Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. In this volume, Sarit Shalev-Eyni considers the Mahzor as a cosmological calendar, while Katrin Kogman-Appel looks at the work of Elisha ben Abraham, known as Cresques, in fourtheenth-century Mallorca. Evelyn M. Cohen discusses a surprising model for Charlotte Rothschild's Haggadah of 1842 and Ronit Sternberg examines sampler embroidery past and present as an expression of merging Jewish identity. Jechezkiel David Kirszenbaum's exploration of personal displacementis the subject of an article by Caroline Goldberg Igra, and the Great Synagogue on Tlomackie Street in Warsaw one by Eleanora Bergman. The Special Item by Sergey R. Kravtsov and Vladimir Levin is devoted to Perek Shirah on a wall of the Great Synagogue in Radyvyliv. The volume also includes book reviews and an appreciation of the life of Alfred Moldovan by William L. Gross. Contributors: Ziva Amishai-Maisels, Professor, History of Art Department, Hebrew University of Jerusalem, Eleonora Bergman, Emanuel Ringelbaum Jewish Historical Institute, Warsaw, Evelyn M. Cohen, Professor, Jewish Theological Seminary (JTS), New York, Caroline Goldberg Igra, Guest Curator, Beit Hatfusot, Tel Aviv, William L. Gross, Collector, Tel Aviv, Katrin Kogman-Appel, Professor, Ben-Gurion University of the Negev, Beersheva, Sergey R. Kravtsov, Center for Jewish Art, Hebrew University of Jerusalem, Vladimir Levin, Center for Jewish Art, Hebrew University of Jerusalem, Sarit Shalev-Eyni, History of Art Department, Hebrew University of Jerusalem, Larry Silver, History of Art Department, University of Pennsylvania, Ronit Steinberg, History and Theory Department, Bezalel Academy of Arts and design, Jerusalem Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 telephone 03 5318413 fax 03 6359241 email [email protected]

Thoroughly updated and revised for 2024, JERUSALEM: THE BIOGRAPHY is the history of the Middle East through the lens of the Holy City and the Holy Land, from King David to the wars and chaos of today.

The history of Jerusalem is the story of the world: Jerusalem is the universal city, the capital of two peoples, the shrine of three faiths. The Holy City and Holy Land are the battlefields for today's multifaceted conflicts and, for believers, the setting for Judgement Day and the Apocalypse.

How did this small, remote town become the Holy City, the 'centre of the world' and now the key to peace in the Middle East? Why is the Holy Land so important not just to the region and its many new players, but to the wider world too? Drawing on new archives and a lifetime's study, Montefiore reveals this ever-changing city and turbulent region through the wars, love affairs and revelations of the kings, empresses, amirs, sultans, caliphs, presidents, autocrats, imperialists and warlords, poets, prophets, saints and rabbis, conquerors and whores who created, destroyed, chronicled, and believed in Jerusalem and the Holy Land.

A classic of modern literature, this is not only the epic story of 3,000 years of faith, slaughter, fanaticism, co-existence, power and myth, but also a freshly updated, carefully balanced history of the Middle East, from King David to the new players and powers of the twenty-first century, from the birth of Judaism, Christianity and Islam to the Israel-Palestine conflict and the mayhem of today.

This is how today's Middle East was forged, how the Holy Land became sacred and how Jerusalem became Jerusalem - the only city that exists twice - in heaven and on earth.

Ars Judaica is an annual publication of the Department of Jewish Art at Bar-Ilan University. It showcases the Jewish contribution to the visual arts and architecture from antiquity to the present from a variety of perspectives, including history, iconography, semiotics, psychology, sociology, and folklore. As such it is a valuable resource for art historians, collectors, curators, and all those interested in the visual arts. In this volume, Avraham Faust considers a unique phenomenon in the material culture of ancient Israel during the biblical period: pottery without painted decoration. Moshe Idel, an expert on Jewish mysticism, sheds new light on the figure of Helios in the Hammath Tiberias synagogue mosaic, comparing it to descriptions of angel 'Anafi'el in the Heikhalot literature and medieval Kabbalistic texts. Rahel Fronda attributes a group of medieval Ashkenazi Bible manuscripts containing similar micrographic ornaments to the same scribal workshop, possibly near Wurzburg. Alexander Mishory reveals a Scroll of Esther illuminated by one of the first Bezalel artists, Shmuel Ben-David, and focuses on his use of fowl and fox imagery deriving from an Arab fable. Artur Tanikowski discusses social awareness and humanist values in the work of Polish modernists of Jewish origin. The Special Item by Nurit Sirkis Bank is dedicated to hasidic wedding rings. A silver ring, square on the outside, round within, and engraved with the Hebrew letter he is understood as a symbol of unity and harmony between man and woman, the human and the Divine, nature and culture, and even good and evil. Contributor Information: Walter Cahn, Professor, History of Art Department, Yale University, Avraham Faust, Director, Tel 'Eton Excavations, Institute of Archaeology, Martin (Szusz) Department of Land of Israel Studies and Archaeology, Bar-Ilan University, Rahel Fronda, Hebraica and Judaica Subject Librarian, Bodleian Library, University of Oxford, Carole Herselle Krinsky, Professor, Art History Department, New York University, Moshe Idel, Professor, Department of Jewish Thought, Hebrew University of Jerusalem; Senior Researcher, Shalom Hartman Institute, David Malkiel, Professor, Department of Jewish History, Bar-Ilan University, Alec Mishory, independent scholar, Israel, Ilia Rodov, Lecturer, Department of Jewish Art, Bar-Ilan University, Nurit Sirkis Bank, Curator, Wolfson Museum of Jewish Art, Hechal Shlomo; doctoral candidate, Bar-Ilan University, David Stern, Professor, Jewish Studies Faculty, University of Pennsylvania, Artur Tanikowski, Graphic Department, Academy of Fine Arts, Warsaw; Faculty of Humanities, Fryderyk Chopin Uiversity of Music, Warsaw; Curator, Museum of the History of Polish Jews, Warsaw Volumes of Ars Judaica are distributed by the Littman Library of Jewish Civilization throughout the world, except Israel. Orders and enquiries from Israeli customers should be directed to: Ars Judaica Department of Jewish Art Bar-Ilan University Ramat-Gan 52900 Telephone: 03 5318413 Email: [email protected]

David Tabor (1913-2005) was a highly respected and much loved member of the Cambridge Jewish community for almost sixty years. This book contains his Kol Nidre addresses, Bar Mitzvah talks and funeral eulogies, as well as a selection of poems, articles and other talks on Jewish topics.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Jews own and control the world How did they do it? Christianity Mohammedans Knights Hospitaler Teutonic Knights Knights Templar Assassins Freemasonry Inquisition Banking

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.