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
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
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
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
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
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
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
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. One of the fragments (no. 5) contains a part of the Litany of the Saints.
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
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
In its first part, the parchment manuscript contains the text that has been named, on the basis of its outstanding cycle of illustrations, the Aurora consurgens. The manuscript also contains numerous other alchemical treatises, for ex. Albertus Magnus on Secreta Hermetis philosophi, Johannes de Garlandia (John of Garland), excerpts from Geber (Jabir ibn Hayyan), the Thesaurus philosophiae and the Visio Arislei. Nine other Aurora-manuscripts are currently known to exist: Berlin Die uffgehnde Morgenrödte, Bologna, Glasgow, Leiden, Vienna, Paris, Prague and Venice. The Berlin manuscript, dating from the early sixteenth century and containing the illustrations as well as the texts in German translation, is closely related to the Zürich Codex.
Online Since: 06/09/2011