The BARCELONA HAGGADAH is one of the finest illuminated Hebrew manuscripts in The British Library. Written in about 1340 when Barcelona was home to a flourishing centre of manuscript illumination, the Haggadah is outstanding for the rich decorative and representational illuminations scattered throughout the text. Its fanciful figures, medieval musical instruments and pictorial scenes provide fascinating insights into Jewish life in medieval Spain.
---The facsimile was printed in up to 9 colours on a specially made parchment paper and burnished gold was copied by laying metal leaf onto a raised surface. Sample leaves measure 19 x 25.5 cm (7.5 x 10in).
---The low resolution images displayed on this page do not accurately represent the beauty of the finished leaves.
Hold your mouse over an image for an enlargement and over the blue button for a description of the leaf. Both sides of a leaf are only shown if they are both decorated.



£ 40.00 Barcelona Haggadah folio 17 folio 17
Depicts a family 'They come from the prayer gathering, the wine is poured' Although the page is worn, there is plenty of joyous activity as zoomorphic figures and Putti blow their horns, an owl presides over a hare and dog which are chasing each other. Two butterflies at the top of the page and a peacock frame the Passover meal scene. The family sit at a festive table adorned with a white tablecloth embroidered with a blue chequered design and Stars of David. Two bearded men at the bottom of the page drink from a gold cup.




£ 60.00 Barcelona Haggadah folio 18 folio 18
Blessed… ' Blessing over wine that appears at the beginning of the Kiddush . The page is worn but the text is clearly legible. Zoomorhic figures are intertwined with an archer shooting at a deer which is being chased by a dog. A monkey holds a green parrot and another archer has his arrow pointed at a snail.




£ 60.00 Barcelona Haggadah folio 19 folio 19
The shehecheyanu prayer. The initial word panel 'and they drink' frames a family at the Seder table. A man leaning to the left sits at the head of the table while others choose to recline to the right. Below the panel, a dog chews a bone and a dog and hare chase each other through the margins. At the bottom of the page, a man washes his hands while someone pours the water and gives him a cloth. The text at the foot of the page reads 'and they wash their hands and bless'.




£ 60.00 Barcelona Haggadah folio 20 folio 20
A family sitting at the Seder table and the hiding of the afikomen. The joyful scene is decorated in the margins by dogs chasing hares while a boy seated on a cockerel jousts. Birds and humorous figures adorn the page.




£ 60.00 Barcelona Haggadah folio 21 folio 21
Then take one of the matzot… Part of the sanctification of the Passover. A beautiful colourful central panel shows two bearded men pointing at the scene below where three children approach a man with a golden chalice. In the margins, an archer trains his arrow on a peacock and other figures cavort around the text.




£ 60.00 Barcelona Haggadah folio 22 folio 22
And completed were… Prayer over wine and Kiddush sanctification of the Sabbath. Two beautiful panels frame the word 'Blessed'. The margins are decorated with colourful peacocks, zoomorphic figures and a couple jousting, one sitting on a lion and the other on a cockerel.





£ 60.00 Barcelona Haggadah folio 24 folio 24
Shehecheyanu prayer 'And if it falls on Shabbat evening say ... wine, Kiddush ...' Magnificent double-sided page. Colourful margins featuring playful scenes surround the panel inscribed with 'Blessed'. Two archers point their arrows towards a man who is balancing precipitously and looks as if he might jump while dogs, peacocks, rabbits and zoomorphic figures with golden chalices add to the festive atmosphere.The verso is equally decorative with gold word panels and abundant playful decorative figures in the margins. A man with a golden chalice makes havdalah with a small boy at the foot of the page.




£ 60.00 Barcelona Haggadah folio 25 folio 25
Blessed…' 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.





£ 60.00 Barcelona Haggadah folio 26 folio 26
Thou hast chosen us ... from among all peoples … Blessed … creator of light of fire' In the beautifully-decorated panel, a man and boy make Havdala while in the margins, two lions and zoomorphic figures decorate the clear text. On the verso, the beautiful panel containing the word 'Blessed' is frame by colourful decorative margins. At the top of the page, a rabbit cudgels a dog on the head while a monkey-like figure offers wine.





£ 60.00 Barcelona Haggadah folio 27 folio 27
Blessed'… Continuation of Kiddush The word 'Blessed' is written in a panel decorated by intricate red penwork. Verso is the prayer for washing the hands. The panel contains the mnemonic for the Passover Seder. In the panel four ceremonies are represented by four men. The man on the right holds a golden goblet to illustrate the Kiddush, the figure next to him depicts the second ceremonial act by washing his hands using a suspended gold vessel from which he pours water into a gold basin on the floor. The third figure holds a vegetable in his hand to portray the blessing over karpas, while the separation of the matzo into two is shown by a man holding a broken circular matzo in his hand and raising a small piece.





£ 75.00 Barcelona Haggadah folio 28 folio 28
"Mnemonic guide to the Passover ceremony The panel on fol. 28a contains some of the ceremonies performed at the Seder. On the right a man symbolizes the beginning of the narration of the Israelites' Exodus from Egypt by holding an open book inscribed with the first five letters of 'This is the bread of affliction', the opening words of the Haggadah proper. Next to him is a man performing the second ceremonial washing of hands. The third figure illustrates the blessing recited over bread, by dividing a matzo, depicted as a round form with straight horizontal lines across it, into two. Next to him a man raises a round matzo, on which the initial letter mem is inscribed, to illustrate the specific blessing. The fifth and last man holds the maror, 'bitter herbs'. A final illustration appears in a quatrefoil to the left of the panel, in the outer margin, and shows a boy removing the afikoman being removed from under the cloth where it was placed at the beginning of the ceremony, as illustrated on fol. 20b. A full-page historiated initial word panel on fol. 28b, depicting a ceremonial scene, decorates the opening words of the Haggadah itself: ha lahma anya, 'This is the bread of affliction'. Three polyfoil arches frame an interior space, the green wallhangings of which are studded with gold stars. The head of the household is seated in a high-backed wooden chair edged with gold, and has placed the ceremonial basket on the head of the boy seated at his left. This Sephardi custom enables each participant symbolically to experience the Exodus from Egypt, during which the Israelites carried unleavened dough in troughs on their backs. The other figures at the table - another boy, a woman, a girl and, at the far end, another man - watch and wait for the basket to be placed in turn on their heads. On the table are a gold decanter, wine cup and bowl, with three books in front of the head of the household and the two young boys. The decorative border, which is inhabited by an acorn motif, fanciful creatures, a lion, peacock and musical instruments, includes a circular form held by two grotesques in the centre of the upper border, which may allude to the matzo The centre of the lower border contains a quatrefoil supported by two hounds, undoubtedly intended to include a coat of arms, but left without any design. The musical instruments in the lower corners, flanking the heraldic form, are larger and have more strings than those on that page."




£ 65.00 Barcelona Haggadah folio 29 folio 29
The text continues, 'Let all who are in want come and eat. Let all who are needy come and celebrate the Passover. This year here; next year in the land of Israel. This year here, we are slaves; next year in the land of Israel, free men. 'verso, 'Why is this night different from other nights?' The page starts with an elaborate initial word panel, containing the first two words in a register occupying the upper third of the panel. The choices made by scribes in the positioning of words in effect determine the layout of pages in medieval manuscripts. Here the scribe left the illuminator considerable space for an illustration, but the artist chose to fill it with a foliate design, similar to that of the margin, depicting a wild hare. The foliate frame again contains examples of the acorn motif common throughout this part of the manuscript.




£ 110.00 Barcelona Haggadah folio 30 folio 30
"End of the four questions and verso, 'We were slaves … but the Lord brought us out ...' A biblical scene illustrates the text 'We were slaves to Pharaoh in Egypt'. In the right-hand margin two Egyptians enter the scene on horseback, the first pointing to the events unfolding before them in the panel. The lower border of the frame represents the ground in a scene taken from the Israelites' slavery, in which an Egyptian taskmaster beats a slave with a triple-lashed whip. A second slave climbs a ladder, with bricks, on his back, carrying them towards a man wearing a tall hat and holding a hammer, standing in the tower they are building. Beside him on the tower is another slave who has been laying bricks and holds a trowel in his hand. He faces the inner margin of the page, where a labourer hauling on a pulley hoists a basket of bricks. These have been manufactured by Israelites shown at the bottom of the page, one treading materials to mix them, while his companion arranges the bricks in the sun to dry. A youth holds up bricks, beyond the tree on the left, linking this scene visually to the building above. The construction methods and the clothing of the Israelites and Egyptians are all contemporary, as was customary in medieval illustrations. The right and upper margins are filled with vines sprouting acorns, but at the top, over the initial word 'slaves', a hare seated on a throne-like chair is offered a drink by a servile standing dog holding a golden goblet and decanter. "





£ 60.00 Barcelona Haggadah folio 31 folio 31
"Whoever narrates at length the Exodus … is to be highly praised. Two mounted knights joust, while hares and hounds are seen in chase, playfully reversing nature in the scene on the right where the hare pursues a fleeing hound. The shields and helmets of the knights are embellished with silver leaf. The initial word panel on fol. 31b contains the Hebrew word for 'Once when...' that begins the account of the five rabbis of Bne Brak who discussed the Exodus from Egypt throughout one night, until their students came to tell them it was time for morning prayers. Each rabbi, shown bust-length, peers 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. The decorative border of the page is inhabited by dragon-like forms and unusual birds, and near the top of the right-hand margin a hound catches a hare. In the upper left a rabbit plays the bagpipes, while at the right an apelike figure blows a large horn."




£ 60.00 Barcelona Haggadah folio 32 folio 32
Once, when Rabbi Eliezer...Five Rabbis of Bnei Brak…' Master the time has come to recite morning prayers. 'The illuminated word panel on fol. 32b, containing the words 'Rabbi Eleazar [ben Azariah] said...' in gold leaf, introduces a statement on the theme of Passover and redemption. The ascender of the letter lamed in 'Eleazar' terminates in a decorative fleur-de-lis from which two acorns sprout; but the illustration relevant to this text appears in the right-hand margin in a quatrefoil, rather than in the initial word panel. The seated male, clearly Rabbi Eleazar, holds a book in his left hand and strokes his beard with his right, focusing attention on the beard, which is formed of white lines on a blue ground. Legendarily, Rabbi Eleazar was elected president to the Sanhedrin when aged only eighteen, whereupon his hair miraculously turned white, in order to win him the respect due to age. The text in the Haggadah reads 'I am now about [or 'like one who is'] seventy years old', because he was merely given the appearance of a seventy-year-old man. The ornamental border also includes hybrid figures, dragon-like forms and acorns.




£ 55.00 Barcelona Haggadah folio 33 folio 33
Rabbi Eleazar…said 'I am now about seventy years old...' The frame of fol. 33b contains several zoomorphic figures including a dragon-like creature with a bearded face and long ears. The word 'Blessed' is written in gold and set within an elegantly decorated panel.





£ 55.00 Barcelona Haggadah folio 34 folio 34
"The Four Sons. 'The wise one, what does he say?...' The Wise Son sits reading at a lectern. He is portrayed as usual as an elderly man with a book. His beard, similar in colour to that of Rabbi Eleazar, is presumably intended to be white. He is seen in three-quarter view, pointing to the text of an open book, while another open book lies on the lectern beside him facing the viewer. The man's face is finely modelledand foliate forms sprout from three of the corners of the initial word panel. The ornamental margins contain a bird, acorns and curious hybrid forms. Verso, the second of the Four Sons, the wicked one, is depicted alone and as a soldier, who is about to attack a meek, defenceless man whom he holds by the beard. The wicked one's helmet, collar, belt and hem were originally embellished with gold leaf, but his features are difficult to discern as they have been intentionally mutilated. The decorative border continues and contains three dogs and playful figures."





£ 55.00 Barcelona Haggadah folio 35 folio 35
The Four Sons. 'The simple one, what does he say?...' The Simple Son is seen asking a question and stands before a seated, bearded man to the left of the initial Hebrew word for 'the simple one'. In this quiet vignette, the boy is shown gesturing 'simply', with his left palm downward. The foliate border does not continue along the top of the page and in the upper-left-hand corner is a hybrid figure with a human head, long reptilian neck, wings and hooves, and in the lower border two helmets surmount long-necked animal heads. The final figure in the sequence, the 'one who does not know how to ask', appears with another person in the initial word panel on fol. 35b. The boy's mouth is open, his arms extended and his palms out in a receptive manner. The figure to the right raises his hands instructively, perhaps representing the recommendation in the passage to 'broach the subject to him'. The words mean literally 'you open it for him', and here, graphically, both his arms and mouth have been 'opened up'. The two figures appear to grimace, mainly because the artist of this manuscript tended to depict people in profile. The decorative margin employs some of the vertical, architectonic forms found on previous pages, but the acorn motif no longer appears.





£ 55.00 Barcelona Haggadah folio 36 folio 36
"'As for the one who does not know how to ask, you must broach the subject to him...'{f. 36a} On the page facing the end of the Four Sons sequence, fol. 36a, the flat leaves with serrated edges found in this quire are repeated, the forms now terminating with tapered, coloured leaves rather than with the acorn motif found earlier in the manuscript. It bears ornamental designs, but no illustrations. The initial word panel, containing the Hebrew word for 'Thou shalt tell...', is embellished with a hybrid animal whose head extends beyond the frame to the left margin, while a rampant lion presses its front paws against the right side of the panel. The text on fol. 36b describes the earliest history of the Israelites, before Abraham's covenant with God. The midrashic accounts of Abraham's appearance before King Nimrod, when he was charged with breaking his idolatrous father Terah's idols and sentenced to death in a furnace, were chosen as the themes for this illustration to the word 'At first...'. The narrative begins within the initial word panel, extends into the inner margin and continues at the foot of the page. The youthful Abraham stands in the panel before the enthroned king, brandishing the stick with which he broke the idols, the upper part of which has been scratched away. In the bottom border he appears engulfed in flames and flanked by winged angels, while Nimrod watches from the centre of the border. "




£ 55.00 Barcelona Haggadah folio 38 folio 38
'But Jacob ..went down to Egypt… Blessed is he who kept his promise to Israel...' The word, 'Blessed' is written in gold in a panel 'guarded' by two zoomorphic figures. The top of the page features two hybrid figures with human heads and torsos, wielding swords and bearing shields.





£ 55.00 Barcelona Haggadah folio 39 folio 39
"This is the promise that has stood firm for our fathers…' The hybrid figures raising their cups at the top of the pa might reflect the ritual gesture of raising wine glasses at this point in the ceremony. These two strange creatures, with snouts, wings, paws, and tails that sprout long leaf patterns that flow as borders down both sides of the page, hold their glasses above the initial word 'This [is the promise]'. The foliate forms terminate with leaves, rather than with the acorns seen earlier in the manuscript. The decoration in the upper part of fol. 39b suggests an interpretation of the text appearing on it that begins: 'Go [and learn what Laban the Armanean tried to do to our father Jacob]', and continues to recount Laban's ruthlessness. Above the initial word panel is a triple-faced head, providing simultaneous views in front and to both sides, a motif common in medieval manuscripts. Here, however, flanked by two club-wielding hybrid figures, the figure illustrates the circumspection required to protect oneself from external enemies. The lower margin contains a more traditional illustration of this text, in which Jacob walks staff in hand, followed by two sinister soldiers each with a sword and one with a lance. Sharon Liberman Mintz has pointed out that the staff may be Jacob's attribute, since midrashim for Genesis 32, 10 describe Jacob leaving Isaac's house with just a stick. The present figures offer further examples of how the faces of evil men were later obliterated. Similar mutilation is found in other Hebrew and Latin codices. The decorative border of this page shows that the transition from the acorn motif to the flat leaves was the work not of the master illuminator, who apparently here drew an outline that included the same acorn patterns as he did in previous quires, but of the assistant who added the colour and was perhaps unable to carry out the design, and converted the forms into awkwardly executed foliage."





£ 55.00 Barcelona Haggadah folio 40 folio 40
"He went down to Egypt…and sojourned there.' He [Jacob] went down to Egypt', is illustrated in the lower margin where Jacob is seated in a horse-drawn two-wheeled carriage, preceded by a male attendant blowing a horn and followed by two men, the first of whom holds a whip, and by two women. Verso, the foliate border design is transformed into long, flat leaves by the artist who added their colour. The two hybrid figures at the foot of the page under the gilded word panel, wear the tall hats commonly seen on men in this manuscript."





£ 55.00 Barcelona Haggadah folio 41 folio 41
Few in number … now the Lord … has made you like the stars of heaven in multitude … There he became a great nation..' The border design on fol. 41a seems again to be wholly decorative. It is formed in part by the vertical architectonic shapes and is inhabited in the lower border by a symmetrical scene in which two hounds chase two hares. A hybrid figure supports the word panel, with a human head and hands, reptilian mid-section, wings and hooved feet. Verso, the marginal decoration surrounds the word panel. Two stork like creatures stand at the top of the page facing each other.





£ 55.00 Barcelona Haggadah folio 42 folio 42
Numerous…I made you grow like a plant in the field.. And the Egyptians dealt evilly with us…' Recto, the word panel is decorated with foliate designs and draagon-like creatures int he margins. Verso, a tower that appears in the initial word panel on fol. 42b both balances the one under construction on the facing page, and illustrates the text above it that mentions the building of two store-cities. This tower is completed and a dog stands in its doorway, shoots of acorns sprouting from its mouth to fill the rest of the panel. The base of the tower continues into the lower margin, resting two animal-headed hybrids, the one on the right looping its neck around another hybrid. At the top of the page a figure with a high hat grips the legs of two grey stork-like irds watched by a bearded creature with pointed ears.





£ 55.00 Barcelona Haggadah folio 43 folio 43
"And afflicted us … and imposed hard labour …' The illustration depicts the slavery in Egypt and shows contemporary construction methods. The initial word reads 'and [they] imposed [hard labour upon us]', to the left of which two Israelites ascend 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. The foliate borders of this page, with their flat spikey forms, are typical of the manuscript. Verso, 'But we cried [to the Lord]'. To the left of each a man kneels, his palms joined in supplication. "





£ 50.00 Barcelona Haggadah folio 44 folio 44
But we cried to the Lord…' A man kneels in supplication in the word panel surrounded by marginal decorations. Verso, the borders are composed of spikey-leaved foliage and amusing grotesques with interlocking necks, who stand on each other's backs.





£ 50.00 Barcelona Haggadah folio 45 folio 45
And the Lord…heard our voice… and saw our affliction'. Recto, contains an illuminated word panel and foliate margins. Verso, the two illuminated word panels are decorated by foliate designs, a bird 'pecking' at the lamed of Israel and a grotesque holding a wine goblet.





£ 50.00 Barcelona Haggadah folio 46 folio 46
"And our oppression… the Lord brought us out of Egypt with a strong hand, and an outstretched arm…' The Israelites are to be seen processing out of Egypt emerging from a panel containing the word '[and the Lord] brought us out'. The last figure is a young boy who stands under the last letter of the initial word, while of the five men in front of him, the first three stand free of the confines of the panel and under an arcade. Their leader holds a standard, which seems originally to have been embellished with gold leaf. The last two men, who have not yet emerged from the panel, bend their left forearms and raise their right hands. The artist employed the left arms to carry the viewer's attention leftwards to the rest of the illustration, while the right arms, shown similarly in many other Haggadoth, allude to the words in the text taken from Exodus 14, 8, 'with outstretched arm', a literal rendering found in many Sephardi Haggadoth.30 A particularly amusing and inventive border decoration appears in the lower-outer corner, where a humanoid figure appears to be held captive within the marginal design. The spikey- and fan-shaped leaves and the long-legged bird are typical of the borders in this section of the manuscript. Verso, the illuminated word panel is 'held' by the foliate marginal design. "





£ 50.00 Barcelona Haggadah folio 47 folio 47
I shall pass through the land of Egypt…and I shall smite every firstborn…'





£ 50.00 Barcelona Haggadah folio 48 folio 48
And with an outstretched arm…' An illuminated word panel is 'held' by the foliate marginal design. Verso, another illuminated word panel with a very amusing marginal decoration wherein two grotesques poke their tongues at each other.





£ 50.00 Barcelona Haggadah folio 49 folio 49
With signs'.. You shall take in your hand this rod, with which you will perform the signs' To the left of the initial word 'With signs. [This is the rod]'. A youth in a short tunic stands and raises Aaron's flowering staff, described in Numbers 17, 23, in his left hand. Verso In the side margins, facing each other and standing on tendrils sprouting from the initial word panel, are almost mirror-images of wild men, each one holding a club and a shield. Their hirsute bodies are outlined in black without any pigment, their faces painted in a solid flesh tone, and their shields filled with flat yellowish gouache. The peacock at the top of the page is partly painted. The decoration in the initial word panel exemplifies the type employed in this section of the manuscript.





£ 50.00 Barcelona Haggadah folio 50 folio 50
And with wonders…I shall show wonders in heaven and earth, blood and fire and columns of smoke'. A decorative page, beautifully balanced. Verso, the letter, lamed of the initial word panel continues to a grotesque with opposing two human faces and two laughing animal faces wearing hats.





£ 60.00 Barcelona Haggadah folio 51 folio 51
"These are the ten plagues… namely blood, frogs, lice, wild animals…'Both sides of the folio feature elaborate borders and decorated initial word panels, where a little frog is illustrated above the reference to it in the enumeration of the plagues in the text. The decorative panel at the foot of the text contains a mnemonic formed by Rabbi Judah out of the initial letter of the name of each plague. Verso, the illuminated panel containing the initial words 'Rabbi Jose' incorporates a scene in which the rabbi is depicted as a medieval teacher sitting in a chair somewhat higher than his two pupils', holding an open book in his right hand and pointing to his students with his left, who share another codex. This miniature has been left so incomplete that the rabbi's clothes, and the faces and chairs, are shown merely in a preparatory drawing, showing how the manuscript was drawn before applying pigment. "





£ 60.00 Barcelona Haggadah folio 52 folio 52
What does Scripture say happened in Egypt?...And what does it say happened at the sea?... The large initial panel is framed by marginal decoration. Verso, the decorated panel watched by a green stork, contains a human head blowing a long golden trumpet which a bird is pecking. In turn, the bird is pecked by a long grotesque.




£ 60.00 Barcelona Haggadah folio 53 folio 53
How many… Rabbi Eliezer said, 'How can one deduce that every plague…really consisted of four plagues?' Rabbi Eliezer is shown seated reading a book within a decorative word panel. Verso there is no decoration.




£ 60.00 Barcelona Haggadah folio 54 folio 54
Rabbi Akiba said, 'How can one deduce that every plague…consisted of five plagues?' Rabbi Akiba is sitting at a lectern within a decorative word panel. Verso there is no decoration to the text.





£ 60.00 Barcelona Haggadah folio 55 folio 55
"Dayyenu 'How many reasons for gratitude…If he had brought us of Egypt without inflicting punishments, we should have been satisfied...'} The outer margin of fol. 55a, next to the illuminated words 'How many reasons...' at the beginning of the piyyut 'We should have been satisfied', contains a seated figure who raises a decanter in his left palm, Verso, the piyyut continues with a lovely colourful marginal decorative panel in which is written 'If' and continues, we should have been satisfied."





£ 60.00 Barcelona Haggadah folio 56 folio 56
Dayyenu. 'If he had passed judgment on their gods without slaying their firstborn, we should have been satisfied...' Each colourfullly decorated word panel contains the word 'If' and verso, the same type of pattern is used.





£ 60.00 Barcelona Haggadah folio 57 folio 57
Dayyenu. 'If he had supplied our needs in the desert for forty years without feeding us manna, we should have been satisfied...' Each colourfullly decorated word panel contains the word 'If' and verso, the same type of pattern is used.




£ 60.00 Barcelona Haggadah folio 58 folio 58
Dayyenu. 'If he had given us the Torah without bringing us into the land of Israel, we should have been satisfied...' Each colourfullly decorated word panel contains the word 'If' and verso, there is no decoration.




£ 60.00 Barcelona Haggadah folio 59 folio 59
He brought us to Mount Sinai, he gave us the Torah; he brought us into the land of Israel; and he built the Temple for us…' Recto, there is no decoration. Verso, The beginning of an important Passover text is marked by the large historiated initial word panel depicting its author, Gamaliel. A scene appears beneath his name in which a teacher, presumably the rabbi himself, instructs four pupils seated at a table before him. He is considerably larger than them, and sits in a high chair, holding an open book next to a lectern containing two others. Two of the four male students, who are of varying ages, are bearded.




£ 60.00 Barcelona Haggadah folio 60 folio 60
Rabban Gamaliel used to say, 'Whoever does not mention these three things at Passover… The Passover Lamb… it is the sacrifice of the Lord's Passover…' The page is decorated with a historiated panel for the word pessah, 'the Passover lamb', a continuation of Gamaliel's text and frequently illustrated in Haggadot from this period. Here, the lamb is roasted on a spit turned by a single male servant. Verso, there is no decoration.




£ 75.00 Barcelona Haggadah folio 61 folio 61
This unleavened bread…why do we mention it?.. The dough that our fathers had did not have time to become leavened…' Musicologists are fascinated by the musical instruments depicted. The coat of arms of Barcelona is also shown on this leaf hence the name 'Barcelona Haggadah'.} The object most commonly illustrated in Haggadot is undoubtedly the matzo, of which a lavish rendering is to be seen on this page This is the most elaborate representation of all haggadot of this time, in which a matzo is incorporated into a format that, according to Z. Ameisenowa and others, has no less than cosmic significance. The matzo is formed of eight concentric circles that symbolize the cosmos, while the five earthly musicians in the arcade at the foot of the page, in relationship with the nude trumpeters in the corners who perhaps personify the Four Winds, would represent universal harmony. The four coats of arms which occupy a significant position in the decoration of the matzo were left unfinished in spare ground. Such shields, presumably intended to contain armorial devices, were noted in fols 26a and 28b of this manuscript, but here they are placed between escutcheons of four azur and three gold stripes, identified by some scholars as the arms of Barcelona. This association led to this manuscript being dubbed the Barcelona Haggadah. The two words that begin this section of Gamaliel's text, 'this unleavened bread', are separated by an illustration of a seated man elevating a massah in each hand. Verso there is no decoration.




£ 55.00 Barcelona Haggadah folio 62 folio 62
...because they were driven out of Egypt and could not delay…' Recto there is no decoration. Verso, The scribe left almost the whole of fthe page for a depiction of the bitter herbs, but the crude illustration we now see was not executed in the Middle Ages, although it may have been based on models from the fourteenth century. The vegetable, commonly portrayed in a highly stylized manner, was no longer understandable to the later artist, and the red holder with which it is sometimes shown seems to have been misunderstood by the artist, who interpreted it as a red crescent.




£ 55.00 Barcelona Haggadah folio 63 folio 63
These bitter herbs… why should we mention them?... In every generation a man must regard himself as if he had come out of Egypt..' Recto, there is no decoration. Verso, the word panel is 'held' by the lamed by a lion's head.





£ 55.00 Barcelona Haggadah folio 64 folio 64
"Not only our fathers…Therefore it is our duty to thank, praise extol, glorify… Praise the Lord.' Some of the marginalia on fol. 64a, have been left incompletely painted, so the brown preparatory drawing of the hybrid dragon's head and legs, and of the human face of the grotesque that holds a bagpipe on the left, are still visible. The black outlines that give a finished appearance to the work are also missing, leaving visible the outline of the letters written by the scribe before the illuminator added the gold leaf. Verso, the conclusion of the narrative section of the Haggadah, before the beginning of the sequence of Psalms known as the Hallel, is marked by the prayer beginning with the word 'Therefore', on fol. 64b, including an illustration of a man seated on a wooden stool within the initial word panel. The figure raises a large, oddly proportioned gold goblet, its long neck extending into the upper margin, that rests on the palm of his left hand. At this point in the ceremony it is customary to raise one's glass, a ritual illustrated in many fourteenth-century Haggadot. "




£ 55.00 Barcelona Haggadah folio 65 folio 65
"Hallelujah. 'Praise the Lord.' Let the name of the Lord be praised from now and forever. Recto there is no decoration, verso, the sequence of Psalms known as the Hallel begins on fol. 65b with a historiated initial word panel depicting a synagogue scene, accompanying the initial word Halleluyah, 'Praise the Lord'. A rabbi or cantor stands on a reading platform to the left, holding a Torah in a decorated round case, similar to those used in many Sephardi communities. Jewish custom as well as a pictorial tradition already prevalent in early Christian and Byzantine art, dictates that to avoid touching a particularly holy object, one's hands should be covered with drapery. Below the platform and under the initial word, four adults and three children stand in an architectural setting of three polyfoil arches in which four glass lamps hang. The whole initial word panel stands on two slender columns. "




£ 55.00 Barcelona Haggadah folio 66 folio 66
He turns the barren woman to dwell in her house as a happy mother of children. Praise the Lord...' Recto, there is no decoration. Verso, the Exodus itself (on horseback!) is the subject of the illustration that follows the first word of a Psalm from Hallel beginning 'In the going out'. A column of Israelites, led by a man bearing a standard decorated partially with silver, includes three men and two women on foot, and five men on horseback, the first holding a banner.




£ 40.00 Barcelona Haggadah folio 67 folio 67
In the going out of Israel…The sea looked and fled…The mountains skipped like rams… Recto, there is no decoration, verso, a man sits alone drinking from a golden goblet within the decorated word panel, bearing the word 'Blessed' in gold letters.




£ 40.00 Barcelona Haggadah folio 69 folio 69
Blessed art thou…who createst the fruit of the vine… Drink while leaning to the left, and wash the hands, in case one has forgotten...' Recto, two decorated word panels. Verso, text only.




£ 40.00 Barcelona Haggadah folio 71 folio 71
Then wash the hands, since hand-washing… is obligatory; 'Pour out …' Fill the cup (with wine) for the third time. Recto, text only. Verso, the historiated initial word panel contributes a wry illustration to the text it introduces: 'Pour out [thy fury upon the nations who have not known thee]', at which point the fourth and last cup of the ceremony is poured out. A winged angel emerges from the upper border to the left of this word, coloured almost entirely in orange despite a more detailed preparatory drawing still visible below, while holding an inverted gold goblet above three men standing to the left.




£ 40.00 Barcelona Haggadah folio 72 folio 72
Not to us, O Lord, but to thy name give glory, for thy love and for thy truth's sake…' Recto, the tails of two hybrid creatures in the margins, above the initial word panel that reads 'Not to us', trail down the sides to be transformed into foliate motifs. Verso, text only.




£ 40.00 Barcelona Haggadah folio 73 folio 73
The Lord hath remembered us: he will bless, he will bless the house of Israel…' The initial word panel on fol. 73a, that reads 'The Lord hath remembered us', is flanked by supporting angels that metamorphose into dragons below their thighs. Their heads, hands and torsos are uncoloured, and the letters have been incompletely decorated. Verso, text only.




£ 40.00 Barcelona Haggadah folio 74 folio 74
I should love the Lord to hear my voice.' An unfinished word panel decorates the text. Verso, text only.




£ 40.00 Barcelona Haggadah folio 75 folio 75
What can I repay the Lord for all his benefits towards me? I will lift the cup of salvation…' Recto, text only, Verso, an unfinished word panel decorates the text




£ 40.00 Barcelona Haggadah folio 76 folio 76
O praise the Lord, all nations; exalt him, all peoples; for his love is might over us…' Recto, text only, verso two panels partially completed.





£ 40.00 Barcelona Haggadah folio 77 folio 77
O thank the Lord, for he is good: for his love endureth for ever. Recto partially illuminated, verso two historiated word panels.




£ 40.00 Barcelona Haggadah folio 79 folio 79
The Lord is for me, I will not fear…' Recto, text only. Verso, two uncoloured dogs guard a tower over two historiated panels.





£ 40.00 Barcelona Haggadah folio 80 folio 80
This was the Lord's doing; it is marvellous in our eyes. Recto, two panels one with an uncoloured rabbit and verso three historiated panels within a playful design.




£ 40.00 Barcelona Haggadah folio 81 folio 81
Blessed be he that cometh in the name of the Lord…' Recto, a lively page with decorated word panels and several amusing figures in the margins. Verso, text only with a handwritten comment in the margin.




£ 40.00 Barcelona Haggadah folio 82 folio 82
Blessed art thou, O Lord, king, who art to be exalted in praises…' Recto, historiated panel. Verso, red penwork decorates the word, 'Blessed' written in large brown letters.




£ 40.00 Barcelona Haggadah folio 85 folio 85
A Hymn for Passover. Recto, historiated word panel headed by a ram. Verso, text only.




£ 40.00 Barcelona Haggadah folio 87 folio 87
A Hymn for Passover. Text only.




£ 60.00 Barcelona Haggadah folio 88 folio 88
NEXT YEAR IN JERUSALEM, AMEN' A full page written in gold letters.the ornamental word panels is the full-page decoration devoted to the words 'Next year in Jerusalem. Amen', arranged in two lines on fol. 88a. The fleeing hare is left unpainted. The design is inventive, with the ascender of the letter lamed in the centre of the lower line forming part of the design,




£ 40.00 Barcelona Haggadah folio 89 folio 89
The Passover Amidah Verso, historiated panel.




£ 25.00 Barcelona Haggadah folio 92 folio 92
The Passover Amidah Recto, historiated panel. Verso, text only.




£ 25.00 Barcelona Haggadah folio 93 folio 93
The Passover Amidah Recto, historiated panel. Verso, text only.




£ 25.00 Barcelona Haggadah folio 96 folio 96
The Passover Amidah Recto, text only, verso penwork panel.




£ 25.00 Barcelona Haggadah folio 100 folio 100
Hymns for the great Sabbath preceding Passover.




£ 25.00 Barcelona Haggadah folio 105 folio 105
The Readings from the Law (for Passover) Word panel, 'Parashiot'.




£ 15.00 Barcelona Haggadah folio 9 folio 9
Service in the Synagogue for Passover-Eve




£ 15.00 Barcelona Haggadah folio 10 folio 10
Service in the Synagogue for Passover-Eve




£ 15.00 Barcelona Haggadah folio 13 folio 13
Service in the Synagogue for Passover-Eve





£ 15.00 Barcelona Haggadah folio 16 folio 16
Service in the Synagogue for Passover-Eve