Using a Colophon to Find a Shidduch: on Ella the Zetser.

Using a Colophon to Find a Shidduch

by Eli Genauer

There has been much talk lately about the so called Shidduch crisis. Various initiatives have been proposed to address this problem, all of which are well meaning and well thought out. Many might be surprised to learn that an interesting approach was suggested by a 12 year old girl in the town of Frankfurt on Oder way back in 1699. This approach was based on a Pasuk in Yirmiyahu which deals with Messianic times.

We are all familiar with the 31st chapter of Yirmayahu. The first 19 pesukim of this Perek comprise the Haftorah of the second day of Rosh Hashana. The Navi begins, “Koh Amar Hashem, Matzah Chain BaMidbar”. The Haftorah proceeds to lay out a vision of Hashem’s love for the Jewish people and its eventual return to Tziyon, a fitting theme for a day in which we ask Hashem to grant us a good year. The stirring Pasuk of “HaVain Yakir Li Ephraim” concludes the Haftorah, but the Perek continues with Yirmiyahu’s vision of Yemos HaMoshiach.Yirmiyahu speaks of the Jewish people in Galus and after having been there for so long, they return to Hashem. Pasuk 21 states the following:

כא עַד-מָתַי תִּתְחַמָּקִין, הַבַּת הַשּׁוֹבֵבָה: כִּי-בָרָא יְהוָה חֲדָשָׁה בָּאָרֶץ, נְקֵבָה תְּסוֹבֵב גָּבֶר

How long will you hide, O backsliding daughter? For the Lord has created something new on the earth, a woman shall go after a man.

According to the Radak, the Navi is imploring the people to travel on a straight path and to return to Hashem. This will be a time when, as it were, the Bas HaShoveiva, the backsliding daughter, will be the one who seeks out a husband, in this case Hashem. The Navi says that this is something that is radical, but certainly required at that time.

We fast forward a bit to 1696 and we meet an amazing nine year old girl, born in Amsterdam, but now living in Dessau, Germany. Her name is Elle and she is the daughter of a man named Moshe ben Avraham Avinu. Moshe worked for years setting type and printing important Jewish books in various places in northern Europe, the last of which he did under very trying circumstances in Halle.(1) Moshe employed his children to help him in the arduous task of typesetting. We know a bit about his daughter Elle from some crumbs that she left us as she signed her name to the books she helped bring to print. She and her brother worked on setting type of the Siddur Drash Moshe printed in Dessau in 1696. After recording that the book was set to type by Yisroel ben Moshe, someone wrote a poem which tells us that a nine year old girl named Elle (עלה) helped Yisroel in this project:(This scan and those following are all courtesy of the JTS Library)

The Yiddish letters I set with my own hand
I am Elle, the daughter of Moses from Holland
a mere nine years old
the sole girl among six children
So when an error you should find
Remember, this was set by one who is but a child (2)

Did she compose the poem herself, or was it composed by her father or brother? Remarkably, we find another case not soon thereafter, of a nine year old setting type, and there we do know whether he could read or not. Nicholas Basbanes, in his book “A Gentle Madness”, records the following:

“Born in poverty, Isaiah Thomas came to know the touch and smell of ink on paper when he was only a child. Only nine years old in 1758….young Thomas was already completing his apprenticeship in the dingy Boston shop of Zechariah Fowle…When he later became the most successful printer and publisher in the United States-Benjamin Franklin dubbed him the Baskerville of America- Isaiah Thomas enjoyed telling friends that he knew how to set type before he was able to read.”(3)

Whether or not she could read at age nine, we do know that this little girl was able to recognize the Judeo Yiddish letters of a manuscript and set to type similar letters from which to print a book. Perhaps she had the potential to become as successful as Isaiah Thomas but for her gender and religion.

We meet Elle again in 1699, this time as a typesetter working on the famous Berman Shas of Frankfurt on Oder. This printed edition of the Talmud ( 1697-1699) was financed by the wealthy court Jew, Yissachar Berman Segal of Halberstadt who gave away half the 5,000 copies printed to needy scholars throughout Europe.(4)The Berman Shas is one of the most respected early printed editions of the Talmud because it contained many additional commentaries which became standard in following editions. It was the first edition since that of Gershom Soncino in the early 16th century to contain most of the diagrams we are familiar in Seder Zeraim, and Masechtos Eiruvin and Sukah. (5) It was also the first to contain Charamos from various Rabbanim prohibiting others in that general area from printing the Talmud for an extended period of time.(6) The following Cherem, recorded in Maseches Brachos, was written by Rav Dovid Oppenheim who lived at that time in Nikolsburg and later became chief Rabbi of Prague:At the end of Maseches Nidah printed in 1699, Elle signs her work a bit more boldly, and leaves us wondering what was going through her mind when she set the letters for the colophon.

“ By the hand of the faithful typesetter in this holy work, Yisroel the son of Reb Moshe. And by the hand of his maiden sister Elle, daughter of Rav Moshe, in the year “N’Kaivah T’Soivev Gaver” ( “a woman shall go after a man”.)

When you add up the letters which are set in large type, you come up with the year 459 according to the Peret Koton ( the abbreviated era ). This is the year 5459 (1699). What intrigues even the casual observer is why she, or her older brother Yisroel chose to record the year 5459 using that unusual Pasuk? One could argue that the Pasuk is tangentially related to some of the topics covered in Maseches Niddah, but there are many other Pesukim which deal more directly with the subject matter that could have been formatted to equal 459.(7) I think it is more logical to relate the Pasuk to the girl typesetter, who we are informed, is still unmarried. In Messianic times, it will be the Kallah, Am Yisroel, who seeks out its Chasan, Hashem. Perhaps Elle thought her circumstances and position necessitated a similar approach to finding a suitable Chasan. We hear the last from her in the next year having worked on a Machzor with her brother Yisroel.(8) We hope that after that, this extraordinary girl found an appropriate Shidduch. We wish the same for all those seeking the wonderful rewards that marriage has to offer.

(1) Marvin J Heller, “Studies in the Making of the Early Hebrew Book”, Boston 2008 pps. 218-228. The entire chapter on Moses ben Avraham Avinu makes for some fascinating reading. I am indebted, as are we all, to Marvin Heller for his research into this field of study.
(2) Ibid: p.222
(3) Nicholas Basbanes, ‘A Gentle Madness” New York, 1995 pps144-145
(4) R.N.N. Rabinowitz “Ma’amar Al Hadfasas HaTalmud”, A.M. Haberman edition, Mosad HaRav Kook 2006, page 96 footnote 1.
(5) Ibid. p. 98
(6) Ibid p.100
(7) Two examples of a more fitting Pasuk to denote the year of publication for Tractate Niddah are:

“B’Mai Nidah Yischatah” which was used in Frankfurt A/M edition of 1720, and

“V’Safrah Lah Shiva Yomim, V’Achar Ti’Taher” which was used in the Dyhernfurth edition of 1816-21 ( although the highlighted letters actually add up to (5)773)

(8) Heller, page 223

Illustrated Title Pages in Upcoming Auction Catalog

This Thursday, Kestenbaum & Co. is having an auction. The catalog is available online and the viewing takes place this week. For those interested in some highlights, the website provides those. But, I wanted to highlight a theme that hasn’t been noted. First, a quick background regarding Hebrew book auctions. [Note, this is not a comprehensive attempt.] There are five auction houses that concentrate on Hebrew books, Kestenbaum, Judica Jerusalem, Asufa, Baronovitch, and, a recent entry, Kedem. While all five concentrate on Hebrew books, they are all unique in many ways. First, the catalog. With the exception of Judaica Jerusalem, all offer their catalogs online. Additionally, they also offer them in hard copy format through subscriptions. Kestenbaum and Baronovitch are American auction houses, while the others are Israeli. Of the two American, Kestenbaum has auctions more frequently. Both American typically have two to three hundred lots, while the Israeli ones have as many as 800. The Israeli ones provide illustrations for every lot and descriptions in Hebrew and English (although, at times, the English translations can be very poor). Kestenbaum doesn’t have illustrations for every lot. Which gets us to our hidden theme. In the lots that provide photos of the title pages, many title pages carry a mythological or Christian theme. Of course, we are not suggesting that these were selected because of this theme, instead, we are merely pointing it out.

Mythological Title Pages

The first illustration is for lot # 4, Mirkeveth ha-Mishna Abrabanel’s commentary to Devarim. This edition of Sabbioneta, 1551 (the first Hebrew book published there), carries the illustration of Mars and Minerva.

This is not the only time this title page appears. Indeed, in this auction catalog’s illustrations it appears on three other illustrated books. See lots 171, 191 and 217. That is, these other books share the same title illustration. Marvin Heller, in his article discussing this title page explains that, as one probably surmised, this title page with its mythical theme, first appeared in non-Jewish books. Beginning in 1523 this title page was employed in a variety of non-Jewish books. It would be our book, Mirkeveth ha-Mishna, that would be the first Hebrew book to re-use this title page. Heller, traces the subsequent history in his article for those looking for more information on this title page. Marvin Heller, “Mars & Minerva on the Hebrew Title Page,” in Papers of the Bibliographical Society of America, 98:3 (Sept. 2004).

The second illustration related to mythological theme is that of lot # 221, Pirkei Rebi Eliezer, Sabbionetta, 1567. This title page shows Hercules striking Hydra the multi-headed snake (the illustration seems very similar to that of Antonio del Pollaiolo’s “Hercules and the Hydra.”).

We now turn to the Christian title page. This one is from lot #129, Haggadah shel Pesach, Amsterdam, 1712. The title page, at the top, depicts Moshe at the burning bush. This Haggadah, which is known as the Second Amsterdam Hagaddah due to it being the second edition of the Haggadah to carry copperplate engravings rather than wood. These engravings were done by a convert, Abraham ben Jacob (whose name was removed from the title page in this edition). Ben Jacob used a well known Christian engravers illustrations as models for the Haggadah illustrations. So, Moshe at the burning bush illustrations is almost the same, with the exception that the triangle surrounding God’s name (depicting the Trinity) is removed in the haggadah. Both appear below.

Yerushalmi, in Haggadah and History, shows other examples of borrowing in this Haggadah.

It is worth noting a few more benign title page illustrations that appear in this catalog. The first is that of lot #165, Amudei Golah, Cremona, 1556 that shows in the center a medallion personifying Cremona, while in the “upper section is the head of a winged horse, with a bare-breasted woman to the right and a man to the left.” Marvin Heller, The Sixteenth Century Hebrew Book, p. 417.

Finally, we get to the last book we shall discuss, one of the earliest to include a portrait of the author on the frontispiece, lot 84, Kehunat Avraham, Venice, 1719. Additionally, one can see that he is wearing a wig, not all that uncommon amongst the Rabbinic sect for the period of time it was universially fashionable. For example, R. David Neito is shown with a wig, as are others. One well known example of one who skipped the wig was R. Yehudah Areyeh Modena, who appears in his portrait completely bald.

A Conspiracy Theory To Explain A Racy Title Page

We have discussed on multiple occasions the use of illustration of nudes to adorn the title pages of Hebrew books. It appears, again as we have seen before, that even though the appearance of such illustrations are really unremarkable, some will go to great lengths to either expunge or, in this case, explain away the appearance of such illustrations. In the April, 2008, Jerusalem Judaica auction catalog (provided below) they have a rather rare work of R. Yitzhak Hiyut (c. 1538- c.1610). [For biographical information on R. Yitzhak see Yaakov Elbaum, Pituchut Ve-HaSegirut, Jerusalem, 1990, p. 23 n.36.] This small book, some 18 pages, is comprised of R. Hiyut’s sermon he gave on the first day of Passover in 1589. The editors of the catalog attempt to deal with the two nudes depicting Adam and Eve [the illustration of Eve is very similar to the one of Eve that appears in the Levush and the Prague Haggadah ] that appear on the title page. They explain

“that this ‘Sermon’ was [perhaps] printed on the intermediate days of Passover by gentile print workers. They allowed themselves to place immodest engravings on the title page. The print owner did not supervise their work on these intermediate days of the holiday. They chose the images of Adam and Eve with the apple of the evil inclination in their hands.”

Thus, according to the catalog editors, the appearance of these illustration is due is basically an error, or if you wish, a rather interesting conspiracy theory.

Now, obviously, it is impossible to prove the negative, that is we have no way of saying 100% the above scenario did not happen, but I think at the very least we can show it is unlikely. First, perhaps the most straightforward item is that we have seen such illustration are not an anomaly – I have provided below one such illustration that appears on the title page of the 1577 edition of the Shulchan Orach.

Second, we are aware of cases of printing that did take place on either Shabbat or Yom Tov. The eminent bibliophile, Abraham Yaari, provides a list of such books. See A. Yaari, Mehkerei Sefer, Jerusalem, 1958, pp. 170-78. The method he employees in deciding which books were published on Shabbat or Yom Tov, is not conjecture. Instead, when a book was published when Jews were unable to oversee the printing, there was a much bigger problem than the title page illustration. When non-Jews printed without the aid of Jews, as one would imagine, the book was then subject to many typographical errors as the non-Jews, for the most part, could not read or understand Hebrew. Thus, typically, there would be a disclaimer somewhere in the book stating that there maybe such errors due to lack of Jewish supervision. In the case of this book of Derashot, there is no such disclaimer.

Finally, the entire assumption is highly questionable. That is, according to some one is allowed to print books on the intermediate days of a holiday. Famously, R. Yosef Karo’s maggid explicitly tells R. Karo that he must write down what the maggid tells him even on the intermediate days. (For other illustration and a discussion of the above, in Hebrew, see here.)

Shulchan Orach, 1577 edition

Akedah, Art, and Illustrations in Hebrew Books

The Akedah (binding of Isaac) is a very popular theme in the arts. It appears in music, most recently (from a decidedly Christian perspective), the critically acclaimed indie musician Sufjan Steven’s who has the song Abraham (on his Seven Swans CD). In the visual arts, numerous representations of the Akedah can be found, from Rembrandt to Chagall. Some of the earliest Jewish art also contains the Akedah. In both the Dura_Europos Synagogue and the Beth-Alpha Synagogue there are depictions of the Akedah. This trend was continued in Hebrew manuscripts throughout the Middle Ages. In Hebrew books, however, there is a dearth of illustrations generally.

At most in Haggadot or on title pages, at times, there are minor illustrations. But, there is a notable exception.

In 1685, the work Pachad Yitzhak was published in Amsterdam. This book, written by Rabbi Dr. Isaac Vita (or Hayyim) Cantarini (see note 1), is about the attack on the Jewish ghetto of Padua in 1684. Preceding the title page there is an elaborate illustration of the Akedah. The simple reason for the inclusion of this is due to Cantarini’s first name Isaac and thus an allusion to his name. But, as we will see, there is more to this illustration.

In his later work Et Kets, also published in Amsterdam in 1710 he includes another depiction of the Akedah. This work is devoted to figuring out when the Messiah will come, (he thinks in 1740), a much more upbeat topic than his prior work. As you can see both illustrations, it bears discussing them in some detail.

The illustrations are most likely done by two different artists. This is so, as there are slight distinctions between the two. For instance, in the earlier one, Abraham has a full beard, while in the later one he only has a mustache. The ram in the first has straight horns, while in the second has circular ones. These distinctions, however, are not as meaningful as others.

The overall depictions are of two different time periods. In the first, the illustrations depicts Abraham just as he was about to slaughter Isaac and the angel calling out to stop him. But, in the second the illustration is of Abraham going after the ram and not Isaac. The signifcance of this is tied to the actual books. In Pachad Yitzhak the book discusses a terrific threat to the Jews and their salvation. Thus, the illustration is of the same – the terrific threat to Isaac and the salvation. The second work, Et Kets, is a much more positive book. This work has none of the fear of the prior instead, is fully devoted to Messiah and thus the illustration is only of the ram and its sacrifice.

Further, there are different Hebrew words which appear on both the illustrations. On the first the word ערכה (prepared or set up) appears across Abraham’s chest. This word expresses Abraham’s readiness to sacrifice Isaac. It would seem, similarly, the Jews of Padua were willing to sacrifice themselves for God. But the word ערכה only means to prepare and not to actually sacrifice. Thus, Isaac was only prepared but not sacrificed and so too the Jews of Padua were placed in danger but ultimately redeemed.

In Et Kets, the words ירא יראה appear. These words are a reference to what Abraham called the place where the Akedah took place. Importantly, Abraham uttered these words after the entire episode. These were words of jubilation on both him passing his test and Isaac’s redemption. Again, these words fit well with the content of Et Kets.

These allusions are unsurprising knowing the style of R. Dr. Cantarini. His books are written rather cryptically, with many many allusions to Biblical and other themes throughout.

Now, a word or two about the author. R. Dr. Isaac Cantarini lived in Padua. He came from a family of cantors or hazzanim. Thus, his name was בן חזן (ben hazzan – son of a hazzan) or in Italian Cantarini which has the same meaning. He received his medical degree from the University of Padua on the 11th of February 1664. He was a prominent Rabbi and the head of the Yeshiva in Padua. Among his students was R. Moshe Hayyim Luzzato (Ramchal). The Ramchal wrote a dirge on R. Dr. Cantarini’s death. R. Dr. Cantarini was a very popular speaker. One Shabbat, there were so many non-Jews in attendance, the Jews were forced to sit in the woman’s section. He authored repsonsa and appears in some of the contemporary responsas of his contemporaries. One work he appears in is R. Isaac Lamporti’s encyclopedia Pachad Yitzhak. Sharing the same first name and titling their books the same caused at least the Jewish Agency to conflate the two and erroneously claim about R. Dr. Cantarini that he “Published Pahad Yizhak (Fear of Isaac), a rabbinical encyclopedia which also described the attacks on the Padua community the year before.”

In his medical practice he was highly respected by both Jews and non-Jews. He left in manuscript some of his medical writings.

Note 1. At the end of his life the name Rafael was added, see Shmuel David Luzzato, Otzar Nechmad III p. 147.

Sources: Mordecai Ghirondi, Toldot Gedoli Yisrael, p. 143 no. 154; Joseph Gutmann, The Sacrifice of Isaac in Medieval Jewish Art, in Artibus et Historiae, Vol. 8 no. 16 (1987), pp. 67-89; Simon Ginzburg, The Life and Works of Moses Hayyim Luzzatto, index under Cantarini; S.D. Luzzato, Otzar Nechmad, III pp. 128-149; also the Jewish Encyclopedia has an entry (better than EJ) here.