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Obj. ID: 39581  Minhagim by Isaac Tyrnau, Frankfurt am Main, circa 1720

© Gross Family Collection, Photographer: Unknown,

7 image(s)

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Name/Title
Minhagim by Isaac Tyrnau | Unknown
Object Detail
Date
circa 1720
Synagogue active dates
Reconstruction dates
Artist/ Maker
Unknown (Unknown)
Historical Origin
Unknown
Community
Unknown |
Location
Unknown |
Site
Unknown
School/Style
Unknown|
Period
Period Detail
Gross Family Collection No.
B.2239
Material/Technique
Paper, Ink, Letterpress, Woodcut
Material Stucture
Material Decoration
Material Bonding
Material Inscription
Material Additions
Material Cloth
Material Lining
Tesserae Arrangement
Density
Colors
Construction material
Measurements
Height
17.3 cm
Length
Width
10.5 cm
Depth
1.7 cm
Circumference
Thickness
Diameter
Weight
Axis
Panel Measurements
Hallmark
Iconographical Subject
Unknown |
Condition
Extant
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
Description

This text was prepared by William Gross:

Minhagim books (Yid. Minhogim bukh מינהגים בוך; Heb. Sefer minhagim ספר מינהגים) are collections of religious practices arranged according to the order of the religious year and life cycle. When the genre first appeared in the Early Middle Ages, these volumes focused on local customs, with the purpose of ascertaining their existence and halakhic validity, and preventing them from being forgotten.
Originally written in Hebrew, minhagim books were later translated into Yiddish for the benefit of women and laymen not schooled in Hebrew. The author of the original Hebrew text was the Austrian-Hungarian Rabbi Isaac Tyrnau (c. 1400), but it did not appear in print until 1566, in Krakow. In 1590, a Yiddish translation by Simon Günzburg was printed in Venice by Giovanni di Gara, a member of the (Christian) family who were among the leading producers of Hebrew books in Venice through the second half of the 16th century (despite the periodical bans on printing Hebrew and Yiddish books). Although Yiddish was spoken in Venice, the primary audience was probably the communities in Central Europe.
The earliest printed minhagim books were unillustrated (one or two manuscript editions with illustrations exist). Around the end of the 16th century, however, woodcut illustrations were added to the text to increase the books’ visual appeal and hold the interest of the reader. The earliest published example of such an edition was printed by Giovanni di Gara in Venice, 1593, and employs the same text as his 1590 unillustrated edition. These woodcuts ensured the book’s fame – and popularity – and made it a model for later editions.
A large number of post-1593 printed minhagim books derive their illustrations from the Venice 1593 edition. Most examples are from Amsterdam and Germany, primarily Frankfurt a. M. More than 50 editions of the book were produced between the 16th and 19th centuries.

This book is lacking the title page and there is therefore no exact information as to when and where it was published. An analysis of the images however suggests that the most likely place of printing is Frankfurt a. M. and the likely time frame is ca. 1725. In two editions of the Frankfurt minhagim books, those of 1729 and 1762, there is use of many of the same woodblocks. But in both of these the woodblock for the image of Hoshanah Rabbah is broken and half the image is missing. In this present example that same image is present and the woodblock is whole, indicating that this printing is earlier than 1729.

Custom
Contents
Codicology
Scribes
Script
Number of Lines
Ruling
Pricking
Quires
Catchwords
Hebrew Numeration
Blank Leaves
Direction/Location
Façade (main)
Endivances
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
Signature
Colophon
Scribal Notes
Watermark
Binding
Decoration Program
Summary and Remarks
History/Provenance
Main Surveys & Excavations
Bibliography
Short Name
Full Name
Volume
Page
Type
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Researcher
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Architectural Drawings
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Computer Reconsdivuction
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