Object Alone

Obj. ID: 4094
Hebrew Illuminated Manuscripts
  Hybrid Ashkenazi Mahzor, Franconia, third quarter of the 13th c.

© Center for Jewish Art, Photographer: Unknown,
Summary and Remarks

The Mahzor for whole year, probably intended for the use of a cantor in the synagogue, is according to the eastern Ashkenazi rite, widely used in the territories east of theRhine(Fleischer 2008, p. 6). It opens with prayers for the Special Sabbaths which fall before and after Purim and ends with the piyyutim for Hanukkah.

The Mahzor belongs to the abbreviated version of early Ashkenazi mahzorim which comprised the piyyutim, entirely omitting the usual prayers and the readings from the Torah, Prophets and the Megillot (Fleischer 1985, p. 36).

The text of the Mahzor is not commented upon, except for the commentary accompanying the Aramaic piyyutim for Shavuot (fols. 76v-86v), and it does not include ritual instructions, except for those preceding the Passover Seder (fol. 21).

The decoration programme of our manuscript follows the pattern found in many other Ashkenazi mahzorim from the 13th century onwards, for example in the Michael Mahzor (Oxford, Bodl. Lib. Mich. 617) produced inFranconiain 1258. The initial words opening the yozrot, and also those opening some other sections, are enclosed within rectangular panels decorated with various motifs which are mostly unrelated to the text.

The text was copied and vocalised by a single scribe, who also wrote well as the initial words in display script. Some omitted initial words were added by hands emulating the scribe (fols. 275 and 280). In the first three quires the scribe decorated the initial words using a saw-tooth motif and wrigglework (fols. 4 - fig. 4, 6v, 9, 17). The rest of the manuscript was decorated by five illuminators, except for the initial word on

fol. 35 (fig. 3) which remained undecorated.

In contrast to the scribal decoration, the illuminators enclosed the initial words within framed panels and decorated them, mainly with dragons, fish, hybrids and birds. They preserved the main features of the scribe's initial letters: the shape of א (aleph), joining the left stem of ה (hei) to its roof and adding roundels in the middle of the letters' stems. On the other hand, some words were partly covered by a panel (fol. 213v-

fig. 9) or by the ascender of a ל (lamed; fol. 177 – fig. 8); even the vocalisation of the initial words was rendered barely visible because of the colours, and therefore Illuminator D added it below the panels he painted (fols. 162, 177 – fig. 8).

The main stylistic differences between the five illuminators are found in their compositions, range of colours, and treatment of letters, as well as the execution of the decorative motifs.

The two panels of Illuminator A (fols. 12, 263 – figs. 5, 14) are unframed and decorated with a dragon, dog, heraldic eagle, lion and ox in spared-ground technique, also within the letters of the second panel. The acanthus scrolls springing from either a tail of a dragon or a lion split into elongated leaves divided into three lobes. The colours are blue for the panel and red for the letters.

The compositions of Illuminator B (fols. 25 – fig. 6; 31, 68v - fig. 10) are denser than those of the other illuminators: the dragons and fish are large, detailed and connected with each other. In between appear a monkey, a double-headed bird, a bucranium and a dog. The border consists of two freehand lines: the inner is in black ink; the outer, in brown, was added during colouring. The acanthus scrolls which emerge from the mouths of the creatures split into rounded, serrated leaves. The colours are yellowish for the panel, and green and magenta for parts of the motifs, which are mostly in spared-ground technique.

Illuminator C (fols. 39 – fig. 7, 50, 91v) inserts his human hybrids, dragons and bucranium motifs between the letter stems. The scroll of rounded, serrated leaves surrounds the composition and fills the spaces. The background colours and motifs have a few elements in spared-ground technique and the letters are in silver on a brown ground. The ruled double frame is in black ink and uncoloured.  

Illuminator D (fols. 162, 177 – fig. 8) draws only a few large motifs between the stems of the letters, such as a dragon and fish or human and animal hybrids. His style recalls that of Illuminator A but the composition is more spacious and framed by an acanthus scroll with three-lobed leaves. The ground is green, mostly washed off, whereas the motifs are in spared-ground technique. The letters are in silver, mostly flaked off to show the brown ground. The ruled double frame is in black ink and uncoloured.

Illuminator E (fols. 123, 189, 191a, 213v – fig. 9; 218, 239v, 250 and 270v) has the most spacious compositions. His motifs are fish, birds or bird and animal heads. He uses simple three-lobed segments of flowers as fillers, mostly attached to the frame. The motifs have a clear, wide ink outline and are sparsely articulated. They are in spared-ground technique, mostly on a red ground, but also on a washed-off green and parchment ground, with yellow, red or green frames. The letters are in flaked-off silver, revealing the brown ground.

It seems that the similar though distinguishable hands who decorated the manuscript were randomly allotted different quires. Illuminator A received quires II and XXXVII; Illuminator B quires IV, V and IX; Illuminator C quires VI, VII and XII; Illuminator D quires XXIII and XXIV; and Illuminator E quires XVI, XXVI, XXVII, XXIX, XXXI, XXXIII, XXXV and XXXVIII. In addition the text scribe decorated four initial words in quires I-III.


Fig. 3: Initial word

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 35


Fig. 4: Initial word by the text scribe

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 4


Fig. 5: Initial word panel by Illuminator A

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 12


Fig. 6: Initial word panel by Illuminator B

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 25


Fig. 7: Initial word panel by Illuminator C

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 39



Fig. 8: Initial word panel by Illuminator D

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 177



Fig. 9: Initial word panel by Illuminator E

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol.  213v


The dating and localisation of our manuscript can be established by comparison with the Laud Mahzor

(fig. 11) and Michael Mahzor (fig. 13). The style of Illuminator B, especially in his animal heads, is similar to that of the artist of the Laud Mahzor (cf. figs. 10-11). The heads depicted in profile are flattened, with a wide mouth and big eyes under a long eyebrow. The forehead is short and convex, and they have small, rounded ears.


Fig. 10: Initial word by Illuminator B

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 68v



Fig. 11: Laud Mahzor

Franconia, c.1260

Oxford, Bodl. Lib. Laud Or. 321, fol. 165v

(Jerusalem, CJA Documentation)


Fig. 12: Initial word panel by Illuminator C

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 91v



Fig. 13: Initial word panel

Michael Mahzor

Franconia, 1258

Oxford, Bodl. Lib.Mich.617, fol. 52

(Jerusalem, CJA Documentation)


In spite of these similarities, the composition of the panels in the Laud Mahzor and our manuscript is not very similar. A closer example is found in the Michael Mahzor (fig. 13). Its panels are decorated with similar motifs such as dragons, fish, heraldic eagles and animals which are placed within the letters and the frame, similarly to our Mahzor, while the scroll on the upper part of the panel creates an additional border

(cf. figs. 12-13).



Fig. 14: Initial word panel by Illuminator A

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21, fol. 263



Fig. 15: Initial word

Laud Mahzor

Franconia, c.1260

Oxford, Bodl. Lib. Laud Or. 321, fol. 171

(Jerusalem, CJA Documentation)


Fig. 16: Initial letter

Graduale Ordinis Praedicatorum

St. Katharinental, 1312

Zurich, Landesmuseum (olim Malvern),

Dyson Perrins Coll., Ms 128, fol. 194

(Beer 1959, pl. 17, fig. 23)    



The letters decorated with dragons and acanthus scrolls in spared-ground technique (fig. 14) likewise appear in the Laud and Michael Mahzorim (fig. 15). However, in Latin manuscripts of German origin this type of decoration in spared-ground technique within letters appears about half a century later. Its earliest examples, such as the Graduale Ordinis Praedicatorum from St. Katharinental dated 1312 (fig. 16), are from theUpper Rhine region (see Beer 1959: Kat. Nos. 20, 23, 30), in contrast to Hebrew manuscripts which are mainly of Franconian origin.



Fig.17: Head between legs

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21,

fol. 177

Fig. 18: Head between legs

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21,

fol. 39


Fig. 19: Head between legs

Jacques de Longuyon:

Voeux du Paon

Franco-Flemish mid-14th century

New York, PML Glazier 24,

fol. 93

(Randall 1966, pl. CXI, fig. 536)

Fig. 20: Head between legs

Biblia Latina

Engelberg, c.1400-1420

Engelberg, Stiftsbibliothek Cod. 6, fol. 102v

(Jerusalem, CJA Sed-Rajna Archive)


Other motifs, especially outstanding ones such as that of a head between two legs (figs. 17, 18), are found in later Latin manuscripts. One example is a Franco-Flemish codex of the mid-14th century and another

from Engelberg at the beginning of the 15th century (figs. 19, 20). Originating apparently in Bestiaries and Marvels of the East (Wittkover 1942: 159-197; Randall 1957: 97-107), such motifs often appear in the margins or around initial letters.

In order to date our manuscript, its codicological features should also be considered: the pricking in the outer margins only and the ruling by stylus point to a transitional period for these techniques occurring during the second half of the 13th century (Beit-Arié 1976:22-25, 70-71, 74).


21 image(s)

sub-set tree:

Hybrid Ashkenazi Mahzor | Unknown
Object Detail
Monument Setting
Third quarter of the 13th century
Synagogue active dates
Reconstruction dates
Artist/ Maker
Historical Origin
Community type
Period Detail
Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod.hebr. 21 (Steinschneider 1895, No. 21)
Documentation / Research project
Iconographical Subject
Unknown |
Textual Content
Unknown |
Languages of inscription
Shape / Form
Material / Technique
Material Stucture
Material Decoration
Material Bonding
Material Inscription
Material Additions
Material Cloth
Material Lining
Tesserae Arrangement
Construction material
Full page: (331-333) x (235-245) mm.
Text space: (252-254) x (182-185) mm.
Panel Measurements
The beginning, the end and some leaves within the quires are missing. A few leaves at the beginning (fols. 1-2) and end (fols. 268-290) are damaged and stained.
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
Mahzor for the whole year according to the eastern Ashkenazi or central German rite includes some marginal commentary. Most text is vocalised. The beginning and end are missing. I. Summer Festivals and Sabbaths: Special Sabbaths (fols. 1-22): Shabbat Shekalim (fol. 1: the yotzer and ofan for the morning service are missing), beginning with ומתמידים לרוממך in the middle of the liturgical poem (zulat)אתה אהבת . (Text is also missing after fol. 2). First Shabbat Hafsakah (fol. 3), opens with בשבת ראש מניינו from the yozer אור זרוע זרוח ; Shabbat Zakhor (fol. 4: text is missing after fol. 4); Purim (fol. 6v); Shabbat Parah (fol. 9); Shabbat Hahodesh (fol. 12); Second Shabbat Hafsakah (fol. 15); Shabbat Hagadol (fol. 17). Passover (fols. 22-56v): evening services for the first and second days (fols. 22-24v); first day morning service and musaf (fol. 25); second day morning service (fol. 31); Shabbat Holhamoed morning service (fol. 35); seventh and eighth days evening services (fols. 37-39); seventh day morning service (fol. 39) and musaf (fol. 46); eighth day morning service (fol. 50). Sabbaths between Passover and Shavuot: sixth Sabbaths after Passover (fols. 57-66). Shavuot (fols. 66-99v): first and second days evening services (fols. 66-68); morning services and musaf for the first day (fol. 68v), and the second day (fol. 91v). Sabbaths between Shavuot and Ninth of Ab (fols. 99v-102). Ninth of Ab (fols. 102v-116v): lamentations (kinot), (two leaves with kinot missing after fol. 104). Three Sabbaths of the month of Ab (fols. 117-119v). II. Sabbath of the Bridegroom: morning service (fols. 120-122v). III. Winter Festivals and Sabbaths: Selihot before New Year (fols. 123-160): opens with the selihah for the first day of the Ten Days of Repentance לך יי' הצדקה ולנו בושת הפנים, (two leaves with selihot are missing after fol. 124 and 126, as well as one leaf before fol. 147). Fol. 146v includes an imprecatory poem for the Day of Atonement תתנם לחרפה added by a later hand (see History). Sabbath before New Year (fols. 160-161v): morning service (fol. 160). New Year (fols. 162-187): first day morning service and musaf (fol. 162) including the silluq ונתנה תוקף קדושת היום; evening service before second day (fol. 176); second day morning service and musaf (fol. 177) including ונתנה תוקף. Sabbath between New Year and the Day of Atonement (Shabbat Shuvah): morning service (fols. 187-188v). Day of Atonement (fols. 189-257): Kol nidre (fol. 189); evening service (fol. 189); morning service and musaf (fol. 191) including ונתנה תוקף; afternoon service (fol. 239v); neilah (fol. 250). Sabbath between Day of Atonement and Sukkot: morning service (fols. 257-258v). Sukkot (fols. 258v-280): Shabbat Holhamoed Sukkot morning service (fols. 258v-259v); first day evening service (fol. 261) and morning service (fol. 263); second day morning service (fol. 265): the beginning of the yozer אאמיץ לנורא ואיום missing, opens with ;שכמיכם תרונו ותחוגו musaf (fol. 267). Shemini Azeret (fols. 259v-260v, 270v-275): evening service (fol. 259v); morning service and musaf (fol. 270v) including the Prayer for Rain אף ברי. Simhat Torah (fols. 260v-261, 275-280): evening service (fol. 260v); morning service (fol. 275); reshut for Hatan Torah (fol. 277v); reshut for Hatan Bereshit (fol. 278). IV. Other Sabbaths and events (fols. 280-293v): Yozerot: for the First Sabbath Hanukkah (fol. 280); Shabbat Bereshit (fol. 283) and Shabbat Roshhodesh (fol. 284); Ahava for Shabbat Vayera (fol. 285); Yozer for Sabbath of Circumcision (fol. 286); Selihot for 10th of Tevet (fol. 287v) and Fast of Esther (fol. 288v); Yozer for the Second Sabbath Hanukkah (fol. 291v, ends: (הנותן אמרי שפר מופתי בת.
Sheepskin, I + 295 (wrongly foliated 293) + II leaves. 2 flyleaves with 15th-century woodcuts were detached from the manuscript by a BSB librarian (see History and Illuminated Documents). Erroneous foliation: VII10 (fols. 45-56): the numbers 48-49 were skipped; XXVI8 (fols. 186-193): fol. 194 was numbered 190 etc., thus the second set of fols. 190-193 is referred to as 190a, 191a, 192a, 193a. Both sides of the sheepskin are similarly treated, turning grey. Some hair follicles are visible (fols. 55v, 67, 70v). The quires are arranged according to Gregory's rule. Watermarks of flyleaves: Hand with a cuff and a flower attached to its middle finger (on first back flyleaf, 88 mm), similar to Piccard, No. 210 (Nuremberg, 1492).
The text is written by a single scribe.
The text is written in square Ashkenazi script in dark brown ink. The commentary accompanying the Aramaic piyyutim for Shavuot is written in semi-cursive Ashkenazi script (fols. 76v-86v).
Number of Lines
The text is written in 25-29 lines per page mostly in one column.
The ruling is mostly in plummet, but sometimes also by stylus (e.g. fols. 38v, 136v): 29 horizontal and 1+1 vertical lines. Sometimes there is additional ruling for separate sections of text (e.g. fols. 37v-38, 81).
Inner and outer margins are pricked for horizontal lines; upper and lower margins are pricked for verticals.
40 quires of 8 leaves each except for I4, VII10, XIV8-4, XVI6, XVII8-2, XX2, XXI8-1, XXX4, XXXVI4. Quire structure: I8-4 (1-4: first 2 leaves missing and also 1 leaf between fols. 2-3 & 4-5); II8 (5-12); III8 (13-20); IV8 (21-28); V8 (29-36); VI8 (37-44); VII10 (45-56: see Material: Erroneous foliation); VIII8 (57-64); IX8 (65-72); X8 (73-80); XI8 (81-88); XII8 (89-96); XIII8 (97-104); XIV8-4 (105-108: first four leaves missing with text); XV8 (109-116); XVI6 (117-122); XVII8-2 (123-128: 2 leaves with text missing between 124-125 and 126-127); XVIII8 (129-136); XIX8 (137-144); XX2 (145-146); XXI8-1 (147-153: first leaf missing with text); XXII8 (154-161); XXIII8 (162-169); XXIV8 (170-177); XXV8 (178-185); XXVI8 (186-193); XXVII8 (190a-197: see Material: Erroneous foliation); XXVIII8 (198-205); XXIX8 (206-213); XXX4 (214-217); XXXI8 (218-225); XXXII8 (226-233); XXXIII8 (234-241); XXXIV8 (242-249); XXXV8 (250-257); XXXVI4 (258-261); XXXVII8 (262-269: one leaf with text missing between fols. 264-265); XXXVIII8 (270-277); XXXIX8 (278-285); XL8 (286-293).
Catchwords for the quires are written horizontally in the lower left corner in square Ashkenazi script by the text scribe, some in red (e.g. fol. 36v) or decorated with dots (e.g. fol. 28v). The catchword on fol. 267v is now out of place. Ends of quires preceding new sections have no catchwords.
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


Fig. 1: Front cover with pigskin strip

of  70 mmwide

Hybrid Ashkenazi Mahzor

Munich, BSB Cod.hebr. 21


Fig. 2: Back cover, strip of c.70 mm wide (detail)

Red Dragon Pentateuch

Munich, BSB Cod.hebr. 14


15th-century binding (fig. 1). The spine and part of the wooden boards (345 x245 mm) are covered with a strip of white pigskin (width: 70 mm) decorated with a blind-tooled chain of floral ornament (fig. 2). The spine has three double cords and head and tail bands. Holes and the remnants of nails are situated along the upper and lower edges of the front cover and denote the place of two clasps. They correspond to the carved squares on the back cover where the straps were attached.

The binding was probably done in the Augustinian Eremiten monastery of St. Vitus inNuremberg(Munich, EBDB p001297; Hernad 1990:66; Kyriss 1951/58, No. 19).

This binding is similar to that of other Hebrew manuscripts from Harmann Schedel's collection (see History: also CJA Documentations of BSB Cod.hebr. 14 - fig. 2; Cod.hebr. 69 and 90).

Decoration Program

The decoration was executed by the scribe and five illuminators (see: Remarks):

  1. Text illustration of the Gate of Mercy by Illuminator E opening the first benediction before the morning Shema for the Day of Atonement (fol. 191a).
  2. Initial word panels by Illuminators A-D opening yozrot and other piyyutim are decorated with fish, birds, dragons, other creatures and floral motifs (fols. 12, 25, 31, 39, 50, 68v, 91v, 123, 162, 177, 189, 191a, 213v, 218, 239v, 250, 263, 270v).    
  3. Initial words by the scribe opening the yozrot are surrounded by wrigglework and decorated with a red and green saw-tooth motif and stripes (fols. 4, 6v, 9, 17 and). Some of the smaller initial words, mostly opening other piyyutim such as ofan and zulat, are written in red or red and black ink on a dotted rectangular ground (e.g. fols. 3v, 4v, 8).
  4. Smaller initial and other words, sometimes even sentences on almost every page are written in red, blue or green.

Note: Green folio number denotes it is described under "Illuminated Documents".

Suggested Reconsdivuction
Annotations and corrections: In the margins, mostly written by several later hands (e.g. fols. 10v, 70v and especially fols. 124v-125). Some are liturgical, relating to the order of reciting different parts, others are annotations pertaining directly to the text or added prayers (e.g. fols. 123, 133 and 242v-243, 249). Fol. 146v, a later hand added an imprecatory poem תתנם לחרפה for the Day of Atonement preceded by the passage שפוך חמתך (Pour out Thy wrath, Ps. 79:6; see Goldschmidt 1970, II:מד; Freimann 1940/41:71-72; Yeivin 1970:285-286; Merhaviah 1971-1972, pp. 95-135, and p. 107, n. 61). Fol. 162v, lower margin, written by a later hand: the piyyut אחלה פניך יוצר נשמתי by Eleazar Hakaliri. Owners' Inscriptions: Fol. 40v, lower margin: אשר משה (Asher Moshe) in smaller script. Fol. 41, lower margin: אשר בן משה ענביי (Asher Moshe Anabii (in smaller script. Fol. 71, outer margin: אהרן בר חנניה(?) (Aharon bar Hannaniah?). Fol. 96, lower margin: אמר יצחק ... אברהם (Said Itzhak … Abraham). Fol. 160v, upper margin: קלונימוס בר' אברהם (Kalonymos bar Abraham). Fol. 163v, outer and lower margins: יצחק בן משה (Itzhak ben Moshe). Fol. 225v, outer margin: אברהם (Abraham). Fol. 253, lower margin: משה בר' שלמה אל אשר קולמוס (Moshe bar Shlomo to Asher Kolmus). Front cover, inside, stuck on pastedown, a Latin inscription by H. Schedel: Ducet te dominus et regem/ tuum quem constitueris super te/ in gentem quam ignoras/ et patres (Vulgate, Deut. 28:36; The Lord shall bring thee and thy king which thou shalt set over thee, unto a nation which neither thou nor thy fathers have known). Second back flyleaf, verso, also by H. Schedel: Prophetam de medio tui de fratri/ bus tuis sicut me sustitabit tibi/ dominus deus tuus ipsum audies (Vulgate, Deut. 18:15; The Lord thy God will raise up unto thee a prophet from the midst of thee of thy brethren, like unto me: him thou shalt hear). Between the leaves of the Mahzor, a separate leaf was found containing a letter from Fr. Nonnosus to H. Schedel. The letter discusses a damaged manuscript which Schedel sent to Fr. Nonnosus to be restored but which was returned to him untouched. From the description of its physical condition, which says that many of the manuscript's leaves were stuck together and stained, it can hardly be our Mahzor. Fr. Nonnosus, like Schedel, was a Hebraist interested in Hebrew manuscripts (Walde 1916, pp. 188-189). Librarians' inscriptions: Front cover pastedown, an inscription by Librarian 1a (1552-1571), in brown ink: קצת תפילות היהודים במועדים/ ובימים טובים גם סליחות לתענית (Some Jewish prayers for festivals and holidays and penitential prayers for fast days). Below it by librarian 2 (cf. BSB Cod.hebr. 69), the contents are listed in Hebrew in Latin characters as well as in Latin in brown ink: Kezas tephilos h[aiehudi]m bemoedim vbeiamim Thouim slihos/ lethanais.// Liber seu pars [...] Iudaicarum super praecipuis/ festis et quibus tante precationibus pro remissionem peccatorum. Signatures: Front cover, upper part, in black ink: •C•, signature of Schedel's library. Back cover, upper right corner, in black ink: St. 8 n. 73, signature of Fugger's library. Front cover, lower part of the narrow pigskin strip, in black ink: [J.] n. 55 (J is partly cropped), signature of the Duke's library by Prommer. Front cover pastedown, lower part, in red ink: J. 45, Prommer's revision in 1582-1583 of signatures in the Duke's library. Front cover pastedown, upper right corner, in black ink: MS. Hebr. 17. Back inner cover, upper left, the library's sticker: Cod. Hebr. 21 Exlibris and stamps: Front pastedown: the exlibris of the Bavarian Court and State Library (230 x 175 mm) with the arms of Elector Maximilian I from 1638 (Dressler 1972: B3ab). It is stuck over the Duke's earlier exlibris (178 x 135 mm) from 1618 (Dressler 1972: A3a-f), before he became Elector in 1623 (see BSB Cod.hebr. 14, 90). On fol. 1, lower margin, and on fol. 293v, outer margin, is an oval stamp of the Bayerische Staatsbibliothek from the 19th century: BIBLIOTHECA/ REGIA/ MONACENSIS. Two woodcuts which served as front and back flyleaves, now in the Staatliche Graphische Sammlung in Munich (Inv. Nr. 171524 and 171525), were removed by a BSB librarian. In 1552 Hartmann Schedel's collection of Hebrew manuscripts together with other manuscripts and printed books from his library was sold by his grandson Melchior to Johann Jacob Fugger of Augsburg. Later, in 1571, Fugger's library was acquired by Duke Albrecht V of Bavaria and incorporated into his Hofbibliothek in Munich (Hartig 1917:261; Stauber 1908:146). Restoration: 17.12.1951.
Main Surveys & Excavations
Abbreviations Bodl. Lib. Oxford, Bodleian Library BSB Munich, Bayerische Staatsbibliothek CJA Jerusalem, Center for Jewish Art, The Hebrew University: • Narkiss Archive • Schubert Archive • Sed-Rajna Archive • CJA Documentation EBDB Munich, Die Bayerische Staatsbibliothek: Einbanddatenbank JTS New York, Theological Seminary of America NLI Jerusalem, National Library of Israel (olim JNUL) PML New York, Pierpont Morgan Library SGS Munich, Staatliche Graphische Sammlung Beer 1959 E. J. Beer, Beiträge zur Oberrheinischen Buchmalerei in der ersten Hälfte des 14. Jahrhunderts unter besonderer Berücksichtigung der Initialornamentik, Basel und Stuttgart 1959. Beit-Arié, facsimile 1985 M. Beit-Arié (ed.), The Worms Mahzor: MS Jewish National and University Library Heb. 4°781, Vaduz 1985. Beit-Arié 1976 M. Beit-Arié, Hebrew Codicology, Paris 1976. Davidson 1924–1933 I. Davidson, Thesaurus of Medieval Hebrew Poetry, New York 1924–1933. Dressler 1972 F. Dressler and B. Schröder, Die Exlibris der Bayerischen Hof- und Staatsbibliothek 17. bis 20. Jahrhundert, Wiesbaden 1972. Fleischer 1985 E. Fleischer, "Prayer and Piyyut in the Worms Mahzor", Worms Mahzor (Facsimile Edition), M. Beit-Arié (ed.), Jerusalem 1985. Fleischer 2008 ע' פליישר, התפילה והפיוט במחזור נירנברג, ירושלים 2008 (E. Fleischer, The Prayer and Piyyut in the Nuremberg Mahzor, Jerusalem 2008). Freimann 1940/41 א' פריימן, "תתנם לחרפה, תוכחה לרש"י ז"ל (הו"ל עפ"י כ"י)", תרביץ יב תש"א, עמ' 70-74 (A. H. Freimann, "תתנם לחרפה, An Imprecatory Poem by Rashi (edited from MS.)", Tarbiz 12 (1940/1941), pp. 70-74). Goldschmidt 1970, I&II ד' גולדשמידט, מחזור לימים הנוראים לפי מנהגי בני אשכנז לכל ענפיהם, ירושלים 1970: כרך א, ראש השנה; כרך ב, יום כיפור (D. Goldschmidt, Mahzor for Days of Awe according to all Ashkenazi Rites, 2 vols. Jerusalem 1970). Hartig 1917 O. Hartig, Die Gründung der Münchener Hofbibliothek durch Albrecht V. und Johann Jakob Fugger, Munich 1917. Hernad 1990 B. Hernad (ed.), Die Graphiksammlung des Humanisten Hartmann Schedel, Munich 1990. Kyriss 1951/58 E. Kyriss, Verzierte gotische Einbände im alten deutschen Sprachgebiet, Stuttgart 1951-1958. Merhaviah 1971-1972 ח' מרחביה, "ה'שמתא' בספרות-הפולמוס הנוצרית בימי הביניים", תרביץ מא (תשל"א), עמ' 95-135 (H. Merhaviah, "The 'Shamta': Medieval Polemic Christian Literature", Tarbiz 41 (1971-1972): pp. 95-135). Randall 1957 L. M. C. Randall, "Exempla as a Source of Gothic Marginal Illumination," The Art Bulletin, 39/2 (1957): 97-107. Randall 1966 L. M. C. Randall, Images in the Margins of Gothic Manuscripts, Berkeley and Los Angeles 1966. Stauber 1908 R. Stauber, Die Schedelsche Bibliothek, Freiburg 1908. Shalev-Eyni 2001 S. Shalev-Eyni, Hamahzor Hameshulash (The Tripartite Mahzor), Ph.D. Thesis, The Hebrew University of Jerusalem, 2001 (Hebrew, unpublished). Steinschneider 1895 M. Steinschneider, Die Hebräischen Handschriften der K.Hof- und Staatsbibliothek in München, Munich 1895. Walde 1916 B. Walde, Christliche Hebräisten Deutschlands am Ausgang des Mittelalters, Münster 1916. Wittkover 1942 R. Wittkover, "Marvels of the East. A Study in the History of Monsters," Journal of the Warburg and Courtauld Institutes, 5 (1942): 159-197. Yeivin 1970 י' ייבין, "על ניקוד ה"שמתא" לר' אברהם בן יעקב בכ"י מינכן 21", תרביץ לט, עמ' 285-286 (I. Yeivin, "On Vocalisation of the 'Shamta' in MS Munich 21", Tarbiz 39 (1970), pp. 285-286). Ziemlich 2009 ב' צימליך, מחזור נירנברג, תרומה לחקר מנהג התפילה וספרות הפרשנות של המחזור הגרמני, תרגמה לעברית אסתר גוגנהיים עבור בית הספרים הלאומי והאוניברסיטאי, ירושלים, (2007), גרסה סופית אוגוסט 2009, ירושלים 2009 (B. Ziemlich, Das Machsor Nürnberg – Ein Beitrag zur Erforschung des Ritus und der Commentarliteratur des Deutschen Machsor, Berlin 1886).
Ilona Steimann; Prof. Aliza Cohen-Mushlin | 2008; 2009
Author of description
Ilona Steimann; Prof. Aliza Cohen-Mushlin; Yaffa levy | 2008; 2014; 2014
Architectural Drawings
Computer Reconstruction
Section Head
Michal Sternthal; Project head: Prof. Aliza Cohen-Mushlin | 2014
Language Editor
Christine Evans | 2014
Supported by the Fritz Thyssen Foundation | 2008-2012
Negative/Photo. No.
The following information on this monument will be completed:
Unknown |