a large display case[5] and reflects three centuries of history through rare documents, including community and city archives, which have never been on public display. With the exception of the work of Vesalius, all the items are unica.

In addition, displayed throughout the exhibit hall are portraits of Jewish physicians from Padua from the Benvenesti Collection of the Museo d’Arte of Padua, and a slideshow of diplomas and congratulatory poems appears on the big screen.

Please join me for a behind the scenes virtual tour of some of the highlights of the exhibit.

I. Anatomy, Vesalius, and the Jewish Medical Students of Padua

Andreas Vesalius
De Humani Corporis Fabrica (1543)

Library of the University of Padua

On the lower left shelf of the case, we find an early edition of Andreas Vesalius’ De Humani Corporis Fabrica, open to the frontispiece. It is no exaggeration that the field of modern anatomy was born at the University of Padua under the vision of the famed professor of anatomy, Andreas Vesalius (1514–1564).[6] You may wonder why a copy of this volume, one of the most famous works in the history of medicine and anatomy, is part of an exhibit on Jewish medical history.

This monumental development in the history of medicine interfaced with the Jewish community of Padua in a number of ways. Much like this one anatomy book reveals the structures of the entire body, so too, this one book provides a window into a complex chapter of the experience of the Jewish medical student in Padua with respect to anatomy.

Hebrew Anatomical Terms

The anatomical terms detailed in the works of Vesalius – the Tabulae Anatomicae and De Humani Corporis Fabrica – are presented in multiple languages. One of those languages is Hebrew.[7] The reason for this is not specifically related to the Jewish medical students of Padua per se, but rather to the role the Jews played in the translation of medical works and the transmission of classical medical teaching from antiquity to the Middle Ages and Renaissance.[8]

Exactly who is responsible for the Hebrew translations in the Tabulae Anatomicae is unknown. Vesalius may have attended lectures on the Hebrew language by Joannes van Campen at the Pedagogium Trilingue in Louvain.[9] With the Hebrew terminology for the Fabrica, however, Vesalius duly acknowledges some assistance:

I have decided to give in the index principally a simple list of the names of the bones, first presenting those I use in the text; then the Greek; then, any others in Latin taken from authoritative writers, and all that in such way that it may have value. After these will follow the Hebrew, but also some Arabic, almost all taken from the Hebrew translation of Avicenna[10] through the efforts of Lazarus de Frigeis, a distinguished Jewish physician and close friend with whom I have been accustomed to translate Avicenna.[11]

The reference to Avicenna, the eleventh century Persian physician and polymath, refers to the Canon of Avicenna, one of the more influential medical works of that time. A magnificent, illustrated Hebrew manuscript translation of the Canon, which dates from the mid fifteenth century, is found in the University of Bologna,12] and the work was printed later in the fifteenth century. The Hebrew terminology in Vesalius, and its relationship to the Hebrew medical terminology of the Canon, has been studied by both historian and linguist alike.[13] Some have been less than complimentary.[14]

Vesalius credits Lazarus de Frigeis, “a distinguished Jewish physician and close friend,” with assisting him with the Hebrew translation in the Fabrica.[15] While some evidence has come to light about this friend, his exact identity still eludes scholars.[16] De Frigeis is believed to be depicted in the classic illustration on the frontispiece of the Fabrica, visible in the exhibit showcase, wearing characteristically Jewish garb.[17]

Vesalius and the Jewish Medical Students of Padua

Another relationship between Vesalius and the Jews[18] is inferred from his tenure as a lecturer at the University of Padua.[19] As Padua[20] was one of the only institutions of higher learning in the medieval and Renaissance periods to admit Jews,[21] Jews from across Europe flocked to attend.[22] These students however were not versed in either Italian or Latin, the academic language of discourse. They sometimes required translation for their studies. This is evidenced by the existence of a rare manuscript of the Fabrica in Yiddish dating from the late 1500s.[23]

One could imagine a group of German Jewish medical students sitting in the back of Vesalius’s lecture hall hunched over this very manuscript trying to keep pace with the day’s lesson.

Vesalius’s work also formalized and expanded the teaching of human anatomy at the University of Padua, as well as at medical schools throughout the world. The supply of cadavers was a perennial challenge for the medical school and each community which sent medical students for training at the university was required to provide bodies for the dissection table. This presented a unique problem for the Jewish students, as Jewish law forbids the dissection of the body after death. The Jewish medical students and Jewish community went to great lengths to gain exemption from this requirement. This is reflected in the Jewish community archives of this period.[24] There was also fear of grave robbing from the Jewish cemeteries.[25] Indeed, one scholar has suggested that one of the illustrated letters in the Fabrica depicts a scene of the grave robbing of a body from a Jewish cemetery.[26]

The “o” on the flag held by the putti was the symbol Jews were required to wear on their clothing.

In one case in 1676, a Jewish body was stolen before burial by medical students and brought to the anatomy table for dissection. Riots ensued and a compromise was ultimately reached. Isaac Cantarini wrote about this in his Paḥad Yitzḥak (1684). Roth recounts a case where disgruntled students kidnapped an etrog that was being transferred between communities on Sukkot and held it ransom in exchange for providing Jewish bodies for dissection.[27]

II. History of Degree Granting for Jewish Medical Students before 1615- Counts Palatine

Padua City Archives (1469-1470)
ASPd, Notarile, vol. 1946
Archivio di Stato di Padova

The oldest and rarest item of the exhibit (bottom left section- front) is a volume of the Padua city archives from the late 15^th century. The pages on display document the medical degree-granting process for Jewish students during this period.

In the early centuries of the University of Padua Medical School, doctoral degrees were granted by the Sacred College of Philosophers and Physicians in a Catholic religious ceremony. As such, this pathway to a medical degree was not a viable option for a religious Jew. However, non-Catholics, including Jews, could obtain medical degrees through a different pathway outside of the university walls, granted by specific individuals known as Counts Palatine, who received their authority from the Holy Roman Emperor. These ceremonies were held privately before a notary and witnesses.[28]

On display is a remarkable archival record from February 21, 1469, reflecting this degree-granting process. The passage recounts that the Holy Roman Emperor Frederick III, while visiting Italy, bestowed upon Judah Messer Leon[29] a double doctorate in medicine and liberal arts, in addition to the title of Counts Palatine, granting him the right to confer doctorates upon other Jews of proven worthiness.

Judah Messer Leon was an accomplished physician, professor, and Torah scholar who later taught at the University of Padua Medical School. His work Nofet Tzufim (Abraham Conat: Mantua, 1475), known to this blog audience as the first Hebrew book to be printed in the lifetime of its author,[31]is a treatise on rhetoric, utilizing the classical literary devices of the ancient discipline of rhetoric applied to the Torah. One of the uses for this work was to prepare the Jewish students who matriculated from foreign countries to the medical schools in Italy. Indeed, Messer Leon is purported to have organized a yeshiva where students could receive a comprehensive Jewish education while training in the secular disciplines necessary for higher studies in the humanities, philosophy, and medicine.[31]

In the same archival record, we learn that it would be just one year later that Messer Leon would exercise his privilege as a Counts Palatine. In Padua, on 27 February 1470, Rabbi Dr. Judah Messer Leon bestowed a medical degree upon the Jew Yoḥanan Alemanno in a private ceremony at his home. Alemanno was a prominent Italian rabbi, philosopher and Kabbalist who also apparently taught Hebrew to the likes of Pico Mirandola. The nature of the ceremony was similar to the conventional Padua University procedure and included presenting the new doctor with a signed book, placing a gold ring on his finger, a wreath on his head, tying a red silk thread around his waist, and kissing him on the cheek.[32] However, while the invocation to the ceremony for the typical Christian student was “In Christi Nomini,” Messer Leon’s invocation for Alemanno was “In Dei omnipotentis nomine amen” (in the name of the Omnipotent God, Amen).[33]

This was the precursor to the invocation which would be used for the formal diplomas of Jewish students in the following centuries, “In Dei Aeterni Nomine Amen.” Messer Leon exercised this extraordinary privilege a number of times during his lifetime.

Messer Leon was involved in a Jewish legal dispute regarding the permissibility of wearing academic robes. Issues relating to these robes included the obligation to wear tzitzit, as well as the concern that they might contain sha’atnez.[34]

In 1615, the Collegio Veneto was established to serve the purpose of granting degrees to non-Catholic students and essentially replaced the Counts Palatine. The diplomas on display in this exhibit are from the period of the Collegio Veneto.

III. Diplomas of Jewish Medical Graduates of the University of Padua

Diplomas of Padua Jewish medical graduates are exceedingly scarce. While there have been a few sold at auction over the last few decades,[35] such diplomas are rarely displayed in public. I have thus far identified a total of nineteen extant diplomas of Jewish Padua medical graduates. Only three examples are found in Italy, and all of them are on display at this exhibit. An additional diploma was reproduced for display,[36] and images of others appear on the screen in the exhibit hall. Below I describe the diplomas on display, accompanied by a brief bio of their (original) bearers.

1) Medical Diploma of Moise di Pellegrino (Moshe ben Gershon) Tilche[37]
University of Padua- 1687
Gross Family Collection (Tel Aviv, Israel)

The invocation for the diploma for the typical Padua graduate was “In Christi Nomini.” For Jewish students, such as Tilche, the invocation was typically amended to “In Dei Aeterni Nomini.” Tilche is identified as “Hebreus” in the diploma, which was common for most Jewish students.

This is one of only a few Jewish medical diplomas from Padua that bear the graduate’s portrait, and the only such example displayed in this exhibit. Below the portrait are putti holding a laurel wreath, a book, a ring, and a hat.

This is a remarkable and unique depiction of the features of the Padua graduation ceremony. In addition to placing the wreath and hat on the graduate, a ring was placed on his finger, and books were symbolically opened and closed to represent the transmission of knowledge. This is similar to the ceremony described above performed by Messer Leon. This is the only known such illustration found on any Padua diploma.

The year is listed as “currente anno” instead of the typical term with Christian reference, such as Anno Domini, Anno a Christi Nativitate, or Anno Christiano.

Witnesses: The two witnesses for Tilche’s diploma were the Jewish physician, and graduate of Padua, Isaac Vita Cantarini (AKA Yitsḥak Ḥayyim Cantarini) and the Jew Samuele Pace. A branch of the Pace family was established in Padua by the 17^th century. A member of the family, Solomon, received his medical degree from Padua in 1647.[38] Cantarini was a rabbi as well as a physician and was a prominent figure in the Padua Jewish community.[39] Cantarini was both the author and recipient of poems dedicated in honor of Padua medical graduates.

Moshe ben Gershon Tilche signed a letter published in the Jewish legal responsa of Sanson Morpurgo, another medical Padua graduate (1700),[41] about the custom of donning tefillin on ḥol ha-mo‘ed (intermediate days of the holiday).[41]

2) Medical Diploma of Samuele Coen[42]
University of Padua- 1702
University of Padua Archives Raccolta Diplomi, 33 (n. 3841)

There were sixteen medical graduates from the University of Padua from the seventeenth and eighteenth centuries with the last name of Coen, though they were not all related. Samuele was part of the sphere of Rabbi Moshe Ḥayyim Luzzatto (Ramḥal). It was a common custom for students’ mentors, fellow Padua students or alumni, or family members to compose congratulatory poems, mostly in Hebrew, to celebrate the student’s graduation. There are three students I have identified for whom we possess an extant copy of both a diploma and a congratulatory poem. Coen is one. Coen’s brother Moise, also a Padua medical alumnus (1675), composed a broadside poem in honor of Samuele’s graduation.[43]

Moise served as a witness for the graduation diploma of another Jewish student, Emanuel Colli, whose diploma is housed in the Magnes Collection in California.

In 1741, Coen’s daughter married another graduate of Padua’s medical school, Jacob ben Moses Alpron.[44] Rabbi Moshe Ḥayyim Luzzatto (Ramḥal) wrote a poem in honor of Alpron’s graduation.

It was not uncommon for the typical Padua medical diploma to include an illustration of the family coat of arms for the graduate. Coen’s diploma is one of a few examples of coats of arms found in diplomas of Jewish students, and the only example in our exhibit. The coat of arms includes the symbol of the Kohen tribe, two hands in the formation used for the priestly blessing. Above the hands appears a crown, and below it appears a raven.

Samuel Coen was clearly a member of the kohen tribe, as were a number of Padua medical graduates including Tuviyah haKohen Rofeh and Isaac Cantarini, for example. Given the introduction of systematic anatomical dissection into the medical school curriculum in the 16^th century, I have long wondered why there is no reference in the halakhic literature of this time to the issue of dissection for a Kohen, let alone for a Yisrael. The first references to dissection are in the late 1700s with the famous responsa of the Nodah biYehuda and Rav Yaakov Emden, though they contain no discussion about Kohanim. This is perhaps because the format of anatomy teaching involved the professor alone performing the dissection and teaching over the body. This is reflected in the design of anatomical theater of Padua. Students did not perform hands-on dissection; thus, the only potential issue would be tumat ohel, which at least according to some authorities is not generated by a non-Jewish corpse. However, as the original theater had a retractable roof to eliminate the foul odors during dissection, perhaps even tumat ohel may have been a non-issue.

Returning to the diploma, there are two sets of books on a table under the medallion, all of them labeled with the names of secular authors who were part of the standard curriculum at that time, including Plato, Aristotle, Hippocrates, Galen, and Avicenna.

I had hoped the name Maimonides might have appeared on the spine of one of the books.

Coen is identified as “Hebreus” in the diploma, which was the norm for Jewish students.

The year is listed as “currente anno” instead of the typical term with Christian reference, such as Anno Domini, Anno a Christi Nativitate, or Anno Christiano.

3) Medical Diploma of Moise Valle[45]
University of Padua – 1713
Biblioteca Statale del Monumento Nazionale di Praglia, Fondo Ebraico, 156

Moshe David Valle (1697-1777), one of the more well-known graduates of Padua, was an Italian Rabbi, physician, and kabbalist. He lectured for the Padua confraternity Mevakshei HaShem (seekers of God). He was a prolific author and teacher, as well as student, of Rabbi Moshe Ḥayyim Luzzatto (known as Ramḥal). He authored commentaries on the Torah and Prophets as well as works on Kabbalah.[46]  He is responsible for disseminating the teachings of Ramḥal. Ephraim Luzzatto, physician, poet and fellow graduate of the University of Padua, authored a poem praising Valle’s lectures.[47]

Ramḥal and the University of Padua

As we are discussing Valle, we would be remiss if we did not at least briefly mention the relationship of Ramḥal to the university and its students. Though not part of this exhibit, the relationship of Ramḥal with the students of the university has been explored.[48] It had long been debated as to whether Ramḥal actually attended the university, as evidence was elusive. Debra Glassberg Gail has recently discovered records of his matriculation,[49] though not graduation. I obtained copies of these records confirming the matriculation of Moise Vita Luzzatto at the universitas artistarum,[50] amongst the students of philosophy and medicine.

Matriculation Records of 1723

Moise Vita Luzzato di Giacob ebreo

Matriculation Records of 1725

Moise Vita Luzato di Giacob ebreo

Matriculation Records of 1726

Moise Vita Luzato di Giac ebreo

The Luzzatto family had a long and productive relationship with the university as described below regarding the diploma of Raffaele, which is on display. Some of Ramḥal’s most cherished students, including Yekutiel Gordon and Moshe David Valle, studied medicine in Padua, and I have identified at least eight medical students for whom Ramḥal wrote congratulatory poems upon their graduation.[51]

Returning to the diploma, Valle, as well as the other students represented in this exhibit, had the invocation amended to “In Dei Aeterni Nomini.” Valle is identified as “Hebreus” as well. The year is listed as “currente anno,” devoid of any Christian reference.

Valle was promoted by Bernardino Ramazzini, who was in contact with some of the Christian Hebraists of that time.[52]Ramazzini is also considered the founder of occupational medicine, and in his classic work on diseases of the tradesman he discusses the increased prevalence of scabies among the Jewish population.[53]

Valle is buried in the Jewish cemetery of Padua.

The Diploma Medallion

The Padua diploma typically contains a medallion on the front page, which was designed and intended for the inclusion of a portrait. However, as this option required an additional fee, it was not exercised by all students. As the basic structure of the diploma was templated, for those who refused the portrait option, the medallion nonetheless remained. In these cases, one thus finds the medallion left bare, or filled with text. The three aforementioned diplomas in our exhibit reflect the three possible options. While Tilche chose the premium package, his fellow graduates did not.

4) Medical Diploma of Raffaele Luzzatto[54]
University of Padua 1797
Centro per la Storia dell’Università di Padova

The latest diploma in our exhibit is likewise noteworthy, though not because of its artistic value. Raffaele was a member of the famous Luzzatto family, many of whom graduated the University of Padua Medical School.[55]Raffaele was from the town of San Daniele in the northeastern region of Italy, Friuli.[56] From the end of the 17th to the early 19th century, numerous members of the San Daniele Luzzatto family graduated from the Padua medical school.[57]In fact, Raffaele was in a direct, unbroken line of what would ultimately be six generations of Luzzatto physicians, many of them named Raffaele.[58]

Samuel David Luzzatto (1800–1865), the great scholar and bibliophile, known as Shadal, reports that on a visit to his uncle Isaac in San Daniele, he was shown the medical diploma of Isaac’s father, Raphael.[59] Shadal then commented, “We learn that the poet Isaac was preceded by a Raphael and an Isaac, and was followed by a Raphael and an Isaac, all of them doctors.” This diploma on display may be the very diploma Shadal saw on his visit.

This is a simple unilluminated diploma comprised solely of calligraphic text. The invocation reads “In Dei Nomine,” similar but not identical to the invocations of the other diplomas in this exhibit.

Close inspection reveals that the word “Dei” is written over erased text of a longer word. There are a few additional erasures, including the words under the granting authority of the degree, which reflect the possibility that this diploma was templated for a Christian student, and originally read, “In Christi Nomine.”

Further proof for this theory is that the invocation for the Jewish student usually read, “In Dei Aeterni Nomine,” with the word “Aeterni” added. This is not the case here, as given the limited space of the templated invocation, it would not have been possible to add the additional word. Of note, Luzzatto’s graduation record in the Padua University Archives actually bears the invocation, “in Christi Nomine.”

There are a number of cases where the archival record for Jewish students bears the standard Christian invocation, while the student diploma does not. The archival scribe may have simply followed the usual formula without much thought, and the student would likely never have known otherwise. The diploma, however, was given to the student to possess in perpetuity and therefore the emendation to “in Dei Aeterni Nomine” would have been preferred for a Jewish student.

Luzzatto is also not identified as a hebreus in either the archives or in the diploma. Furthermore, while the diplomas of Tilche, Coen and Valle amended the format for the date to remove any Christian reference, this diploma retains the conventional Christian dating, “Anno a xti Nativ” (shorthand for Anno a Christi Nativitate).” All the aforementioned observations support the suggestion that this diploma was originally templated for a Christian student.

IV. Benvenisti Collection of Portraits of Physicians

Padua’s Museo d’Arte contains the Benvenisti collection of portraits of physicians. Displayed are reproductions of portraits of some Jewish physicians,[60] some of whom graduated from the University of Padua. I highlight two examples below.

1) Sabbato Vita Marini (1662-1748)

Marini’s famous portrait is used for the museum exhibit advertising.

Shabtai Ḥayyim Marini graduated from Padua in 1685[62] and was a close friend and possible teacher of Rabbi Moshe Ḥayyim Luzzatto (Ramḥal).[62] In addition, he translated into Hebrew the first three books of Ovid’s Metamorphoses from the Italian translation of Giovanni Andrea dell’Anguillara.[63] Joseph Almanzi composed an ode to Marini in his Nezem Zahav:

2) Samuele Medoro (1788-1854)

Samuel Medoro (1788-1854), received his training in the University of Padua, served as surgeon in the La Confraternità Israelitica “Sovvegno” di Padova, which endowed medical assistance to Jews throughout Italy, and published many medical articles. He was an active participant in the debate about the requirement for oral suction as part of the circumcision procedure. His handwritten lectures on cicumcision were sold at auction in 2013 by Kedem Auction House in Jerusalem.[64]

Conclusion

If you happen to be in Italy before the end of the year it may just be worth the detour from Venice to catch a rare glimpse of a little-known chapter at the crossroads of Jewish, Italian, medical and academic history. While there, make sure to book a tour with the museum, which includes the synagogue and cemeteries. In the old cemetery are buried Rabbi Meir Katzenellenbogen, who was a teacher and mentor to the Jewish medical students of Padua;[65] Abraham Catalano, physician and author of the work Olam Hafukh[66] on the 1631 plague (a reproduction of which is on display at the exhibit); and Moshe David Valle, who was a staunch supporter of Ramḥal and whose diploma is on display. If you have even the remotest interest in the history of medicine or anatomy, the University of Padua is home to the first and longest standing permanent anatomical theater in the world, completed in 1595, just steps away from the exhibit. In fact, the theater benches were not only occupied by many Jewish medical students over the centuries, there is also a record of Jews from the community (non-students) attending dissections when the theater was first built.[67] It is thus evident that you do not need to be a doctor (or health care provider) to appreciate this medically related exhibit.

I conclude with the following serious offer (though my wife Sara might describe it otherwise). If you make it to the exhibit in person, feel free to contact me, and I would be delighted to give you a tour while you are there- time and time zone permitting. (I have already done it once.)

Appendix- Jews, Medicine and the University of Padua: The Uncut Version

Below are a number of sections I had hoped to include in the exhibit, but for a variety of reasons did not make the cut.

Seforim/Books related to the Graduates

The original exhibit proposal included a section of first or early edition books/seforim related to or composed by Padua medical graduates. Included in this selective list are:

• Paḥad Yitzḥak by Isaac Ḥayyim Cantarini (Padua- 1664), which includes an account of a Jewish body kidnapped for the purpose of dissection by the non-Jewish medical students of Padua.

• The ubiquitous Ma’aseh Tuviyah by Tuviyah HaRofeh (Padua-1683), one of the most famous graduates from Padua.[68]

• Mateh Dan by David Nieto (Padua- 1687), patterned after the Kuzari.

• Paḥad Yitzḥak, the first halakhic encyclopedia, by Isaac Lampronti (Padua- 1696).

• Shemesh Tzedakah, responsa by Shimshon Morpurgo (Padua- 1700).

I also happened upon an article by Professor Joanna Weinberg about the collection of Hebrew printed works in the Antoniana Library of Padua.[69] A number of the items in this collection, all of which were printed before 1663, would be perfect for an exhibit on Jews and Medicine in Padua:

• Cannon of Avicenna:[70] One of two Hebrew incunabula in this library, it is the only known Hebrew medical incunabula. Could Lazarus de Frigeis have used this copy when assisting Vesalius with the Hebrew terms of the Fabrica? Speculative to be sure, but certainly not out of the realm of possibility. Perhaps marginalia are present in the copy to shed light.

• Shiltei ha Gibborim by Abraham Portelone:[71] Though neither medical in content nor written by a Padua graduate, it is nonetheless authored by one of the most famous Jewish medical personilites of that time and would certainly have been known to and possibly owned by the Jewish medical students in Padua. In addition, his son was a medical graduate of Padua and was promoted by none other than Galileo.

• Pesakim from R. Yehuda Mintz and R. Meir Katzenellenbogen:[72] These two Torah giants were leaders of the Padua Jewish community in their day and certainly interacted and taught the Jewish medical students.[73]

• Sefer Elim by Yosef Shlomo Delmedigo:[74] Delmedigo is one of the greatest alumni of Padua and amongst other things was known for his relationship with Galileo.[75]

In addition to the content of these books, their provenance was also relevant to our exhibit. Many of the Hebrew books held in the Antoniana Library originally belonged to Paduan Jews, evidenced by the family names inscribed on the title pages. I do not think it unreasonable to imagine that some of these works were actually used by Jewish medical students in Padua. Furthermore, I discovered that Pontificia Biblioteca Antoniana was a mere 750 meters from the Jewish Museum and Ghetto. It seemed too good to be true… and it was. The library requested exorbitant restoration fees for the items prior to transfer and regretfully financial constraints precluded this option. Alas, it was not meant be. I had also hoped to obtain Messer Leon’s Nofet Tzufim from the Vatican Library, but not unsurprisingly, was met with the same response and result.

Congratulatory Poems for the Jewish Medical Graduates of Padua

After having researched and written extensively about the congratulatory poems for the Jewish medical graduates of Padua, you might expect to find at least one hard copy of such a poem as part of the exhibit. However, for financial, legal and insurance reasons, the exhibit was limited to items found in Italy, primarily in the environs of Padua. Remarkably, of the over one hundred Hebrew congratulatory poems I have identified, not one is found in Italy. They are primarily found in Israel, America, England and Hungary. There is one single poem in the university archives written in Italian in honor of Samuele Coen,[76] whose diploma appears in the exhibit. The author is one of the University of Padua staff diploma illustrators, and I have yet to determine the story behind its composition. It does not in any way represent the genre of this poetry. In lieu of the physical poems, a slideshow of examples of congratulatory poems, along with examples of additional diplomas, is projected on the screen of the exhibition hall.

Padua Medical Graduates as Mohelim, Performing Circumcision on the Children of Their Fellow Graduates and Mentors

Identifying physicians of Jewish lineage is of great interest to some historians, but my interest lies at the intersection of medical practice and religious observance. The practice of circumcision by physicians is one such interface, and the physician-Mohel combination is not that common even today (with the exclusion of urologists). While this topic merits its own broader study, I have identified a number of Padua medical graduates who were also mohelim. Remarkably, in two cases, the pinkas mohel, or circumcision registry, is still extant, revealing another “medical” connection.

1) David Loria

Loria graduated Padua in 1623. Upon his graduation, Rabbi Yehuda Aryeh Modena composed a poem in his honor which now resides in the Oxford Bodleian Library.[77]

This poem is unique amongst the medical student poems, as it is one of only two medical student poems written in Aramaic.[78]

Loria and Modena maintained connection long after Loria’s graduation from medical school.[79] Indeed, Modena offered to bestow rabbinic ordination upon David Loria, though the latter declined for unknown reasons.[80] Loria was also a mohel and performed the rite for Modena’s grandson, Avtalion, in March 1636.[81] Though a physician in the Ghetto of Padua, Loria Fled Padua during the plague of 1631. However, he made extensive arrangements to provide for the needy.[82]

2) Salomon Lampronti[83]

Salomon was the son of the famous Isaac Lampronti, physician, rabbi, and author of Paḥad Yitzḥak. Isaac (Padua, 1696) and his son Salomon (Padua, 1734) were alumni of Padua’s medical school. Salomon was a mohel and his pinkas survived the ravages of time. Though I was unable to access the entire work, the passage shown in the Kedem auction catalogue[84] happened to include the record of Lampronti’s circumcision of the son of the physician Solomon Zamorani,[85] a Padua graduate of 1753.[86] Zamorani was also a student of the younger Lampronti. I suspect there are children of other Padua medical graduates included in this ledger.

3) Menahem Navarra[87]

Navarra completed his medical studies in 1740, and the poem below was written in honor of his graduation by Isaiah Romanin.[88]

Navarra was a mohel and, like Lampronti, his pinkas mohel has survived. Among those for whom he performed the rite were the children of Jacob Grassin Basilea and Raffael Ferrarese, both Padua medical graduates.[89] Below are examples of some of the entries:

March 27, 1757, son of Yaakov Gershon Basilea (Padua, 1735)[90] 

On December 2, 1769 Navarra circumcised the second son of Raffael Ferrarese (Padua, 1762), one of twins. The milah was performed one month after birth. Note he is called an “uman” (i.e., rofeh uman), which may possibly refer specifically to a university-trained physician.

There is a pinkas Milah housed in the University of Pennsylvania Library[91] which belonged to a member of the Fermi (or possibly Fermo/Firmo) family,[92] though the specific family member remains unknown. The entries run from 1705 to 1736. Therein are multiple references to Shimshon Morpurgo, a rabbi/physician graduate of Padua (1700).[93]

While the dates of the pinkas would align perfectly with the Padua medical graduate Moshe Yaakov son of David Fermo (Padua, 1701), I have no evidence to support his identification as the work’s author.[94] Furthermore, the spine of the work is stamped in gold with the words, Pinḳas mohel leha-R. Firmo. While the “R” typically refers to Rav, perhaps in this case the “R” stands for rofeh, though I admit this is unlikely.

A Few Comments Regarding The First Woodcut Border Accompanying The Prague 1526 Haggadah

The Prague 1526 edition of the Haggadah is one of the most important illustrated haggadot ever published.  It is perhaps the earliest printed illustrated haggadah for a Jewish audience and served as a model for many subsequent illustrated haggadot.[1] The earliest printed haggadah with illustration was published in 1512 in Latin and for a non-Jewish audience. That haggadah contains six woodcuts, and was intended as a response to the infamous anti-Semite Pfefferkorn’s screeds against Judaism.[2]The woodcut accompanying the first page shows three Jews around the seder who have four cups in front of them.  Although the Talmud explicitly states that one is not required to have four distinct cups of wine, presumably the image is a crude method of indicating the four-fold nature of the wine during the seder rather than prescribing custom.

The Prague 1526 edition was published by Gershom and his brother Gronom Katz on Sunday, 26th of Tevet 5287 or December 30, 1526.[3] This detailed publication information does not appear on the title page, rather it appears at the end of the book and is  referred to as a colophon.  The colophon is a manuscript convention that was incorporated into earlier printed books. The Prague 1526 edition does not have a title page at all.  At that time, the usage of the title page was only in its early stages.[4]

1.          The Earliest Hebrew Title Pages

As with non-Hebrew titles, the title page developed over time, both in terms of content as well as usage.[5]   The first Hebrew title page is that of the Sefer Rokeah published in Fano in 1505.[6] But that title page is really one of the more basic forms of the title page, known as a “label title page” providing only the title and author and no other ornamentation or information.[7] In that same year, an edition of Abarbanel’s Zevah Pesach was published in Constantinople.  This edition was the first to contain a border with the title and author, but no place or date of publication.[8] The first Hebrew book containing all the elements of a traditional title page, border, title, author, place and date is likely the 1511 Pesaro edition of the Talmud published by Soncino.[9]

Traditionally, the Hebrew title page is referred to as a “sha’ar” or gate.  The theory behind this description is that many title page borders are comprised of “gates,” the most common are the pillars that adorn many Hebrew books and are assumed to be those at Saint Peter’s Basillica in Rome.  Their inclusion in Hebrew books is perhaps linked to the (discredited) notion that the Catholic Church maintains certain portions of the Jewish Temple, and these pillars were actually in the Temple.  The first Hebrew book to use an architectural border is Daniel Bomberg’s edition of the Jerusalem Talmud published in 1522.[10]

1. Illustrations in Hebrew Books

Returning to the Prague 1526 haggadah, as mentioned previously, this edition was copiously illustrated, including the first page of the book. This is not the first example of Hebrew printed illustrations.  The earliest illustration to appear in a Hebrew book is that of a lulav and a handful of other explanatory images accompanying the Rome edition of the Sefer Mitzvot Gedolot dated to before 1480.[11]

The first fully illustrated Hebrew book was published in the incunabula period as well, it is Isaac ben Solomon Ibn Sahula’s Meshal ha-Qadmoni, printed in Italy, circa 1491, by Gershom Soncino.[12]

The border surrounding the first page of the Prague 1526 incorporates both Jewish as well as non-Jewish elements.  First, it is obvious that a Jew had a hand in the border as, in the inset, it displays someone performing bedikat hametz (searching for the bread) where he is using the traditional implements of a candle and chicken feather.  The outside border is less Jewish, and as many have noted, appears to be a copy of Italian/German renaissance borders.  The two most likely candidates for models for Prague are the border first used in the 1518 edition of Sacri Doctoris by Raymond Lulli (available here) or a border first used in 1519 for Paolo Ricci’s, Lepida et litere in Augsburg and reused in an Augsburg 1522 edition of Erasmus, Ad reverendum (available here).  Although we cannot pinpoint exactly which of these, if any, served as a model, what is clear is that among the images included in this border are bare-breasted women.

The use of bare breasted women to illustrate the haggadah is not limited to Prague. Both Charles Wengrov and Elliot Horowitz have pointed to earlier manuscript antecedents for Prague’s usage of such illustrations.[13] Aside from the printed example of the Prague 1526 Haggadah, this convention continued in manuscripts as well illuminated after 1526.  There are at least four such 16th century examples.[14] Additionally, and contrary to Horwitz’s contention that Spanish Jews were less accepting of such displays,[15] the Sarajevo Haggadah, which originated in Spain around 1350, includes two panels of Adam and Eve both depicting a bare-breasted Eve.

Likewise, the Golden Haggadah, 1320 Spanish manuscript includes the same form of illustration of the Adam and Eve scene.  Additionally, the Golden Haggadah includes images of nude bathers when it depicts Miriam standing from afar to see what will become of baby Moses.[16]

III.            Censorship in Modern Reprints of Prague 1526

            These historical antecedents notwithstanding, recent reprints of Prague 1526 have not been as accepting.  This initial border has been altered to airbrush and removes the bare breasts.  In 1989, a facsimile edition of Prague 1526 was published with the commentary of the Prague rabbi, Rabbi Yehuda Loew (Maharal). This border has been “touched up.”

Similarly, in 1998, a colorized facsimile edition of Prague 1526 was published.  Although the publishers took great pains to provide color where before there was black and white, they also altered this border.

Oddly enough, although they found this image offensive, they decided to reproduce it in two other places in this reprint even though this image only appears once in the original. Here is the original:

Not only is the first border altered, but other instances of bare breasts have been removed; most notably the image accompanying the verse from Ezekiel 16:7 “I made you grow like a plant of the field. You grew up and developed and became the most beautiful of jewels. Your breasts were formed and your hair grew, you who were naked and bare.”

(As discussed previously here a later, Venice 1609, edition also altered this page.)  Again in 2001, a facsimile of Prague 1526 “published by the Religious Council of Efrat in honor of the settlement’s twentieth anniversary . . . . two illustrations are surreptitiously deleted: the bare breasted woman” accompanying the verse from Ezekiel.[17] Most recently, in 2009, the airbrushed image of this woman was reproduced in The Schechter Haggadah: art, history; commentary.[18]

[1] There may be an earlier illustrated print haggadah, however, only 12 leaves of this haggadah are extant making it difficult to date (or identify the country of origin).  For a bibliography regarding this fragment haggadah see Y. Yudlov, Otzar haHaggadot, Magnes Press, Jerusalem:1997, entry 9; and most recently, Eva Frojmovic, “From Naples to Constantinople: The Aesop Workshop’s Woodcuts in the Oldest Illustration Printed Haggadah,” in The Library, Sixth Series, Vol. XVIII, No. 2, June:1996, pp. 87-109.

[2]  See R. Cohen, Jewish Icons: Art & Society in Modern Europe, University of California Press, CA:1998, pp. 21-22; see also Y.H. Yerushalmi, Haggadah; History: A Panorama in Facsimile, Philidelphia:1978, plates 6-8.

[3] Aside from the edition discussed herein, there is at least one copy of another haggadah that is also published by Cohen in Prague that same year.  While both versions are substantially similar, some of the images and borders have been changed.  Relevant for our purposes, is that the image accompanying “Sefokh” which is a full
page border with images of bare breasted women, has been replaced with a more innocuous border found elsewhere in the haggadah.  See Yudlov, Otzar, entry 8; A. Ya’ari, Bibliography of the Passover Haggadah,
Bamberg & Wahrman, Jerusalem:1960, entry 7; Rabbi Charles Wengrov, Haggadah & Woodcut: an Introduction to the Passover Haggadah Completed by Gershom Cohen in Prague, Shulsinger Bros., New York:1967, pp. 78-9.

[4] The first Prague imprint to include a separate title page is in a 1526 edition of Yotzrot published by Cohen.  See Wengrov, Haggadah & Woodcut, p. 82 n.238.

[5] Although, with regard to the adoption of the title page, Jews appear to adopt this convention at or near the time as society at large, that was not the case with other literary advances.  While the majority of the western world adopted the codex and discarded the scroll some time in the third century, the first recorded Jewish reference to the codex does not occur until the late
eighth or the early ninth centuries.  See Anthony Grafton, “From Roll to Codex: A Christian Initiative,” in Crossing Borders, Hebrew Manuscripts as a Meeting-place of Cultures, ed. Piet van Boxel & Sabine Arndt, Bodleian Library:2012, pp. 15-20.

[6] A.M. Habermann, Title Pages of Hebrew Books, Museum of Printing Art, Safed:1969, pp. 8-9.

[7] For a discussion of the development of the title page as well as the different types, i.e., label, border, end-title, see M.M. Smith, The Title-Page its early development 1460-1510, The British Library & Oak Knoll Press, London & Deleware:2000.

[8] See M.J. Heller, The Sixteenth Century Hebrew Book: An Abridged Thesaurus, Brill, Leiden & Boston:2004, vol. I, pp. 6-7.

[9] The border used for the Pesaro Talmuds first appeared in Decachordum Christianum (The Christian Ten String Harpsichord) published in Fano, 1507 by Gershom Soncino.  See M.J. Heller, Printing the Talmud, pp. 104-117  Additionally, see Heller’s discussion, id. p. 113, regarding Soncino’s reuse of the Dechachaordum‘s frames.  In reality, although the frames were originally cut for Decachordum, they were first used on Gershom’s edition of Bahya ibn Pakua’s commentary on the Torah, published four months prior to Decachordum.  See M.J. Heller, The Sixteenth Century Hebrew Book: An Abridged Thesaurus, Brill, Leiden & Boston:2004, vol. I, p. 41; Smith, The Title-Page, supra, pp. 47-59 (discussing the use of the blank title page).

[10]  See A.M. Habermann, “The Jewish Art of the Printed Book,” in Jewish Art, An Illustrated History, ed. Cecil Roth [revised ed. by B. Narkiss], New York Graphic Society Ltd., Connecticut:1971, pp. 167-68.  In Habermann’s earlier work, Title Pages of Hebrew Books, p. 9, he erroneously asserts that the earliest works to include architectural title pages were Soncino’s Melitza le-Maskil and Bomberg’s Tanach, both published in 1524/25.

[11]  See Joshua Bloch, “The Library’s Roman Hebrew Incunabula,” in Hebrew Printing & Bibliography, ed. Charles Berlin, New York:1976, p. 140.  For a description of this work see S. Iakerson, Catalogue of Hebrew Incunabula from the Collection of the Library of the Jewish Theological Seminary of America, JTS, New York & Jerusalem:2005, entry 7.

[12] See A.M. Habermann, “The Jewish Art of the Printed Book,” supra, at 169.  Habermann appears to argue that this is first printed Hebrew book containing illustrations, is incorrect. As discussed above, the first was the Rome edition of Sefer Mitzvot Gedolot. He is not alone in this error.  Ursula Schubert makes the same error.  See Ursula Schubert, Jewish Book Art, From the Renaissance until Emancipation, [Hebrew], Kibbutz hami-Uchad, Tel Aviv:1994, p. 27.  Habermann, id., notes that the great Hebrew bibliographer, Mortiz Steinschneider, was tricked with regard to one of the illustrations contained in Meshal
ha-Qadmoni.  Steinschneider, in a discussion about the alleged Christian origins of these illustrations, called attention to the fact that in one of them contains a monk wearing a crucifix. But, in the interim we have learned “that this last embellishment was a
practical joke played by a Christian scholar. . . [the crucifix] having been added by [a later] hand!”  Regarding the history and origins of the images included in Meshal ha-Qadmoni, see César Merchán-Hamann, “Fables from East to West,” in Crossing Borders, pp. 35-44; Ursula Schubert, Jewish Book Art, pp. 27-8.

[13]  Rabbi Charles Wengrov, Haggadah & Woodcut, p. 47 nn.112-13;Elliot Horowitz, “Between Cleanliness and Godliness,” in Tov Elem: Memory, Community & Gender in Medieval & Early Modern Jewish Societies, ed. E. Baumgarten, et al., Bialik Institute, Jerusalem:2011, *38-*39.

[14] Mendel Metzger, La Haggada Enluminée, E.J. Brill:1973, plate LIV, nos. 303-305; Chantily Haggadah, Musée Condé, Ms.
732, fol. 13, reproduced in Index of Jewish Art, eds. B. Narkiss & G. Sed-Rajna, Jerusalem-Paris:1976, vol. I, card no. 36.

[15] Horowitz, “Between Cleanliness,” at *38, (“One suspects that a Spanish Jew coming to Germany in the early 15th century would have been equally surprised to see an image of a naked woman” in a Hebrew manuscript.).

[16]  The Golden Haggadah, ed. Bezalel Narkiss, Pomegranate Artbooks, California:1997, figs. 17 & 24.

[17]  Id. n.37.  Horowitz only notes the 2001 example of censorship of Prague 1526, and apparently is unaware of the earlier
examples.  Additionally, he chastises the Efrat reproduction for erroneously indicating a 1527 publication date.  Efrat is not only in erring regarding the secular date.  The first facsimile edition (Berlin:1925), which includes a scholarly introduction, full title
is:  “Die Pessach Haggadah Des Gerschom Kohen Gedruckt Zu Prag 5287/1527.” Perhaps one can excuse the error as, in reality, it was completed on the eve of 1527, December 30, 1526.

[18] The Schechter Haggadah: Art, History & Commentary, [illustrations selected and annotated by David Golinkin], Schechter Institute of Jewish Studies, Jerusalem:2009, p. 36, fig. 16.1.