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  (XI) Obj. ID: 2048 The Ulm Mahzor ,, Ulm
Augsburg,
1459 (vol. I); 1459/60 or 1461/62 (vol. II). // Unknown edit
 
Category: Hebrew Illuminated Manuscripts


2 Name/Title The Ulm Mahzor | Unknown
3a Object Mahzor
3b Object Detail
4a Artist/ Maker Unknown (Unknown)
5 Date 1459 (vol. I); 1459/60 or 1461/62 (vol. II)
6 Period Unknown
6a Period Detail
7 Origin Germany | Baden-Württemberg | Ulm
Germany | Bayern (Bavaria) | Augsburg
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 3/I- II (Steinschneider 1895, No. 3)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Unknown|
13 Iconographical Subject Unknown |
14 Category
17 Photographer Unknown
18 Photograph Date 2008
19 Negative/ Photo. No.
19 Remarks See below, "Additional Remarks"
20 Description

More Details...
 
21 Ornamentation
22 Custom
23 Contents
Mahzor in two volumes for Day of Atonement (vol. I) and Sukkot (vol. II) according to the western Ashkenazi rite. Both volumes are vocalised.

Vol. I: Day of Atonement (fols. 1-486):
Evening service (fols. 1-44v): the beginning and some of its selihot are missing. The Mahzor starts with the selihot ראה עמידתנו דלים (fol. 1; Goldschmidt 1970, II, p. 20), the blessing aleinu leshabbeakh is interrupted in אנחנו כורעים ומשתחוים; fol. 19v), shir hayihud (fol. 20: the hymn begins with ממסלותם והכוכבים for Sunday: missing 4 leaves between fols. 19v and 20, with the end of aleinu leshabbeakh and the beginning of the hymn for Sunday; 2 leaves (between fols. 26v-27) of the hymn for Tuesday, and one leaf (between fols. 31v and 32) of the hymn for Wednesday); morning service (fol 45); musaf (fol. 229v): missing: the beginning of the piyyut שושן עמק אימה (between fols. 239v and 240); afternoon service (fol. 357v): the Book of Jonah (fol. 361); neilah (fol. 431v); evening service for the end of the holiday (fol. 486): just the beginning of the service.
Scribe's colophon (fols. 487-488).

Vol. II: Sukkot (fols. 1-299):
First Day (fols. 1-76v): evening service (fol. 1); morning service (fol. 15v), missing the yozer blessing
יוצר אור ובורא חשך, and several lines of the piyyut אכתיר זר תהלה (between fols. 16v and 17); fol. 27 with the beginning of the amidah is mutilated; fol. 28 with text missing betweenאתה בחרתנו and ;בתפלתםmusaf (fol. 61v), hoshanot (fol. 68).
Second day of Sukkot (fols. 77-149): evening service (fol. 77); morning service (fol. 93v); musaf (fol. 136), hoshanot (fol. 142v).
Shabbat Holhamoed (fols. 149-212v): morning service (fol. 149); Ecclesiastes (fol. 173v); Torah readings (fol. 189); musaf (fol. 200), hoshanot (fol. 205v).
Shemini Azeret (fols. 213-299): evening service (fol. 213-230); morning service (fol. 230v); musaf (fol. 262v); prayer for rain (fol. 267v).
Simhat Torah (fols. 299v-370): evening service (fol. 299v, the beginning is mutilated); morning service (fol. 312v), Torah readings (fol. 339v); reshut for Hatan Torah (fol. 343) and reshut for Hatan Bereshit (fol. 345v).
Scribe's colophon (fol. 370v).
24 Codicology
Material Vellum, vol. I: I + 484 + I leaves (foliated 1 to 489 with errors: fol. 80 is followed by fol. 88, fol. 246 by fol. 248, fol. 279 is numbered three times consecutively, and fol. 452 is counted twice). Vol. II: I + 368 + I leaves (foliated 1 to 371; however, fols. 28 and 300 were cut out with text; fol. 161 erroneously follows 159). Watermarks: Two flyleaves (vol. I, front flyleaf; vol. II, back flyleaf) have a watermark of an inverted fleur-de-lis similar to Heawood, Watermarks, No. 1557 = Nuremberg, c.1720. In both volumes the difference between hair and flesh sides is hardly noticeable (except for e.g. vol. I: 30v, 389v and vol. II: 230 where the hair side is discernible). Measurements Full page: vol. I: (365-371) x (269-270) mm; vol. II: (364-369) x (260-270) mm. Text space: vol. I: (223-232) x (135-156) mm; vol. II: (224-230) x (135-155) mm. Scribes Each volume was copied by a single scribe. Vol. I: Isaac Sofer. Vol. II: scribe unknown. Script Vols. I and II: the main text is written in square Ashkenazi script in various sizes in dark brown ink. Some texts were written in semi-cursive Gothic-Ashkenazi script; this is more often employed by the scribe of vol. II. There are striking differences between the scripts of the two scribes, two of which are given here. Isaac Sofer (vol. I) writes his text directly below the ruled line (hanging letters) while the second scribe (vol. II) writes between the lines. Moreover, to indicate the Divine name, Isaac mainly uses three letters yod, whereas the second scribe usually uses only two. Columns Vols. I and II: the text is written mostly in one column. In vol. I the biblical readings and some other texts are in two columns (width of one: 45 mm; e.g. I:218-224v, 358v-360v). Number of lines Vols. I and II: the text is mainly written in 18 lines per page, except for special piyyutim which are written in display script (the height of 2 lines), taking up approximately 9 lines per page (e.g. I:440v-444v, II:88, 294v). Ruling Vol. I: in grey plummet 1 + 2 + 2 vertical lines down the entire page; and 19 horizontal lines, the first, third seventeenth and nineteenth across the whole width of the page. Vol. II: In brown plummet 3 + 3 vertical lines down the entire page; and 19 horizontal lines, three pairs of horizontal lines at the top, middle and bottom of the text are ruled across the whole width of the page. Pricking Vol. I: Noticeable in the upper, lower and outer margins. Vol. II: Noticeable in all four margins. Quires Vol. I: 62 quires of 8 leaves each except for 6 quires: III8-2 (a central bifolium between fols. 19 and 20 is missing with text), IV8-1 (a central bifolium is damaged; the 5th folio between fols. 26 and 27 missing with text), V8-1 (3rd folio missing with text between fols. 31 and 32), XXX8-1 (the 5th folio with text missing between fols. 239 and 240), LXI8-1 (481-487) (the 5th folio between fols. 484 and 485 missing; no text missing), LXII2 (488-489). Quire structure: I8 (1-8); II8 (9-16); III8-2 (17-22); IV8-1 (23-29); V8-1 (30-36); VI8 (37-44); VII8 (45-52); VIII8 (53-60); IX8 (61-68); X8 (69-76); XI8 (77-91); XII8 (92-99); XIII8 (100-107); XIV8 (108-115); XV8 (116-123); XVI8 (124-131); XVII8 (132-139); XVIII8 (140-147); XIX8 (148-155); XX8 (156-163); XXI8 (164-171); XXII8 (172-179); XXIII8 (180-187); XXIV8 (188-195); XXV8 (196-203); XXVI8 (204-211); XXVII8 (212-219); XXVIII8 (220-227); XXIX8 (228-235); XXX8-1 (236-242); XXXI8 (243-251); XXXII8 (252-259); XXXIII8 (260-267); XXXIV8 (268-275); XXXV8 (276-281); XXXVI8 (282-289); XXXVII8 (290-297); XXXVIII8 (298-305); XXXIX8 (306-313); XL8 (314-321); XLI8 (322-329); XLII8 (330-337); XLIII8 (338-345); XLIV8 (346-353); XLV8 (354-361); XLVI8 (362-369); XLVII8 (370-377); XLVIII8 (378-385); XLIX8 (386-393); L8 (394-401); LI8 (402-409); LII8 (410-417); LIII8 (418-425); LIV8 (426-433); LV8 (434-441); LVI8 (442-449); LVII8 (450-456); LVIII8 (457-464); LIX8 (465-472); LX8 (473-480); LXI8-1 (481-487); LXII2 (488-489). Vol. II: 47 quires of 8 leaves each except for the following 5 quires: III8-1 (text page missing between fols. 16 and 17; fol. 23 is single), IV8-1 (fol. 27 is mutilated; fol. 28 is missing with text), XXVII4 (no text missing), XXXVIII8-1 (fol. 300 missing with text), XLVII8-1 (last blank folio cut off; fol. 365 is single). Quire structure: Fols. I8 (1-8); II8 (9-16); III8-1 (17-23); IV8-1 (24-31); V8 (32-39); VI8 (40-47); VII8 (48-55); VIII8 (56-63); IX8 (64-71); X8 (72-79); XI8 (80-87); XII8 (88-95); XIII8 (96-103); XIV8 (104-111); XV8 (112-119); XVI8 (120-127); XVII8 (128-135); XVIII8 (136-143); XIX8 (144-151); XX8 (152-159); XXI8 (161-168); XXII8 (169-176); XXIII8 (177-184); XXIV8 (185-192); XXV8 (193-200); XXVI8 (201-208); XXVII4 (209-212); XXVIII8 (213-220); XXIX8 (221-228); XXX7 (229-236); XXXI8 (237-244); XXXII8 (245-252); XXXIII8 (253-260); XXXIV8 (261-268); XXXV8 (269-276); XXXVI8 (277-284); XXXVII8 (285-292); XXXVIII8-1 (293-299); XXXIX8 (301-308); XL8 (309-316); XLI8 (317-324); XLII8 (325-332); XLIII8 (333-340); XLIV8 (341-348); XLV8 (349-356); XLV8 (357-364); XLVII8-1 (365-371). Catchwords Neither volume has catchwords. Hebrew numeration Vols. I & II: The first half of several quires preserve the Hebrew א-ד (1-4) numeration in the lower left-hand corner (e.g. I:108-111 of quire XIV, and II:309-312 of quire XL). Blank leaves I:488v, 489, 489v; II:371, 371v.
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
Vol. I: Colophon of the scribe Isaac Sofer on three successive pages in large display and semi-cursive scripts (fols. 487-488).
Fol. 487:
חזק והתחזק הסופר/ לא יוזק לא היום/ ולא לעולם. עד/ שיעל'(ה) חמור בסלם./ ברוך נותן ליעף/ כח סליק.
אפאר אל אשר אמץ זרועה אל עבדו יצחק/
וכן אראה בנחמה ישועה להנחיל יש ומתן משחק./
אני יצחק הסופר המכונה ב'א' (בלשון אשכנז) אייזק סופר.
כתבתי ונקדתי המחזור/ מיום כפרים ביום ה' י'ב'/

Fol. 487v:
תמוז בשנת ר'י'ט'/ לפרט לאלף הששי/
לר' יעקב מתתיהו בן מ'ה'ר'ר'/ יצחק ז'צ'ל' וסימתי לפרשה/
מה טבו אהליך יעקב/
משכנתך ישראל/ ה' יזכהו ויחיהו הוא וזרעו/ אחריו להתפלל בתוך המחזור/ הזה/ אבקש טוב ושלום לכל איש משכיל/
להגיה בזה המחזור ולהסיר מכשול השגגות/ כי הוצרכתי להוציא מתחת ידי דבר שאינו/ מתוקן ועליהם נאמר והמשכילים יזהירו/ כזוהר הרקיע ומצדיקי הרבים ככוכבים יזהירו/ לעולם ועד חזק ואמץ.

Fol. 488:
אני אייזק הסופר/ בן אחד וששים שנ'(ה)/ אנכי כתבתי זה/ המחזור בלא כלי/ זכוכיות המאירים/ לעינים הנקראים/ ב'א' (בלשון אשכנז) ברילן להנ'ד'(יב)/ יעקב מתתיהו בן/ מ'ה'ר'ר' יצחק ז'צ'ל'/ בעיר אולמא.
Translation:
Fol. 487: Strengthen and be strong the scribe shall not be harmed today nor ever until a donkey climbs the ladder (in Jacob's dream, Gen. 28:12). Blessed is He who giveth power to the faint (based on Isaiah 40:29; followed by two rhymed phrases for the name Isaac); I, Isaac the scribe, known in Ashkenaz as Isaac Sofer, copied and vocalised this Mahzor for the Day of Atonement on Thursday 12th )fol. 487v( of Tammuz 5219 (June 14th 1459) for Rabbi Jacob Mattathias son of the late Isaac, and completed it in the week of the reading "How goodly are thy tents" (Num. 24:5; pericope of Balak) … I beg every erudite man to correct this Mahzor because I had to deliver it without its being corrected … ; (fol. 488( I, Isaac the scribe, at the age of 61 years, copied this Mahzor without the glass apparatus which lightens the eyes, which is called in the language of Ashkenaz Brillen, for Jacob Mattathias son of the late Isaac, in the city of Ulm.
Vol. II: Colophon of the second scribe in large square Ashkenazi script:
Fol. 370v: נשלם בְרַך לפרט שבח לאל (completed in the year B-'R'Ch (5220 =1459/60), Glory to God).
However, it is possible that the letter bet (ב) is in fact part of the date (B'R'Ch) and the colophon thus refers to the year 1461/62.
The colophon is preceded by a blessing formula consisting of verses from Ps. 23:6; 5:9; 116:9 and paraphrase of 121:8, and Gen. 49:18, written in semi-cursive script in shaped text.
31 Scribal Notes
The name of the scribe Isaac (which may also allude to the name of the patron’s father) is marked many times in vol. I by dots or short strokes within the main text (I:5, 171v, 192, 221v, 409, 430v) and in the margin (I:273).
The name Isaac also appears in the margin of I:2v as an example for vocalising a word: כמו ביצחק (as in Isaac).
The owner's name, Jacob Mattathias bar Isaac, is mentioned in the mi sheberakh prayers in both volumes (in small square or semi-cursive script):
I:221v (the name Isaac is marked):מי שברך אבותינו.../ הוא יברך ר' יעקב מתתיהו בן מהר'/ יצחק ;
II:55, 257: מי שברך אבותינו... הוא יברך/ את הנדיב ר' יעקב מתתיה ב"ר מה"ר יצחק.
The name Abraham son of Jacob Mattathias is mentioned in both volumes:
I:222v, in the mi sheberakh the name Isaac is marked: מי שברך.../ הוא יברך/ ר' אברהם ב'ר' יעקב מתתיהו;
II:343v-344, 345v, in the hymn for Hatan Torah (Bridegroom of the Law) for Simhat Torah, e.g. fol. 343v: עמוד עמוד עמוד ר' אברהם בר' יעקב חתן התורה;
II:345v, in the mi sheberakh: ר' אברהם בר יעקב מתתיה.
The name Moses son of Jacob Mattathias is mentioned twice in vol. II:
II:347v, in the announcement of the Hatan Bereshit (Bridegroom of Genesis) for Simhat Torah (in smaller script): .עמוד עמוד עמוד ר' משה ב"ר יעקב מתתיה חתן בראשית
II:351, in the mi sheberakh (in semi-cursive script), written twice:
מי שברך הוא יברך את הנר'(=הנעלה רבי) משה ב"ר יעקב מתתיה חתן בראשית.
The name Pinchas ben Eleazar ha-Cohen (could refer to the biblical Eleazar ha-Cohen) is mentioned in II:340v, in the main text in the blessing before reading the Torah on Simhat Torah:
(הבו) כבוד לתורה כהן קרב/ יעמוד ר פינחס בן אלעזר/ הכהן ברוך שנתן תורה
Vol. I:
Names of Rabbis mentioned in the margins by Isaac Sofer:
I:126v, in the outer margin: R. Zalman Yent, regarding his vocalisation of the word: בקדשתך (in your sanctification) in the text:
י"ג (יש גורסים) בערכך/ מהר"ר/ זלמן/ יינט/ גרסי')נן)/ בקדשתך
R. Zalman Yent, who lived in the first half of the 15th century, originated from the Rhine region and later moved to Treviso in Italy where he wrote his Book of Customs according to the Ashkenazi rite (see Spitzer 1979, pp. 12-13).
I:244, in the lower margin: The late R. Meir said:
הרב/ רבנו/ מאיר/ ז"ל/ אמר/ בכפל/ פירוש/ אשכנזי/ מולבנט/ עכ"ל.
I:21v-22v, instructions for the cantor by Isaac Sofer: alternative words for the piyyut:
י"א (יש אומרים)/ ערך (במקום חקר). י"א ועושה (במקום פלאות)
י"א/ יגיעך (במקום יציעך)
י"א/ אמרה (במקום אזמרה). י"א/ תקצ (במקום יקצה).
I:46, alternative pronunciation and vocalisation for the word: במַקְהֵלוֹת
י"א/ ובמַקְהֲלוֹת/ במשקל/ ובְמִצְהֲלוֹת/ חתנים.
I:47, in the outer margin instructions for the cantor to recite a certain text with the congregation:
החזן צריך/ לומר בעצמו/ עם הקהל/ יהא שמיה/ רבא אבל/ לא יאמר/ ברוך/ ה' המבורך/ לאחר ברכו ...
I:57v and 58, in the outer margins, instructions for how to pronounce the words נשבע and תזכרו:
וצריך/ להתיז/ העין/ של/ נשבע/ דלא/ לישתמע/ נשבה
וצריך/ להתיז/ הזיין/ של/ תזכרו/ דלא/ לישתמע /על מנת/ לקבל/ פרס.
I:68, in the lower margin in square script: ויתחיל החזן/ בקול רם.
I:265, דברי/ חכמים/ בנחת/ נשמעים/ ערטלאי/ ברגש.
Instructions for the reader:
I:7, not to recite the verse וכתוב בתורתך ומל ה' אלהיך את לבבך ...: אין אומ'(רים)/ בכאן/ פסוק/ זה.
I:376, one cannot recite a blessing for oneself: אין יחיד קובע ברכה לעצמו.
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
Each volume is bound with thick wooden boards and a red tanned leather spine, with four raised double cords and head and tail bands. The front and back covers of each volume have two groups of four holes made originally for clasps which are now missing The codices are now kept in two separate wine-red cardboard boxes. The spines of both volumes are gold-tooled with the following inscription: Jeudisches Gebett Buch/ auf das ganze Jahr/ Geschrib. v. Rabbi. Isaac./ in Ulm AETATIS 61. Below, gold-tooled on vol. I: TOM. I., and on vol. II: TOM. II.
36 Decoration Program
The decoration of the two-volume Mahzor consists of coloured initial word panels, several text illustrations and the Zodiac Cycle in medallions. Vol. I was decorated by the scribe Isaac Sofer in Ulm, whereas vol. II was decorated in Johannes Bämler's workshop in Augsburg. In addition, two pages in vol. II include penwork decoration typical of the Jewish scribes and artists of Ulm, Joel ben Simeon (II:268) and Meir Yaffe (II:232v; see Remarks). The Bämler workshop artist of vol. II used gold leaf tooled with patterns of geometrical or floral motifs. His colours are vermilion, red, magenta, green, blue, yellow, yellow ochre, brown, grey, white and silver powder. The highlights are in white and yellow, the shading in darker hues of the corresponding colours. The panel ground is one colour - red, blue or green - occasionally alternating with gold. The display letters are in gold leaf or in alternating colours. The profiled borders of panels and medallions have tones of two to six colours. Various floral lace patterns surround the frames. The colours in the first volume are similar to those of the second, although the application is less refined. The shading in the second volume is mostly in black and brown, while the tendrils and some birds are in brown ink (cf. I:49, II:268). The colour of the gold leaf base in vol. I is magenta, whereas that of vol. II is skin colour. Vol. I: I. Illustrated architectonic frame for the Gates of Mercy (I:48). II. Fully framed page for the piyyut "Then" for the morning service for the Day of Atonement (I:49). III. Three initial word panels (I:45v, 49, 69). IV. Six initial words written in dark brown ink in large letters (4-5 lines high, and width of text space) decorated with wrigglework in brown (I:183, 268v, 279c, 280, 431v) or red ink (I:152v). The initial words for two piyyutim in vol. I, fol. 377v (איתן (הכיר אמונתך)) and fol. 446v (אב (ידעך מנוער)) were never executed and the spaces (8-10 lines high) designated for them were left empty. At a later stage the initial word was supplied in small semi-cursive script. Vol. II: Categories I-II were executed in Johannes Bämler's workshop probably by Bämler himself, whereas III seems to have been done by Joel ben Simeon or a similar hand; IV was executed in a style similar to that of Meir Yaffe, and V is scribal art (see Remarks). I. Twelve illustrated medallions with the signs of the zodiac illustrate the piyyut for rain (II:280v, 281, 281v, 282v, 283v, 284, 285, 285v, 286v, 287, 287v, 288). II. Eight initial word panels (II:2, 78, 95v, 151v, 173v, 214, 268, 315v). III. Pen-drawn punning illustration in the margins of the panel (II:268), probably by Joel ben Simeon. IV. Pen-work decoration of an initial word (II:232v), probably by Meir Yaffe. V. Red ink decorations by the scribe on almost every page, including horizontal wavy or vertical curls on the top of letters, or strokes attached to stems and legs (e.g. II:95v, 169, 214, 232v). The initial words (יוצר (אור ובורא חשך (Creates), and אכתיר (זר תהילה) (I shall crown) were probably written and decorated on the leaf now missing between fols. 16 and 17.
36 Summary and Remarks
The Ulm Mahzor of Munich is a two-volume prayer book for the Day of Atonement (vol. I) and Sukkot (vol. II) following the western Ashkenazi rite with some text following the Swabian-Swiss rite (e.g. I:152v-185; Goldschmidt 1970, II, p. 203). The Mahzor was produced for a wealthy Jewish patron from Ulm, Jacob Mattathias son of Isaac, who is mentioned as the owner in the colophon of the first volume copied by the scribe Isaac Sofer in June 1459 in the city of Ulm. The colophon of the second volume, written by another scribe, as claimed by Narkiss (Narkiss 1991, pp. 30, 35) and Glatzer (Glatzer 1991, p. 144), mentions an ambiguous date "B'R'Ch" (ברך) which indicates either 1459/60 or 1461/62. This volume too could have been copied in Ulm, since the scribe inserted the name of Jacob Mattathias and his two sons, Abraham and Moses, into the main text as Hatan Torah (II:343v-344, 345v) and Hatan Bereshit (II:351) respectively. Jacob Mattathias commissioned at least two additional manuscripts. One is the London Ashkenazi Haggadah of c.1460 from Ulm (Narkiss 1991, p. 35), dated by Beit-Arié to 1469-1478 (Beit-Arié 1993, p. 107) and by Glatzer to 1469-1485 (Glatzer 1991, pp. 144-145); the other is an Ashkenazi Siddur (New York, JTS MS 4057; Zirlin 2006, p. 291). Both the Haggadah and the Siddur were copied by the scribe Meir ben Israel Yaffe, who is known to have resided in Ulm in 1468 and may have begun his career there in 1459 or 1460 (Glatzer 1991, pp. 140, 144; see also CJA Documentation of Meir Yaffe’s binding of a Pentateuch now in Munich, BSB Cod. hebr. 212). Thus Jacob Mattathias employed at least three different Jewish scribes to copy his manuscripts, Meir Yaffe and the two scribes of our Mahzor, and as we shall see below, he employed several artists to illuminate them. The illumination of both volumes of the Mahzor mainly adorns the initial words with acanthus leaves, dragons and grotesques and set within painted panels. However, the significant differences in style, technique and the use of colours in each volume lead to the conclusion that the illumination of the two volumes was carried out by at least two different artists. Considering the style, the layout of the page in the first volume is denser than that of the second. Almost no space is left between the panels and the text below them (e.g. I:45v, 69), and the decoration invades the text space (I:69) or is entwined with the text (I:48). In the second volume, on the other hand, several lines separate the decoration from the main text, thus lending spaciousness to the pages (e.g. II:2, 173v, 214, 315v). Furthermore, this volume is painted in vivid colours of red, blue and green, and gold leaf is used for every illumination. The artist of this volume uses clear contours and highlights certain areas of the motifs, giving the illusion of depth to the painting (e.g. II:2). In the first volume the colours are dull and seem faded, and the use of gold leaf is limited; the inhabited letters are in monochrome colours and the motifs are hardly distinguishable from their background (e.g. I:69). Moreover, in the rare cases of the use of gold leaf (I:49 and 69), it is laid on a magenta ground, and has cracked in some places, whereas the gold leaf in the second volume is skillfully laid flat on a thin flesh-coloured base (e.g. II:2, 78). The differences in figure style and modeling in each volume are even more prominent. The figures of the angels in the second volume (fol. 95v) are more elongated than those of the hybrids in the first (fol. 48). The angel drapery is delicately created by angular lines and contrasting light and dark shades; those of the hybrids are softer and flatter, mostly created by curved lines. The angels’ palms are smaller than those of the hybrids; their facial features are delicately drawn in fleshy tones, while those of the hybrids are outlined in thick black contours, their eyelids are half-circles above and below the eyes and the eyebrows are long and low, set close to the eyelids. Despite these differences in style between the two volumes, both artists are rooted in the German style of the second half of the 15th century in the region of Ulm and Augsburg. Regarding the art in the second volume, Gutmann was the first to notice similarities to some of the illuminated pages of the London Ashkenazi Haggadah of c.1460 from Ulm (Gutmann 1970, p. 78, and figs. 11, 12). Indeed, a striking similarity is evident between the decorated panel in our Mahzor (fig. 1) and that in the London Haggadah (fig. 2). Both contain a gold initial word which fills the panel, placed on a similar blue ground studded with gold flowers and surrounded by a coloured band and a floral lace pattern. Fig. 1: Initial word panel The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:95v Fig. 2: Initial word panel The London Ashkenazi Haggadah Ulm, c.1460 London Ashkenazi Haggadah Meir Jaffe (scribe) Bämler of Augsburg and Joel ben Simeon (artists) London, BL, Add. 14762, fol. 6v (Goldstein, facsimile 1985) Furthermore, in both manuscripts the gold letters are tooled with large flowers and running dot patterns (e.g. II:173v). The resemblance between the two manuscripts is also evident in the acanthus leaves ending in a loop as well as the raceme of gold or red dots incorporated in the floral decoration (figs. 3, 4). Fig. 3: Floral decoration The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:78 Fig. 4: Floral decoration The London Ashkenazi Haggadah Ulm, c.1460 Meir Jaffe (scribe) Bämler of Augsburg and Joel ben Simeon (artists) London, BL, Add. 14762, fol. 8v (Goldstein, facsimile 1985) As mentioned above, the London Ashkenazi Haggadah was copied by the scribe Meir Yaffe (Glatzer 1991, p. 140), and Joel ben Simeon has signed as its painter. Indeed, Joel illuminated part of the London Haggadah, but the illuminations which show resemblances to our Mahzor were executed by an artist identified as Johannes Bämler of Augsburg (Edmunds 1980, pp. 28-29; Beier 2004, pp. 64-65) or from Bämler’s workshop (Zirlin 1995 (Viator), pp. 268-273). Bämler (c.1435-1504) was a Christian scribe, illuminator, bookseller, printer and bookbinder (Narkiss 1991, pp. 30, 35; Edmunds 1993, pp. 30, 38). One of his few signed works is the Double Leaf Art dated 1457. This leaf shows similarity to the art of our Mahzor's second volume: the saint (possibly St. Paul) in the upper left quatrefoil of the leaf (fig. 5) resembles the water-carrier in the zodiac medallion of our Mahzor (fig. 6): both are depicted on a gold ground, have wide faces and pointed chins, heavy eye-lids, and similar modelling around the mouth. Despite the similarity, the figures are not by the same hand: they suggest rather the style of Bämler's workshop. Fig. 5: St. Paul (?), detail The Double Leaf Art by Iohannes Bämler, 1457 New York, PML MS 45, fol. 1v (Beier 2004, fig. 15) Fig. 6: Bucket, zodiac sign The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:287v Written sources of the time do not mention Bämler's workshop or the employment of apprentices or assistants by him. However, a guild protocol of c.1460 mentions that Bämler was the teacher of Thoman Burgkmair, father of the painter Hans Burgkmair (Edmunds 1993, p. 30; Beier 2004, p. 68). Also the Augsburg tax records for 1463 show that Bämler’s taxes were doubled from the previous year either because of his wife's death, or because his workshop was flourishing and could serve Jewish customers such as Jacob Mattathias of Ulm (Edmunds 1993, p. 31). Fig. 7: Pen-drawn monkey The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:268 Fig. 8: Pen-drawn monkey The Washington Haggadah Germany (?), 1478 Joel ben Simeon (scribe and artist) Washington, Library of Congress Hebraic Section MS 1, fol. 15v (Weinstein, facsimile, 1991) Fig. 9a: Pen-drawn bird Moskowitz Mahzor, fol. 3v Joel ben Simeon (scribe and artist) Florence 1492 (?) Jerusalem, NLI Heb. 40 1384, fol. 3v (Zucker 2005, p. 74) Fig. 9b: Pen-drawn profile Moskowitz Mahzor, fol. 1v Joel ben Simeon (scribe and artist) Florence, 1492 (?) Jerusalem, NLI Heb. 40 1384, fol. 1v (Zucker 2005, p. 87) Bämler was the main painter of the London Ashkenazi Haggadah (Edmunds 1980, pp. 32-33). His art work was shared with Joel ben Simeon, who must have worked in his workshop and whose style can be recognised in the second volume of our Mahzor. See for example the pen-drawn monkey in our Mahzor (fig. 7), which was executed by Joel in Bämler's workshop (Zirlin, 1995 (Viator), pp. 273, 278; Zirlin 2006, p. 292). The monkey, one of Joel’s favourite motifs, also appears in the Washington Haggadah of 1478 (fig. 8). The delicate acanthus scrolls incorporating human faces in profile, a bird and a rabbit (fig. 7) were likewise executed in Joel’s style, as can be seen in the Moskowitz Mahzor, which was copied and illuminated by Joel in Florence around 1492 (figs. 9a, b; Zucker 2005, esp. pp. 14-17, 74 and 87). Fig. 10: Inhabitated initial word The Ulm Mahzor Munich BSB Cod. hebr. 3, II:232v Fig. 11: Inhabitated initial letter The London Ashkenazi Haggadah Ulm, c.1460 Meir Jaffe (scribe) Bämler of Augsburg and Joel ben Simeon (artists) London, BL Add. 14762, fol. 12 (Goldstein, facsimile 1985) Fig. 10: Inhabitated initial word The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:232v Fig. 12: Decorated word The London Ashkenazi Haggadah Ulm, c.1460 Meir Jaffe (scribe) Bämler of Augsburg and Joel ben Simeon (artists) London, BL Add. 14762, fol. 13v (Goldstein, facsimile 1985) Fig. 10: Inhabitated initial word The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:232v Fig. 13: Inhabitated initial word Hamburg Siddur Meir Yaffe (scribe) Ulm, 1468 Hamburg, SUB Cod. hebr. 243, fol. 41 (Zirlin 2006, fig. 4) Further pen-work in the second volume of our Mahzor, which decorates the initial word אום (fig. 10), resembles that in the London Ashkenazi Haggadah (figs. 11 and 12) and seems to be the work of its scribe Meir Yaffe, a painter and binder (see binding of BSB Cod. hebr. 212). Other initial words similar in both style and motifs are also found in the Hamburg Siddur copied by Meir in Ulm in 1468 (fig. 13; Zirlin 2006, pp. 290-291 and n.13). We may conclude that Bämler's workshop illuminated the second volume of our Mahzor and two Jewish scribe-artists, Joel ben Simeon and Meir Yaffe, added pen drawing to the decoration. We may further suggest that one or both instructed the Christian artist, since the illustrated images require an understanding of the text and acquaintance with Jewish iconography. Fig. 14: Sagittarius The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:286v Fig. 15: Sagittarius Iatromathematisches Kalenderbuch Printed in Augsburg, 1490 Munich, BSB Ink K-6; Rar. 498 (http://inkunabeln.digitale-sammlungen.de/Seite_K-6,1,e4b.html) Fig. 16: Scorpio The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:285v Fig. 17: Scorpio Iatromathematisches Kalenderbuch Printed in Augsburg, 1490 Munich, BSB Ink K-6; Rar. 498 (http://inkunabeln.digitale-sammlungen.de/Seite_K-6,1,e4a.html) Fig. 18: Cancer The Ulm Mahzor Munich, BSB Cod. hebr. 3, II:282v Fig. 19: Cancer Iatromathematisches Kalenderbuch Printed in Augsburg, 1490 Munich, BSB Ink K-6; Rar. 498, detail (http://inkunabeln.digitale-sammlungen.de/Seite_K-6,1,d8b.html) Fig. 20: Gemini The Ulm Mahzor Munich, BSB Cod. hebr. 3 II:281v Fig. 21: Gemini Iatromathematisches Kalenderbuch Printed in Augsburg, 1490 Munich, BSB Ink K-6; Rar. 498 (http://inkunaeln.digitale-sammlungen.de/Seite_K-6,1,d7b.html) There are not many illustrations in the second volume of our Mahzor. However, twelve out of eighteen pages are each illustrated with a zodiac sign next to a stanza of the piyyut. The Zodiac Cycle in Ashkenazi mahzorim traditionally illustrates the piyyut of the prayer for rain at Sukkot as in our Mahzor (II:279v-288), and the piyyut for dew at Passover. The zodiac si
38 Suggested Reconstruction
39 History/Provenance
Instruction for the reader:
Vol. I: a 15th-16th century Ashkenazi hand added in semi-cursive script instructions to the reader for alternative texts: Do not say … and begin … e.g. I:1, two inscriptions in the outer margin:
אין אומרים זה המתחיל אמנם (אשמנו עצמו מספר ...) ומדלגין/ אותו ומתחילין תעלה ארוכה.
אין אומרים כי נכתב לעיל.
By another hand (I:252), next to the piyyut :אתה ברחמיך הרבים רחם
אין אומרים זה ומתחיל/ ובכן לנורא עליהם באימה יעריצו/ מעבר לדף.
Instruction for the cantor:
Yet another hand of the 15th-16th century added an instruction for the cantor (I:204): כאן מתחיל החזן, and the hand of I:1 completed a few phrases in some piyyutim (e.g. I:299v, 419).
A custom of the Maharil:
Vol. I:279v, next to the piyyutהוא אלוהינו , a 15th-16th century Ashkenazi hand reports a custom practised by the Maharil (Jacob b. Moses Moellin, c.1365-1427, Rabbi of Mainz): while the congregation recites הוא אלוהינו, the Maharil would say these verses:
בשעה שהציבור אומר הוא אלהינו/ היה מהרי'ל אומר אילו פסוקי'(ם)/ אתה הראת לדעת כי ה' הוא/ אלהי(ם) אין עוד מלבדו ידעת/ היום והשבות אל לבבך כי ה' הוא/ האלוהי'(ם) בשמים ממעל ועל הארץ/ מתחת אין עוד/ שמע ישראל ה' אלהינו ה' אחד/ הן לה' אלהי השמים ושמי השמים/ הארץ וכל אשר בה כי ה' אלהי(ם) הוא/ אלהי האלהי'(ם) ואדוני האדני(ם) האל/ הגדול הגיבור והנורא אשר לא ישא/ פנים ולא יקח שוחד כי שם ה' אקרא/ הבו גודל לאלהינו יהי שם ה' מבורך/ מעתה ועד עולם.
Owner's inscription:
Vol. II:1, in the upper part of the page, in semi-cursive Ashkenazi script in dark brown ink, probably by a later owner:
כמ'(ר) משלם ויעקב בני כמ'(ר) זימלן סגל זצל מבית המשלמי
(Meshulam and Jacob the sons of the late Zimlen Segal of the Meshalmi family, probably the sons of Zemel Meshulam Zalman bar Yaakov Halevi Epstein who served as Rabbi in Frankfurt in the 1470s (Yuval 1988, pp. 235-9)).

Censor’s deletion of anti-Christian texts in the two volumes:
Vol. I:212v, 356:היום תדרוש דם עבדיך השפוך אמן ; I:143v: ;הגוים אימים...I:214v: נקום לעינינו; I:231v: ועולתה תקפוץ פיה; I:146v-147v: מלכותם (passim), framed to denote deletion of the text.
Vol. II:76, 91v, 148, 298v, 311, 369v: In the text of aleinu the following words were erased leaving blank lines: שהם משתחוים ... לא יושיע (for they prostrate themselves before vanity and emptiness and pray to a God that saveth not); II:233v: לצוררים להאביד; II:234v: .וצורנינו תכחישה

Augustinian Monastery in Polling (upper Bavaria) of 1744:
On the front pastedown of the two volumes there is an exlibris (124 x 82 mm) of the Augustinian monastery where the manuscripts were kept until the secularisation of the Bavarian monasteries in 1802/3, when the manuscripts entered the Munich Court Library.
Another Hebrew manuscript from Polling kept in the BSB library is the earliest known complete Babylonian Talmud of 1342 from France (Cod. hebr. 95; see Dannhauer 1991, p. 63, and Remarks).

Stamps of the Court and State Library:
Vols. I:1 and II:1, 370v, in the lower margin: an oval ink-stamp with the previous name of the library BIBLIOTHECA/ REGIA/ MONACENSIS.

Shelf-marks and inscriptions:
Vol. I, front pastedown (top to bottom):
Shelf-marks of the Library in pencil: No=I.aa., and Cod. Hebr. 3.
Latin and German inscriptions in cursive script in pencil:
Cyclus Precum pro festo expiationis & Tabernaculorum Vol I Vol II/
Gebete Vol. I zum Versöhnungsfeste geschrieben 1614/Vol II Lauberhütenfeste 1615/
In Ulm von Rabbi Isaac.
Vol. II, front pastedown (top to bottom):
No=1b, and cod. hebr. 3.
N. 3101.
In pen: Blatt 27 ist halb (fol. 27 in half); Blatt 28 fehlt (fol. 28 missing) (20.8.1957).
In pencil: Blatt 300 fehlt (fol. 300 missing) (31.1.1958).
Vol. I, front flyleaf, in square Ashkenazi script in black ink: מחזור ליום הכיפורים (Mahzor for the Day of Atonement).
Vol. II, front flyleaf, in square Ashkenazi script in black ink: מחזור לסוכות (Mahzor for Sukkot).

Library stickers:
On back pastedown and spine of both volumes: Cod. Hebr. 3.
40 Main Surveys & Excavations
41 Condition
Vol. I:26 and the following page mutilated; torn (I:173, 253, 276, 279, 279b, 382); trimmed margins (I:191, 228, 254); torn and damaged edges from fol. 403 - end. Ink damage (e.g. I:103, 159v, 275 and from 383- end, passim). Black stains (e.g. I:364v-365).
Vol. II is in better condition. Water damage (e.g. II:16, 350- end); torn and loose leaf (II:27); II:28, 300 are missing; a few cuts and slits; damaged edges (II:365- end).
42 Biography
43 Bibliography
Abbreviations
BAV Vatican, Biblioteca Apostolica Vaticana
BL London, British Library
BSB Munich, Bayerische Staatsbibliothek
CJA Jerusalem, Center for Jewish Art, The Hebrew University:
• Narkiss Archive
• Schubert Archive
• Sed-Rajna Archive
• CJA Documentation
HLHB Darmstadt, Hessische Landes- und Hochschulbibliothek
HUC Cincinnati, Hebrew Union Collage
IM Jerusalem, Israel Museum
JTS New York, Theological Seminary of America
NLI (olim JNUL) Jerusalem, National Library of Israel
PML New York, Pierpont Morgan Library
SUB Hamburg, Staats- und Universitätsbibliothek














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43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
Original Manuscript
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
2048
48 Temp: Addenda
OVRPO=ntl%3Atrue%2Cntl_localname%3Atrue%2Csubject%3A%2Csubject_detail%3A%2Cobject%3Atrue%2Cobject_detail%3A%2Cmaker_profession%3Atrue%2Cmaker_name%3Atrue%2Cmaker_detail%3Atrue%2Cdate%3Atrue%2Cperiod%3Atrue%2Cperiod_detail%3Atrue%2Cphotographer%3A%2Cphoto_date%3A%2Corigin%3Atrue%2Corigin_detail%3Atrue%2Cschool%3Atrue%2Cschool_detail%3Atrue%2Ccommunity%3Atrue%2Ccommunity_detail%3Atrue%2Ccollection%3Atrue%2Ccollection_detail%3A%2Ccopyright%3A%2Csite%3Atrue%2Csite_detail%3Atrue%2Clocation%3Atrue%2Clocation_detail%3A%2Cdescription%3A%2Cphotographer_copyright%3A%2Chistorical_origin%3Atrue%2C&

Registrar
Function: Name: Date:
49 Documenter Michal Sternthal 2008 49a
50 Researcher Michal Sternthal, Prof. Aliza Cohen-Mushlin, Yaffa Levy 2009-2012; 2008-2013; 2009, 2013 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head Michal Sternthal Project head:Prof. Aliza Cohen-Mushlin 53a
54 Editor Christine Evans 2013 54a
55 Donor Supported by the Fritz Thyssen Foundation 55a

Less Details


Object's images (84 image(s))

      [1] [2] [3] [4] [5]

(XXII) ID: 18605 The Ulm Mahzor , Vol. II, fol. 315v, Ulm
Augsburg, 1459 (vol. I); 1459/60 or 1461/62 (vol. II) edit
Category: Hebrew Illuminated Manuscripts
ID: 18605 The Ulm Mahzor , Vol. II, fol. 315v, Ulm
Augsburg, 1459 (vol. I); 1459/60 or 1461/62 (vol. II) edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Ulm Mahzor | Unknown
3a Object Mahzor
3b Object Detail Vol. II, fol. 315v
4a Artist/ Maker Unknown (Unknown)
5 Date 1459 (vol. I); 1459/60 or 1461/62 (vol. II)
6 Period Unknown
7 Origin Germany | Baden-Württemberg | Ulm
Germany | Bayern (Bavaria) | Augsburg
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 3/I- II (Steinschneider 1895, No. 3)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Unknown|
13 Iconographical Subject Initial word panel, decorative
Foliate and floral ornaments |
14 Category
17 Photographer Unknown
18 Photograph Date 2008
19 Negative/ Photo. No.
19a Scan No.
20 Description

Vol. II, fol. 315v: The initial word אשרי (העם) (Blessed is the Nation; Davidson, Thesaurus, א 8400), opening the yozer prayer for Simhat Torah is written in colourful display letters. The second and fourth letters are decorated with green acanthus scrolls on a dark green ground while the other two letters are decorated with gold leaf acanthus scrolls on red and blue ground. The base of the letter shin has a human mask in profile incorporated within the acanthus scroll.

 

The initial word is written within a rectangular panel on a blue ground filled with delicate lighter blue scrolls. The panel is framed by an alternating green and red border surrounded by a floral lace pattern in red and blue. Attached to the three sides of the border are various flowers springing from large acanthus leaves.

 

Pen-drawn stylized flowers in red and blue ink with gold dots in the centre, are scattered round the panel. 

 

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Gold leaf, shades of green, blue, magenta yellow, yellow ochre and red.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 64 x 154 mm.
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
18605
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 221245 The Ulm Mahzor , Vol. II, Fol. 315v, Ulm
Augsburg, 1459 (vol. I); 1459/60 or 1461/62 (vol. II) edit
Category: Hebrew Illuminated Manuscripts
ID: 221245 The Ulm Mahzor , Vol. II, Fol. 315v, Ulm
Augsburg, 1459 (vol. I); 1459/60 or 1461/62 (vol. II) edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Ulm Mahzor | Unknown
3a Object Mahzor
3b Object Detail Vol. II, Fol. 315v
4a Artist/ Maker Unknown (Unknown)
5 Date 1459 (vol. I); 1459/60 or 1461/62 (vol. II)
6 Period Unknown
7 Origin Germany | Baden-Württemberg | Ulm
Germany | Bayern (Bavaria) | Augsburg
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 3/I- II (Steinschneider 1895, No. 3)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Unknown|
13 Iconographical Subject Initial word panel, decorative
Foliate and floral ornaments |
14 Category
17 Photographer Unknown
18 Photograph Date 2008
19 Negative/ Photo. No.
19a Scan No. M601175
20 Description
21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
This image belongs to the ''Ursula and Kurt Schubert Archive'' in the Center for Jewish Art.
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
221245
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 221244 The Ulm Mahzor , Vol. II, Fol. 315v, Ulm
Augsburg, 1459 (vol. I); 1459/60 or 1461/62 (vol. II) edit
Category: Hebrew Illuminated Manuscripts
ID: 221244 The Ulm Mahzor , Vol. II, Fol. 315v, Ulm
Augsburg, 1459 (vol. I); 1459/60 or 1461/62 (vol. II) edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Ulm Mahzor | Unknown
3a Object Mahzor
3b Object Detail Vol. II, Fol. 315v
4a Artist/ Maker Unknown (Unknown)
5 Date 1459 (vol. I); 1459/60 or 1461/62 (vol. II)
6 Period Unknown
7 Origin Germany | Baden-Württemberg | Ulm
Germany | Bayern (Bavaria) | Augsburg
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 3/I- II (Steinschneider 1895, No. 3)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Unknown|
13 Iconographical Subject Initial word panel, decorative
Foliate and floral ornaments |
14 Category
17 Photographer Unknown
18 Photograph Date 2008
19 Negative/ Photo. No.
19a Scan No. M601174
20 Description
21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
This image belongs to the ''Ursula and Kurt Schubert Archive'' in the Center for Jewish Art.
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
221244
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 221246 The Ulm Mahzor , Vol. II, Fol. 370v, Ulm
Augsburg, 1459 (vol. I); 1459/60 or 1461/62 (vol. II) edit
Category: Hebrew Illuminated Manuscripts
ID: 221246 The Ulm Mahzor , Vol. II, Fol. 370v, Ulm
Augsburg, 1459 (vol. I); 1459/60 or 1461/62 (vol. II) edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Ulm Mahzor | Unknown
3a Object Mahzor
3b Object Detail Vol. II, Fol. 370v
4a Artist/ Maker Unknown (Unknown)
5 Date 1459 (vol. I); 1459/60 or 1461/62 (vol. II)
6 Period Unknown
7 Origin Germany | Baden-Württemberg | Ulm
Germany | Bayern (Bavaria) | Augsburg
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 3/I- II (Steinschneider 1895, No. 3)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Unknown|
13 Iconographical Subject Unknown |
14 Category
17 Photographer Unknown
18 Photograph Date 2008
19 Negative/ Photo. No.
19a Scan No. M601176
20 Description
21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
This image belongs to the ''Ursula and Kurt Schubert Archive'' in the Center for Jewish Art.
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
221246
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a



      [1] [2] [3] [4] [5]