This marriage contract was made in one of the most important Jewish communities of Italy, the Adriatic seaport of Ancona, which also was a leading center of ketubbah illustrations. The main episode at top center, depicts the prophet Elijah ascending to heaven, riding in his fiery horse-drawn chariot, while his amazed disciple, Elisha, watches below. This scene thus refers to the first name of the bridegroom, Elijah Mordecai, son of the late Judah mi-Cerrata. The other two biblical episodes appear in the cartouches at the center of each of the side borders. At right, the scene of the Triumph of Mordecai, refers to the second name of the bridegroom, Mordecai. Depicted at left is the scene of David holding the head of Goliath; it is to be understood as a reference to David Camerino, father of the bride Tova, daughter of David, son of Abraham Obedai Camerino of Senigallia.
Online Since: 03/22/2017
The practice of decorating marriage contracts was revived in early seventeenth-century Amsterdam under the influence of Italian ketubah artists. In the late 1640s, the well-known Jewish engraver Shalom Italia created a copper engraving for ketubot of the Spanish-Portuguese community, which subsequently inspired an anonymous local artist to create a new modified version of this border, present in this Braginsky Collection ketubah of 1668. For more than two hundred years this border adorned Sephardic ketubot produced in Hamburg, Bayonne, London, New York and Curaçao.The calligraphic text commemorates the marriage of a known Sephardic physician, Daniel Tzemah Aboab.
Online Since: 03/22/2017
This decorated ketubah, as well as Braginsky Collection K29 produced just six years earlier, represent the height of ketubah illustration in Ancona. The text of this ketubah is centered under the arch supported by a pair of ornamental columns. While arches were commonly used as framing devices in ketubah decorations since the earliest known ketubot from the Cairo Genizah, the gold letters inscribed here against the blue spandrels provide an additional meaning. The six square Hebrew letters, an acronym for Psalms 118:20: “This is the gate of the Lord, through which the righteous may enter”, signify that the bridal couple is symbolically passing through the heavenly gate into a sanctified stage in their life. A depiction of the sacrifice of Isaac, an allusion to the bridegroom whose second name is Isaac, is located in a cartouche at the top center. This scene, a symbol of faithfulness and messianic promise that appears on many italian ketubot, has been the most popular biblical story in Jewish art over the ages. The female figure beneath has not been identified so far.
Online Since: 03/22/2017
The ornamentation of this ketubah, which commemorates a wedding between two important families of the Roman ghetto, Toscano and Di Segni, reflects the golden age of ketubah decoration in Rome. The decorative frame is divided into inner and outer borders. Panels adorned with flowers on painted gold fields flank the sides of the text. In the outer frames, crisscrossed micrographic inscriptions form diamond-shaped spaces, each of which contains a large flower. The design in the inner and the outer frames are surrounded by minuscule square Hebrew letters, presenting the entire four chapters of the book of Ruth.
Online Since: 03/22/2017
The Roman ketubot (sing. ketubah), the Jewish marriage contracts, in general are distinguished by their elegant Hebrew calligraphy, decorative designs, and attractive appearance. The most popular decorative themes include biblical episodes, allegorical representations, and delicate micrographic designs. The contractual text of this Braginsky Collection ketubah is surrounded by an architectural frame featuring a pair of marble columns entwined by gold leaves and topped with Corinthian capitals. A large cartouche rests on the arch supported by the columns. In it is a pastoral landscape in which stand a man wearing a long robe and a bare-breasted woman, joined around their neck by a long chain of pearls with a heart-shaped pendant. Enhancing the allusion of matrimonial harmony are family emblems of the bridal couple that appear next to each other in a cartouche above the central allegorical image. The emblem at the right, above the central allegorical image, depicting a rampant lion climbing a palm tree, is that of the groom's family, Caiatte, whereas the emblem at the left, portraying a rampant lion touching a white column, belongs to the family of the bride, De Castro. Finally, the influence of Italian culture is demonstrated in the cartouche at the bottom, with the depiction of Cupid lying next to his bow and quiver.
Online Since: 10/13/2016
In the 17th century, the Jewish community of Casale Monferrato had between 500 and 600 members. The widow Giuditta Leonora, daughter of Abraham Segre, and Moses, son of the deceased Isaak Katzighin, the bridal couple named in this marriage contract, both belonged to the wealthiest families of the community. The contract is surrounded by an ornamental frame. The inner oval frame, which contains six gilded rosettes, is decorated with flowers. Its corner segments each contain a large medallion depicting the four Aristotelian elements (air, water, fire and earth) and smaller medallions depicting, in a counterclockwise direction, the twelve Signs of the Zodiac. The outer frame contains gilt knot motifs as a symbol of the eternal “love knot”; the cartouches in the four corners depict allegories of the four seasons. In addition there are representations of the five senses. The tenth cartouche, at the top, intended for family crests, was never filled in.
Online Since: 10/04/2018
The Karaite ketubah, unlike the traditional Rabbinite contract, is written entirely in Hebrew and invariably comprises of two parts: shetar nissu'in and shetar ketubah. The Karaite wedding recorded in this ketubah was celebrated in the important community of Qirq-Yer in the Crimean Peninsula (West Ukraine). The two sections of the text are set inside frames painted with gold and surrounded by flowers. In the tradition of many Sephardic, Italian, and Eastern ketubot, initial words are decorated and appropriate biblical passages are included in the inner frame. The dowry list in this ketubah is longer than the marriage deed text in the first section. In accordance with the Karaite custom, many respected witnesses (here 12) were invited to sign the contract.
Online Since: 12/20/2016
This marriage contract documents the agreements at the betrothal of two Samaritans, Temima, daughter of Isaac, son of ha-Levi Amram, and Abraham, son of Joseph Denufta (ha-Dinfi). Although Samaritans believe only in the Pentateuchand recognize only Moses as prophet, and although the Torah does not mandate that the rights of the wife be protected by a ketubah,the Samaritans adopted thisrabbinic custombased on Exodus 21:9 and 22:6, which mention a kind of dowry. The language of this document is Samaritan Hebrew, written in Samaritan script, reminiscent of ancient Hebrewscript.Reflecting a strict interpretation of the Second Commandment, the decoration of the ketubah is limited to floral and geometric designs in bright colors.
Online Since: 10/04/2018
The Jewish community on the ‘British Rock of Gibraltar' reached its height in the 19th century. At the time this marriage contract (ketubbah) was produced, most of Gibraltar's retail trade was conducted by the local Sephardic community. By the second half of the 19th century, Gibraltar developed its own characteristic type of marriage contract decoration, with large pieces of parchment ornamented in bright colors. The present ketubbah, of which an identical but later copy is preserved at the Israel Museum, Jerusalem (accession n. B72.1066 179/244H, see Sh. Sabar, Mazal Tov: Illuminated Jewish Marriage Contracts from the Israel Museum Collection, Jerusalem: The Israel Museum, 1993), is framed on either side by garlands of flowers, a luxurious red bow at the bottom and surmounted by a crown, which is reminiscent of the Torah crown, however modeled here on the British royal crown. Three other typical motifs of these Gibraltar ketubbot are the initial word of the traditional Jewish wedding day in Gibraltar, Wednesday (ברביעי), enlarged in gold lettering; the sum of the dowry and increment is a factor of eighteen, a number that is also the propitious word ‘Ḥai' (חי) – ‘life', written here in monumental letters sticking out of the small cursive script and lastly, the ornamental monogram in Latin letters at bottom center, which is comprised here of E C B, referring to the bridal couple's first (Elido and Jimol) and last initials (Ben Atar/ Benatar). Elido (אלידו), son of Isaiah, son of the late Ḥaim, called Ben Atar (בן עתר) is marrying the bride Jimol (ג'ימול), daughter of Joseph, son of the late David, called Qazes (קאזיס), whose dowry is 600 Pesos Fuertes (פיזוס פואירטיס) worth of clothing, jewelry and bed linen and incremented by 600 Pesos Fuertes as a gift, to which is added a piece of land measuring 400 cubits and an additional 600 Pesos Fuertes; the total obligation is 1800 Pesos Fuertes.
Online Since: 06/18/2020
The bridal couple mentioned in this marriage contract, Dona Sarah, daughter of Jacob Guttieres Pegna (Peña) and David, son of the late Benjamin Racah (or Raccah), both are members of wealthy families of the Sephardic community of Livorno. As is customary, the ketubah lists the dowry and increment: It consists of a house on the Piazza delle Erbe with a value of 907 piesas, 6 solidos and 10 dinaros da ocho reali di Spagna, plus 150 piesas in cash and an increment valued at half of the dowry. The unusually large ketubah is decorated with interlace design in the style of “love knots”, floral scrolls, a pair of birds and two winged putti supporting a blank cartouche intended for the family emblem.
Online Since: 10/04/2018
This marriage contract between Abraham [Abramo], son of the late Jonathan Judah Finzi, and his bride Ricca, daughter of Gedaliah Senigaglia (Senigallia) names a dowry of 1,800 pezze da ocho reali – 1,200 of which in cash, 300 in gold jewelry, precious stones and pearls, and 300 in clothing and bed linen, and an increment of 360 pezze. The text is in the lower section of the ketubah, inside a monumental double arch. The upper section depicts azure heavens with tiny gold stars. Seated on clouds is the allegory of Fama, who announces the “good name” of the groom with a fanfare.
Online Since: 10/04/2018
As in other ketubot (cf. K69 and K96), here, too, an older frame was reused, one that had been created for a marriage contract 70-80 years earlier. 13 figurative scenes are arranged within an architectural arch; the theme is the biblical story of the wedding of Isaac and Rebecca. The original ketubah may have been created for a bridal couple with these names. The series of scenes begins in the upper right with the Sacrifice of Isaac and continues clockwise with more scenes. At the top Cupid links the two family emblems with a gold ribbon. A „crown of the good name“ tops the scene.
Online Since: 10/04/2018
This ketubah was created in Essaouira by the artist David Nissim Elkaïm (see his initials in Latin letters at the lower left) documents the marriage between Solomon, son of Joshua, son of R. Abraham Makhluf ha-Levi Ben-Susan, and Freha, daughter of Makhluf, son of Masoud, son of Naphtali, grandson of Judah Afriat, both of whom were members of Sephardic families. Numerous characteristics refer to this heritage, such as the writing material (parchment), the status of women, the invocation of God to take revenge for the expulsion of the Jews from Spain, the European style of the decoration of the frame and the Latin monogram of the bride's name.
Online Since: 12/14/2018
David, son of Daniel Coelho Enriques (or Henriques) and Dona Rachel, daughter of Abraham Enriques Da Costa, were members of a families of religious refugees from Spain and Portugal in the town of Bayonne in Southern France near the Atlantic coast. Like other Sephardic ketubot, their marriage contract does not contain depictions of human figures, which distinguishes them from ones from Italy or Amsterdam. The sharp contrast between dark ink and white parchment, the dots and the hatching give the impression of a copper engraving. The verses, written in elegant, square Sephardic script, contain praises of the bride and groom.
Online Since: 12/14/2018
In this 1722 marriage contract between Yishai (Jesse) Hay, son of R. Samuel Pesach, and Berakha Tova, daughter of R. Isaiah Modena, the artist persuasively links decorative elements of Italian art with Jewish symbols and motifs. The decoration contains countless biblical quotations in micrographic script with reference to wedding and marriage ideals.
Online Since: 12/14/2018
Like the 1753 ketubah from Padua (K76), this contract makes use of an older frame. The family emblems therefore have no relation to the bridal couple, Nathan Solomon, son of Jacob Samuel le-Veit Montel, and Bella Rosa, daughter of Moses le-Veit Barukh (De Benedetti). It is even possible that the original ketubah is not from Alessandria, but from further away, possibly Lugo or Ancona. The inner decorative frame contains a ribbon of cutout designs glued onto green fabric. The outer frame is painted; it is decorated with fanciful flowering twigs, medallions and vignettes. The side and bottom borders contain the Signs of the Zodiac.
Online Since: 12/14/2018
The lavish decoration of this printed and hand-painted ketubah attests to the high esteem in which this art form was held by the wealthy Sephardim living in the Venice ghetto. The text in this document is divided in two sections, the ketubah proper at the right and the conditions at the left, set within a double arch. The side columns feature additional wedding scenes inspired by Jewish texts. The association between the ideals of marriage from the past with Jewish life in contemporary Italy is further illustrated in the six vignettes that surround the central area containing the emblem of the bridegroom's family, De Almeda. The frame enclosing the text is dominated by painted Signs of the Zodiac interspersed with plaques containing a wedding poem by the Italian poet and kabbalist, Rabbi Mordecai Dato (1525?-1593?). At the four corners are elaborate geometric designs inscribed with miniscule square writing, which, together with the inscriptions along the frame, present the entire book of the Song of Songs. This border was so admired that it was later imitated throughout the Veneto.
Online Since: 12/20/2016
The marriage of Joshua, son of Isaac Hayyim Recanati, and Dona Esther Sarah, daughter of Raphael Recanati, established a union within this widely ramified, wealthy and influential Sephardic family. Written on a document that is painted with illusionistic effect, the actual text of the ketubbah is in the right column and the conditions are in the left column. These are surrounded by rococo architecture in central perspective, with the family emblem at the top flanked by two cupids. The name of the groom is honored with a medallion that depicts Joshua commanding the sun to stand still (Joshua 10:12–13). Two female figures hold the ends of a gold ribbon with the inscription “Be fruitful and multiply!”
Online Since: 10/10/2019
This ketubbah for the bridal couple Joseph Baruch, son of R. Schabettai Moses Salman and Rachel, daughter of R. Jom Tov Sanguinetti, is evidence of the Piedmontese communities' high achievements in the field of Jewish art. The designs are executed in green and gold. In the central part, a massive triumphal arch supported by twin columns frames the text of the contract. Two trumpet-blowing putti on mobile supports, the twelve signs of the zodiac, and the depictions of birds in the ornamental field at the top were cut from copper engravings, glued onto the ketubbah and then enhanced with a bit of color. The architrave of the triumphal arch holds a silhouette of the rebuilt Jerusalem, formed entirely from micrographic script.
Online Since: 10/10/2019
This ketubbah from Lugo (Emilia Romagna) was created for the marriage of Joseph, son of the late Samuel Treves, and Vittoria, daughter of Joseph Nahman Modena. In Lugo, artists developed a technique of making intricate cutout borders. Here, for instance, the arch supported by a pair of twisted columns and its floral decorations are entirely formed from such cutouts. The text of the contract has been glued onto an older frame. The colorful scenes and floral decorations are not drawn, but instead were cut from printed non-Jewish sources, glued on and then colored. Nonetheless, the chosen scenes refer to a wedding, such as the young couple in the upper part, or the religious scenes from the Old Testament (Samson and Delilah, Jacob's ladder, and Joseph as interpreter of dreams).
Online Since: 10/10/2019
This contract celebrates the marriage of Moses, son of Judah, and Esther, daughter of Isaac, that took place in 1900 in Cochin, South India. According to the Indian caste system, the Jews of Cochin, very few of whom live there today, are divided into three groups: the Malabari (or black Jews) - whose namesake is the Indian coast of Malabar -, merchants who boast of their descent from King Solomon; the Paradesi (or white Jews) who arrived in Kerala during the colonial period; and the Meshuhrarim, originally slaves of Jewish merchants, who converted and were freed. The Jewish community of Cochin distinguished itself in numerous artistic fields, especially in the production of ketubbot. Based on its division into two sections, the present contract is typical of Indian production: the upper part of the document is taken up by lengthy blessings and biblical verses, written in square letters, while the lower part contains the actual wedding contract, written in a semi-cursive script. The decoration, consisting of elegant leafy branches in gold (and in yellow for some leaves), simultaneously frames and highlights the texts with its lustrous and shimmering effects.
Online Since: 06/18/2020
This contract is for the marriage of Solomon, son of Abraham, and Rachel, daughter of Elijahu. The total amount of the dowry was set at 26,000 “lion” piastre. This Ketubbah belongs to a type that was particular to Jerusalem between the 1830s and the 1860s. As in other representations, floral decorations in bright colors frame the lower field of text (with the signatures of the bride and groom in the center and the artfully ornamented monograms of two Jerusalem rabbis) as well as the broad band of the tympanum above. In the center of the tympanum is a bouquet of flowers in a vase, flanked to the left and right by cypress trees and date palms, linking the Jerusalem of the present to the promised Jerusalem.
Online Since: 10/10/2019
The bridal couple Solomon, son of Jacob Visino, and Dinah (Gracia), daughter of Samuel Cordovero, were part of the large community of Sephardic Jews living in the thriving, cosmopolitan and multi-ethnic port city of Livorno, where they enjoyed generous privileges bestowed on them by the Medicis, including complete religious freedom. The text is within an architectural frame in the shape of a baroque portal with two double columns. The marriage text is written at right in a Sephardic square script, the conditions at left in a cursive script; these were confirmed by the groom (in Italian) and by the father of the bride (in Spanish). Above the balustrade, two putti hold a cartouche with the emblem of the Visino family. Below that a medallion, framed by the zodiac, shows King Solomon as he joyfully receives the Queen of Sheba.
Online Since: 10/10/2019
The bridal couple, Menahem, son of the deceased R. Samuel Paliano, and Angelica, daughter of Moses Paliano, were members of one of the most respected and richest Jewish families in Rome, as attested by the dowry of 2,500 scudi in cash and an increment of 500 scudi. Delicate rose flowers and tendrils, as well as flying and perching birds are arranged around two concentric oval fields. The family emblem of the Paliani (or Pagliani) family appears above and below the larger oval. The inner oval contains the marriage contract in square script in gold. The outer oval is decorated with careful complete copies of the books Song of Songs, Ecclesiastes, and Ruth, with traditional verses and with biblical benedictions. This micrography is artfully shaped into interlaced scrolls and labyrinthine designs. The leopard, the eagle, the stag and the lion symbolize virtues which, according to Pirkei Avot 5:23, Jews should faithfully observe.
Online Since: 12/12/2019
This Indian ketubbah is characterized by motifs that were brought to India by Baghdadi Jews from Iraq. The formulaic texts in two adjacent fields, for instance, resemble Islamic prayer niches. Below that is written the content of the contract, which attests that Salih, son of Ezekiel Moses, wed Rebecca, daughter of Benjamin Elijah Jacob, who brought a dowry of 3,195 rupees in gold and silver jewelry, clothing and bed linen. Together with the groom's supplement, the total sum reportedly reached 5,555 rupees. In the borders, flowers and birds alternate, and at the top two tigers hold a medallion with an inscription. Two fish facing each other symbolize happiness and fertility for the bridal couple. A small third fish between them probably refers to the hoped-for progeny.
Online Since: 12/12/2019
This promise of marriage between Wilhelm Goldstein and Paula See in Shanghai was confirmed in Chinese before two witnesses, Max Neumann and Gustav Lehmann, as well as Bernhard Cohn, the lawyer for the Jewish community “Communal Association of Central European Jews. Shanghai”. In contrast to the Braginsky collection's other marriage contracts, this is not a Jewish religious document, but an official certificate recording the consent to marry of a couple fleeing persecution in the German-speaking countries. In Shanghai, about 18,000 Jews survived the holocaust.
Online Since: 12/12/2019
This mid-eighteen century Italian Esther scroll was most likely printed and hand-colored in Venice. It is kept in a cylindrical case of delicate filigree, ornamented with floral motifs, that is typical of the later and more refined work of Ioannite silversmiths.
Online Since: 12/20/2016
The Esther story in this megillah (pl. megillot) isn't presented as an historic drama, but rather as a funny satire. The character of Alsatian Jewish life is captured in the ornamentation of the scroll: the whimsical imagery includes peasant figures in colorful local costume and reflections of folk humor. Lively figures, several shown strolling with walking sticks in hand and others gesturing, are interspersed with human busts, owls, and a gargoyle, while the Hebrew text is arranged within octagonal frames approximately 6 cm high. The few known Alsatian megillot share several distinctive characteristics, such as a bright palette of yellow, red, and green; stocky robust figures; and large vibrant flowers. In this Braginsky Collection Esther scroll, the women wear red or blue garments with yellow corselets laced in front, whereas the men are depicted wearing, amongst others, traditional white ruffs, red or blue jackets with culottes, and a variety of hats.
Online Since: 10/13/2016
Jewish ceremonial objects crafted of gold, such as this Esther scroll case, are exceptionally rare since synagogue and personal Judaica objects were usually made of silver or other less precious material. The cylindrical case of this scroll is ornamented with applied filigree. Emerging from a vase at the center is a large naturalistic flowering wine with scrolling stems and blossoms that extend across the case's decorated surface. Large blossoms support or frame the objects associated with the Holy Temple of Jerusalem. Although these motifs are frequently found on a variety of Italian Jewish ritual metalwork, they do not relate specifically to the Esther story. In addition, the Ten Tablets of the Law are placed on the largest central floral motif, a wreath composed of small flower forms that may suggest sunflowers. There are two similar Esther scroll cases of this type undoubtedly created by the same maker. They have been localized to seventeenth-century Rome or Venice. This undecorated scroll is probably from the 18th century.
Online Since: 03/22/2017
This megillah is embellished with hand-painted, repeated architectural designs. The text is set between alternating straight and spiral marble columns. The Jews of Italy associated twisted columns with those of the Temple of Solomon, which they believed were brought to Rome by Titus and eventually placed in the Basilica of St. Peter in the Vatican. In terms of style, this scroll resembles the illuminated ketubot produced in Ferrara and Mantua. Accompanying this scroll is a separate sheet of parchment that, in addition to the benedictions, contains a liturgical hymn, korei megillah, recited by the Jews of Italy. Rabbis disagreed as to whether a scroll may include any extraneous text that is not part of the book of Esther. However, in some communities this led to the practice of creating an unattached sheet featuring the three benedictions traditionally recited prior to the reading of the megillah.
Online Since: 03/22/2017
The border design of this Esther scroll is dominated by a baroque arcade featuring four distinctly patterned columns. The arches are surmounted by a balustrade that supports flowering urns, blank medallions, floral scrollwork, and a variety of birds including a crowned double-headed eagle and a peacock. Scenes from the Esther narrative are positioned beneath each of the nineteen columns of text. The engraved border of this scroll was designed by the Italian scholar, artist, and publisher Francesco Griselini (1717-1787), whose engraved border designs were popular in Italy in the eighteenth century. In these illustrations, Griselini has devoted particular attention to architectural settings and spatial perspective. The artist's printed signature is found in the lower left corner of each membrane. The last scene, placed under the final arch, is rarely found on illustrated Ester scrolls. It depicts the Messiah riding on a donkey heralding the return of the exiled Jewish people back to Jerusalem. The text of this scroll was penned by the scribe-artist Aryeh Leib ben Daniel. In his inscription, which follows the concluding benedictions, he informs the reader that he wrote this scroll in Venice in the winter of 1746.
Online Since: 03/22/2017
This profusely illustrated Dutch scroll is distinctive for its thirty-eight illustrations drawn in sepia ink. The decoration of the scroll begins with a triumphal arch reminiscent of Roman Triumphal arches constructed for royal festivities throughout Europe from the fifteenth to the nineteenth century. The scroll also contains some unusual representations. One is of Mordecai standing in a room with a wall filled with books. He is portrayed as a scholar, perhaps reflecting a rabbinic tradition that informs us of his remarkable knowledge of seventy languages, which helped him uncover the plot against Ahasuerus. Another striking illustration is the depiction of two merrymaking dwarves dancing and playing stringed instruments in celebration of the Jews' delivery from destruction.
Online Since: 03/22/2017
This eighteenth-century megillah was created in Lower Saxony and exemplifies a type of folk art decoration and color palette found in other megillot from this region. The most distinctive image in this scroll is the one depicting the hanging of Haman. Bound in chains, he is suspended from the gallows. A venomous snake, a symbol of evil, encircles the upright support of the gibbet. Below, a double-tailed lion, an allegoric embodiment of the Jewish people, is depicted holding a crowned shield and gazing up at the execution. This Braginsky Collection megillah is one of three similar German scrolls containing distinctive images of Haman hanging. Inscriptions on the opening and closing panels of this scroll indicate that this scroll was owned by Berel the son of Abraham Neumark of Hamburg.
Online Since: 03/22/2017
The special feature of this Esther scroll (on 4 sheets with 16 columns of text) are the detailed illustrations of the Book of Esther with the inclusion of motifs from the Midrash literature. These testify to a good knowledge of the Bible and the rabbinical commentaries. The depiction of Jews in festive dress with barrette and white ruffled collar (“Judenkragen”) points to a Western European milieu. In fact, the roll was created in Amsterdam. The scribe of this early and prototypical megillah with a printed decorative frame, Jacob from Berlin, wrote his name in the opening panel and dated the manuscript to the 18th century.
Online Since: 10/08/2020
This scroll (on five sheets with 13 columns of text) opens with an impressive sun disk surrounded by the signs of the zodiac. The month of Adar is particularly emphasized, since it was in this month under the sign of Pisces that the extermination of the Jews took place. Each column begins, if possible, with the word ha-melech (the king), which designates the king Ahasuerus in the Book of Esther, but is also an allusion to the never explicitly mentioned and yet omnipresent God. The silver case from around 1800 is crowned by a bouquet of flowers and leaves, which can be found in a similar way on Torah finials (rimmonim) and other Judaica metalwork of the Ottoman Empire.
Online Since: 10/08/2020
This Esther scroll was created in Amsterdam around 1641 (on 7 sheets and 49 columns of text); it contains a printed decorative frame engraved by Shalom Italia (see his signature at the beginning of the scroll “Salom Italia sculp[sit]” (Shalom Italia engraved it). His frame designs influenced illustrated megillot throughout Europe. The printing plate, which is repeated several times over the entire length of the scroll, comprises four archways. On each pierced semicircular arch, above the architraves there are two women holding palm fronds. Landscape miniatures appear in the supraports and on the bases of the full-length figures representing Ahasuerus, Esther, Mordecai, and Haman. The scenes are based on contemporary landscape motifs, thus linking the Jewish text with the general visual culture of its time.
Online Since: 10/08/2020
The printed frame design for this Esther scroll (on four sheets with 15 columns of text) was created by the engraver Paul-Jean Franck, a non-Jewish artist in Prague; it is thus one of the rare examples of this type that does not originate from the two printing centers of Venice or Amsterdam. A total of seven episodes from the Book of Esther are presented in vertical order at the beginning and end of the scroll. At the beginning: Ahasuerus on the throne, while Mordecai and Haman are led past; Mordecai hands Hatach the decree of destruction; the king in the tent. At the end: the celebration of Purim; the accusation of Haman by Esther; Mordecai and the king; Mordecai as he records the establishment of the Purim festival in a letter to the Jews. Above the spiral columns' capitals, further scenes are represented.
Online Since: 10/08/2020
Created at the beginning of the 20th century, this Esther scroll (on six sheets with 35 columns of text) could be seen as an attempt to create a national Jewish style by incorporating orientalist and Art Nouveau elements. The origin could therefore be Jerusalem, although other centers in the Ottoman Empire could also be considered. The case is artfully carved from ivory, the megillah was painted in vivid colors and contains floral motifs, as often found in oriental manuscripts.
Online Since: 10/08/2020
The decorative program of this Esther scroll (on 4 sheets with 16 columns of text) was taken from the printed frame design of the Braginsky Megillah S25. The benedictions at the beginning of the scroll are surrounded by figures and episodes of the Esther story: at the top Ahasuerus and Esther on the throne flanked by courtiers; below on the right the conspirators and on the left Haman on the gallows; at the bottom on the right Mordecai in the gate of the palace and on the left Esther and Mordecai writing letters with the orders for the Purim feast. The hexagonal case of chased silver was made in 1806 and belonged to Rabbi Ephraim Fischel of Rozdol in Eastern Galicia.
Online Since: 10/08/2020
This scroll contains one of the most finely executed series of illustrations to be found in decorated megillot (sing. megillah). The highly accomplished artist Wolf Leib Katz Poppers has modeled detailed figures, scenes, and animals with delicate parallel and cross-hatched pen strokes, creating an effect that is strikingly similar to the copperplate engravings of contemporary books. Positioned between a foliate border with animals at the top and a similar one with birds at the bottom, text columns are interspersed with eight elegant full-length characters from the Esther story. Below each of these figures is a small vignette that chronicles the Purim story. It is unusual that the skillfully drawn figures that embellish this scroll are dressed in Ottoman-court clothing. The choice of this type of dress is intriguing, and perhaps the most cogent reason for this combination is that the scroll was produced for a member of a small, affluent community of Turkish Jews who, after 1718, were permitted to live and trade freely in Vienna, while still remaining subjects of the Sultan of Turkey.
Online Since: 10/13/2016
This Esther scroll, which combines Indian and Western traditions in a unique way, contains twenty elaborately illustrated panels flanking the text columns. The reader is shown surrounded by men wearing fezes and children holding drums used as noisemakers to drawn out the name of Haman. Additionally, a group of five women is portrayed in a separate space above labeled ezrat nashim (woman's section). The figures in the scroll are depicted in a mixture of contemporary, Western and non-Western clothing, and often are seated in interiors that portray a similar blend of furnishings. Some of the women, including Esther at times, are shown with a Hindu bindi sign on their foreheads. This scroll comes from the collection of the eminent Sassoon family of Baghdadi Jewish descent. It was most likely created for their personal use. The merging of Jewish scribal traditions and Indian artistic design reflects the Sassoon family's deep involvement in the cultural life of India.
Online Since: 12/20/2016
This hand-written megillah Esther from Venice (type: “Gaster I”, on three sheets with text in 19 columns, all but the last one arranged in pairs), is decorated with a printed and hand-colored decorative border; it can be dated circa 1675 based on almost identical Esther rolls that are dated. This decorative technique was first used in Rome in the late 16th century and later, especially in the 18th century, was widely used in Venice and Amsterdam. Polylobed cartouches below and above the text depict scenes from the Book of Esther.
Online Since: 10/08/2020
In contrast to most Esther scrolls, the first two decorative fields of this megillah emphasize the central importance of Mordecai. First there is written, in burgundy letters: “The Scroll of Esther the Queen and Mordecai the Jew” and then in orange letters “In the fortress Shushan lived a Jew by the name of Mordecai, son of Jair son of Shimei son of Kish” (Esther 2:5). This genealogy is traced back to Abraham on the borders along the top and bottom of the entire scroll. This is followed by the lineage of the opponent Haman, which was taken from the Targum Riscon, the Aramaic translation of the original Hebrew text.
Online Since: 10/08/2020
Cut-out decors are typical for Esther scrolls from Ancona and Lugo. These can also be found on ketubbot (see K96 and K105) and other decorative sheets. The upper ribbon of cutout designs on this megillah (on three leaves with 12 columns of text) has peacocks, butterflies and deer interwoven with flower, tendril and latticework ornaments, while the lower one shows the signs of the zodiac. The turned wooden roller is 54.8 cm high.
Online Since: 10/08/2020
By its style, the case of this megillah (h: 47cm) can be attributed to religious Jewish art of Eastern Europe. The silver is punched, chased, cast and partially gilded. The double-headed eagle is the heraldic animal of the Habsburgs and of the Russian Tsar. On the shield is a quote from Esther 8:16: “But unto the Jews there came a light and joy and gladness and glory”, and the flags flanking the shield are inscribed: “And the royal crown shall be set upon his head” (Esther 6:8). Numerous of flower, fruit and leaf ornaments, interspersed with representations of animals, cover the case. The scroll can be pulled out by a clasp in the shape of a small lion.
Online Since: 12/10/2020
The opening panel of this megillah (on 4 leaves with 34 columns of text) shows a rampant lion with a palm frond, surrounded by four birds and insects. Above it, an inscription gives the name “Salomon Marinozzi”, presumably the original owner. To its right, a cartouche containing the name of his son as owner, was probably added later: “This scroll belongs to Mordecai, son of Solomon Marinozzi of blessed memory, and it was bought by Solomon […] in the year 1652.”
Online Since: 12/10/2020
Influenced by the Islamic culture of North Africa, this megillah (on three sheets with 19 columns of text) dispenses with figurative representations and uses the formal language of Islamic art with its manifoldly varied ornaments. The text is adorned by an arcade that extends over the entire scroll. The decoration most closely resembles that of some ketubot from the city of Meknes in Morocco.
Online Since: 12/10/2020
This megillah (on three sheets with 10 columns of text) is from Eastern Europe and was probably created at the beginning of the 20th century. The elaborate case was made by Ezekiel Joshua Maisels in 1913 in Dolyna in Galicia (today Western Ukraine). It is covered with carved images, ornaments and Hebrew inscriptions, and contains scenes from the Purim story at the bottom and from the hanging of Haman in the upper part. In the central part, the crown (keter malchut), symbol of royal rule, is held by two winged lions. The double-headed eagle refers to the Habsburg Empire.
Online Since: 12/10/2020
The text on this Esther scroll (on 5 sheets with 42 columns of text) is written in unusually narrow columns, set in golden frames on a greenish background. The hexagonal case made of cast, chased, engraved and granulated silver bears the silver hallmarks of the city of Rome and of the manufacturer Giovanni Battista Sabatini from 1778 to 1780. The initials alef, resh and samech refer to the patron and to the owner. What is unusual is that in this case, the complete original set of scroll, case and leather box has been preserved.
Online Since: 12/10/2020
The calligrapher and artist Arje Leib ben Daniel, who created this megillah (on three sheets with 12 columns of text and a separate sheet with blessings), came from Goraj near Zamość in Lesser Poland. A total of 28 of his megillot have been preserved, eight of which are signed and dated by him. This so-called ha-melech scroll, where each individual column begins with ha-melech ("the king"), was created in Venice in 1748, with the sepia drawings typical of Leib ben Daniel. Influences of Salom Italia's border designs as well as of Eastern European folk art can be discerned. The artist's name in the inscription was later replaced by that of Judah Capsuto, who gave the scroll to Ephraim Isaac Capsuto as a Purim gift.
Online Since: 12/10/2020
Salom Italia (about 1619, Mantua – 1655, Amsterdam) divided the text into 30 columns (on four sheets) and placed them in the openings of massive rustica portals. In the niches between these portals, representations of King Ahasuerus and Queen Esther alternate. On the pedestals there are 29 pictures telling the story of the Book of Esther. Salom Italia's design of the Esther roles, of which a total of eleven works have survived, was of great influence. This megillah is one of three Esther scrolls decorated with pen drawings, which may have served as a model for the copper-engraved borders designed by the same artist.
Online Since: 12/10/2020
This work is dated to the 3rd Adar of the year 5324 (15 February 1564) in Venice and is thus the earliest dated example of a fully decorated Esther scroll. It was made by Stellina and therefore contains the only early modern megillah that we know to have been created by a woman. The scroll begins with blessings. These are followed by the text, which is placed between arcades. The columns of text are flanked by caryatids carrying antique vases, urn vessels or oil lamps on their heads. In the seventh, thirteenth and nineteenth arcade, the caryatids are replaced by a satyr and a woman with animal paws. All illustrations include gold highlights. The style and motifs correspond to the visual language of contemporary mannerism.
Online Since: 12/10/2020
The Zurich armorial on parchment is one of the most important and most unusual documents of medieval heraldry. Today it consists of four parts of various lengths, which can be combined into one four-meter-long roll. Painted on both sides of the parchment, it depicts 559 coats of arms, each shield decorated with a crest, of high and lower nobility from Northern Switzerland, Southern Germany and Western Austria. Names are given next to each shield. In addition there are 28 flags of German bishoprics and monasteries. The order of these four remaining parts, which consist of thirteen parchment leaves that were sewn together, is as follows: Part I (36.5 cm) contains the coats of arms of the bishoprics and monasteries on the verso side (Merz-Hegi numbering: I-XXVIII; the numbering in the original is from the 16th/17th century) and 22 noble coats of arms on the recto side (1-22). Parts 2 and 3 (255.5 cm) were still sewn together in 1930. Part 2, consisting of four parchment leaves, contains the coats of arms 23-104 and 108-114 on the recto side and the coats of arms 214-220, 224-308 on the verso side. Part 3, consisting of three parchment leaves sewn together, contains the coats of arms 105-107, 115-162 on the recto side and the coats of arms 163-213, 221-223 on the verso side. Part 4 (109 cm), consisting of five parchment leaves sewn together, contains the coats of arms 309-378 on the recto side and the coats of arms 379-450 on the verso side. The armorial is incomplete. The missing fourth part should have contained another 109 coats of arms, which are known from a late 18th century copy of the roll. The armorial was probably created in Zurich or in the area of Lake Constance. It can be dated to the period between 1330 and 1345. The style of the workmanship is reminiscent of the famous Codex Manesse, a collection of poems in German with 137 miniatures, also created in Zurich, but somewhat older. The Zurich armorial was owned by Zürich historian and naturalist Johann Jakob Scheuchzer (1672–1733); later it became part of the collection of the Antiquarian Society of Zurich and then of the Swiss National Museum.
Online Since: 12/18/2014
Small book of hours in Latin, very much cut, containing the Seven Psalms, the Cursus beate virginis Marie, the Office of the Dead, the Cursus de passione Domini and various prayers. The decoration consists of various initials with wine scroll ornamentation and one full page miniature (5v) - unfortunately partially damaged - which depicts an Ecce homo with the donor kneeling in front of it with his coat of arms to his right. Mention of the indulgence of Popes Gregory and Callixtus III (1455-1458) (f. 139) makes it possible to narrow the date to the second half of the 15th century, while the style of the book decoration suggests an origin in Southern Germany, perhaps in Augsburg, in the circle of the book illustrator Johannes Bämler.
Online Since: 06/23/2014
This Rituale originated in the Monastery of Münsterlingen (Canton of Thurgovia); it contains a collection of sermons and chants sung by the nuns for processions in the monastery, followed by a long requiem (54v-72v). The latter is introduced by a miniature depicting St. Michael weighing the souls of the dead. The rubrics are written partly in German and partly in Latin. The style of the three initials in the text is associated with the area of Lake Constance. During a restoration around 1973, two sheets of parchment, which originally were glued to the inside cover of the binding, were removed; they come from an lectionary in pre-caroline minuscule, that can be dated to the beginning of the 9th century (Mohlberg: 11th. century).
Online Since: 04/09/2014
Breviary in two volumes, created in 1493 for Jost von Silenen († 1498), the Bischop of Sion from 1482 until his dismissal in 1497. Richly decorated, the miniatures are the work of an itinerant artist active in Fribourg, Bern and Sion during the final decades of the 15th century and known by the name Master of the breviary of Jost von Silenen. At the beginning of the 16th century, he continued his work in Aosta and Ivrea, where he took the name Master of George of Challant.
Online Since: 12/20/2016
Breviary in two volumes, created in 1493 for Jost von Silenen († 1498), the Bischop of Sion from 1482 until his dismissal in 1497. Richly decorated, the miniatures are the work of an itinerant artist active in Fribourg, Bern and Sion during the final decades of the 15th century and known by the name Master of the breviary of Jost von Silenen. At the beginning of the 16th century, he continued his work in Aosta and Ivrea, where he took the name Master of George of Challant.
Online Since: 12/20/2016
Leaf from a calendar — the months January and February — from a liturgical manuscript (Psalter? breviary?). The calendar was inserted into a cornice resembling arcades. For the month of January, the figure of St. Peter with his keys is depicted at right, while a medallion at the top shows an activity typical for this month: a man warming himself by a fire. For February, there is St. Matthias and in the medallion at the top a man trimming a tree in order to obtain wood. Signs of a central fold reveal that the leaf had been used as a cover, probably for a book.
Online Since: 12/20/2016
The first part (1-XX) of this illuminated manuscript on paper contains images of members of the House of Habsburg, kneeling in pious posture, represented with their respective coats of arms. These images reproduce those of the stained glass windows (1325-1340), now partially lost, of the church of Königsfelden Monastery (AG), donated in honor of Albert I of Habsburg (murdered in 1308) by his widow Elizabeth. The prototype of this dynastic cycle of pictures is the Ehrenspiegel des Hauses Österreich, which was commissioned between 1555 and 1559 by Johann Jakob Fugger in Augsburg. Several other copies thereof exist in Vienna (ÖNB, Cod. 8614), Munich (BSB, Cgm 895 and Cod. icon. 330) and Lucerne (ZHB Ms. 124 fol.). The second part (XXI-203) contains portraits of knights in armor with their respective coats of arms, who, along with Leopold III, died in the Battle of Sempach (1386).
Online Since: 04/09/2014
This parchment contains a rare example of a letter of protection. The numerous folds indicate that the sheet was folded into a very small format in order to be easily carried. The letter promises protection against enemies, assistance from friends and gratification of desires. Red crosses and initials structure the Latin and German text, which contains a mixture of Christian and magical content made up of complete sentences and single letters. This letter of protection was probably written for a certain Greta, named in line 54 of the text. This paper, archived as an “amulet” was found among the documents of the noble family Wellenberg in 1701.
Online Since: 04/09/2014
Fragment of an official document from the Republic of Venice; it contains an illuminated page and a part of the index of the “commissione” of Cristoforo Duodo, procurator of San Marco de ultra from 1491 until 1496. After the doge, the procurators held the highest office in the Serenissima; upon their election, they had capitularies drawn up, usually illuminated, containing their oath and the list of their “commissione,” i.e., of the specific tasks to which they committed themselves by their oath. This fragment follows 21 commissions of Venetian procurators from the 15th century; it is distinguished from the others by its illumination, which is attributed to a high-level Venetian master trained in the circle of Leonardo Bellini, and also by the rare depiction of the patron saint of not only the procurator, but also his wife.
Online Since: 12/20/2016
This gradual is from the Dominican Convent St. Katharinental and represents one of the most important artworks of the Gothic period in Switzerland. Created around 1312 in the convent itself, it was probably illuminated in the area around Lake Constance. It contains more than 80 pen-flourish initials, more than 60 historiated initials and 5 I-initials, which consist of several historiated medallions. Several pieces of the last two I-initials, whose medallions were cut out and sold separately, are known today; they are dispersed among various museums and libraries. In addition to the initials, in the floral friezes there are represented numerous kneeling and praying Dominican nuns as well as other secular donors (e.g., 3v, 18v, 90r, 159v, 161r etc.). Until the 19th century, the gradual was in use in the convent; around 1820 it was ceded to an antiquarian book dealer in Konstanz, Franz Joseph Aloys Castell (1796-1844). After 1860 it was owned by the English collectors Sir William Amherst of Hackney and Sir Charles Dyson Perrins (1864-1958). Upon the death of the latter, his library was offered for sale through Sotheby's, and the manuscript was purchased by the Swiss Confederation with the support of the Gottfried Keller-Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment of page f. 158a verso from the gradual of St. Katharinental, which was removed in the 19th century, and the miniatures from which were sold separately. The initial A shows Christ bestowing a blessing with John the Evangelist, who is resting his head on Christ's knees; kneeling at their feet is a praying Dominican monk, in the frieze at the side, a Dominican nun. Below the initial there used to be a frame (today in Zürich, Swiss National Museum, LM 29329.2) with a painting of the Madonna of the Apocalypse accompanied by John the Evangelist, while two kneeling Dominicans pray under two arcades. Originally the same leaf also had an initial V (today in Vienna, Graphische Sammlung Albertina, Inv. Nr. 32434) with a very detailed representation of the Maiestas Domini and of the Last Judgement. The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment of page f. 158a verso from the gradual of St. Katharinental, which was removed in the 19th century, and the miniatures from which were sold separately. It shows the Madonna of the Apocalypse, accompanied by John the Evangelist, while two kneeling Dominicans pray under two arcades. The frame was placed below an initial A (today in Zürich, Swiss National Museum, LM 29329.1), which shows Christ bestowing a blessing with John the Evangelist, who is resting his head on head on Christ's knees; kneeling at their feet is a praying Dominican monk, in the frieze at the side, a Dominican nun. Originally the same leaf also had an initial V (today in Vienna, Graphische Sammlung Albertina, Inv. Nr. 32434) with a very detailed representation of the Maiestas Domini and of the Last Judgement. The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment with a representation of the crucifixion, from an I-initial. This initial consisted of several medallions and decorated page f. 87a of the gradual of St. Katharinental. In the 19th century, this leaf was removed from the gradual, and the medallions were sold separately. Of the 9 or 10 medallions that originally made up the body of the letter I, there are known today, in addition to this one, medallions with the following scenes: the Last Supper (Zurich, Swiss National Museum, Inv. LM 71410), the Arrest of Christ (Nürnberg, Germanisches Nationalmuseum, Inv. Mm. 34 kl), Christ before Pilate (Zurich, Swiss National Museum, LM 55087), the Crowning with Thorns (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15932), the Bearing of the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 14312) and the Descent from the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15933). The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
One of six parchment leaves from a book of hours, written in bastarda and datable to the second half of the 15th century. It contains illuminated initials, executed in gold on a background alternating between blue and pink; ornamental vine scrolls, sketched in pen and decorated with trifoliate leaves, extend from the initials to the margin. One of the fragments (no. 5) contains a part of the Litany of the Saints.
Online Since: 06/23/2016
One of six parchment leaves from a book of hours, written in bastarda and datable to the second half of the 15th century. It contains illuminated initials, executed in gold on a background alternating between blue and pink; ornamental vine scrolls, sketched in pen and decorated with trifoliate leaves, extend from the initials to the margin. One of the fragments (no. 5) contains a part of the Litany of the Saints.
Online Since: 06/23/2016
One of six parchment leaves from a book of hours, written in bastarda and datable to the second half of the 15th century. It contains illuminated initials, executed in gold on a background alternating between blue and pink; ornamental vine scrolls, sketched in pen and decorated with trifoliate leaves, extend from the initials to the margin. One of the fragments (no. 5) contains a part of the Litany of the Saints.
Online Since: 06/23/2016
One of six parchment leaves from a book of hours, written in bastarda and datable to the second half of the 15th century. It contains illuminated initials, executed in gold on a background alternating between blue and pink; ornamental vine scrolls, sketched in pen and decorated with trifoliate leaves, extend from the initials to the margin. One of the fragments (no. 5) contains a part of the Litany of the Saints.
Online Since: 06/23/2016
One of six parchment leaves from a book of hours, written in bastarda and datable to the second half of the 15th century. It contains illuminated initials, executed in gold on a background alternating between blue and pink; ornamental vine scrolls, sketched in pen and decorated with trifoliate leaves, extend from the initials to the margin. This fragment contains a part of the Litany of the Saints.
Online Since: 06/23/2016
One of six parchment leaves from a book of hours, written in bastarda and datable to the second half of the 15th century. It contains illuminated initials, executed in gold on a background alternating between blue and pink; ornamental vine scrolls, sketched in pen and decorated with trifoliate leaves, extend from the initials to the margin. One of the fragments (no. 5) contains a part of the Litany of the Saints.
Online Since: 06/23/2016
Parchment fragment from a Book of Hours of French origin, which contains a part of the Office of the Virgin.
Online Since: 06/23/2016
Leaf from a calendar (the month of January, divided on two pages), from a small-format liturgical manuscript, probably a breviary. The calendar entry for January 11th for the feast day obitus Tercii regis. Duplex, which commemorates the Magi, suggests that the calendar was used in the diocese of Cologne. The book decoration draws on Italian illumination (from Padua and Ferrara) customary in the second half of the 15th century.
Online Since: 06/23/2016
Fragment with a depiction of Christ before Pilate, from an I-Initial. This initial consisted of several medallions and decorated page f. 87a of the gradual of St. Katharinental. In the 19th century, this leaf was removed from the gradual, and the medallions were sold separately. Of the 9 or 10 medallions that originally made up the body of the letter I, there are known today, in addition to this one, medallions with the following scenes: the Last Supper (Zurich, Swiss National Museum, LM 71410), the Arrest of Christ (Nürnberg, Germanisches Nationalmuseum, Inv. Mm. 34 kl), the Crowning with Thorns (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15932), the Bearing of the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 14312), the Crucifixion (Zurich, Swiss National Museum, LM 45751) and the Descent from the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15933). The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
Fragment with a representation of the Last Supper, from an I-initial. This initial consisted of several medallions and decorated page f. 87a of the gradual of St. Katharinental. In the 19th century, this leaf was removed from the gradual, and the medallions were sold separately. Of the 9 or 10 medallions that originally made up the body of the letter I, there are known today, in addition to this one, medallions with the following scenes: the Arrest of Christ (Nürnberg, Germanisches Nationalmuseum, Inv. Mm. 34 kl), Christ before Pilate (Zurich, Swiss National Museum, LM 55087), the Crowning with Thorns (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15932), the Bearing of the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 14312), the Crucifixion (Zurich, Swiss National Museum, LM 45751) and the Descent from the Cross (Frankfurt am Main, Städelsches Kunstinstitut, Inv. Nr. 15933). The fragment belongs to the Swiss Confederation, the Gottfried Keller Foundation and the Canton of Thurgau.
Online Since: 03/22/2017
The Housebook of the Lords of Hallwil, also known as Turnierbuch, is a combination of family chronicle, tournament book and book of heraldry. This paper manuscript from the second half of the 16th century probably replaces an older copy. On the inside of the cover are found the large coats of arms of Burkhart von Hallwil and his two wives Judith von Anwil and Margaretha von Löwenberg. Pp. 4-10 contain a late version of the poem Ring von Hallwil, a saga about the endangerment and saving of the inheritance of the Hallwils. On pp. 11-17 there follow texts about family history and then a second, older version of the poem Ring von Hallwil (pp. 19-21). After a number of empty pages, there are six empty crests (pp. 48-50), meant for the three brothers Thüring I von Hallwil († 1386) und Katharina von Wolfurt, Walter V († after 1370) and Herzlaude von Tengen, “Hemann” (Johannes IV, † 1386) and Anna vom Hus. On p. 51 there is a view of the ancestral home of the Hallwil family. It is followed by pictures of Caspar (p. 54) and Burkhart von Hallwil (p. 55), scenes from tournaments (pp. 56-59), and images relating to the Ring von Hallwil (pp. 60-66). At the end of the manuscript, there are more coats of arms of the Lords of Hallwil and their wives (pp. 68-96), the last ones only sketched out but not completed (pp. 97-118). The manuscript was donated to the Swiss National Museum in 1907 by Count Walther von Hallwil, the last occupant of the castle, and his wife Wilhelmine. A second version is held by the Basel University Library (Ms. H I 10).
Online Since: 04/09/2014
Autographic collected manuscripts from the collection of the traveling monk of St. Gall, Gallus Kemli († about 1481) containing numerous texts, some composed by Kemli himself, others transcriptions, among them the index of his private library. Kemli spent 30 years outside of his mother monastery at St. Gall, with the authorization of the abbot, sojourning in cities and towns of Switzerland and Germany.
Online Since: 04/26/2007
One of the two oldest (fifteenth-century) extant copies of the Nüwe Casus Monasterii Sancti Galli, originally written by Christian Kuchimaister in about 1335. Kuchimaister, a citizen of the city of St. Gall, relates here the history of the abbey (and some history of the city) of St. Gall between 1228 and 1329. Kuchimaister's chronicle is one of the most important sources for the history of the Lake Constance area in the 13th and early 14th centuries.
Online Since: 12/20/2007
Categorically organized compilation of expenditures of the monastery of St. Gall under Abbot Otmar Kunz (1564-1577) as well as collections of notes about the monastery of St. Gall from the 15th century until 1630.
Online Since: 12/20/2007
Collection of doctrinal theology lessons from the biography of Saint Gallus, which could be used to rebut protestant arguments. Author: a St. St. Gall monk of the 16th or 17th century. At the back: a diatribe against the Zurich Catechism, from about 1598.
Online Since: 12/20/2007
The St. St. Gall monk and cloister librarian P. Hermann Schenk (1653-1706) translated three works from French into Latin in or about the year 1700: the Historia omnium conciliorum generalium by Jean-Baptiste Truillotte and two texts of the famous French monk and scholar Jean Mabillon (1632-1707): Syllabus praecipuarum difficultatum quae in lectione conciliorum et sanctorum patrum occurrunt and Epitome historiae ordinis Sancti Benedicti.
Online Since: 12/20/2007
Collection of the names of persons from the region near the baronial Abbey of St. Gall who converted to Catholicism between 1640 and 1697 (List of Converts), organized by village (primarily those of the Toggenburg and the Rhein valley.
Online Since: 12/20/2007
Introduction to ecclesiastical law, (most likely) composed and set into writing in the year 1655 by the St. St. Gall monk Chrysostomus Stipplin (1609-1672).
Online Since: 12/20/2007
Interleaved almanac from Constance, containing a register of expenditures by an official from the Abbey of St. Gall, (possibly Gall Anton of Thurn), with entries for specific expenditures for the organ in the Otmar Church of the monastery of St. Gall, for an altar in Goldach, etc., around 1706.
Online Since: 12/20/2007
Catalog of the miracles on the altar of Saint "Maria in Gatter" (St. Mary at the Gate) in the St. Gallen cloister church, from between about 1470 and 1520. Transcription by the St. St. Gall monk P. Jodocus Metzler (1574-1639) from the year 1608.
Online Since: 12/20/2007
This richly illustrated “Historienbibel” (history Bible) from the workshop of Diebold Lauber belongs to edition IIa of the text (following Vollmer). For the Old Testament, it contains a prose version of the Weltchronik by Rudolf von Ems; for the New Testament, it contains a prose version of the Marienleben by Bruder Philipp. The cycle of illustrations, richer in comparison to sister-manuscripts, can be attributed to the illuminators of Group A, active in the Lauber workshop during the 1430s.
Online Since: 04/09/2014
The St. Gallen Passionarius Maior, or Great Passion, a collection of 92 legends of the saints assembled by monks of St. Gall from the time around 900, supplemented with annotations and glosses by the St. St. Gall monks Notker Balbulus († 912) and Ekkehart IV. († about 1060).
Online Since: 04/26/2007
The so-called "Zürcher Psalter" (Zurich Psalter) or "St. Galler Psalter" (St. Gallen Psalter), written and decorated in the scriptorum of the monastery of St. Gall, with numerous initial capitals as well as with the oldest extant artistically sophisticated miniature found in the St. Gallen manuscripts, from about 820/830. Includes appended All Saints Litany and computational tables and diagrams. Used daily by the monks in the liturgy of the hours.
Online Since: 04/26/2007
The St. Gallen "Sacramentarium triplex" (three part sacramentarium: Sacramentarium Gregorianum, Sacramentarium Gelasianum, Sacramentarium Ambrosianum), which contains texts for the main prayers of the eucharistic liturgy, used by priests when saying Mass on various feast days and memorial days, not only for the Roman and the Roman-Gallic liturgies, but for the Milanese liturgy as well. A scholarly masterwork by the St. St. Gall monks from the tenure of Abbot-Bishop Salomon (890-920).
Online Since: 12/20/2007
A facsimile has been published with the title Vom Einfluß der Gestirne auf die Gesundheit und den Charakter des Menschen, emphasizing the most important, astrological aspect of the work. Human beings and the cosmos are closely connected, and the seven planets – Saturn, Jupiter, Mars, the sun, Venus, Mercury and the moon – have an immediate effect on people. The manuscript, richly decorated with pictures, was commissioned by Erasmus and Dorothea Schurstab from Nuremberg (1v donation picture with coat of arms and depiction of the Crucifixion on a gold background). In 1774 Johann Jakob Zoller from Baden donated the manuscript to the City Library of Zürich, which was founded in 1629.
Online Since: 06/09/2011
(Fragmentary manuscript remnant) Elaborate lectionary with the Epistles and Gospel readings for the full church year, written and decorated with prominent initial capitals by contemporaries of Sintram in about 900/910 in the monastery of St. Gall.
Online Since: 04/26/2007
Manuscript compilation containing, among other items, a copy of the epic Thebaïs (the Tales of Thebes) by the Roman poet Publius Papinius Statius († about 95 A.D.), written down and annotated with Scholien (commentaries) in the 11th century in the monastery of St. Gall. The volume also contains copies of two brief grammar texts from the 12th century, together with 10th century copies of computational tables and instructions as well as assorted excerpts from the works of the Venerable Bede († 735), set in writing in the 10th century.
Online Since: 12/20/2007
One of the most important extant copies of the Institutiones oratoriae (The Art of Rhetoric) by the Roman rhetorician Quintilian († after 96 A.D.). This work, influential to the present day, depicts in twelve books the education of an orator from his earliest youth through to the completion of training; the goal is the development of an unimpeachably ethical orator who places speaking skills at the service of humanity. This St. Gall copy dates from the early 11th century, with glosses and annotations added by, and – in the case of the last few books – also written by the St. St. Gall monk Ekkehart IV († about 1060).
Online Since: 12/20/2007
Elaborate lectionary from the monastery of St. Gall, written and enhanced with numerous ornate initial capitals by a contemporary of the famous St. Gallen scribe Sintram about 900/910, the same scribe who wrote and illuminated Ms. C 60 held by the Central Library of Zurich. This work, also known as the "Liber Comitis", contains the cycle of liturgical Epistle and Gospel readings for the Church year.
Online Since: 04/26/2007
Manuscript compilation from the monastery of St. Gall containing a number of assorted brief texts from the 9th through 15th centuries. Among other items from the 9th century, this manuscript contains the sole exemplar of a document explaining the reasons for the meeting between King Charlemagne and Pope Leo III, the "Aachener Karlsepos " (Carolingean Epic of Aachen or Paderborn Epic) in 799 as well as another sole exemplar, the so called "Carmina Sangallensia", verses on the wall paintings in the former Gallusmünster (Church of St. Gallus) in the monastery of St. Gall. Further components of this manuscript include theological-canonical treatises as well as sermons from the 14th and 15th centuries.
Online Since: 12/20/2007
Manuscript compilation containing texts from the 9th through 13th centuries from the monastery of St. Gall. Among them are important copies of works from Alcuin of York († 804; including De dialectica and De rhetorica et virtutibus). Between the two named texts by Alcuin is a full page pen and ink sketch representing the Maiestas Domini, interpreted by art historian Anton von Euw as a reproduction of the now lost cupola mosaic of the Aachen cathedral. The opening text is a copy of 13th century canonical texts by Bishop Sicardus of Cremona (about 1150-1215; Super decreta).
Online Since: 12/20/2007
Compilation of numerous Latin writings of the St. St. Gall monk Notker the German († 1022), among them the works Distributio (concerning the boundary between grammar and logic), De dialectica and De rhetorica. Produced in the monastery of St. Gall in the first half of the 11th century.
Online Since: 04/26/2007
Paleographically significant copy of the Alexandreis by Walter of Chatillon, produced in the 14th century in the monastery of St. Gall. This long but much-read work by the French theologian Gautier of Chatillon (1135-1201) depicts the life of Alexander the Great in Latin hexameter. The manuscript later served as the basis of an "Edition" by the St. St. Gall monk Athanasius Gugger (1608-1669), entitled "Gualterus de Castellione Phil. Alexandris sive gesta Alexandri magni libris X comprehens ex veteribus manuscriptis bibliothecarum S. Galli", printed in 1659 by the St. Gallen cloister press.
Online Since: 12/20/2007
Manuscript compilation by the wandering monk of St. Gallen, Gall Kemli († 1481) with a wide variety of copied texts and original compositions in Latin and German languages (Diversarius multarum materiarum), for instance: recipes for medicines, instructions in liturgical song, exorcism, scribal rules, indulgences, etc. Affixed into the manuscript are twelve colored single page prints from the 15th century, which are valuable–in some cases unique–exemplars in the history of European printing.
Online Since: 04/26/2007
Lectures of the St. Gallen reformer Joachim Vadian from 1523/24: a) on the Lives of the Apostles and, b) on his geographic work Epitome trium terrae habitatae partium, taken down in writing by Fridolin Sicher (1490-1546) of Bischofszell, who worked at the Cloister of St. Gall as calligrapher and church organist.
Online Since: 12/20/2007