Barcelona Haggadah

The British Library, London
ISBN 978-0-948223-08-2

£3,950

Only 4 left in stock (can be backordered)

The Barcelona Haggadah is a glorious manifestation of the free spirit of Passover. One of the finest illuminated Hebrew manuscripts in The British Library, it dates from about 1340, and is named after the city of Barcelona whose heraldic shield it bears.

When the manuscript was created, the Jews of Aragon and Catalonia formed one of the largest communities in Europe, and Barcelona was home to a flourishing centre of manuscript illumination, linked to the Court and influenced by Italian and French styles.

Of all categories of Jewish prayer book, the Passover Haggadah is the most extensively and richly decorated. The narrative, the rabbinic elaboration, the family meal, the symbolic foods and the fact that the story is told to children, all provide added incentives for imaginative illustration. The manuscript’s large size and clear script indicates that it was intended to be used and enjoyed at the Passover table.

When the manuscript was created, the Jews of Aragon and Catalonia formed one of the largest communities in Europe, and Barcelona was home to a flourishing centre of manuscript illumination, linked to the Court and influenced by Italian and French styles.

Of all categories of Jewish prayer book, the Passover Haggadah is the most extensively and richly decorated. The narrative, the rabbinic elaboration, the family meal, the symbolic foods and the fact that the story is told to children, all provide added incentives for imaginative illustration. The manuscript’s large size and clear script indicates that it was intended to be used and enjoyed at the Passover table.

Folio 31r-29v  <i>We were slaves to Pharoah in Egypt, but the Lord brought us out from there … </i>The scene depicts the slavery inflicted by the Egyptians. The construction methods and the clothing of the Israelites and Egyptians are all contemporary with the manuscript. In the margins a hare is seated on a throne and is offered a drink by a servile dog.  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

The Barcelona Haggadah is outstanding for the rich decorative and representational illustrations: 128 of its 322 pages are ornamented with fanciful figures and pictorial scenes providing fascinating insights into Jewish life in mediaeval Spain. Music and the arts flourished in the Jewish community in Barcelona and Jewish musicians played a vital role in drawing the Jews and Christians closer together. In the manuscript, twenty-eight different instruments appear in the illustrations. More intimate details, such as depictions of the meal, take us straight into a Jewish home of the period, while the synagogue scene reflects fourteenth-century conditions and traditions.

Folio 25r-24v <i>'And if it falls on Shabbat evening say (the prayers indicated by the following mnemonic Y’K’N’H’Z  ... (wine, Kiddush, candles, havdalah, time) ...' </i>A man with a golden chalice makes Kiddush with a small boy at the foot of the page. Prayer over wine and Kiddush - sanctification of the Sabbath. Two ornate word panels bearing the word 'Blessed' are decorated in the margins with colourful designs. A dog blows a trumpet and beats a drum. On this leaf, rabbits chase dogs and a pair of peacocks head the page. At the foot of the page, two stork-like birds peck the mane of a 'sprouting' lion.  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

The large, clear script designed to be read easily by children and by candlelight, is populated with zoomorphic figures in improbable situations highlighting the sense of light-heartedness and freedom associated with Passover. The text of the Haggadah occupies 180 pages; the remaining leaves contain liturgical poems and prayers for the Passover festival listed below.

A manuscript as splendid as this must always have been treasured by its owners. We know that it was sold by Shalom Latif of Jerusalem to Rabbi Moses ben Abraham of Bologna in 1459 for fifty gold ducats, and that it therefore left Spain before the expulsion of the Jews. The manuscript also bears the signature of an ecclesiastical censor: ‘Visto per me Fra. Luigi del Ordine de San Dominico 1599’ (Seen by me, Brother Luigi of the Order Saint Dominic 1599.)

Similarly, it was owned by Jehiel Nahman Foà in the seventeenth century and later by Mordecai and Raphael Hayyim, two members of the Ottolenghi family. The British Museum bought it in 1844. The auctioneer’s description is attached to the inside front cover of the manuscript and reads. “Agada, that is the Prayers used by the Jews at their Meals during Easter

Contents of the Barcelona Haggadah

The Barcelona Haggadah contains the Haggadah, Laws for Passover, piyyutim and Torah readings for the festival of Passover (folios 9-151) and poems, Aramaic Targumim and Aramaic piyyutim according to the Provençal custom as listed below. The entire text was translated into English in the commentary volume.
1. Flyleaf bears the name of the censor and the order of proceedings on the night of Passover.
2. Hymns for the Great Sabbath preceding Passover by Kalonymus Nasi, Abraham ben Isaac Halevi, Zerahyah Halevi and Judah Halevi.

Show More

3. Prayers for the first day of Passover. Prayers for Dew by Abraham Ibn Ezra
4. Service in the synagogue for Passover Eve by Me’ir ben Isaac
5. The Haggadah
6. The Passover Amidah
7. Hymns for the Great Sabbath preceding Passover including the Order for Passover Night by Abraham Sebi ben Isaac Halevi of Tamakh
8. Laws for Passover to be read on the Sabbath preceding the feast by Zerayah Halevi Gerondi
9. Readings from the Law for each day of Passover
10. Haftaroth for Passover
11. Several introductions to Nishmath by Isaac Ibn Ghayyat, Solomon Ibn Gabirol Judah Halevi, Abraham Ibn Ezra, Joseph ben Isaac (possibly Ibn Abitur)
12. Muharrakh by Isaac Ibn Ghayyat
13. Nishmath by Joseph ben Isaac
14. Introduction to Kadeesh by Jacob ben Me’ir
15. Yoser by Menahem ben Jacob of Worms
16. Ophan by Isaac Ibn Ghayyat
17. Ophan by Isaac Ibn Ghayyat
18. Ophan by Moses Ibn Ezra
19. Ophan by Judah Halevi
20. Ophan by Rabbi Moses ben Mahman
21. Me’orah by Isaac Ibn Ghayyat
22. Me’orah by Isaac Ibn Ghayyat
23. Me’orah for the intermediate Sabbath of Passover by Isaac Ibn Ghayyat
24. Me’orah by Judah Halevi
25. Ahabah by Isaac Ibn Ghayyat
26. Ahabah by Hasan
27. Ahabah by Isaac Ibn Ghayyat
28. Ahabah by Joseph
29. Ahabah by Abraham Ibn Ezra
30. Ahabah by Judah Halevi
31. Zulath by Judah Halevi
32. Ge’ullah by Joseph
33. Ge’ullah by Isaac Ibn Ghayyat
34. Ge’ullah by Judah Halevi
35. Mi Kamokha by Solomon Ibn Gabirol
36. Mi Kamokha by Judah Halevi
37. Magen La-Tal by Solomon Ibn Gabirol
38. Mehayyeh by Solomon Ibn Gabirol
39. Hymn on the theme of dew by Solomon Ibn Gabirol
40. Hymn on the theme of dew by Isaac ben Zerahyah
41. Me’orah by Joseph
42. Ahabah by Rabbi Isaac of Castellon
43. Mi Kamokha by Judah Halevi
44. Ophan by Rabbi Judah Halevi
45. Grant Peace by Rabbi Judah Halevi
46. Targumim to Pentateuchal Readings
47. Poem ‘So God Saved’
48. Hymn for the [Day of Prayers for] Dew
49. Targum to the Pentateuchal reading for the first day of Pentecost
50. Supplementary poems by Me;ir ben Isaac
51. Zulath for the day when God saved Israel from the sea by Joseph ben Hanan Ezobi
52. Poem for Pentecost by Joseph Ezobi, son of Rabbi Hanan son of Rabbi Nathan
53. Censor’s mark Visto per mi Fra Luigi del ordine di san Domenico del 1599
54. Seen by me Brother Luigi of the Dominican Order [in the year] 1599
55. The following deed of sale, copied on to the last leaf of the manuscript, ‘I, Shalom Latif, inhabitant of Jerusalem, acknowledge that I have sold the Haggadah to Rabbi Moses son of our teacher Rabbi Abraham for 50 broad gold ducats, and I undertake to insure him against any contested claims [of ownership] this day, the second day of the week in the year five thousand and two hundred and nineteen from the Creation of the World [1459] which we reckon here in Bologna; and in order that he may have good title and proof, I have signed and accomplished that which I have written.’

The Facsimile

Folio 29v  <i>“Why is this night different from all other nights?”</i> The first of the four questions asked by the youngest person at the meal. <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

Introduction

The facsimile, made by craftsmen from the finest materials, is designed to be used and enjoyed for many generations to come. Every detail no matter how small, was reproduced preserving the aura of the original manuscript.

Paper

From its inception, the Barcelona Haggadah facsimile was planned as a lavish and accurate copy. The vellum of the original manuscript was measured for its average weight and opacity, and a special uncoated, neutral pH paper was milled to simulate the feel of the original. Several years of research and development culminated in the production of a paper that reproduces the opacity, texture and thickness of the vellum on which the manuscript was written.

Photography

Crucial to the production of a fine facsimile is the quality of the original photography. This was undertaken by Laurence Pordes, Senior Photographer at The British Library, who expertly lit and photographed the manuscript using a large-format plate camera and a specially made batch of Kodak Ektachrome film.

Folios 43r-42v  This scene illustrates the text <i>“And the Egyptians dealt evilly with us and imposed hard labour upon us”.</i> To the left two Israelites ascent ladders with heavy loads on their backs. A bricklayer at the top of the tower prepares to receive more materials while his companion waits for a basket to be hoisted up by a pulley-man standing in the outer margin.  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

Colour Separation and Printing

The facsimile is printed in up to twelve different inks, demanding great care and attention by the master printers, colour separators and our own quality-control team. Once the images had been colour-separated by laser scanners, the painstakingly slow and precise hand-work required to make the colour separations necessary for the first proofs could begin.

These proofs were then compared with the original manuscript at The British Library in London by the separators, the publisher and the printer. Corrections were made and new proofs were produced and compared again to the original. This process was repeated up to four times for each page to ensure an exact likeness prior to printing.

Each printed page is exactly the same size as the original. Every single sheet is printed under the close and critical supervision of the publishers, who moved to Italy for the duration of the printing and personally approved each page.

Folio 31v <i>“Once when Rabbi Eliezer, Rabbi Joshua, Rabbi Eleazar ben Azariah, Rabbi Akiba and Rabbi Tarfon were reclining together at Bnei Brak, they went on discussing the Exodus from Egypt all that night, until their disciples came and said to them, ‘Masters, the time has come to recite morning prayers”.</i> The illustration depicts the five rabbis of Bnei Brak, each peering out of a round-topped window while two students appear outside, the first pulling the gilded handle of the wooden door and unlocking the golden lock.  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>
GOLD – Over the centuries the gold has cracked and some has fallen away. Here you can see the raised gold of the facsimile, which reproduces the gilding in the original manuscript as it is today. <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

Pricking

The scribe made minute holes down the sides of each folio between which he would rule lines for his script. These tiny holes, known as pricking, were often trimmed off before the manuscript was bound, but are reproduced in the facsimile as they still exist in the original manuscript (see the short British Library video which describes pricking’s function in the creation of a manuscript).

Gilding

As gold leaf cannot be adequately simulated by printing, it was decided to reproduce the raised burnished gold in the original by laying metal leaf by hand to a raised surface achieve the closest likeness to the richness of the fourteenth-century gilding. Craftsmen applied metal foil leaf to each of the 105 pages where gold is found, using a unique process developed especially for these facsimiles, resulting in raised gold as in the original.

Metallic powder is applied to all the illustrations that contain powdered gold or silver in the original. Much of the silver in the manuscript has tarnished, so a new technique was developed to simulate oxidised silver.

Cutting

As the irregular page edges of the Haggadah have become brown with age, each leaf of the facsimile is cut to exactly the same size and shape as the original, and aged at the edges.

Pricking

The scribe made minute holes down the sides of each folio between which he would rule lines for his script. These tiny holes, known as pricking, were often trimmed off before the manuscript was bound, but are reproduced in the facsimile as they still exist in the original manuscript (see the short British Library video which describes pricking’s function in the creation of a manuscript).

Gilding

As gold leaf cannot be adequately simulated by printing, it was decided to reproduce the raised burnished gold in the original by laying metal leaf by hand to a raised surface achieve the closest likeness to the richness of the fourteenth-century gilding. Craftsmen applied metal foil leaf to each of the 105 pages where gold is found, using a unique process developed especially for these facsimiles, resulting in raised gold as in the original.

Metallic powder is applied to all the illustrations that contain powdered gold or silver in the original. Much of the silver in the manuscript has tarnished, so a new technique was developed to simulate oxidised silver.

GOLD – Over the centuries the gold has cracked and some has fallen away. Here you can see the raised gold of the facsimile, which reproduces the gilding in the original manuscript as it is today. <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

Cutting

As the irregular page edges of the Haggadah have become brown with age, each leaf of the facsimile is cut to exactly the same size and shape as the original, and aged at the edges.

Folio 61r. The most commonly decorated image in the haggadah depicts the matzo. This is a particularly lavish rendering and might symbolise the cosmos. According to this theory, the matzo is formed of eight concentric circles with five earthly musicians in the arcades. The nude trumpeters in the corners perhaps personify the Four Winds representing universal harmony. The coats of arms are said to represent the shield of Barcelona hence the naming of this haggadah. <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>
Numbers are blind-stamped into the facsimile’s binding. <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>
The facsimile and commentary volume  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

Binding

The blind-tooled binding is in fine brown calfskin over boards with rounded corners. The book block was sewn by Italian craftsmen over handmade head and tail bands. The quire formation of the manuscript was also been scrupulously observed.

Presentation

The facsimile and commentary volume are presented in an elegant hand-marbled slipcase. Every copy is accompanied by a certificate bearing the seal of The British Library, verifying the number of the facsimile and the size of the edition. The number of each facsimile is discreetly yet indelibly blind-stamped on the inside of the back cover using steel dies.

Personalised Dedication

Each facsimile can be personally inscribed by our calligrapher at no extra charge. Whether the facsimile is intended as a gift to an institution or a private individual, a beautifully-illuminated dedication can be written in any language. We can either supply it as a loose leaf or paste it inside the front cover of the facsimile or commentary volume.

Commentary Volume

The accompanying commentary volume comprises 176 pages and was printed on Magnani mould-made paper, bound in a blind-tooled calfskin binding the same size as the facsimile. The title of the commentary volume is blocked in gold on the spine.

Edition

All 550 copies have been bound and the printing plates destroyed, in accordance with Halachic requirements.

Shipping, Packaging & Insurance

The price includes robust protective packaging, worldwide courier delivery and insurance to your door. at no additional charge. Once your order has been placed we will send you an electronic confirmation and a link to enable you to track the progress of your order.

Binding

The blind-tooled binding is in fine brown calfskin over boards with rounded corners. The book block was sewn by Italian craftsmen over handmade head and tail bands. The quire formation of the manuscript was also been scrupulously observed.

Presentation

The facsimile and commentary volume are presented in an elegant hand-marbled slipcase. Every copy is accompanied by a certificate bearing the seal of The British Library, verifying the number of the facsimile and the size of the edition. The number of each facsimile is discreetly yet indelibly blind-stamped on the inside of the back cover using steel dies.

The facsimile and commentary volume  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

Personalised Dedication

Each facsimile can be personally inscribed by our calligrapher at no extra charge. Whether the facsimile is intended as a gift to an institution or a private individual, a beautifully-illuminated dedication can be written in any language. We can either supply it as a loose leaf or paste it inside the front cover of the facsimile or commentary volume.

Commentary Volume

The accompanying commentary volume comprises 176 pages and was printed on Magnani mould-made paper, bound in a blind-tooled calfskin binding the same size as the facsimile. The title of the commentary volume is blocked in gold on the spine.

Numbers are blind-stamped into the facsimile’s binding. <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

Edition

All 550 copies have been bound and the printing plates destroyed, in accordance with Halachic requirements.

Shipping, Packaging & Insurance

The price includes robust protective packaging, worldwide courier delivery and insurance to your door. at no additional charge. Once your order has been placed we will send you an electronic confirmation and a link to enable you to track the progress of your order.

Commentary Volume

The extensive commentary volume has been designed to be used with the facsimile The entire text of the manuscript has been translated and contains several renowned scholars’ chapters discussing all aspects of the original manuscript. The commentary volume contains several translations into English of poems by Yehudah Halevi and others for the first time.

The Contents
Introduction – Jeremy Schonfield
The Making of the Book, A Codicological Study – Malachi Beit-Arie
The Decoration – Evelyn Cohen
The Binding of the Haggadah and of the Facsimile –Leila Avrin
The Owners – Diana Rowland-Smith
The Poems – Menachem Schmelzer
Translations of the Poems and Targumin – Raphael Loewe
The Haggadah and ‘Amidoth – David Goldstein and Jeremy Schonfield
Bibliography

The Barcelona Haggadah's Commentary Volume <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

The commentary volume is edited by Dr Jeremy Schonfield (Mason Lecturer at the Oxford Centre for Hebrew and Jewish Studies; Lecturer at the Leo Baeck College, Centre for Jewish Education, London).

Contents of the commentary volume:

1. Introduction – Dr Jeremy Schonfield
2. The Making of the Book – A Codicological Study. Professor Malachi Beit-Arié discusses the codicology and palaeography of the manuscript
3. The Decoration – Dr Evelyn M. Cohen discusses the art history and decoration.
4. The Binding of the Haggadah and of the Facsimile – Dr Leila Avrin
5. The Owners – Dr Diana Roland-Smith describes the circumstances surrounding the acquisition of the manuscript.
6. The Poems – A Literary Study. Dr Menachem Schmelzer explains the liturgical content of the manuscript and discusses the poems following the Haggadah section.

Excerpt from Menahem Schmelzer’s text:

In the main part there are 46 poems; while in the supplementary part their number is nine, with one poem appearing within the Haggadah proper. Most of the piyyutim belong to the genre called yoseroth, or poems preliminary to the yoser blessing, recited each morning, in which God is praised as the creator of the World. This poetic genre developed in the Holy Land towards the end of the Byzantine period and served as a vehicle for liturgical change and creativity, providing poetic embellishment to the morning service, and relieving the monotony of the standard prayers. Originally, the poetic yoser would have served as a substitute for the standard text, and would have retained only a few statutorily required liturgical formulae, while offering a wealth of poetic variations on the basic themes of the service.

7. Translation of the Texts – The Poems and Targumim, Professor Raphael Loewe translated the rhyming couplets of the manuscript’s poems retaining the same metre as that in the original. Several of these poems had never been translated before and include a poem by Judah Halevi.

Excerpts from Raphael Loewe’s text:

from “The Service in the Synagogue for Passover-Eve”

A watch-night this: God, who rules light and dark,
Predestined it at midnight’s stroke – a mark
Of love, that He remembers for the seed
Of Abraham, whose night-march captives freed
Blessed art Thou, O Lord, who lovest thy people Israel

from “The Laws regarding Passover”

…‘On 14 Nisan, being the day preceding Passover, carry out such work only as your sages declare permissible. Tailors, laundrymen and barbers are allowed to work as usual until midday, as a public service. If your forefathers were accustomed to refrain from work in the forenoon, adhere to their local practice:
‘My son, the code thy sire prescribed, obey,
Thy mother’s teaching do not thrust away’.
…‘If however, a voluntary errand takes you to a different house, you must return forthwith and destroy [the leaven] in due form. If you are on the way to save people from marauding bands, from a river in flood, a collapsed building or a fire, abjure the leaven mentally – it is entirely unnecessary for you to return.
Although thereto no flame you have applied,
Yet ‘in God’s eyes will you be justified.’

8. The Haggadah and ‘Amidoth, David Goldstein, Curator of Hebrew Manuscripts and Printed Books at The British Library and Dr Jeremy Schonfield – The Barcelona Haggadah was David Goldstein’s favourite among all the Hebrew manuscripts in the great collection for which he was responsible, and he encouraged the publishers to produce the present facsimile.
9. Musicologist, Yaacov Snir, has kindly permitted the inclusion of part of his thesis on the musical instruments depicted in the illuminations
10. Extensive Bibliography

The two volumes in their hand-marbled slipcase.  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>
The Barcelona Haggadah facsimile's binding.  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2021 Facsimile Editions Ltd</a></small>

Specification

Codicology

British Library ADD 14761
ISBN 0 948223 081

322 pages, 161 folios

Page size approximately 255 x 190mm (10” x 7 ½”)

Page sizes vary slightly, in exact accordance with the pages of the manuscript

138 illuminated pages, with raised and flat gold metallic leaf applied by hand, powdered gold and silver, and rich, vibrant colours

Paper

Neutral pH, 160gsm vegetable parchment uncoated paper developed and milled exclusively for this facsimile

Colour Separation & Proofing

Laser scanning combined with precise hand work, to create the colour separations necessary for printing

Up to four sets of wet proofs made for each page to ensure an exact likeness prior to printing

Printing

Offset lithography

Printed in up to twelve inks

Each page supervised and passed by the publishers at the press in Italy

Paper

Neutral pH, 160gsm vegetable parchment uncoated paper developed and milled exclusively for this facsimile

Colour Separation & Proofing

Laser scanning combined with precise hand work, to create the colour separations necessary for printing

Up to four sets of wet proofs made for each page to ensure an exact likeness prior to printing

Printing

Offset lithography

Printed in up to twelve inks

Each page supervised and passed by the publishers at the press in Italy

Gilding

Raised, flat, and powdered gold and silver are accurately reproduced
Special processes were developed exclusively for this facsimile. Hand-laid metal leaf was applied to a raised surface on all pages where gold and silver are found in the original

Pricking

Pricking, where it occurs, is faithfully reproduced in the facsimile

Binding

Tanned calfskin Italian binding
Blind-tooled on both covers and the spine
Handmade head and tail bands
Quire formation of the original manuscript precisely reproduced

Commentary

178 pages 255 mm x 290 (10.5 x 7.5 inches) printed on mould-made 160 gsm Magnani paper. Bound in blind-tooled calfskin as the facsimile. The extensive commentary contains a complete translation in English of every page of the manuscript.

Presentation

The facsimile and commentary are presented in a calfskin-lipped hand-marbled slipcase

Gift Certificate / Dedication

Hand-inscribed, illuminated certificate can be pasted into the facsimile at no extra charge

Shipping, Packaging & Insurance

Price includes robust protective packaging, worldwide courier delivery and insurance
International overnight service usually available at no extra charge

Edition

Strictly limited to 550 numbered copies
500 copies (numbered 1-500)
50 ad personam copies (numbered I-L)
Each volume discreetly numbered by hand inside the leather binding using steel dies
Each volume accompanied by a numbered certificate bearing the verification stamp of The British Library
Printing plates were destroyed (in accordance with Halachic requirements)

Presentation

The facsimile and commentary are presented in a calfskin-lipped hand-marbled slipcase

Gift Certificate / Dedication

Hand-inscribed, illuminated certificate can be pasted into the facsimile at no extra charge

Shipping, Packaging & Insurance

Price includes robust protective packaging, worldwide courier delivery and insurance
International overnight service usually available at no extra charge

Edition

Strictly limited to 550 numbered copies
500 copies (numbered 1-500)
50 ad personam copies (numbered I-L)
Each volume discreetly numbered by hand inside the leather binding using steel dies
Each volume accompanied by a numbered certificate bearing the verification stamp of The British Library
Printing plates were destroyed (in accordance with Halachic requirements)

Folio 88r <i>“Next Year in Jerusalem, Amen”</i>  <small><a href="https://www.facsimile-editions.com/copyright/">© Copyright 2020 Facsimile Editions Ltd</a></small>

The Barcelona Haggadah Facsimile

£3,950

Be the first to hear

Subscribe to our newsletter and you'll be the first to hear about new content and special offers. And we won't bombard you with emails.

We look forward to being in touch!