Under Reconstruction!
Object Alone

Obj. ID: 19960
Hebrew Illuminated Manuscripts
  The Tegernsee Haggadah, Germany or Austria, before 1489

© BSB, Photographer: Unknown,
Summary and Remarks

A Passover Haggadah of Ashkenazi rite was copied by Joseph son of R. Ephraim, who wrote his name twice: once at the bottom edge of the last verso of the manuscript (fol. 36v); and the second time within the panel depicting Rabbi Akiva as the Wise Son (fol. 12).

The decoration programme consists of four large painted initial word panels for some of the main sections, and twenty small painted panels, of which only four are placed within the text space (fols. 12, 12v, 13, 15v) and the rest are in the margins, depicting traditional ritual and textual illustrations, as well as one eschatological depiction of the Messiah entering Jerusalem, illustrating the text "Pour out thy wrath" (fol. 24v). From all but three panels issue a pair of long-stemmed fleshy acanthus leaves, sometimes curling and often enhanced by gold buds, thorns and floral motifs.

The figures within the panels are placed either in a meadow (fols. 8v, 12v (upper panel), 15, 18 (upper panel), 24v) or in rooms with tiled floors, wooden ceilings and arched entrances (fols. 7v, 10, 12, 12v (lower panel), 13, 17, 17v, 18 (lower panel) 18v, 20v, 21, 21v). They are squat and richly dressed in robes and mantles, the drapery folds rendered with darker tones of the same colour, and highlights of either white or yellow. They wear varying kinds of opulent head-gear: high caps (e.g. fols. 8v, 11, 12), a head gear recalling a bowler hat (e.g. fols. 12v, 16), hats divided horizontally into two or three sections (e.g. fols. 18, 21v) with an extension (e.g. fols. 11, 20v), and Jewish hats (fols. 7v, 24v). The women wear white wide kerchiefs tied under the chin (e.g. fols. 10, 21v). Hands, hair and facial features are outlined in black ink; the irises are mostly looking sideways.


The style of the manuscript poses a serious problem. On the one hand no exact parallel has yet been found for the style of the figures in the panels. On the other hand, the style of the acanthus scrolls which issue from them was very popular in the last quarter of the 15th century and appears in many manuscripts which were produced in the Danube region of South Germany andAustria. A united figure and foliage style similar to that of our haggadah, if found, could indicate a specific workshop or place where the paintings were executed.

We are deeply grateful to the scholars of the Österreichische Akademie der Wissenschaften, Kommission für Schrift- und Buchwesen des Mittelalters, Otto Pächt-Archiv at the Institut für Kunstgeschichte of the University of Vienna (Drs. M. Roland, Ch. Beier, A. Tif), the head of the Manuscript Department of the Österreichische Nationalbibliothek in Vienna (Dr. A. Fingernagel), as well as to colleagues in the Manuscript Department of the Bayerische Staasbibliothek, Munich (Drs. B. Hernad and K.-G. Pfändtner), for their helpful comments and examples. Being familiar with this regional style through wide research and publications, they suggest that at this stage of research we should agree on a general definition of the region for the style of our haggadah, namely the Danube region of South Germany and Austria.

Despite that, a close stylistic comparison for the acanthus scrolls pointed out to us by Dr. Roland is found in a Breviary produced for Brixen Diocese between 1460 and 1480 and housed there in the Nicholas Cusanus Seminarbibliothek (figs. 2, 4).

Taking into consideration the fact that the motifs are common to many manuscripts and that the scrolls in the Breviary are fleshier, leading to a denser composition, the resemblance lies mainly in the way the leaves were executed: they are composite, often with small trifid and curling leaves, the edges rounded, with hidden gold buds and spidery ink extensions. Our Haggadah (figs. 1, 3, 5-6) could have been decorated in the same workshop as the Brixen Breviary, which alas is not adorned with figures.


Fig. 1: Munich, BSB Cod. hebr. 200, fol. 10            Fig 2: Brixen Breviary

                                                                            Brixen, Nicholas Cusanus  Seminarbibliothek, Cod. A12, fol. 24v

                                                                            (Courtesy of Cusanus Semiarbibliothek)



Fig. 3: Munich, BSB Cod. hebr. 200, fol. 12v        Fig. 4: Brixen Breviary

                                                                            Brixen, Nicholas Cusanus Seminarbibliothek, Cod. A 12, fol. 55v

                                                                            (Courtesy of Cusanus Semiarbibliothek)                     


Fig. 5: Munich, BSB Cod. hebr. 200, fol. 18       Fig.6:Munich, BSB Cod. hebr. 200, fol. 24v


The decoration programme as well as the iconography of the illustrations reflect those which appear in other Ashkenazi illuminated haggadot of the 15th century, for example the figures of the Four Sons (fols. 12-13) and the Five Rabbis of Bnei Brak (fols. 18-18v, 20v), or the Bondage of the Israelites inEgyptand the building of the cities of Pithom and Raamses (fols. 11, 15v). However, some images reflect Christian iconography (Shalev-Eyni, forthcoming facsimile). A striking example is the blessing of the wine (kiddush; fol. 7v): a man holding a cup of wine, his right hand raised in a gesture of blessing with index and middle finger, typical of Christian rather than Jewish custom. A similar gesture is found in the panel illustrating the bread of affliction (הא לחמא עניא; fol. 10): the man points at the mazzah with his right hand in the Christian blessing. A third example is the depiction of the man brandishing a sword in his right hand, and his left in the Christian blessing, illustrating the mighty hand over Jerusalem (fol. 17): the text in the haggadah cites part of and interprets biblical verses (I Chron. 21:15-16) which describe an angel with a sword, who was sent by the Lord to destroy Jerusalem.

The Latin Text

The haggadah is preceded by a Latin text, which was copied in 1493 by Ambrosius Schwerzenbeck in the first quire (fols. 1-6, but to be read 6-1) with an introduction on the recto of the first folio of the haggadah (fol. 7). The Latin text describes the ritual of the Seder and the miniatures which illustrate it. It discusses the way the mazzah is prepared and mentions the confession extracted from the Jews of Trent in the blood libel case of 1475, at which he was present. He also underlines the difference between Christianity and Judaism, unfavourably to the latter (Aigner 2010, pp. 20-28, 78-90).

The thirty-five Latin marginal annotations next to the Hebrew text of the haggadah were written by Erhard in 1492, explaining the text and the customs (see Appendix).         

This haggadah raises two intriguing questions: one, which at present cannot be answered, concerns the anonymous patron who apparently did not make much use of it; the second concerns its history. The haggadah was acquired by Paulus Wann of Kemnath who studied in Vienna(Magister in 1447), and in 1477 became a canon of Passau Cathedral of (Verfasserlexikon 1999, 10). His friend was Ambrosius Schwerzenbeck the librarian (1481-1500) of the Benedictine monastery in Tegernsee. Paulus Wann donated many books to Tegernsee, amongst them our haggadah, which he bequeathed in 1489, without any annotations (cf. his hand in Clm 18389, fols. 2-9, from 1485). Interested in its contents and with no knowledge of Hebrew, Schwerzenbeck turned to Erhard (Verfasserlexikon 1980, 2) who studied Hebrew with Petrus Nigri, the Hebraist. Apparently Erhard was at the Dominican monastery in Regensburgfrom 1475-1484, under the priorship of Johannes Nigri, the brother of Petrus. The haggadah was sent to him requesting him to describe and explain its contents. He wrote his text in one quire (Q12-1; measuring 210 x157 mm.) in small cursive script in dark ink, which was bound at Tegernsee together with a miscellany of religious tractates (Clm 18526b, fols. 190v-200). To facilitate his work he added annotations in the haggadah.

As can be gathered from Schwerzenbeck's note added in this quire (Clm 18526b, fol. 190; cf. his script in Clm 18880, fol. 5v): Anno Domini 1492 scriptum istud factum est ab Erhardo religioso de ordine predicatorum, he received Erhard's text in1492. He copied it diligently in 1493 (Cod. hebr. 200, fol. 1v) in a neat, legible textualis in a quire the size of the haggadah (I6; measuring 288 x 238 mm.). However, Schwerzenbeck was unable to copy the many Hebrew inscriptions which punctuate Erhard's text and left lacunae. This suggests that Erhard did not see the copied version, and no Hebraists were present at Tegernsee to assist Schwerzenbeck (Redlich 1931, pp. 66-71, 76-84; Bischoff (ed.) 1979, IV 2, pp. 734-863).   

Scholars have tried to identify the Hebraist Erhard (Bischoff 1967, II pp. 187-191; Dall'Asta and Dörner (ed.) 2003, pp. 7-10). His name is known from Schwerzenbeck's note (Clm 18526b, fol. 190) as well as from the table of contents of the miscellany in which Erhard's quire is bound (verso of front flyleaf): Tactatis declarans esum agni paschalis Iudeorum Erhardi de ordine predicatorum.

The haggadah is not mentioned in Schwerze


82 image(s)

sub-set tree:

The Tegernsee Haggadah | Unknown
Object Detail
Monument Setting
Before 1489
Synagogue active dates
Reconstruction dates
Artist/ Maker
Historical Origin
Community type
Period Detail
Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
Documentation / Research project
Iconographical Subject
Unknown |
Textual Content
Unknown |
Languages of inscription
Shape / Form
Material / Technique
Parchment I + 36 + I leaves.
Material Stucture
Material Decoration
Material Bonding
Material Inscription
Material Additions
Material Cloth
Material Lining
Tesserae Arrangement
Construction material
Full page: (288-291) x (231-238) mm.
Text space of the Latin text: (211-213) x (151-162) mm. written in two columns (fols. 6v-1; width of one: 71 mm.).
Text space of the Hebrew text: (180-204) x (142-162) mm.
Panel Measurements
Except for the first and last leaves (fols. 7, 36v), the haggadah does not show much use.
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
Latin introduction to the Haggadah (reading from back to front fols. 7 to1v). Passover Haggadah of German-Ashkenazi rite (fols. 7v-35v), vocalised, opening with the kiddush (fol. 7v). The haggadah includes the first verse only for שפוך (Pour out thy wrath; fol. 24v); piyyutim: אז רוב נסים (fol. 31v), אומץ גבורתיך (fol. 33), אדיר במלוכה (כי לו נאה) (fol. 34); ends with אדיר הוא (fol. 35v). In the piyyut נשמת כל חי (fol. 29) the name of its author Isaac (יצחק) in an acrostic is marked by dots (fol. 31).
The Jewish scribe Joseph son of R. Ephraim copied the Hebrew text (fols. 7v-35v). Vocaliser unknown. Schwerzenbeck, the librarian of the Benedictine Monastery of Tegernsee, wrote the Latin introduction (fols. 7-1v). The Latin annotations in the margins of the haggadah were written by Erhard of Pappenheim (fols. 7v, 8, 9, 10, 12, 12v, 13, 14, 15, 21, 22-23v, 24v-28, 29, 31). An annotation in Hebrew by Erhard is written on the blue background of the illustration on fol. 15. Script The Haggadah: The main text is written in square Ashkenazi script of different sizes in dark brown and red ink. The instructions for the Seder are written in semi-cursive Ashkenazi script in red or black ink (e.g. fols. 24-24v, 35).
Number of Lines
The Latin introduction is written in 46 lines per page in two columns. The Haggadah is written mostly in 13 lines per page, except for e.g. fol. 31v (15 lines), fols. 32, 33v, 34v (12 lines). The Latin introduction is written in two text columns per page. The Haggadah in Hebrew is copied in one text column per page.
The Latin introduction: Ruling in plummet on both sides of the leaves, each ruled separately; 46 horizontal and 2 + 2 + 2 vertical lines. Upper and lower lines ruled across the entire page. The Haggadah: Ruling in plummet on both sides, usually 14 horizontal and 2 + 2 vertical lines; for piyyutim: 2 + 1 + 1 + 1 + 2 (fols. 19v-20) and 2 + 1 + 1 + 2 (fols. 32-33) vertical lines.
The Latin introduction: Pricking discernible in all but the inner margins, except for fols. 7-9; 26 pricks for the Latin text on fol. 7. The Haggadah: Pricking per quire noticeable in all margins as well as for additional horizontal lines; stubs are also pricked.
Five quires, three of eight and two of six leaves, arranged according to Gregory's rule. List of quires: I6 (1-6v); II8 (7-14v: fols. 8 and 12 are single leaves, no text missing); III8 (15-22v: fols. 16 and 20 are single leaves, no text missing); IV8 (23-30v: fols. 25 and 28 are single leaves, no text missing); V6 (31-36v). The 15th-scentury Tegernsee binder has written on the first page of the Haggadah primum folium huius libri (fol. 7v), proceeding to mark the next as secundum. His next numberings are of quires: 2q (fol. 15), 3q (fol. 23), 4q (fol. 31).
No catchwords visible.
Hebrew Numeration
Blank Leaves
Fols. 7 (originally blank)-7v, 36-36v.
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
Fol. 36v, last blank folio of the codex, lower edge, in semi-cursive Ashkenazi script in light brown ink: אני הסופר יוסף ב"ר אפרים ז"ל, I am the scribe Joseph the son of R. Ephraim of blessed memory. The same name appears within the panel illustrating the Wise Son (fol. 12): יוסף ב"ר אפרים ז"ל, Joseph the son of R. Ephraim of blessed memory.
Scribal Notes
By the vocaliser: Hebrew corrigenda in square script in light brown ink (fols. 11, 14, 30, 31v).
Trade Mark

Early 19th century red morocco binding on cardboard, decorated with a gold-tooled floral frame on the front and back. The spine has head and tail bands and four cords, and the sections in between are decorated with gold-tooled frames and central sun-ray motifs.

Decoration Program

The decoration of the manuscript consists of painted panels executed in tempera (various shades of blue, vermilion, red, magenta, green, yellow, brown, grey and gold leaf and powder on a yellowish-brown ground). It includes four initial word panels for some of the main sections, and twenty text illustrations, usually in a panel placed next to the initial word or below the text they illustrate.

The initial words and some of the illustrated panels were planned when the text was written, since they are wholly or partly included within the text column (fols. 10, 12-13, 15v, 19, 21-22, 24v).

A pair of acanthus scrolls extends from the borders of most of the panels into the margins.

  1. Four painted initial word panels in large letters for some of the main sections (fols. 10, 19, 22, 24v). One panel includes a text illustration (הא - This is the bread of affliction, fol. 10).
  2. 20 painted text illustrations: Kiddush (fol. 7v); Havdalah (fol. 8v); Bread of Affliction (fol. 10); Bondage of the Israelites in Egypt (fol. 11); Four Sons: Wise Son (fol. 12), Wicked Son (fol. 12v), Simple Son (fol. 12v), the Son who does not know how to ask (fol. 13); Naked and Bare (fol. 15); Pithom and Raamses (fol. 15v); Infants cast into the River (fol. 16); Outstretched arm (fol. 17); Plague of Lice (fol. 17v); The Five Rabbis of Bnei Brak: Rabbi Yossei Haglili (fol. 18), Rabbi Eliezer (fol. 18), Rabbi Akiva (fol. 18v), Rabban Gamliel (fol. 20v); Mazzah (fol. 21); Maror (bitter herbs; fol. 21v); The Messiah entering Jerusalem (fol. 24v).
Suggested Reconsdivuction
Latin explanations of the Passover ritual and of the contents of the haggadah copied in 1493 (fol.1v) by Ambrosius Schwerzenbeck, librarian at Tegernsee (reading from back to front, fols. 7 to 1v). Latin annotations to the text: • By Erhard of Pappenheim in black and red ink, in textualis (fols. 7v-8, 9, 10) and cursive script (fols. 12-13, 14, 15, 21, 22-23v, 24v-28, 29, 31). • By the 15th-century binder in brown ink (fols. 7v, 8, 15, 23, 31; see Quires). • In brown ink, unknown date: flags added above Pithom and Raamses, the latter with crosses (fol. 15v). On the front cover pastedown by a librarian of BSB: Cod. hebr. 200 in 40 (present signature) and the contents in Latin and German. On the back cover pastedown: Cod. hebr. 200. On the front cover flyleaf: Ms. h. 200. Stamps of the Court and State Library: Fols. 1, 35v: oval ink-stamp with the previous name of the Library BIBLIOTHECA/ REGIA/ MONACENSIS. Library stickers: On back pastedown and spine: Cod. Hebr. 200.
Main Surveys & Excavations
Bischoff 1967 II B. Bischoff, Mittelalnteliche Studien II, Stuttgart 1967. Bischoff (ed.) 1977, 1979 B. Bischoff, Mittelalterliche Bibliothekskataloge Deutschlands und der Schweiz: Regensburg IV 1, Munich 1977; Freising-Tegernsee, IV 2, Munich 1979. Dall'Asta and Dörner (ed.) 2003 M. Dall'Asta and G. Dörner (ed.), "Reuchlin und Erhardus von Pappenheim", Johannes Reuchlin Briefwechsel II: 1506-1513, Stuttgart-Bad Cannstatt 2003, pp. 7-10. Edmunds 1980 S. Edmunds, 'The Place of the London Haggadah in the Work of Joel ben Simeon", Journal of Jewish Art, 7 (1980), pp. 25-34. Finesinger 1937/38 S. Finesinger, "The Custom of Looking at the Fingernails at the Outgoing of the Sabbath", Hebrew Union College Annual, 12/13 (1937/38), pp. 347-365. The Floersheim Haggadah, facsimile 1985 The Floersheim Haggadah, facsimile, Zurich 1985 Aigner 2010 F. Aigner Die Münchner Pessach-Haggadah: Bayerische Staatsbibliothek, Cod. hebr. 200 (M.A. thesis for Ludwig-Maximilians-Universität München, Fakultät für Geschichts- und Kunstwissenschaft, Department Kunstwissenschaften Kunstgeschichte), Munich 2010. Friedman 1985 M. Friedman, "The Four Sons of the Haggadah and the Ages of Man", Journal of Jewish Art 11 (1985), pp. 16-40. Goitan 2010 T. Goitan, The Erna Michael Haggadah (M.A. Thesis, Hebrew University of Jerusalem) 2010 (Hebrew, unpublished). Goldstein, facsimile 1985 D. Goldstein, The Ashkenazi Haggadah: A Hebrew Manuscript of the Mid- 15th Century from the Collections of the British Library, Ms. Add. 14762, A Facsimile Edition, London 1985. Gutmann 1967/68 J. Gutmann, "When the Kingdom Comes, Messianic Themes in Medieval Jewish Art", Art Journal, 27/2 (1967/68), pp. 168-175. Gutmann 1970 J. Gutmann, "Joel ben Simeon", Studies in Bibliography and Booklore, vol. 9 (1970), pp. 76-95. Gutmann 1974 J. Gutman, “The Messiah at the Seder: A Fifteenth-Century Motif in Jewish Art”, Raphael Mahler Jubilee Volume, Tel Aviv 1974, pp. 29–38. Gutmann 1979 J. Gutmann, Hebrew Manuscript Painting, London 1979. Kaufmann Haggadah, facsimile 1990 Kaufmann Haggadah (Budapest, Oriental Library of the Hungarian Academy of Sciences), facsimile, Budapest 1990. Knauer 1996 G. N. Knauer, "Iter per miscellanea: Homer's Batrachomyomachia and Johannes Reuchlin", S. G. Nichols and S. Wenzel (ed.), The Whole Book: Cultural Perspectives on the Medieval Miscellany, Michigan 1996, pp. 23-36. Knauer 2004-2012 G. N. Knauer, The humanistic Collectanea of a Benedictine monk, Johannes ex Grafing, a student of Johannes Reuchlin and Conrad Celtis: Observations concerning Munich, BSB, MSS Cgrm 582a, Chm 400, 401, Cgrm 323 (Unfinished draft kept in the BSB), Munich 2004, 2009, 2012. Kogman-Appel 1993 ק. קוג'מן-אפל, הגדת נירנברג השניה: ניתוח סגנוני ואיקונוגרפי של האיורים (חיבור לשם קבלת תואר דוקטור לפילוסופיה), האוניברסיטה העברית בירושלים, 1993. Kogman-Appel 1999 K. Kogman-Appel, Die zweite Nürnberger und die Jehuda Haggada: Jüdische Illustratoren zwischen Tradition und Fortschritt, Frankfurt am Main 1999. Kurrein 1923 V. Kurrein, "Die Genuβ-Symbolik in den rituellen Bräuchen", Monatsschrift für Geschichte und Wissenschaft des Judentums, 67 (1923), pp. 205-209, 262-270. Loewe, facsimile 1988 R. Loewe, The Rylands Haggadah, facsimile, London 1988. M. Metzger 1973 M. Metzger, La Haggada enluminée: Etude iconographique et stylistique des manuscrits enluminés et décorés de la Haggada du XIIIe au XVIe siècle, Leiden 1973. Murphy Haggadah, facsimile n.d. "Murphy Haggadah", Four Haggadot, facsimile (W. Turnowsky Ltd.), Tel Aviv n.d. Narkiss 1969 B. Narkis, Hebrew Illuminated Manuscripts, Jerusalem 1969. Narkiss, facsimile 1970 B. Narkiss, The Golden Haggadah, Introduction and Facsimile (Eugrammia Press and British Museum), London 1970. Narkiss 1982 B. Narkiss, Hebrew Illuminated Manuscripts in the British Isles: A Catalogue Raisonné, vol. I: Spanish and Portuguese Manuscripts, in collaboration with A. Cohen-Mushlin and A. Tcherikover, Jerusalem and London 1982. Narkiss 1991 B. Narkiss, "The Art of the Washington Haggadah", The Washington Haggadah: A Facsimile Edition of an Illuminated Fifteenth Century Hebrew Manuscript at the Library of Congress Signed by Joel ben Simeon, ed. M. M. Weinstein, Washington DC 1991, pp. 29-101 (at 29-54). Narkiss 1997 B. Narkiss, The Golden Haggadah, London 1997. Narkiss and Sed-Rajna, IJA 1976/2 B. Narkiss and G. Sed-Rajna, "Erna Michael Haggadah", The Jerusalem Index of Jewish Art, vol. I, Jerusalem, 1976/2. Narkiss and Sed-Rajna, IJA 1976/3 B. Narkiss and G. Sed-Rajna, "Chantilly Haggadah", The Jerusalem Index of Jewish Art, vol. I, Jerusalem, 1976/3. Narkiss and Sed-Rajna, IJA 1976/4 B. Narkiss and G. Sed-Rajna, "Greek Haggadah (Paris)", The Jerusalem Index of Jewish Art, vol. I, Jerusalem, 1976/4. Narkiss and Sed-Rajna, IJA 1978/1 B. Narkiss and G. Sed-Rajna, "Hileq and Bileq Haggadah", Index of Hebrew Manuscripts: Three Haggadot, The Jerusalem Index of Jewish Art, vol. II, Jerusalem- Munich 1978/1. Narkiss and Sed-Rajna, IJA 1978/2 B. Narkiss and G. Sed-Rajna, "Second Nürnberg Haggadah", Index of Hebrew Manuscripts: Three Haggadot, The Jerusalem Index of Jewish Art, vol. II, Jerusalem- Munich 1978/2. Narkiss and Sed-Rajna, IJA 1978/3 B. Narkiss and G. Sed-Rajna, "Yahuda Haggadah", Index of Hebrew Manuscripts: Three Haggadot, The Jerusalem Index of Jewish Art, vol. II, Jerusalem- Munich 1978/3. Narkiss and Sed-Rajna, IJA 1982/1 B. Narkiss and G. Sed-Rajna, "Rothschild Miscellany", The Jerusalem Index of Jewish Art, vol. III, Jerusalem, 1982/1. Narkiss and Sed-Rajna, IJA 1986/7 B. Narkiss and G. Sed-Rajna, "Kaufmann Haggadah", The Jerusalem Index of Jewish Art, vol. IV, Jerusalem, 1986/7. Po-Chia Hsia 1992 R. Po-Chia Hsia, Trent 1475: Stories of a Ritual Murder Trial, New Haven 1992 Redlich 1931 V. Redlich, Tegernsee und die deutsche Geistesgeschichte im 15. Jahrhundert, Munich 1931. Roth, facsimile 1963 B. C. Roth, Sarajevo Haggadah, facsimile, Tel Aviv-Jerusalem 1963. Rothschild Miscellany, facsimile 1989 The Rothschild Miscellany, facsimile, London 1989. Sabar 1997/98 Sh. Sabar, "Messianic Aspirations and Renaissance Urban Ideals: The Image of Jerusalem in the Venice Haggadah, 1609", Jewish Art 23-24 (1997-1998), pp. 295-312. Saltman 1981 E. S. Saltman, “The ‘Forbidden Image’ in Jewish Art,” Journal of Jewish Art 8 (1981), 42-53. Schonfield, facsimile 1992 J. Schonfield (ed.), The Barcelona Haggadah, facsimile, London 1992. Shalev-Eyni, forthcoming facsimile S. Shalev-Eyni, "The Making of the Codex: Scribal Work, Illumination and Patronage", The Monk's Haggadah: A Fifteenth Century Illustrated Passover Haggadah from the Monastery of Saint Quirinus at Tegernsee with a Prologue by the Friar Erhard of Pappenheim, (ed.) D. Stern, Ch. Markschies and S. Shalev-Eyni (Penn State University Press, forthcoming facsimile). Sicherl 1978 M. Sicherl, Johannes Cuno. Ein Wegbereiter des Griechischen in Deutschland (Studien zum Fortwirken der Antike 9, W. Marg and H. Rüdiger ed.), Heidelberg 1978. Sicherl 1994 M. Sicherl, "Neue Reuchliniana", H. Eideneier (ed.) Graeca recentiora in Germania (Wofenbütteler Forschungen 59), Wiesbaden 1994, pp. 65-92. Spitzer, facsimile 1967 M. Spitzer (ed.), The Bird's Head Haggadah of the Bezalel National Art Museum in Jerusalem, introduction and facsimile, Jerusalem 1967. Steinschneider 1895 M. Steinschneider, Die Hebräischen Handschriften der K. Hof- und Staatsbibliothek in München, Munich 1895, No. 200. Steimann 2007 I. Steimann, Two Illuminated Haggadot from Candia of the 16th Century, (M.A. Thesis, Hebrew University of Jerusalem) 2007 (unpublished). Verfasserlexikon 1980 (2), 1999 (10) Die deutsche Literatur des Mittelalters:Verfasserlexikon, Berlin- New York 1980, 1999. Walde 1916 B. Walde, Christliche Hebräisten Deutschlands am Ausgang des Mittelalters (Alttestamentiche Abhandlungen VI 2, 3), Münster i. W. 1916. Weinstein, facsimile 1991 M. M. Weinstein (ed.), The Washington Haggadah: A Facsimile Edition of an Illuminated Manuscript at the Library of Congress Signed by Joel ben Simeon, M. Myron Weinstein (ed.), Washington 1991. Zirlin 1986/87 Y. Zirlin, "The Schocken Italian Haggadah of c. 1400 and its Origins," Jewish Art 12-13 (1986/87), 55-72. Zirlin 1995 Y. Zirlin, "Joel Meets Johannes: a Fifteenth-century Jewish-Christian Collaboration in Manuscript iIlumination", Viator, 26 (1995), pp. 265-82. Zirlin 2005 Y. Zirlin, "discovering the Floerseim Haggadah", Ars Judaica 1, Ramat-Gan 2005, pp. 91- 108. Further reading M. Beit Arié, Hebrew Codicology, Institut de recherche et d'histoire des textes, Etudes de paléographie hébraïque (Paris, 1976), 87-88, 102 and pl. 26. M. Beit-Arié, "Joel Ben Simeon's Manuscripts: A Codicologer's View", Journal of Jewish Art, 3-4 (1977), pp. 25-39. M. Beit-Arié, "Codicological Description and Analysis of the Washington Haggadah", The Washington Haggadah: A Facsimile Edition of an Illuminated Manuscript at the Library of Congress Signed by Joel ben Simeon, ed. M. M. Weinstein, Washington, 1991, pp. 105-135. M. Beit- Arié, "Joel ben Simeon's Manuscripts: A Codicological View", The Makings of the Medieval Hebrew Book: Studies in Paleography and Codicology, ed. M. Beit-Arié, Jerusalem, 1993, pp. 93-108. E. M. Cohen, "Joel ben Simeon Revisited: Reflections of the Scribe’s Artistic Repertoire in a Cinquecento Haggadah", A Crown for a King. Studies in Jewish Art, History and Archaeology in Memory of Stephen S. Kayser, eds. Sh. Sabar, S. Fine, W. M. Kramer, Jerusalem 2000, pp. 59-71. I. Fishof, "The Origin of the Sîddûr of the Rabbi of Ruzhin", Jewish Art, 12-13 (1986-1987), pp. 73-82. M. Fooner, "Joel ben Simeon Illuminator of Hebrew MSS. in the XVth Century", The Jewish Quarterly Review 27 (1937), pp. 217-232. M. Glatzer, "The Ashkenazic and Italian Haggadah and the Haggadot of Joel ben Simeon", The Washington Haggadah: A Facsimile Edition of an Illuminated Manuscript at the Library of Congress Signed by Joel ben Simeon, ed. M. M. Weinstein, Washington, 1991, pp. 139-145. J. Goldin, "Some Minor Supplementary Notes on the Murphy Haggadah", The Yale University Library Gazette, 43 (1968), pp. 39-43. J. Gutmann, “The Haggadic Motif in Jewish Iconography”, Eretz Israel 6 (1960), pp. 16-22. J. Gutmann, "The Illuminated Medieval Passover Haggadah: Investigations and Research Problems", Studies in Bibliography and Booklore 7 (1965), pp. 3-25. J. Gutmann, "Thirteen Manuscripts in Search of an Author: Joel Ben Simeon, 15th Century Scribe-Artist", Studies in Bibliography and Booklore, 9 (1970), pp. 76-95. A. Haidinger, Verborgene Schönheit, die Buchkunst im Stift Klosterneuburg (Katalog zur Sonderaustellung 1998) Klosterneuburg-Vienna, 1998. A. Haidinger, "Die Handschriftengruppe um den Josefsmeister in Wien, Österreichische Nationalbibliothek, Cod. 2774", Codices Manuscripti (Heft 48/49, June ) 2004, pp.35-42, figs. 2, 3. F. Heimann, "Die Illustrationen in der 2. Darmstädter Pesach Haggada", Kairos 25 (1983), pp. 18-35. F. Heimann-Jelinek, "Die Illustrationen der Floersheim-Haggada im Vergleich mit den Illustrationen der zweiten Darmstädter Pesach Haggada", Kairos 29, 3-4 (1987), pp. 176-216. E. Irblich (ed.), Thesaurus Austriacus, Europas Glanz im Spiegel der Buchkunst Handschriften und Kunstalben von 800-1600, Vienna 1996. F. Landsberger, “The Washington Haggadah and its Illuminator”, Hebrew Union College Annual 21 (1948), pp. 73-103. M. Metzger, “A propos de l’illustration de maror zé (voici l’herbe amère) dans quelques haggadot du XVe siècle”, Bulletin de nos communautés 18:8 (April 1962). K.-G. Pfändtner, "Die Handschriften
Prof. Aliza Cohen-Mushlin; Ilona Steimann | 2008; 2008
Author of description
Prof. Aliza Cohen-Mushlin; Ilona Steimann; Yaffa Levy | 2009-2013; 2009; 2013
Architectural Drawings
Computer Reconstruction
Section Head
Michal Sternthal. Project Head: Prof. Aliza Cohen-Mushlin | 04.2106; 2008-2015
Language Editor
Christine Evans | 2013
Supported by the Fritz Thyssen Foundation |
Negative/Photo. No.
The following information on this monument will be completed:
Unknown |