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The fourth sheet contains four columns of the text (nos. 13-16) and a benediction panel:

Text column no. 13: In the upper margin, a bust of the king (Ahasuerus?) with a scepter in the hand is depicted. In the frame placed in the lower margin, on the right, a table with three scribes seated at it is shown; most likely they write the decree allowing the Jews to defend themselves (Es. 8:8-10). On the left, two messengers of the king are going to deliver the new decree (Es. 8:14).

Text column no. 14: In the upper margin, a bust of a young woman with a flower in her hand is depicted. In the frame placed in the lower margin, a long two-story building is depicted that can be a symbolic representation of the king’s palace. In the text panel above, the scene of hanging of Haman’s ten sons (Es. 9:14) is represented. On every beam of very high gallows, a single body is hanged. A high ladder leans on it and on its top an executioner is sitting. The text in the column is printed.

Text column no. 15: In the upper margin, a bust of the king with a scepter in the hand (Ahasuerus?) is depicted. On the right, two mounted troops are represented as fighting together. The clothing of the men on the left suggests that they are Jews who are fighting their enemies approaching from the opposite direction. This is one of the moments in the narrative when Jews battle their enemies but it is difficult to determine which particular episode is illustrated here (Es. 9:5-12). On the left, the royal couple sitting on the throne is represented, however, it is unclear which episode it illustrates; it can be the moment when Esther pleads with the king for an additional day of fights (Es. 9:13).

In the octagons separating the frames are depicted (from the right to the left): 1) a landscape with a bridge over the river, 2) a house with the sun shining over it, 3) a landscape with a building on a hill.

Text column no. 16: In the upper margin, a bust of the king with a scepter in the hand is depicted. In the frame placed in the lower margin, on the right, and in the center, the feast with musicians and a group of dancing people of both sexes is shown. One of them is wearing clothing typical for the Jews at the time when the pattern was designed, another man is wearing a checkered costume, and yet another man has a long curly wig. It is difficult to determine if this can be the feast after the victory of the Jews over the enemies (Es. 8:16-17) or the first Purim feast (Es. 9:17-23). On the left, a ship on the sea is shown (alludes to Es. 10:1).

Benediction panel: The final blessing starts with a printed word ברוך placed in the upper margin and is copied in a square script. In the column below it, the Purim poem is copied in a square script. The letters opening the subsequent verses are enlarged and bolded.

In the lower margin, there are five full representations of the Esther story protagonists holding oval shields that in this exemplar are filled with Hebrew inscriptions.

JMP Esther Scroll with Portrait Medallions | Unknown
Object Detail
sheet 4 (cols. 13-16 and benediction panel)
Early 18th century
Synagogue active dates
Reconstruction dates
Artist/ Maker
Unknown (Unknown)
Historical Origin
Community type
Unknown |
Unknown |
Scrolls with portrait medallions|

The family of Dutch Esther scrolls from the early 18th century designed by an anonymous engraver whose decorative scheme features decorative medallions surrounded by acanthus containing busts of the Esther story protagonists, except for the last that is filled with a printed word ברוך barukh (“blessed”). The medallions are placed in upper margins, above text panels. The text columns are separated by pillars formed of a variety of motifs such as trees, flowers, acanthus leaves, heads of angels, and architectural elements. Lower margins are filled with the figurative scenes that chronicle the Purim story or allude to midrashim and other sources. They are separated by the octagons (placed beneath the decorative pillars) filled with different land- and seascapes. At the end of the scroll there are five full figures of the Esther story protagonists.

Period Detail
Documentation / Research project
Ink on parchment (printed decoration, handwritten text)
Material Stucture
Material Decoration
Material Bonding
Material Inscription
Material Additions
Material Cloth
Material Lining
Tesserae Arrangement
Construction material
The scroll: 198x1710 mm.
Panel Measurements

The opening decoration of the scroll is partly preserved; it lacks its upper and lower registers.

Some minor damages in the edges of the first sheet can be seen.

The first membrane is darker than all remaining membranes in the scroll.

In general, the text is well preserved, although the sheets are crumpled; the text in the final panel is preserved in the worst condition.

Documented by CJA
Surveyed by CJA
Present Usage
Present Usage Details
Condition of Building Fabric
Architectural Significance type
Historical significance: Event/Period
Historical significance: Collective Memory/Folklore
Historical significance: Person
Architectural Significance: Style
Architectural Significance: Artistic Decoration
Urban significance
Significance Rating
Languages of inscription
Type of grave

The Book of Esther in Hebrew with initial and final benedictions, and a liturgical poem אשר הניא "Asher Heni"


The scroll is formed of 4 sheets containing 16 columns of text and two additional benediction panels at the beginning and the end of the scroll. Each column includes 26-27 lines of text. The text in col. 14 is printed; it contains 11 lines divided into two half-columns.

Every sheet comprises 4 columns of text.

The text is inscribed in the Hebrew square script in brown ink on the flesh side of parchment membranes.

The scroll opens with an enlarged and bolded initial word.

The letter ח (Es. 1:6) is highlighted by its size (it is enlarged and bolded), form (it is composed of two elements joined with a roof), and decoration (it is surrounded by hand-drawn tendrils). The letter ת (Es. 9:29) is enlarged and bolded. Other enlarged and diminished letters are included in col. 14, however, this part of the scroll is printed and not penned by a scribe.

The sheets in the scroll are stitched together.

The benedictions: The initial benedictions are inscribed in the square letters in the central panel of the opening decoration. All three words ברוך are decorated with a filigree ornament.

The final blessing starts with a printed word ברוך placed in the upper margin and is copied in a square script. In the column below it, the Purim poem is copied in a square script. The letters opening the subsequent verses are enlarged and bolded.

Number of Lines
Hebrew Numeration
Blank Leaves
Façade (main)
Location of Torah Ark
Location of Apse
Location of Niche
Location of Reader's Desk
Location of Platform
Temp: Architecture Axis
Arrangement of Seats
Location of Women's Section
Direction Prayer
Direction Toward Jerusalem
Coin Series
Coin Ruler
Coin Year


Scribal Notes
Trade Mark
Decoration Program
Summary and Remarks
Suggested Reconsdivuction

The former number of the manuscript is Ms 312.

Main Surveys & Excavations

The scroll is mentioned in:

Olga Sixtova, O svitku / Form of the Scroll [katalog k výstavě konané v Galerii Roberta Guttmanna Židovského muzea v Praze od 22. června do 26. července 2006], Praha 2006, 38.

Jiřina Šedinová, From the Mss. Collections of the State Jewish Museum in Prague. The Scrolls of Esther, "Judaica Bohemiae" 1979, nr 15/2, 80-83.

http://collections.jewishmuseum.cz/index.php/Detail/Object/Show/object_id/221258 (accessed on 31.10.2020).

Manuscripts sharing the same pattern are described in:

A Journey through Jewish Worlds: Highlights from the Braginsky Collection of Hebrew Manuscripts and Printed Books, eds. Evelyn M. Cohen, Emile Schrijver, Sharon Liberman Mintz, Amsterdam 2009, 234-237.

Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, eds. Emile Schrijver, Falk Wiesemann, Evelyn M. Cohen, Sharon Liberman Mintz, Menahem Schmeltzer, Zurich 2011, 282-283.

Dagmara Budzioch, The Decorated Esther Scrolls from the Museum of the Jewish Historical Institute in Warsaw and the Tradition of Megillot Esther Decoration in the Seventeenth and Eighteenth Centuries – An Outline [Polish: Dekorowane zwoje Estery z Żydowskiego Instytutu Historycznego w Warszawie na tle tradycji dekorowania megilot Ester w XVII i XVIII wieku. Zarys problematyki], Warsaw 2019, 1:176-188.

Short Name
Full Name
Dagmara Budzioch | 2020
Dagmara Budzioch | 2020
Architectural Drawings
Computer Reconstruction
Section Head
Language Editor
Negative/Photo. No.