The Sefer Nizzaḥon Yashan is the name of an anonymous anthology of arguments against the Christological interpretation of biblical verses, supplemented by critique of the Gospels and Christian doctrines and morals. Composed in Franco-Germany circa 1300, most confutations are based on polemical themes and criticisms of Christian faith which were disseminated in Jewish circles in medieval Ashkenaz and northern France. There are few extant editions and manuscripts of this work, one of which is the Basel Nizzaḥon. This manuscript which bears some similarities with the other copies, should nevertheless be considered as an indirect, yet important witness to Jewish apologetic from medieval Franco-Germany. (iss)

This handwritten Haggadah Comites Latentes 69 was created in Vienna in 1756. It is decorated with black ink and masterfully imitates copper engraving. The author is the famous scribe and illustrator Simmel ben Moses from Polna (active between 1714 and 1756), who produced about thirty dated manuscripts that have survived until today, of which, however, only 17, including CL 69, are autographs. His works of art are among the most remarkable examples of Hebrew manuscript decoration in 18th century Central Europe. The Song of Solomon, copied by later hands, concludes this magnificent manuscript. (iss)

This medieval Hebrew lexicographical and scientific miscellany dates back to 1290 and encloses three highly important texts, used as the base for published editions and studies. These are: the Maḥberet Menahem by Menahem ben Jacob Ibn Saruq (died c. 970); an anonymous Hebrew prose translation of the very popular Old French version of the lapidary by Marbode of Rennes (12th c.) and lastly, an anonymous abridged version of the talmudic and midrashic lexicon entitled Sefer ha-Arukh by Natan ben Yehiel Anav of Rome (1035-1110), called the Berner Kleiner Arukh. The particularity of this copy is the presence of Old West Yiddish and Old French glosses. Furthermore, among the numerous later notes, there are more significant additions which abound in the blank pages and margins of the manuscript, the most unusual of which is a charm in Middle High German in Hebrew characters, relative to Hulda, a German goddess comparable to Venus, taken from the Tannhäuserlied. Moreover, this manuscript belonged to several famous Jewish and Christians owners, whose scriptural witness testifies to the manuscript's remarkable stature as a treasured source of knowledge from the time it was compiled at the end of the 13th century, to its possession by Christian Hebraists in Switzerland during the 16th and 17th centuries. (iss)

This manuscript contains the seven chapters of the aphorisms of Hippocrates in the Hebrew translation of Hillel ben Samuel of Verona (ca. 1220 – ca. 1295); in contrast to other extant translations, it is based on the Latin translation of Constantinus Africanus († before 1098/99) rather than on the Arabic translation from the Greek. The translation is accompanied by the commentary of Moses ben Isaac da Rieti (1388 - after 1460), Chief Rabbi of Rome and poet. His commentary is based largely on the commentaries of Moses Maimonides (1138 - 1240) and of Galen of Pergamum (second century AD). This manuscript preserves the first of two well-known versions of the commentary. The dating is based on the identification of the watermark in the paper. (red)

The fast day Yom Kippur Katan has its origin in the holiday of Rosh Hodesh, which in biblical times marked the first day in the lunar calendar on which the crescent moon was visible after a new moon. This day, when work originally was not allowed, later, through the compilation of the Talmud, developed into a minor festival. The mystics of Safed in Upper Galilee turned Rosh Hodesh into a fast day and developed a liturgy based on penitential prayers for Yom Kippur ("Day of Atonement"). This gave rise to the name Yom Kippur Katan ("Minor Day of Atonement"). The new custom spread to Italy and finally on to Northern Europe. Similar collections of prayers were particularly popular in the 18th century. In contrast to many others, this exemplar is decorated with an illustrated title page. If Judah Leib ben Meir of Glogau had not identified himself as scribe on this title page, it would probably be assumed to be the work of Aaron Wolf Herlingen of Gewitsch, since the style and the script correspond to his. For the time being, one can only speculate about the connection between Herlingen and the actual scribe Meir. (red)

This Passover Haggadah with a Yiddish translation of the hymn Had Gadya (f. 23r) was copied and illustrated by Nathan ben Simson of Mezeritsch (now Velke Mezirici, Tschechische Republik). It contains, among others, a decorated title page, a cycle depicting ceremonies performed during the Jewish Passover seder, nine text illustrations, and a cycle for the concluding hymn Had Gadya (f. 23r). (red)

This manuscript is a masterpiece of Jewish book art by Aaron Wolf Herlingen, an artist born around 1700 in Gewitsch, Moravia, who worked in Pressburg (now Bratislava), Vienna, and perhaps elsewhere. About 40 manuscripts signed by him are extant today. This manuscript is ornamented with 60 painted illustrations and three word panels with decorated initials. The title page depicts Moses and Aaron on either side of the title. The area below the title shows the Israelites wandering through the desert and manna falling from heaven, alongside Moses, Aaron and their sister Miriam. Such a very unusual depiction of Miriam suggests that this Haggadah was produced for a woman of that name. At the end of the text there are two songs - one in Hebrew, the other in Aramaic - Echad mi-yodea and Had Gadya, with their respective Yiddish translations. (red)

This 14th and 15th century Askhenazi miscellany is a vademecum for personal use, destined to a scholar and composed mainly of halakhic material on ritual slaughtering, reflecting the decisions of the most important rabbinical authorities from 13th to 15th century Ashkenaz. There are also numerous treatises and tables on the Jewish and Christian calendars scattered throughout the manuscript. In addition, there is a selection of liturgical and mystical commentaries, as well as excerpts of ethical, Midrashic and Talmudic literature. The margins of the manuscript are filled with small notes and texts on medical recipes and magical incantations for various occasions in Hebrew and in Old West Yiddish. (iss)