The Image of the Menorah in the Early Printed Hebrew Book

By Dan Rabinowitz

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Legacy Judaica Spring 2021 Auction

By Dan Rabinowitz and Eliezer Brodt

Legacy Auction Judaica is holding its Spring auction on May 30th (link) and it provides us the opportunity to discuss some interesting bibliographical and historical books and items.

Item #7 is the first edition of Charedim printed in 1601. This is the first appearance of R. Elazar Azkiri’s song Yedid Nefesh in print. For a full discussion of this Tefilah see Bentcy Eichorn, Zemirot Zion, pp. 91-106. This volume also has many unidentified glosses.

Another entry of note is Item #147, the Hida’s copy of the 1545 edition of the Sifra with what may be his marginalia.

An item with important glosses is Item #160 which has the notes of R’ Chaim Sofer known as ‘the Hungarian R’ Chaim,’ on the work Sharei Torah. See also Item #61 which has glosses from R’ Hirsch Berlin.

Item #79, is the first edition, Seder Zera’im. While small portions of the Tiferes Yisrael commentary on the Mishna proved controversial, this volume contains the approbation of R. Akiva Eiger, who is also listed on the subscriber list.

Another controversial work, the late R. Nosson Kamenetsky’s Making of a Godol, is Item #97. This is the first edition, not the later edition which censored material from the first. We discuss some of the controversy, bans, and differences between the editions, in a series of articles here, here, here, and here.

Also a controversial work is Item #100, Pulmus haMussar which discusses the dispute regarding the Mussar movement. Revealing the inner machinations between the parties proved controversial itself and Pulmus was printed just once and it has never been reprinted. Regarding this work, see Eitam Henkin, Ta’arokh le-fani Shulkhan, 123-139.

Item #136’s description contains an interesting cryptic note about the copy of Pe’as Hashulchan: “Includes the rare final page of corrections and polemics”.

Here is the story behind this sentence: In 1799 one of the earliest authorized works of the Gra printed was the Shenos Eliyahu. In the back there was a section called Likutim.

Here is the text of the Gra Related to Mesorah:

In 1821 R’ Wolf Heidenheim wrote about this:

This is what R’ Shklover is referring to in the last page of his work without naming who he was referring to:

Interestingly enough R’ Yitzchaki of Bnei Brak in an article in Yeshurun 5 (1999) pp. 535-537 concludes that R’ Heidenheim was correct. In later editions of the Pe’as Hashulchan has the piece of R’ Shklover added into the proper place in the important introduction of the work. (Thanks to Y. Yankelowitz for his sources and materials).

Another work of the Gra is the first edition of the Biur ha-Gra on Shulhan Orakh (Item #137). This edition removed many standard commentaries (Taz, etc.) but not the Be’er ha-Goleh because he was related to the Gra. A Shulhan Orakh with just the Gra’s commentary proved not viable because when people purchased a Shulhan Orakh they wanted all the standard commentaries in addition to the Gra’s. In the middle of the publication of the Even ha-Ezer volume the publishers decided that they would include the other commentaries even if it meant moving the Gaon’s commentary to the bottom, they received permission from R. Chaim Volozhin to do so.

About Item #18 Messechtas Purim see our discussion earlier on the blog here.

Item #25 is Peirush Megilas Achashverosh, Venice 1565. The description states:

R. Zechariah ben Saruk (1450-c. 1540), was one of the great Chachamim of Spain… With an important introduction, which provides a rare historical glimpse into the travails of Jews who were exiled from Spain as well into as other challenges of that period.

Worth quoting is part of another piece from this interesting introduction:

שהראשונים הניחו לנו לדבר אבל לא לקנטר ואני תמה מאד מן החכם העניו ה”ר שמואל די בידאש נ”ע איך נפל ברשת מאמר האומר אין משיבין על הארי אחר שמת? וזה לשתי סבות הא’ שהוא ידוע לקטני עריסה [רץ המונחים בעריסה] כי קטנם עבה ממתנינו, וההקש והערך שיש בין ידיעתם לידעתנו הוא בערך גלגל ערבות אל נמלה אחת, השנית שהחכמים ההם ע”ה שחברו מה שחברו, האירו לנו בחיבוריהם מפיהם אנו חיים, אם כן מה נהיה כפויי טובה ששתינו מים זכים מבורם ועתה נקנטר כנגדם. ובעת שאמר החכם הנזכר על בעל העטור והרא”ש והרמב”ם ז”ל שהוכו בסנורים, ודברים אחרים, זרים לכל חכם לב לאומרם מאשלי רברבי. ותמהני מחכמתו שאני הייתי מכיר אותו היטב שהוא חכם ועניו איך אמר בהקדמת ספרו מה שסתר אחר כך בספרו? כי אמר בהקדמתו שהסתירה אשר לא יכוןי הסותר לבייש את האשר נעלם ממנו דבר, כי אין זה מורידו מחזקתו. והאמת כן הוא. ובספרו, כשחלק על הגאונים הנזכרים אמר שהוכו בסנורים

ונראה לי דילמא מר נאים כדנפק שמעתתיה מפומיה, כמו שאמרו על רבי יהושע בן לוי, כדאיתא במסכת נדה פרק המפלת. ולא זו בלבד הזהיר לנו חז”ל, אבל גם כן אמרו במוסריהם שלא יחלוק אדם על רבו אפילו בעודו בחיים חייתו, ולכן אמרו בירושלמי לית ריש לקיש מתריס כלפי רבי יוחנן, למפיגל עליה לאפוקי מיניה עובדא. העובדא היה שהוראה רבי יוחנן לתלמידו ריש לקיש שהצפורן אינה מטמא, כמו שהמחלוקת הוא בירשלמי במסכת הורית פרק כהן משוח

ובעבור שזה האיש היה חשוב במדותיו, נאמר שזה היה כשגגה שיוצא מלפני השליט ולכן בכל מה שחלק כנגד גאונים עולם, לא אדבר אלא באחד, בעבור שנשבעתי ואקיימה להיות כנגד כל איש שיחלוק נגד הרא”ש והרמב”ם ז”ל וכו’

על כל שאר הדברים שהטיח כנגדם, ובפרט נגד הראב”ע ז”ל אשר אחר חתימת התלמוד היה רשום ככל הגאונים, אף אלפי שהיה הוא גאון, וראו מה שכתב עליו הרמב”ם לבנו, והוא היה חכם כולל ושלם בכל חכמה. ואנכי ראיתי חדושי הראב”ע ממסכת קידושין [ותוס’ הביאו בקידושין לו א], והם בתכלית הדקות האימות, ובא החכם ר’ שמואל די וידאש, האל יכפרהו לומר עליו, ולא אמר אמת ואינו נכון ודברים אחרים, שאינם ראויים לדבר כנגד האשל הגדול הראב”ע. ומה שאמרתי לא הייתי אומר, אלא שנקרת בפי’ אחד שלו מהמגלה הזאת

Last year this rare work was reprinted based on the first edition and manuscripts with notes and a useful introduction about the work.

Item #37 is the rare work Tal Oros. This work is almost completely unknown to most poskim. One important exception was the Magen Avraham who quoted it numerous times in his classic work on Shulchan Aruch. For additional information about this author see this earlier post on the blog (here).

Previously we have mentioned how we can learn about works found in different people’s libraries. Item #163 is the Beis Halevi’s copy of the classic work of the Malbim on Orach Chaim which sadly was never completed.

An interesting bibliographical scoop about this work can be found in an interview in Mishpacha Magazine in the September 4, 2019 (Issue #776, p. 50) by Rabbi Yonason Sacks. He describes purchasing the Malbim’s own copy which had an important gloss to a specific passage.

The catalog’s letters section is always an important way to learn about interesting unknown historical documents and the like.

Item #229 we learn about a newspaper written in Yeshivas Telz for Purim. This tradition is found already in Volozhin as described by Shaul Stampfer and continues until today.

Item #182 is another Letter of R. Yehiel Mikhel Epstein, author of the Orakh ha-Shulhan.

This letter has a very interesting passage (which the entry downplays) we already wrote about back in 2007 (here). In this letter he wrote not to write to R’ Spektor as he is מוקף מסביב and write to the Netziv even though he is sick.

Shockingly enough R’ Chaim Kanievskey advised R’ Horowitz, the editor of this edition, not to edit out this line.

Item #224 must be highlighted as this is an incredible manuscript, which relates to the famous controversy in Yerushalayim in the 1880’s.

This is a letter from 1887 written by R. Yosef Dov ha-Levi Soloveitchik, the author of the Bes ha-Levi, to his friend R’ Hildesheimer. The catalog description states in part:

During the late 1880’s the old Yishuv of Yerusholayim, then led by the great R. Yehoshua Leib Diskin, was supported by the “Chalukah” system, which was funded by Jews from the Diaspora… He continues that there is still one place that the plague of secular studies has not infiltrated and that is Yerusholayim, and despite the fact that scoffers want to implement secular studies there, the Yishuv, under the leadership of “Rabbeinu HaGadol Me’or Ha’Golah Yochid B’Doreinu B’Torah V’Yirah HaGaon MaHaRIL Diskin Shlit”a, have prevailed and held on to their sacred tradition. However, those who are opposed to the Chachomim are totally persistent in their publications against the Yishuv and the MaHaRIL”. The Beis Ha’Levi therefore requests that R. Hildesheimer publicize that he disagrees with this view, and that he reaffirm that it is forbidden for the school system in the Old Yishuv, which was constituted primarily of students with Lithuanian backgrounds, to implement these changes…

In this letter we see the incredible respect that the Beis Halevi had from R’ Yehoshua Leib Diskin, something known to us from many other sources.

R’ Hildesheimer’s role in this controversy has been discussed a bit by David Ellenson, Rabbi Esriel Hildesheimer and the Creation of a Modern Jewish Orthodoxy, pp. 110-112,123-126.

Many aspects of this fascinating controversy have been dealt with by R’ Eitam Henkin HY”d in various articles.

One important point is from the Beis Halevi letter it sounds like all Lithuanian Gedolim sided with R’ Diskin but this is not so simple at all. R’ Shmuel Salant definitely did not agree with R’ Diskin on this. IYH this will be discussed at greater length in the future.

Is there a rotten apple in the Tu-BeShevat Fruit Basket?

By Dan Rabinowitz and Eliezer Brodt

[This post is heavily updated from an earlier Seforim Blog post – here]

Some claim that the origins of the custom to celebrate Tu-beShevat as a holiday that includes eating fruits and other rituals, is Sabbatean. In the main, this assertion is based upon identifying  the work Hemdat Yamim as the source for Tu-beShevat as a holiday and eating fruit and other rituals.  Thus, an article in Ha’aretz trumpets, “The New Year for the Trees, Isn’t it for Sabbatai Zvi.” And the National Library of Israel’s blog includes a post “The Holiday of Tu-beShevat is an Auspicious Time to Pray for the Only (?!) Jewish False Messiah.”  They even include this photoshopped image.

However, a closer look at the history reveals, that although some of the customs on Tu-beShevat can be traced to Hemdat Yamim the actual celebration dates much earlier. Contrary to the popular song, Tu-beShevat hegihu hag ha-ilannot, the 15th of Shevat was not a “chag” of the trees.  Instead, the earliest discussions regarding Tu-beShevat do not mention any holiday associated with the day.  The first Mishna in Rosh Hashana, identifies the 15th of Shevat as the new year for trees.  This designation merely defines how to calculate annualized tithes and is otherwise silent as to the significance of the date.  One can’t tithe fruits from one year using a different year’s fruits. Thus the 15th of Shevat is the cut-off point. [For other contemporaneous examples see Safrai, Mishnat Erets Yisrael, Mesekhet Rosh HaShana (Jerusalem:  Mehlelet Lifshitz, 2011), 305-06]. It was not until R. Gershom’s time that there were any of the traditional holiday markers, but only that fasting is prohibited.

The first mention of the custom to eat fruit and other holiday rituals appears in 16th century Machzor, published between 1548 and 1550. 

That Machzor follows the Ashkenazi rite and includes a discussion of customs according to that rite and the commentary of R. Benyamin ha-Levi Ashkenazi, Ma’aglei Tzedek. He was the rabbi of the Ashkenazi community in Saloniki (of contemporary interest is that he records the death of four of his sons during a plague).   This source, however, was not well-known, and, historically, a different, later, source is identified.  For example, Avraham Ya’ari in his otherwise comprehensive article claims that R. Issachar ibn Susan (c. 1510-1580) is the first mention.  Susan, in his Ibur Shanim, published in 1578, provides that “the Ashkenazim have the custom [on Tu-beShevat] to eat many fruits in honor of the day,” confirming the custom recorded in the Machzor.  1578 was the first authorized printing of R. Susan’s work but not the first time this custom is associated with him.  In 1564, Shlomo Rie published Susan’s Tikkun Yissachar.  (Ibur Shanim 48b and Tikkun Yissachar 62a).  Susan, in Ibur Shanim, accuses Rie of publishing an unauthorized edition, one that contains errors and unacknowledged additions by Rie. Ibur Shanim includes a corrected and otherwise only slightly modified version of Tikkun Yissachar.  [See Susan’s introduction; see also Yaakov Shmuel Spiegal, Amudim be-Tolodot Sefer ha-Ivri: Hadar Mechaber (Jerusalem, 2018), 321-22.]

Mention of this custom also appeared in a Judeo-German Minhagim book first published in 1590. “The custom is to eat many fruits as it is the New Year of the trees.”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

In the community of Worms, there was a rather interesting variation of the custom. As R. Jousep Schammes (1604-1678) in his custom-book states:

On Purim and the 15 of Av and Shevat these were vacation days for the Rabbis, . . . [on the 15th of Shevat] one says tehina even during the morning prayer. It is a vacation day for the students and the teachers, especially the younger students, it is a day of feasting and joy for or the teachers and their students. The custom is for the teachers to distribute whiskey to the students and make merry with them.”  Minhagei [de-Kehilah Kedosha] Vermisai le-Rebi Joszpa Shamesh (Jerusalem:  Machon Yerushalim, 1988), 249-50, no. 211.

Magen Avraham

The Magen Avraham cites the Tikkun Yissachar as the earliest source for the custom to eat fruits on the 15th of Shevat.  This, despite the fact that he had accessed, and indeed quotes on many occasions, the Machzor with the Maageli Tzedek commentary. See, e.g.,

נה:יז, פח:ג, קלא:י, תכז:א, תלא:ה, תלז:יז, תכז:א, תנ:יב, תנג:יא, תקפא:ד, תקפא:ז, תקפא:ח, תקפב:ח, תקפג:ב תקפד:ג, תקפט:ד, תרכד:ז, תרכט:ה, תרנא:יט, תרנא:כא, תרנח:יב, תרסא:, תרע:ב [2X], תרעב:ה, תרעג:ז, תרפא:א, תרפח:יא, תרצ:יט, תרצא:ח

While he had access to the Machzor, he did not have access to the Tikkun Yissachar.  The Magen Avraham quotes the Tikkun Yissachar on a few occasions, but always via a secondary source. See Brodt Halachic Commentaries to the Shulchan Aruch on Orach Chayim from Ashkenaz and Poland in the Seventeenth Century (PHD Bar Ilan 2015), pp. 68-69. The Mekor Chaim in O.C. 686:1 is the first to point to the Machzor for this minhag.

The halachot in the Machzor were collected by  Yitzhak Hershkowitz ed., Maglei Tzedek (Jerusalem, 2000), pp. 156-157.  Regarding R. Benyamin see Y.S. Emmanuel, Matsavos Saloniki, vol. 1 (Jerusalem, 1973), 36, 68-69; Meir Benayahu, “Rebi Shmuel Yaffa Ashkenazi,” in Tarbiz, 42 (1973), 423-24 and note 37; M.S. Molcho, Matsevot Bet ha-Olamin she Yehudi Saloniki (Tel Aviv, 1975), 59-60; Yitzhak Rivkin, “Dikdukei Soferim,” in Kiryat Sefer 4 (1927), 278 no. 32; Daniel Goldschmidt, Mehkerei Tefillah u-Piyyut, 252-65, Meir Benayahu, Defus ha-Ivri be-Kremonah (Jerusalem, 1971), 141-78. About Knesset Hagedolah and being a Sabbatean see Brodt, Halachic Commentaries to the Shulchan Aruch on Orach Chayim from Ashkenaz and Poland in the Seventeenth Century, pp. 56; Brodt, Yeshurun 35 ( 2016 )p. 775; See also the recent work, R. Shmuel Ashkenazi, Igrot Shmuel (2021)-, 1, pp. 4-5. 

R. Shmuel Ashkenazi

As the Seforim Blog just published Iggrot Shmuel from R. Shmuel Ashkenazi (see here and here) we reprint two letters from his collection, one discussing the origins of the holiday of the 15th of Shevat and the other Hemdat Yamim.

Notes:

Additional sources discussing the 15th of Shevat, see  Meir Rafeld, Netivi Meir, (2013), 185-189; R Mandelbaum, Tehilah Ledovid (Jerusalem, 1993);  Guttman, Otzar TuBeshvat.

Tikkun Yissachar was republished in 1988 with an excellent introduction from R. Betzalel Landau.  Most recently, in 2019, it was reprinted and re-typeset, with additional notes. This edition also includes R Landau’s introduction and another introduction of material about the work. See also Elisheva Carlebach, Palaces of Time: Jewish Calendar and Culture in Early Modern Europe (London: Belknap, 2011),  51-58; יוסף הקר, ‘יששכר אבן סוסאן עליית כוהנים לתורה בשמחת חתנים’, בתוך: ‘מנחה למנחם’, קובץ מאמרים לכבוד ר’ מנחם כהן, בעריכת חנה עמית, אביעד כהן וחיים באר, ירושלים תשס”ח, עמ’ 79-97

Regarding Hagiz, see Elisheva Carlebach, The Pursuit of Heresy (New York: Columbia University Press, 1990).

After the Birkat Eliyahu was published it was attacked by some rabbis.  See Meir Benayahu, “Sefarim she-Hiburum R. Moshe Hagiz she-Hotsyim le-Or,” in Ali Sefer 4 (1977), 143, 150-52; see also Shlomo Yaakovovitch, “Sefer Shehitot u-Bedikot le-R’ Yaakov Weil,” in Tsefunot 4 (1989), 112; Carlebach, Pursuit of Heresy, 247-49. Regarding R. Eliyahu see Y. Halpern, Pinkas Vaad Arba Arotsot (Jerusalem, 1990) 362; Tzvi Horowitz, Le-Tolodot ha-Kehilot be-Polin (Jerusalem, 1989), 1.

The literature on Hemdat Yamim is substantial and we hope to return to the work in an upcoming post.  For the most recent discussion see Y. Goldhaber, “Le-Birur Zehuto shel Mehaber Hemdat Yamim,” in  Sefer Zikhoron le-Professor Meir Benayahu, vol. 2 (Jerusalem: Karmel, 2019), 873-908.

Huss’s article appears as Boaz Huss, “Ha-Ets ha-Nehmad ben Yishi Hayi al ha-Adama: al Mekoro ha-Sabbatai shel Seder 15 Shevat,” in Sefer Zikhoron le-Professor Meir Benayahu, vol. 2 (Jerusalem: Karmel, 2019), 909-20.

Jacob’s Dream: Reproducing a Talismanic Illustrated Title Page

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

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

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

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

Jewish Title Pages

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

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

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

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

Here is that image in detail:

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

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

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

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

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

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

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

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

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

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

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

Book Announcement: The Lost Library by Dan Rabinowitz

By Eliezer Brodt

Its with great pleasure that I announce the recent publication of an important work, that I am certain will be of great interest to readers of the Seforim Blog – The Lost Library by Dan Rabinowitz, founder and editor-in-chief of the Seforim Blog. This book is devoted to the legacy of the personal and expanded public library of Rabbi Mattityahu Strashun.

From the back cover:

The Strashun Library was among the most important Jewish public institutions in Vilna, and indeed in Eastern Europe, prior to its destruction during World War II. Mattityahu Strashun, descended from a long and distinguished line of rabbis, bequeathed his extensive personal library of 5,753 volumes to the Vilna Jewish community on his death in 1885, with instructions that it remain open to all.

In the summer of 1941, the Nazis came to Vilna, plundered the library, and shipped many of its books to Germany for deposition at a future Institute for Research Into the Jewish Question. When the war ended, the recovery effort began. Against all odds, a number of the greatest treasures of the library could be traced. However, owing to its diverse holdings and its many prewar patrons, a custody battle erupted over the remaining holdings. Who should be heir to the Strashun Library?

This book tells the story of the Strashun Library from its creation through the contentious battle for ownership following the war until present day. Pursuant to a settlement in 1958, the remnants of the greatest prewar library in Europe were split between two major institutions: the secular YIVO in the United States and the rabbinic library of Hechal Shlomo in Israel, a compromise that struck at the heart of the library’s original unifying mission.

In 2005 Dan Rabinowitz founded the Seforim Blog and I started corresponding with him almost immediately. One of the people we discussed often was R’ Strashun as both Dan and I were fascinated by him. Dan’s interest extended to the library and what happened to it after R’ Strashun’s death and especially what happened to it after World War Two. Eventually, in November 2015 Dan authored a lengthy post on the Seforim Blog dealing with different aspects of R’ Strashun and his library. This post eventually turned into this full-length book on the subject.

The Lost Library is written in Dan’s extremely clear, lucid and captivating manner as familiar to readers of the Seforim Blog (having read hundreds of his articles and at times not realizing he is the author of them because most do not include his name – in essence, stamm seforim blog post dan rabinowitz, at least the scholarly ones). The book begins with an exciting personal introduction (A PDF is available upon request) giving background to the development of one of Dan’s favorite pastimes collecting books. However, similar to the subject of this book R’ Strashun, Dan’s interest extends to not just owning the book but to developing a personal relationship with the book contents. This becomes evident as one reads The Lost Library, especially the vast number of sources in multiple languages housed in numerous collections and libraries all over the world including his personal library. The Lost Library meticulously documents each of his claims from these extensive sources collected over intense research conducted over a few years.

The book begins with an overview of that ‘ir ve’em be-yisrael, the famous city of Vilna, giving the reader excellent background to the environment and city (including current descriptions as the author visited Vilna while working on this volume). The author discusses what made Vilna famous, sidetracking into very relevant topics such as R’ Mattityahu father, the Rashash and others affiliated with the Vilna Gaon, Vilna’s most famous resident. Dan then turns to deal with the hero of the book, R’ Mattityahu and provides the reader with a comprehensive biography that discusses his unique style of learning and how that influenced his book collecting habits. The next chapter is the opening of the public library after Mattityahu’s death and the impact it had on the community and eastern European Jewry at large. The book then goes onto detailing the library’s life during the Holocaust and especially afterword as different parties claimed ownership when most of it was discovered to have survived.

Marc Shapiro wrote:

Taking us on a journey from nineteenth-century Vilna until almost the present day, Rabinowitz not only documents the vicissitudes of this important institution, but helps us understand the intellectual culture of one of the centers of Judaism in modern times.”—Marc B. Shapiro, Weinberg Chair in Judaic Studies, University of Scranton

And others praised the work as well.

“Rabinowitz has done a brilliant job in his moving and important book…. Through the story of the Strashun Library, he gives us insight into the richness and vibrancy of Jewish life in Vilna. He vividly portrays the restoration of the books of the Strashun Library, a testimony to the indomitable Jewish spirit.”
—Ambassador Stuart E. Eizenstat, chief White House domestic policy adviser to President Carter

“Rabinowitz’s meticulously researched study is an outstanding expression of the wealth of knowledge provided by a thorough exploration of Jewish material culture…In his detailed reconstruction of the Strashun library’s fate after the German invasion, he detects a breathtaking history of loss and mourning, of illegal claims and desires, of appropriation and incorporation that expresses the rupture of the Holocaust and the contested visions of Jewish life after catastrophe.”—Elisabeth Gallas, Leibniz Institute for Jewish History and Culture –Simon Dubnow

This book is of particular personal great interest. The first time I recall hearing something from R’ M. Strashun was when I was in tenth grade. R’ Hershel Schachter had just begun giving a shiur once a week in Flatbush for Balei Battim on Mesechtas Kidushin. I attended a few of them, during one of the shiurim he mentioned R’ M. Strashun’s comments in Bava Basra praising him (I do not recall his exact discussion, but it was about the word Achron). I had been familiar with the Strashun name for a while through R’ Mattityahu father, the Rashash via my father. The Rashash symbolized an emphasis on peshat, from then on I was very curious about R’ Mattityahu. Fast forward a few years when I began learning in the Mir in EY I was talking to a friend somehow it came up about R’ M. and the friend mentioned he loves him and that the great Gaon R’ Yakov Chaim Sofer always quotes him with great respect. He then showed me a sefer of Mattiyahu printed by Mossad Harav Kook (Mivchar Kesavim). The sefer was out of print and hard to find, but the Sitrah Achrah helped me find it a little while later. I immediately began learning through the work. Since then I have found the work many times in used shops and have found these copies, proper owners, to appreciate them. One time while learning the sefer an Israeli chavrusha saw what I was learning and said how you could learn a sefer of a maskil! I argued it was good enough for me that R’ Yitchack Elchanan Spektor who, in his old age, came to Vilna to eulogize R’ Mattityahu. My chavrusha dismissed this anecdote and replied that means nothing! Of course, I could not convince him that there was nothing wrong with him. However, his complaint sparked the exact opposite – and spurred me to research and read more of R’ Mattityahu’s writings which only enhanced my reverence for him. My chavrusha’s position notwithstanding, other very frum Israelis friends expressed their appreciation and fascination with R’ Mattityahu. Most of his writings appeared in newspapers and journals and are not readily available or even known. However, in a few months, I will god willingly print some of them. Eventually, I wrote my first academic article in English about him (available in PDF upon request or from here).

One final point about R’M that particularly resonated with me. R’M did not merely collect seforim he used them, and this is apparent from hundreds of citations throughout his works. A later resident of Vilna, and one too who was indeed very well-read was R’ Chaim Ozer. He did not need an extensive personal library as he had unfettered access to the Strashun Library – indeed was unique in that he was one of the few given borrowing privileges. Here is a book request from R’ Chaim Ozer, addressed to the Strashun Library’s head librarian Chaim Chaikel Lunski. Thanks to R’ Dovid Kamenetsky for making it available:

One of my favorite stories about the library as told by R’ Moshe Shmukler in his fascinating book, Moshe Shmuel ve-Doro, combines the idea of the voracious reader and a comprehensive library:

ר’ חיים עוזר… מלבד בקיאותו הגדולה בתלמוד ובראשונים, הצטיין בבקיאות עצומה בשאלות ותשובות האחרנים… פעם החלטתי לנסותו עד כמה כוחו גדול באחרונים, סרתי לספריה של שטראשון ועברתי על פני הקאטאלוג במקרה נתקבל מבטי על הספר מאמר מרדכי להגאון ר’ מרדכי זאב אוטינגר מלמברג ספר שלא נודע לי עד אז וחשבתיו ליקר המציאות. דפדפתי בספר ומצאתי איזה הערה נפלא על דברי בעל הלכות גדולות המובא ברא”ש סוף פ”ב דיבמות. חשבתי האח, מצאתי את מה שאוותה נפשי. במוצאי שבת באתי לר’ חיים עוזר, כי הערב ההוא היה מוקש ללות אתו בחידוש תורה. בשעת השיחה העילתי כלאחר יד את הקושיא על הבה”ג. ומה השתוממתי לשמוע מפי תיכף, כי זוהי קושיתו של בעל מאמר מרדכי… [ר’ משה שמואל ודורו, עמ’ 176].

The book can be purchased from the publisher here, Amazon or Book Depository.

Here is a portrait of R’ Mattityahu followed by a scene depicting the Strashun Library in Vilna in its heyday: