Illuminating in Micrography: The Catalan Micrography Mahzor−MS Heb 8°6527 in the National Library of Israel

Description

In Illuminating in Micrography, Dalia-Ruth Halperin analyzes the Catalan Micrography Maḥzor, a fourteenth-century Barcelonan manuscript in Israel's National Library. Decorated with micrography, the Jewish scribal art typical of Bible manuscripts, this maḥzor, which includes a rich full-page panel micrography cycle, is unique. Along with the codicological and paleographical analysis, essential for understanding the scribe's thought and working processes, the author's meticulous reading of the micrography text reveals the scribe's textual editing and manipulations. Decoding his writing flow and sequences revealed a close association between the penned text and the images formed, which reflect a Jewish theosophical-theurgical cycle. Evidence of the scribe's association with the renowned Bassa atelier enhances our knowledge of the cultural, economic, and ethnic realities of the time. Cover Title page Copyright page Contents Abbreviations A Note on Transliterations and Translations Manuscripts Cited and Their Abbreviations Piyyut: Terms, Translations, and Short Explanations Preface Introduction Chapter One The Art of Micrography and Its Research Methodology The Masorah The Decoration’s Forming Text The Artistic Development of Micrography Micrography in the Middle Ages Research Survey Micrography Research Methodology Chapter Two The Manuscript’s Material Evidence Codicology Writing Materials and Quire Structure Perforation and Ruling Layout Structural Transparency and Line Management Methods Paleography The Scripts Used in the Mahzor Characteristics of the Scripts Scribe and Micrographer The Characteristics of the Scribe’s Writing The Semicursive Script and Its Role in Dating the Mahzor Chapter Three The Text The Liturgical Structure The Decoration Program for the Piyyutim Initial Word Panels Prayer Instructions Captions Marginal Decorations Text Analysis: Rite and Branches Indications of the Mahzor’s Place and Date of Production Chapter Four Within the Cultural Milieu: The Scribe’s Artistic Sources The Decoration Plan The Scribe’s Artistic Sources Artistic Sources from Jewish Art Artistic Sources from Islamic Art Artistic Sources from Latin Art Chapter Five Every Word Counts: Deciphering the Micrography’s Text Flow Scribal Copying Snares The “Choreography” of the Micrography Un tour de force: The Virtuosic Choreography of the Micrography The Scribe’s Selection of Psalms: Associations between the Text and the Iconography Chapter Six Reading the Image—Envisioning the Word The Marginal Decorations The Full-Page Panels First Quire, First Opening—fols. 2r/1v (pl. I) First Quire, Second Opening—fols. 3r/2v (pl. II) First Quire, Third and Fourth Opening—fols. 4r/3v and 5r/4v (pls. III and IV) First Quire, Fifth Opening—fols. 6r/5v (pl. V) Second Quire, First and Second Opening (Sixth and Seventh in the Cycle)—fols. 8r/7v and fols. 9r/8v (pls. VI and VII) Second Quire, Third Opening (Eighth in the Cycle)—fols. 10r/9v (pl. VIII) Second Quire, Fourth Opening (Ninth in the Cycle)—fols. 11r/10v (pl. IX) Second Quire, Fifth Opening (Tenth in the Cycle)—fols. 12r/11v (pl. X) Second Quire, Sixth Opening (Eleventh in the Cycle)—fols. 13r/12v (pl. XI) Second Quire, Seventh Opening (Twelfth in the Cycle)—fols. 14r/13v (pl. XII) Chapter Seven The Manuscript’s Tumultuous Journey through History The Bindings Owners’ Hands The First Hand The Second Hand The Third Hand The Fourth Hand The Fifth Hand The Sixth Hand Conclusion Appendix One Index of Piyyutim Used in the Book Appendix Two The Micrography Panels: Text Flow Tables and Diagrams Bibliography Index Plates and Illustrations