My Progress #4: Megillat Shir Hashirim

I finally managed to finish my Megillat Shir Hashirim, which took some 4 months to write. I had a very tough time writing this one since the klaf was quite bad, specially in the very first column, and this dragged the process more since I couldn't write as fast as usual.

This highlights how important it is to look for top-quality klaf; if you can't get it, wait until you find a good one. I couldn't erase mistakes properly and I even did the capital sin of a Sofer - I made a small hole while trying to correct something. It doesn't matter so much since I managed to "place it" just in between two words - look in the last line of the forth column.

Additionally, I used a computerized Tikkun (from which I copy the Megilla layout) which was awful - I was forced to stretch and squash words in almost every line. Now I know: only buy copies of hand-written Tikkunim.

But Shir Hashirim is fun to write, since I can use it every week (there's a minhag of reciting it every Shabbat-eve) and it's shorter than Megillat Esther. Now my next project is to write a large Mezuza - stay tuned!

Amazing Megillot #6: Sotheby's Important Judaica Auction

In my previous post I wrote about Sotheby's Sefer Torah auction, which pocketed 398,500 (the estimate was 300,000 to 500,000). But there were a few interesting Megillot being auctioned as well and I singled out three of them.

Firstly, the allegedly "earliest complete decorated Esther Scroll" (Venice, 1562). It was sold for a whooping U$ 600,000, making it the most expensive item sold in Sotheby's auction. I personally cannot understand why would someone favor this Megilla over the above-mentioned Sefer Torah from the 13th century, but bottom line is that this Megilla is surely unique. Every column starts with only one, large-type, word and subsequent 22 lines. From a Safrut perspective these top large words are not desirable but it doesn't causes the scroll to become Pasul. (click in the image to enlarge)

Next is a magnificent Megilla from Prague, 1700's, decorated by Jean-Paul Franck. From the catalogue: "Additionally, nude, half-length female figures emerge from scrolling foliate vines and peacocks, perched in naturalistic poses create a theatrical, albeit unrelated, backdrop to the Hebrew text." This is odd but not uncommon in old Megillot, unfortunately. Sold for U$ 134,500.

And finally, this Megilla from Italy, 19th century, sold for U$ 43,750.

Sotheby's Sefer Torah Auction

Menachem Butler pointed me to Sotheby's Important Judaica auction which will take place in just a few days. One of the Auction's highlights is a complete Spanish Sefer Torah from the 13th century and in Sotheby's catalogue there's a very interesting write-up detaling the origin and the style of this Torah. For Safrut fans, this is a delightful read that expounds the sources and Minhagim of writing the extra Taguim in Torah Scrolls, as per the ancient Sefer Hataguim.

One of the key traits of this Sefer is the fact that it didn't originally have the Taguim in all Shatnez Getz letters thorought the scroll but a later scribe added these taguim, in conformity with the present day Minhag. The original Sofer followed the opinion of the Rambam, which holds that only Mezuzot need Taguim in all Shaatnez Getz letters, and the later Sofer added them because over time all Bnei Israel started to use the Shaatnez Getz taguim in Torah Scrolls.

I encourage you to read the whole report, it's a real eye-opener. Here's the link for the article, and here's the link for the pdf-presentation with pictures.

The Czech Holocaust Scrolls

I just came back from a short trip to Prague, one of the most beautiful cities of Europe. One of the main attractions of the city is it's ancient Jewish Quarter and while visiting it, I got familiar with a truly fantastic story - the story of the over 1800 Torah Scrolls that somehow survived the Holocaust.

"In 1942, a group of members of Prague’s Jewish Community devised a way to bring the religious treasures from the deserted provincial communities to the comparative safety of Prague. The Nazis were persuaded to accept this plan and more than 100,000 items were sent to the Museum.

Among them were about 1,800 Torah Scrolls. Each was meticulously recorded on a card index by the Museum’s staff with a description of the Scroll and the place from which it came. The legend that there was a Nazi plan to create a ‘museum to an extinct race’ in Prague has never been proved. Be it as it may, these scrolls were left untouched by the Nazis but were abandoned for many years.

Under the Communist regime, the Torah Scrolls were accumulated in the abandoned Michle Synagogue in a suburb of Prague, and here it was that Eric Estorick, a London art dealer, was shown the collection in 1963. At the behest of his friend and client, philanthropist Ralph Yablon, and Rabbi Dr Harold Reinhart, he negotiated with the Communist state authorities to bring this precious collection of 1564 Torah Scrolls to Westminster Synagogue in 1964."

The Westminster Synagogue distributed the scrolls to communities around the world and the oldest Sefer Torah, dating back to 1650, is reportedly housed in Temple Havurat Emet in Arizona.

As you can imagine, this collective group of Sifrei Torah is invaluable. Very few Sifrei Torahs survived the Holocaust and, as I noted previously, many old Mesorot were completely forgotten after the war. If a trained Sofer went through the Czech Torahs in detail, I have no doubt that he would come across many of the forgotten Mesorot, like the Otiot Meshunot for example.

It turns out that one person handled all the scrolls and did all the necessary fixes himself. That's David Brand, an orthodox Sofer who spent 27 years of his life looking at these precious scrolls. I don't think any other Sofer has seen as many pre-war Torah Scrolls as him and I started a man-hunt after him. But as I began looking, I found this note in the Czech Memorial Trust's website:

"The arrival at Kent House of David Brand, the Trust’s only resident sofer (scribe), has passed into legend. The story has often been told of the knock on the front door of the synagogue, Ruth Shaffer’s reception of an elderly Orthodox Jew who asked in Yiddish, ‘Do you have any Torahs to repair? And her reply, ‘We have 1,564; come in!’. The friendship and respect between David Brand and the modern forward-thinking Reform Rabbi Harold Reinhart laid the foundation of the whole Scroll story.

David Eliahu Brand was strictly Orthodox in his approach to Judaism. He would not partake of any food or drink at Westminster Synagogue, bringing his own refreshment and staying in London in a small flat found for him by Rabbi Reinhart. When introduced to the Lady Mayor of Westminster on the occasion of the opening of the Scrolls Centre in 1988, he would not take her hand in greeting, explaining with dignity that his religion did not allow it.

When he returned to Jerusalem – the work being nearly complete – he kept in touch for a while, returning from time to time on special visits. Sadly, the Trust has now lost touch with him but if anyone knows the whereabouts of this charming, friendly, knowledgeable man of much distinction, the Trust would be delighted to have the information."

So if anyone knows this David Brand, please let me (and the Trust) know!

This topic can also be found in this CJLS Halakhic discussion, from the Conservative community. It's an interesting discussion about displaying Sifrei Torah that are Pasul in Museums and the Czech Scrolls are a case-point. But I was saddened to read the footnote below:

I do realize the importance of interfaith dialogue and all that, but after such miraculous story of disguise and survival, I'm uncomfortable to hear that these special scrolls found their way into Cathedrals and churches. For some odd reason, it brings me sad flashbacks of another major tourist attraction of Prague - the Crucifix with the Hebrew inscription of Kadosh, Kadosh. Oy!

_________________________________________________

You can also read this PDF for more info about the scrolls.

Bet of Bereishit and the Masechet Sofrim

The Mesechet Sofrim, one of the mini-Tractates of the Talmud, says:

The second statement is well known and all Sifrei Torahs have the large-type Bet at the start. However the commentary of the Masechet Sofrim, "Shehi Takim Leolam", is difficult to understand but I will leave it to you to come up with explanations.

I want to focus in the first statement - that the Bet should have four Tagim. The only time I saw this bet was in an old Tikkun, but the fact is that all modern day Torahs do not have these Taguim. This is how it should look, according to the Masechet Sofrim:


What's strange is that this Masechet Sofrim is a prime source and I had a tough time understanding how can we afford ignore it. For instance, the Gemara says that the "foot" of the Daled should be slightly bent and according to many opinions a Daled that has a straight "foot" will invalidate the Torah scroll. If we are so stringent about what's mentioned in the Gemara, why do we ignore what's mentioned in the Masechet Sofrim?

The answer to this question is interesting. Aside from the Masechet Sofrim, there's another even smaller Tractate called Masechet Sefer Torah. Most of the content of this little Masechta is anyways mentioned in its "big brother", the Masechet Sofrim, which includes Halachot of Sefer Torah, Mezuza, Tefillin and Mesora. Rabbi Chaim Kanievski, in his work on the small Tractates of the Talmud, asks why there's a need for both Masechtas if they are essentially dealing with the same topic.

His answer is quite radical. He says that the Masechet Sofrim is not part of the Talmud (written between 300 and 400 CE), but a later addition by the Geonim, who lived in the 6th century. Basically, the Geonim took one of the little Tractates of the Talmud - the Masechet Sefer Torah - and expanded it, creating the Masechet Sofrim, which deals with all Safrut related Halachot.

If so, Halachot only brought in the Masechet Sofrim do have less weight than the Halachot mentioned in the Talmud. The four Tagim of the Bet of Bereishit is a telling example of this phenomena and that's why we don't have them in our scrolls today.

Pic: Zoomed Shin

Aside from Safrut, I love photography and I wanted to post this cool pic, which I took using my diamond lupe. This is my soon-to-be-completed Meggilat Shir Hashirim and I zoomed in the Shin because I just love this letter, and with the lupe you can take a deeper look in it. It's very easy to mess-up this letter since everything is "squashed" together - the three Yuds and the Taguim. Next to it you can see a Yud and it's lower Tag (lower left side), which is mandatory according to Rabbeinu Tam.

I hope to finish this Megilla in the next two weeks and I will post more pictures.

Chag Sameach

Stam Stories #1

In this series of posts, you will read about the few stories of Chazal that speak about Sta"m - Sefer Torah, Tefillin and Mezuzot. This story is about a Mezuza and a diamond gift (full disclosure: YK works with diamonds).

Yerushalmi Peah - Page 4, Chapter 1, Halacha 1:

"Artevan (either a king or a wealthy Jew), sent to Rabbenu Hakadosh (Rabbi Judah the prince - 2nd century CE), the compiler of the Mishnah, a precious diamond as a gift, and requested that Rabbenu Hakadosh reciprocate by sending him a gift, equal to his. The Rabbi sent him a mezuzoh. Artevan asked him, "I sent you and invaluable diamond, and you send me a gift that is worth a half-shekel? Rabbenu Hakadosh replied, "My property (Rabbenu Hakadosh was very wealthy) and your property cannot pay the value of a mezuzoh, as King Solomon says in Proverbs: 'All your desirables cannot equal it.' Moreover, our riches we must guard, whereas the mezuzoh guards us."

The Sheiltot of Rabbi Achai, Parshat Ekev, adds another layer to the story:

"Right after (Rebi sent the Mezuza), Artevan's only daughter fell seriously sick. He summoned the most skillful physicians, but no one could save her. Artevon then decided to heed to Rebi's advice and fix the Mezuza in his doorpost and his daughter got immediately cured."

And finally, in Yoma 11A:

"There was a story with Artevin, who was once checking the market's Mezuzot and got fined by the local authorities (who banned all Mezuzas)."

Why was Artevin checking Mezuzas in the market? Some commentators say that after his daughter healed he took upon himself to make sure that every Jew would have a proper Mezuza at his doorpost, and he would go around checking them once a year.

The Two Columns of Shirat Haazinu

The Mitzva of writing a Sefer Torah comes from this past week's Parsha, Haazinu. In the preceding Parsha, G-d says to Moshe that the Jews should "write this song", in a reference to Haazinu, one of the Torah's two songs (the other one is Az Yashir). Although the commandment refers only to Haazinu the commentators note that it's prohibited to divide the Torah and write it in a form of "megillot, megillot" i.e. in fragments, since all the Torah is one. So the commentators all conclude that the commandment must have been to write the whole Torah, which will contain the song of Haazinu.

This highlights how important this intricate song is in relation to the whole Torah.

Also aesthetically, Haazinu stands out with its special two-column layout. In the modern Torahs, the two columns are perfectly even, like two towers, and usually are two pages long. I wanted to post a picture of the whole thing but I only found this one:

We find the same layout in the Megillat Esther, in which the ten sons of Haman are listed in the same fashion. Like in Haazinu, most sofrim (not me!) stretch the letters so every column will start and end in the same place:


But if you look in the old Torahs and in the Torahs of the Yemenite Jews you will see that the columns there aren't uniform at all. Below is a picture from a Yemenite tikkun:



I guess the Ashkenazi sofrim took the liberty to strectch the lines in order to make the scrolls look nicer, on the grounds of "zeh keli veanveiu".

But there's another thing that really puzzled me. Aside from the layout, the Yemenite scrolls also differ in the actual poem structure and that's the real reason why their columns aren't simetrical - there are less lines and thus some of the lines are longer.

For instance, look in the 17th line in the above picture, "zechor yemot olam.." - this is a long line. In the Ashkenzai scrolls this long line is divided in two, enabling our sofrim to justify the lines. Now that's odd! There are two other places where there's a difference in the poem structure but I will leave it for you to figure it out.

Which is the right structure?

That's where the Aleppo Codex comes to the scene. This is a topic for another post, but it suffices to say that the Aleppo Codex, guarded by the Aleppo Jews until 1948, is the most accurate Tikkun ever. Unfortunately, this Tikkun only covers the Nach; the Torah pages were mysteriously lost in a Arab riot in Aleppo. That is, all the Torah pages were lost besides..... that's right, the pages of Shirat Haazinu! And if you guessed that the Yemenite scrolls are identical to it, you are right. I got this image from the Aleppo Codex website:


This would imply that the Ahskenazi structure of Shirat Hazinu is problematic. Halacha says that if there's a pause (parsha setuma or petucha) in a wrong place, this will invalidate a Sefer Torah. If the Ashkenazi scrolls have a different poem structure, some of the open spaces are in the wrong place!

The answer is simple: the open spaces in Shirat Haazinu (and Az Yashir) are not open and separate Parshas, but a special layout of a song. The halachot of Parsha Petucha and Setuma don't apply here and whatever layout you have - Yemenite or Ashkenazi - will be Kosher for all intents and purposes. So although it's clear that the Yemenite arrangement is more reliable, you should not start complaining about our modern-day structure.

This is the story of the layout of Shirat Haazinu. I hope you enjoyed and I wish you a Gmar Hatima Tova!

Amazing Megillot #5: Ketubah&Art

This is a strikingly beautiful contemporary Megillah. I wish I had more info about this piece but the website, ketubahandart.com, has almost no information about the artist behind it. But I love the "dark" look, gold painting and the papercut. I wish I could find an image of it in better quality...

The Psalms Menorah

One of the best-selling Safrut items is the Lamnatzeach Menora. You can see it in almost every Sephardic and Chassidic synagogue but I never knew what was the story behind it. This past Shabbos I saw an explanation in the Chatan Sofer's Bircon - see the bottom of the the picture for the Hebrew version. I will summarize it in English below.

"In the sefer Kaf Hachaim (...) is brought that G-d showed to King David and Moshe Rabbeinu the Mizmor Lamnatzeach Bineginot in the form of a Menorah, written in a golden sheet. King David inscribed this Psalm Menorah in his war shield and would meditate upon it in his wars, for protection."

That sparkled the Minhag of reciting this Psalm in this format every day and many people prefer to read it from parchment. I'm currently writing my Shir Hashirim scroll but I got so excited about this that I decided to write a large Lamnatzeach Menorah hopefully next month ii"H. Stay tuned!

Esnoga's Scrolls

The Esnoga is one of the most important historic synagogues of the world and it was built during the golden years of the Jewish community of Amsterdam. My family was there for a visit and they brought me some pictures of the scrolls featured in the adjacent Jewish Museum. The Museum's site doesn't have any pictures so I took the liberty of sharing it with my readers in this blog entry.

All of them are unique and showcase the elegance and taste of the Dutch Jews of that era.

The Megillat Esther below has some very beautiful illustrations in between each column and is written is a very odd layout - 30 lines (see my post on this subject here) and each line is way too long (each line should ideally have 30 letters, which is three times the word "lemishpechotam", but in this scroll there are more than 60 letters per line). The letter Peh has a very different shape, with a big Tag in the left top corner.

This other Megilla has 32 lines, also not standard, but the lines have the proper amount of letters. What catches my attention is the arrangements of the Parshiot - if you look carefully you will see that the Parsha of "איש יהודי" is written in the middle of the line and "אחר הדברים האלה" has a very odd layout - it starts almost where the preceding line ended. According to our Mesorah, all the Parshiot of Megillat Esther should have a Setuma layout (see my post on this subject here) and if so, this Sofer followed the Rambam's opinion of Setuma and Petucha.

Next is my personal favorite, a Sefirat Haomer scroll. This is the first time I see such scroll and it takes a little time before you actually understand what's going on. The top box is the days' count - 46 days; the middle and bottom boxes are the week's count.

Last but not least, this antique Torah scroll written in Veilish script (read more here). The top Lamed in this Sefer torah is almost bent backwords, opposite to the Lamed of our modern scrolls, which are slightly bent forward.

Otiot Meshunot - Odd Letters of the Torah

In the Torah scrolls of today, there are very few scribal oddities and it's not so hard to single them out:

• Large and small letters - example: the large Bet of the word Bereshit.
• The inverted Nuns in the Parsha of Vayehi Binsoa.
• The splitted Vav in the word "Shalom", in last week's Parsha.
• Dots on top of specific words like "Hanistarot Lashem".

However, many old Sifrei Torah have many more oddities that are no longer in use today (see images). One of the most famous examples is the Peh Melufaf, which is still in use in the Teimani scrolls, and the Torah Shlema has an extensive list of these less popular odd letters. Also, there are numerous additional tagim that are often times mentioned by popular commentators like the Baal Haturim that also fell is disuse.

The Meiri compiled a very detailed work (Kriat Sefer) on the odd letters, depicting the oddities of the Torahs of his time. A more contemporary Sefer was written by the Badei Aharon roughly 150 years ago. There of course the ancient Sefer HaTagin (see image) , which according to tradition was copied by Eli HaCohen from the 12 stones of Yehoshua Bin Nun over two thousand years ago.

What are these letters? Various Geonim, Rishonim and Achronim have mentioned these letters and among them, the Rambam simply says that this is a very old tradition that should be observed. Few elaborate on the reason behind these oddities but the fact is that there was such a tradition and at some point this tradition was lost.

But before the Second World War there was this "in-between" period where some communities accepted this tradition while others were very critical of it, arguing that this tradition was rather unreliable.

This controversy gathered more attention when an old Torah scroll written by Beit Yehuda, a famous rabbi, was found to have numerous otiot meshunot. Also the first Rebbe of Zanz reportedly wrote his Sefer Torah with unusual Otiot Meshunot, and in both cases even those who didn't approve this Minhag were afraid to say bad about these Torahs, given their exceptional importance.

Following the devastating events of the Holocaust, few antique Torah Scrolls remained intact and the Mesora of the odd letters was wiped out alongside with the European shtetls.

This topic is of special interest to me since I'm planning to start writing my own Sefer Torah soon. All these scribal oddities are so interesting and did feature in the Sifrei Torah of previous generations so I got to admit that I felt tempted to add some of these oddities in my writings.

That's why I decided to study Rabbi Ratzabi's authoritative sefer on this subject, featured in the Torah Shelema, and now that I finished learning it I have another approach to this subject. Rabbi Ratzabi doesn't says if scribes should or shouldn't write the Otiot Meshunot but he somehow expounds how confusing and complex this topic is and it becomes clear that whoever decides to write the Otiot Meshunot will be putting himself in a sea 0f possibilities where there isn't a clear path to follow. That is the danger of following a Mesora that isn't yours; it's almost like inventing a Gezeira Shava out of your own mind, which is forbidden.

The very few oddities that have been preserved in our scrolls have resisted the test of time and are our only undisputed Mesora. Here and there I hear of people talking about bringing back the Mesora of Otiot Meshunot but this page was turned after the Holocaust, as I noted above. Whatever is left of it is a living testament of the richness of the field of Safrut and how it evolved over centuries of Exile and persecutions.

Jewish Week Article

Here's a great article from the Jewish Week, pointed out by Lion of Zion (don't miss the post discussion there).

"A Safer Torah

At the Plainview Jewish Center, the congregation’s 14 Torah scrolls were recently unrolled and examined by three Torah scribes while congregants milled around.

We were evaluating the Torahs, repairing some and registering those that had not been previously registered,” explained Zerach Greenfield, executive director of Machon Ot, a nonprofit Torah registry organization with offices in College Point, Queens, and Jerusalem.

The organization was created nearly 20 years ago at the behest of Interpol and the Israeli police department after the discovery of 65 stolen Torahs hidden behind a false wall in Rosh Ha’ayin, Israel, Greenfield said.

Since then, registration of sifrei Torah has gained increased acceptance. Greenfield pointed out that the eight Torahs in the main sanctuary of the Jewish Center of Kew Gardens Hills were stolen last year. The custodian was later arrested and charged with the theft, and the scrolls were recovered.

Greenfield said those Torahs were registered with Machon Ot (Institute of the Letter) and could have easily been identified if a question had arisen about their ownership.

The International Torah Registry uses pin marks to identify Torahs, but Greenfield said Machon Ot developed two other “far more sophisticated” methods of identification.

The first involves making a transparency of a randomly chosen column of the Torah; because each Torah is written by hand, no two columns are identical. Transparencies can be placed over the column to see if the letters line up. The second method involves scanning a column and drawing an invisible vertical line on a template to see which letters cross that line when measured from the end of the line, creating a unique pattern.

Lacking identification marks, there is no way to identify stolen Torahs and return them to their owners.
Greenfield said sofrim, or scribes, are often the very people who steal and try to resell the scrolls. Therefore, he said, an identification method that these men could not circumvent was needed. That ruled out invisible ink, embossed stamps and code markings.

Rabbi Ronald Androphy, spiritual leader of the East Meadow Jewish Center, said Machon Ot registered his congregation’s nine Torahs, evaluated them to check for discoloration, and repaired letters that had become difficult to read. The registration, evaluation and repair cost a total of $30,000, he said.

In the past, Rabbi Androphy said he would call a sofer when there was a problem with a Torah. And he said that more than 20 years ago he sought to register the Torahs with the Universal registration with its pin code but found the kit he was sent “very difficult to do.”

“We never followed through with it,” he said.

Now, his Torahs are not only registered with Machon Ot but repaired by it, Rabbi Androphy said, noting that Machon Ot once took two of his congregation’s Torahs to its Jerusalem office for repair.
“Torahs deteriorate naturally,” he said, adding that Machon Ot scribes have returned at no additional charge to fix letters in those Torahs when the ink later cracked.

Although Machon Ot helps synagogues interested in commissioning the writing of a new Torah as a fundraising project, Greenfield said the economic downturn has caused more synagogues to hold fundraisers to repair their Torahs.

Machon Ot began registering Torahs worldwide in 1990. It now has a database of 14,000 registered Torahs and registers about 400 to 500 each year.

“The goal is 30,000 because that would be a critical mass that would make someone believe he would get caught if he tried stealing a Torah and then selling it,” Greenfield said.

As part of its evaluation of each Torah, he said, Machon Ot scribes determine what it would cost to replace it. Such an appraisal is required by major insurance companies in Israel and is helpful for synagogues and others in the United States so that they don’t over insure their Torahs. "

Rashi Vs. Rabbeinu Tam - Round II

There are two major discussions between Rashi and Rabeinu Tam that relate to Safrut and in this post I will talk about the second. My first post can be found here.

You've probably noticed that in some houses the Mezuza is set in the doorpost in a complete vertical position, while in other households it is slightly bent. Why? Which is the correct way?

The two possibilities I just mentioned are not the opinions of Rashi and Rabbeinu Tam, so please bear with me.

The Discussion

Rashi and Tosafos dispute what is the proper way of storing holy items. Rashi understands that Mezuzot and Torah Scrolls must be stored in the vertical position. Rabeinu Tam goes the opposite way and holds that the proper way to store a holy item is in the horizontal position, and according to him to store it in a vertical way it's improper. So what's good for Rashi - vertical - is bad (yes, Pasul) for Tosafos and vice-versa.

As a side note, some of the Tefillin found in the Qumran excavations had the scrolls arranged horizontally, like Rabeinu Tam (see picture in the right - The Qumran tefillin: the open capsule with the inscribed parchment slips in it. See more here), indicating that this discussion preceded the times of Rashi and Rabbeinu Tam (who lived 1000 years ago, opposed to the 2000 year old Qumran scrolls).

Practical Halacha

The Shulchan Aruch decided like Rashi and thus all Sephardic Jews affix their Mezuzas in the vertical way. Also, the Sephardic Sefer Torah is stored in a "box" and always stays in the vertical position, even when being read in public - another ramification of Rashi's opinion that holy items must be stored vertically.

The Rema however mentions Rabeinu Tam's position and introduces a compromise: not vertical nor horizontal but in a diagonal position. That is a classical Jewish solution - in face of two opposing opinions we do like a third one, but jokes aside, this proposition was universally accepted by all Ashkenazi Jews to this day. That explains why the Bima in the Ashkenazi Shuls is slightly bented and also why they store their Torah Scrolls in a slightly diagonal position in the Aron Kodesh - they follow the Rema's solution in every situation.

(Incidentally, the Tur offers another solution, to bend the Mezuza's parchment like an L in order to follow both Rashi and Rabeinu Tam in one go but no one follows this view, most likely because it would damage the Mezuza's Klaf (parchement), a far larger problem.)

The Belz Minhag

But there's an interesting exception to this rule in the Ashkenazi world - the exquisite Minhag (custom) of the Belz Rebbe's family of storing the Sefer Torah horizontally. When I heard about this I was open-mouthed and I did a little research about this.

It turns out that the Belz Shuls and yeshivot around the world store their Torah's in the usual way - vertically. Only the Rebbe's Torah Scroll is stored according to Rabeinu Tam's opinion, horizontally, and this Torah is currently stored in the famous Belz Great Synagogue (picture in the right). Why?

Reb Meir of Primishlan, a famous Hassidic Rabbi, once said that the first Rebbe of Belz, Reb Shalom Rokeach, had "sparkles of the soul of Rabbeinu Tam" and this had so much impact in the Rebbe that he decided that if he would one day build a Synagogue he would store the Torah according to his "soul-mate", Rabbeinu Tam. He did eventually build a synagogue and stored the Torah horizontally, and this custom was kept by the subsequent Belz Rebbes. If you find this hard to accept, take a look in Rabbeinu Tam's original piece:

וכן אני מורה הלכה למעשה, לעשות נקב במקדח ולתתה [את המזוזה] ברוחב המזוזה, ואם נתנה לאורך המזוזה – פסולה, וכן פרשיות של תפלין לרוחב הבתים, ולא לגובה, כמו מזוזה. וכשאבנה ארון [בבית-כנסת], אם אזכה, ארחיבו לפי העמדת ספר-תורה מיושב, כספר-תורה שהיה מונח בארון

"When I build a Synagogue, if I will merit, I will store the Torah Scroll horizontaly (...)", said Rabennu Tam. So the Belz Rebbe felt compelled to follow Rabeinu Tam's dream when he built his synagogue. However, his Mezuzot and Tefillin were all vertical - only the Sefer Torah, which was specially highlighted in abovementioned passage, was stored according to Rabbeinu Tam.

(By the way, it took him 15 years to build his Synagogue and he was part of the construction crew, highlighting how important this was for him. It also took 15 years to build the new Belz Great Synagogue in Jerusalem, pictured above, and the current Belz Rebbe was also actively involved in the building process, along with his Hassidim)

So as you see, this ancient discussion between Rashi and his grandson is still relevant, 1000 years later!

About the Name of This Blog

You probably noticed that the web url of this blog is kind of weird - "Lavlor". What's that?

A scribe is usually called a "sofer" in Hebrew but it turns out that "sofer" is a word with multiple meanings and although I'm not a fan of ethimology I conducted a thourough research about this word. The root of sofer is S-F-R and the Aruch, an authoritative dictionary written over 1000 years ago, mentions five different possible meanings:

1. A "sefer" (book).
2. To count ("lispor" in Hebrew)
3. A barber ("sapar", still used in Modern Hebrew)
4. A small town ("sfar")
5. Rabbis ("sofrim")
   

Mind you that a scribe is not among the possibilties, a striking fact. What's the Aruch's word for a scribe? You guessed right - lavlor.

Coming back to the word "sofer", Hebrew words that share the same root are almost always connected in some way but in this case, "sofer" has way too many meanings and it's quite impossible to find common ground between a barber and a Rabbi. So what's going on?

It turns out that we are talking about two different languages. The Torah's language is a mix of two distinct but similar languages, and while the Tanach is written in Lashon Hakodesh (old Hebrew), the Talmud is written in Aramaic. Occasianally a word can have different meanings in these two languages and the word "sofer" is a telling example.

Exclusively in Lashon Hakodesh, a "sofer" has only four meanings:

1. To count ("lispor")
2. To tell something ("lesaper")
3. To write
4. A book
   

These four things are connected - a book is a story, a writer is a storyteller and "counting" is closely connected to "telling" in many other languages, including Latin, French and English.

But in Aramaic a "sofer" has other meanings and Aruch, a work on the Talmud and Midrashim, approprietly identifies alternative possibilities which include barber, Rabbis or a small city.

So what's the correct word for scribe? In Hebrew it's "Sofer" and in Aramaic it's "Lavlor". I decided to use both - lavlor.blogspot.com, home to YK's Sofer Blog!

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Some sources:

Avot Chapter 6 (written in Lashon Hakodesh):

אמר רבי יוסי בן קסמא, פעם אחת הייתי מהלך בדרך ופגע בי אדם אחד, ונתן לי שלום, והחזרתי לו שלום, אמר לי, רבי, מאיזה מקום אתה, אמרתי לו, מעיר גדולה של חכמים ושל סופרים אני, אמר לי, רבי רצונך שתדור עמנו במקומנו ואני אתן לך אלף אלפים דנרי זהב ואבנים טובות ומרגליות, אמרתי לו אם אתה נותן לי כל כסף וזהב ואבנים טובות ומרגליות שבעולם, איני דר אלא במקום תורה, וכן כתוב בספר תהלים על ידי דוד מלך ישראל, טוב לי תורת פיך מאלפי זהב וכסף.

Talmud (Eiruvin 13:A), in Aramaic:

אמר רב יהודה אמר שמואל משום ר' מאיר כשהייתי לומד אצל ר' עקיבא הייתי מטיל קנקנתום לתוך הדיו ולא אמר לי דבר וכשבאתי אצל ר' ישמעאל אמר לי בני מה מלאכתך אמרתי לו לבלר אני אמר לי בני הוי זהיר במלאכתך שמלאכתך מלאכת שמים היא

Jastrow's Talmudic Dictionary:

Exquisite Megillat Esther Case

Made out of ivory, gold and silver, this is one of the nicest cases I've seen - I love the look of Esther and Achashverosh and the assimetrical canopy. Maybe one day I will buy it for my 11-lines Megillat Esther... I wish! Artwork by my friend Uri Revach; price upon request.

The Minhag of Writing the Last Words of a Sefer Torah

One of my favorite blogs, Lion on Zion, wrote a post about women in Safrut and in the discussion thread we somehow got drawn to the interesting "Minhag Israel" of letting other people write the very last words of the Torah in public. But what is the nature of this custom? I got curious and in this post I will write what I read about this.

Firstly, there's a Miztva of writing your own Sefer Torah and a Sofer can write on behalf of others who can't write themselves. But even if you hire a Sofer you must participate in the process in some way - the Talmud mentions that you should buy the klafim, for instance, and usually the "Baal Hasefer" writes a word or more in the Torah. But which word?

Three possibilities are mentioned: "Bereishit", the very first word, or "Israel", the very last or the whole passage of Devarim 33;4 - "Torah Tziva Lanu Moshe (...)". In a best case scenario the owner would write all three but almost no one knows how to write properly and to even write one of the three possibilities is already unrealistic, so the Sofrim found ways to go around this problem.

The "Keter Shem Tov" says that the Sofrim in his time would draw small dots outlining the words Bereishit and Israel, and the Baal Sefer would literary connect the dots. That's one solution.

Today, the Sofrim outline the letters and the owner just fills in. Halachically speaking, an outlined letter is Kosher thus the owner is not actually doing anything - the Sefer Torah is actually finished before he fills in.

But we haven't answered the original question: why is there the Minhag of letting others write a letter in the end of the Torah?

The "Mei Yehuda" offers a nice theory. Halacha says that if a person buys an unfit (Pasul) Sefer Torah and corrects it, he fulfills the Mitzva of writing a Torah. But there's an obscure opinion that says that even if the Torah belongs to someone else, the one who corrects it fulfills the Mitzva the same way. If so, it could be that people that write a letter in the end of the Sefer Torah do fulfill the Miztva according to this minority opinion and maybe that's how this Minhag started.

Be it as it may, this is an ancient Minhag Israel and in many cases is the only indication that the Sefer Torah was written by a proper Sofer - a Torah could look 100% kosher but be written by a gentile, for instance. This Minhag helps us with this issue and here is why:

Before the Sofrim came up with the outlining idea, the owners and guests would write the last letters themselves and, expectedly, the result was somewhat messy - you could tell that the letters were not uniform. But this mess was a good thing; if a Sefer Torah had perfect letters in the end, it would indicate that it wasn't unveiled in public, which is not a good sign. Only when it had the messy letters we would know that there was a public festivity and other people wrote the messy letters, which tells us that the Sefer Torah was most likely Kosher.

This is a great example of Chazal's saying: "Minhag Israel Torah".

Jewish Fonts - A Guide for the Different Ktavim

Although all Holy scrolls are written in Ktav Ashurit, there are many subdivisions within this script. Additionally, there are other fonts that are not related to Ktav Ahurit, so I think it's worthwhile to talk a little about the Jewish Fonts.

Let's start from the beggining. There's a discussion in the Talmud if the Luchot given in Har Sinai were given in Ktav Ashurit (the font we use today) or perhaps Ktav Ivri, an obscure and completely different font. We follow the opinion that the Luchot were given in Ktav Ashurit.

So right from the start, we have two fonts: Ashurit and Ivri. The Ktav Ivri is also known as "Paleo-Hebrew Alphabet" and you can see a full verse from Tanach in the pic in the right. It's way easier to write Ktav Ivri than Ashurit - it's basically sketches rather than an artistic alphabet and I imagine it would be a lot easier to write a Sefer Torah in Ktav Ivri.

Another font that became very popular is Rashi's Script, which is commonly found in Chumashim, Talmud and commentators. This font was introduced in the 15th century and it is still printed today in a standard way, that is, with no variations. If you take to account the quantities of Talmuds, Mishnayot, Peirushim out there that use this script, it's no exaggeration to claim that this script has become more popular than the Ktav Ashurit, only found in the holy scrolls.

But I'll spend more time talking about the different versions of the Ktav Ashurit, since this is the script we use for all scrolls and most people have no clue about this. There are four versions:

1. Beit Yosef
2. Ariz"al
3. Chabad
4. Veilish (Sefardic)

All scripts have the same Halacha status and are Kosher for any Jew, since the differences are very slight. Rabbi Ovadia Yosef, the foremost authority of the Sefardic Jews today, proves this extensively in his sefer Yebia Omer and before him the Kaf Hachaim claims the same, so there's nothing to fear - whatever script you have is okay.

However, if you can choose between these four versions of Ktav Ashurit, why not make the right choice? Most people who buy Tefillin or Mezuzot don't really pay any attention about the version used by the scribe but just like anything else in life you should make an informed decision. And I will try to organize it for you here.

If you are Sefardi, it's easy - buy a Tefillin/Mezuza/Torah written in Veillish. The easiest way to identify this ktav is through the Shin, which has a distinctive round base like this (you can see a full sample in the end of this post)

For the Ashkenazim it's more tricky. If you are not Hassidic go Beit Yosef, which is the standard and most popular version. But for the Hassidic readers I need to first give the big picture.

The Arizal script was introduced by the Ari, in the 1500's. Before him, the Ashkenazim basically wrote in a uniform way, but the Ari, with his unmatched Kabalistic knowledge, pushed for a few changes in the Ktav Ashurit. He also introduced a new way of writing the Holy Shem, according to the Kaballa and many sofrim today write it this way (click here for my post about the Holy Shem). But what most people overlook is the fact that the Ari only pushed for changes in the Tefillin, not in the Torah scrolls. The Ari never intended to change the way our Torah scrolls are written and that's when the confusion starts.

Most Hassidic scribes today write not only Tefillins, but also Torah scrolls and Mezuzas in Ktav Arizal. Frankly, I don't know why, but that's a fact. One of the few Hassidic sects who oppose this practice is the Tzanz dynasty, since the Divrei Chaim was very clear about writing the Torah in Ktav Beit Yosef and Tefillins in Ktav Ari.

So if you are Hassidic, you should order a Ktav Arizal Tefillin. But if you one day hire a sofer to write you a Torah, make sure you ask your Rebbe if you should use Ktav Ari or Beit Yosef. Anyways, it's easy to identify an Arizal ktav - the Chet and Shins look like this:

On top of all this mess there's the Chabad Ktav, introduced by the Alter Rebbe. I heard from a fellow Chabad scribe that the Alter Rebbe once said that when Mashiach comes this will be the main Ktav, but the fact is that the Chabad Ktav is the least popular of all the four versions of the Ktav Ashurit. This Ktav is very similar to the Ktav Arizal, but you can identify it by the exquisite Lamed and Peh:

So, if you are still reading this, yes, there are many Jewish Fonts. And next time you order a
scroll, make sure you choose the one that is right for you!
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Samples:

From left to right: Sephardi, Beit Yosef, Arizal and Chabad.

A Brief Dikduk Dvar Torah on Pessach and Shemini

I don't focus much in Dikduk but I had a cool insight on the Parsha of this week and I will share. After all, Dikduk and Safrut do go hand on hand.

The Vilna Gaon often times links the "trop" (cantilation sign) of words to their actual meaning. One famous example, in Shemot 1:13:
Many commentators explain that the Jews stayed in Egypt for less time because of the extreme hardship of their slavery. In the verse above, the Torah describes this hardship and the words have a cantillation sign called "Kadma Ve'azla". Says the Gaon that if you take the name of the cantillation literary it means "Anticipated and went" in Aramaic, indicating that because of the hardship of the slavery the Jews "anticipated and went" from Egypt before pre-set time. I heard this yesterday and I got excited about this kind of Dvar Torah and had the following insight:

In the coming week's Parsha, Shemini, I saw a very rare cantillation sign in the passage that speaks about Nadav and Avihu, the two sons of Aharon who died while doing work in the Mishkan. The Torah explains that they brought an....:
The rare "trop" below the word "Lo" is called Mercha Kefula or, alternatively, "Trei Ta'amei". Following the methodology of the Gaon, if we take the word "Trei Taamei" literary it means "Two Reasons" in Aramaic (I don't know the exact translation of the other name, Mercha Kefula, but Kefula also means two). The Talmud, mentioned by Rashi in this passage, says that there are two reasons why Nadav and Avihu died - either because they entered the Mishkan drunk or because they said an Halacha in front of Moshe, two actions that cause a death penalty. So here again, the trop gave us a hint about this passage.

Petuchot and Setumot

This is one of the most hotly debated topics of Safrut and I just want to write a little bit about the basics and how this subject impacts us today. Although this is a longer-than-usual post, I can safely say it's my most important piece so far in this blog, since it has a direct impact in two daily Mitzvot - Mezuza and Tefillin.

The Basics

The Torah is comprised of many parshiot, or "segments", which can be connected to each other in two ways, in a "Setuma" (סתומה) layout or in a "Petuha" (פתוחה) layout. The Rambam and the Rosh discuss what's the exact layout of Setuma and Petuha and in many instances what is a Parsha Stuma for the Rosh is a Petuha for the Rambam.

The two instances where they disagree are the following:

1. According to the Rambam, whenever a Parsha starts in the middle of the line that will be considered a Parsha Setuma. The Rosh will say the opposite - according to him this is the layout of a Parsha Petuha.
2. According to the Rambam, whenever a Parsha starts in the beggining of the line that is the Parsha Petuha. The Rosh says that this is a Parsha Setuma.

The best way to visualize this discussion is by taking a look at the Mezuzot of the Ashkenazim and the Sephardim. As you will see in the next section of this post, the Talmud says that the Mezuzot must have a Setuma layout and the Sephardic Jews write it like the opinion of the Rambam (see pic below). According to the Rosh, this is actually a Parsha Petuha layout !


The Poskim say that the Sofer must try to write the פרשיות in the two layouts in which there's no debate ("universal layouts"), in order to follow both the Rambam and Rosh. There are two universal layouts - one Petuha and one Setuma - and you can identify them in the picture in the right. The "space" at the top is a universal Parsha Petuha while the "space" at the bottom of this picture is a universal Setuma.

Today, all the sofrim don't have to worry about these layout issues since they have the luxury of copying it from spotless computerized Tikkunim, so all Sifrei Torah today have the universal Petuchot and Setumot, which is great. But until recently the sofrim didn't have such great Tikkunim and they occasionally had to use a non-universal layout.

If a Sofer is forced to use a non-universal layout the Rema notes that he should not stray away from the opinion of the Rambam, since he had a very reliable Tikkun in his possession. Most scholars say that this Tikkun is the Aleppo Codex, and I hope I can write a more about this codex in the future.

Impact in the Modern Day Mezuzot

As I introduced in the previous section, the Rambam vs. Rosh discussion has a direct impact in the layout of our מזוזות. The Mezuza has two Parshiot - Shema and Vehaia - and the Talmud says that they must be connected in a Setuma layout. You would think that we again use the "universal" Setuma layout in a Mezuza but that's not the case and that's when this whole subject becomes really interesting. The Sephardim, expectedly, follow the non-universal Setuma of the Rambam and they are "safe", since they have no business with the Rosh's shita. But for the Ashkenazim is really tricky and here is why.

Until some 300 years ago, if one would open an Ashkenazi Mezuza he would see a very odd layout, that would not conform with ANY of the main opinions. Basically, the Parshiot were written without any pause, almost like the two parshiot were in fact one. Although this was a very established Minhag, many Halachic authorities sought to fix the problem and choose an alternative layout. There were two main solutions proposed, one by the Taz (Turei Zahav) and another, more "radical", by the another leading Rabbi (can't remeber the name now..).

The Taz's proposal, which changed the established Minhag just a little and allegedly was good both for the Rosh and Rambam's opinions, was widely accepted by the Ashkenazi Jews and it has emerged to become the standard layout which we use until this very day. You can see the modern day Ashekenazi (left) and Sephardi (right) Mezuzot in the pics below.


There's a third solution, proposed by the Mahari Abuhab, which is very interesting and worth to mention. He proposed the most obvious solution: to use the universal Setuma layout, thus solving all the problems (I will post the picture in a week or two, I don't have it with me now). No one really accepted this solution.

I find it strange that the Ashekenazi Jews don't write the Mezuza in the way the Sephardim do, in accordance to the Rambam's shita. After all, the Rema did say that when in doubt the opinion of the Rambam should be followed, and here in Mezuza I would think the same rule applies. I guess the Ashkenazim were hesitant to completely refuse their old Minhag and preferred the Taz's solution, which is a slight amendment to the Mezuza layout they already had.

Impact in Modern Day Tefillin

While the Petuhot/Setumot topic has great revelance to Mezuza, its relevance to Tefillin is even greater. If a Mezuza wasn't written in a proper Setuma way, the Mezuza is still Kosher "bedieved". In Tefilin, it's more problematic - if a Tefillin doesn't have this Setuma layout, the Tefilin are potentially Pasul!

Like in Mezuza, the Sephardim do the Setuma layout like the Rambam, so once again they're safe. Most of the Ashkenazim follow once again the solution of the Taz, but I've heard of many Hassidim who are Makpid in following the Rambam in the Tefilin layout because of the above-mentioned stringency. From my personal research, even tough these groups have Rambam Tefillins, their Mezuzot are written according to the Taz, a rather ironic fact. In my humble opinion both Mezuzot and Tefillin should be written in the same Setuma way - be it like the Rambam or like the Taz - but that is the least of my "problems":

I've heard that some "Briskers" wear two Rashi Tefillin - one according to the Taz and another one according to the Rambam, just to be safe. Now that's really odd. If you would (theoretically) be a Chassidish Brisker you would probably wear two Rashi Tefillins (Rambam +Taz) and two Rabbeinu Tam Tefillins (Rambam+Taz)!

Now I understand better what they say in the name of the Gaon - that we would have to own over 70 pairs of Tefillin if we wanted to be "yotze" all the opinions.

Another Important Discussion

I didn't even mentioned the "Breuer" factor - the recent debate about the Petuchot and Setumot found in the Aleppo Codex, extensively explored by the late Rabbi Breuer. That's a whole different story, and it's difficult to fully understand it before knowing the basics of Setuma and Petuha Parshiot, which you hopefully do know by now. I will get into this in another opportunity. Gitten Tzimmer!

My Progress #3: 11-lined Megillat Ester

After some 2 months I managed to finish my first Megilla, a small 11-lines Megillat Ester. I put a great deal of effort in this project since I'm not planning to write another Meggilat Esther anytime soon - it's way to much work and this is only a hobby for me. So I wrote it slowly, in the best way I could. No one writes an 11-lines Megilla right off the start since the parchment is more expensive, but I figured that I should do it right if I only do it once.

The original goal was to finish by Purim but I decided to take it easy and not run too much, even though I do feel quite stupid to finish it just 3 weeks after Purim... I was intending to bind whatever I had ready on the day before Purim and bring it to Shul - after all, according to Halacha if the Megilla is 51% complete one could technically recite a blessing over it and read it in public (as long as no full chapter is skipped) and I had a good 75% ready, but I was too busy to bind the klafim together on time.

Be as it may, I'm posting pictures of the whole Megila at the end of this post. I would greatly appreciate if anyone finds mistakes, I only went thru it once and it's easy to overlook your own mistakes.

Also, I added a few little decorations like the ones you see in the popular Hamelech Megilot. As I noted in my post about Megilla lines, the 11-lines Megilla is not "Hamelech" (i.e. it doesn't always start with the word Hamelech at the top of the column) but I did take the liberty to decorate the Hamelechs that appeared in the top of the columns. That's the cool thing about writing your own Megilla - you can do (almost) whatever you want!


From left to right: The Palace, The Tree, The Tear, The Justice


From left to right: The Dots, The Flames, The Crown, The Sharbit


From left to right: The Two Kerubim, Another Crown, The Galaxy

And here it's the full Megilla. I couldn't post it in order, so it's all scrambled together...:

Amazing Megillot #4 - Papercut on Red Leather

This is a very special and contemporary Megillat Esther made by a personal frien, Uri Revach.

It's hard to do papercut in a Megilla since the Megilla becomes too delicate and thus hard to handle. Aside from this, the papercut work hardly gets its full value since there's nothing behind it - no contrast.

So this artist came up with a solution - he stuck the Megilla in red leather, enhancing the papercut work and also giving to the Megilla a "royalty" feel. He also made the case, which is made out of wood, silver, gold and ivory. All in all, a true masterpiece.

Price upon request.

The Parchement - Klaf or Gevil?

Torah Scrolls were always written in the "Gvil", the outer part of a fully-grown kosher animal's skin - sheep, goat, deer and so on (see image in the right, credit to the Gewil Institute). That's how Moshe Rabbeinu, the Ran and Rambam wrote their own Sifrei Torah and that was the only parchment used by Jewish scribes throughout the centuries.

As I wrote in my post about the Kulmus, around 700 bce the feather quills started to become immensely popular among scribes in general and, specially in Europe, many sofrim started to favor these quills instead of the "original" reed quills. The parchment was also improved and the European scribes started to write not on the outer, but on the inner part of the animal's skin, because it was more smooth and thus suitable for the delicate feather quills (reed quills are more sturdy and can write in either Gvil or Klaf. Feather quills don't write well in Gvil). This inner part of the animal's skin is called "Klaf" (קלף) and eventually all Ashkenazi scribes switched for this parchment and the feather quill altogether, for both Mezuzas and Torah Scrolls. The Gevil went "out of fashion", so to speak.

The Ashkenazi Rabbis accepted these changes and an all Ashkenazi Torah Scrolls are written in Klaf until this very day.

But the Sephardi world was less influenced by these changes and the Sefardi sofrim kept using reed quills and Gvil parchement, like the original Sifrei Torah. However, as the Sephardi Jews started to leave the Arab world it seems that they were influenced by the Ashkenazi way of writing and many Sefardi scribes today do use feather quills and Klaf, a surprising fact. Virtually all parchments produced in Israel are "Klaf", not "Gvil/גביל".

Last week I luckily found a great Yemenite website which is pushing for the "resurrection" of the Gvil parchment (read "The Gewil Torah Scrolls are Popular once Again" - take it with a grain of salt...). The Yemenite Jews follow the Rambam's customs blindly and as I noted, the Rambam wrote his own Sefer Torah in Gevil, so this campaign really makes sense. But they claim that a Rabbi Mordechai Eliahu, the former Sephardic Chief Rabbi, has a Gvil Sefer Torah, so I guess many Sephardim will like this campaign as well since their older Sifrei Torah are also written in Gvil.

It's easy to differentiate between a Gvil Torah Scroll and a Klaf one. The Gvil scroll is dark in the inside (where the text is written) and lighter in the reverse side; the Klaf scroll is the exact opposite.


Left: Ashkenazi Klaf Scroll. Right: Yemenite Gewil Scroll (note the reed quill in the scribe's hand)

I was so fascinated by this story that I decided to make a field trip to a klafim factory in Jerusalem. I saw the whole process and the owner explained to me that besides all the Gewil vs. Klaf story there was another interesting development.

Until very recently, all klafim were made out of skin of fully-grown animals. But the Rabbinic authorities always praised the skin of a "Shlil" (שליל), or unborn animal, even tough it was unpractical to write a Sefer Torah from a Shlil - you need dozens of fetuses and that was hard if not impossible to find. But 30 years ago someone in the klafim business heard that the big slaughter houses in the US and Europe had dozens of "shlil" everyday in their factories and they didn't have any use from them. Since then all the klafim factories buy these shlils and make a super-smooth klaf out of it. So our klafim became even better!

The klafim process, as I saw it:
1- Put the skins in chemicals for 4 weeks.
2- Take it out and remove the hairs.
3- Hang it for a few days so it can dry.
4- Stretch it for a few days.
5- Remove the remaining impurities.
6- Cut the Klaf to the desired thickness and size.

Rashi Vs. Rabbeinu Tam - Round 1

One of the fiercest rivalries among the commentators of the Talmud is between Rashi (11th century) and his nephews, known as the Tosafists. There are many famous discussion between them but in this blog we focus in Safrut and there are two classical discussions pertaining to this subject. We will deal with one of them in this post.

Rashi and Tosafos disagree in regards to the exact shape of the letter Chet in the Jewish Alphabet. A very short briefing: The Talmud says that there's a special "tag" (sketch) on top of the letter Chet, which points upwards symbolizing that God, who's up in the heavens, is eternal since the letter Chet is connected to the word "Chai", to be alive. Rashi and Tosafot explain differently the shape of this mystical sketch.

Rashi says that it is a simple sketch in the left side of the Chet like this while Tosafot says that there's a "pyramid" (a.k.a. "the hunch of a camel") in the very middle of the letter like this , essentially two connected Zains (you can see the original page of the Talmud, where this discussion is to be found, here)

That means that the grandsons (Tosafists) had a different Torah Scroll than their grandfather (Rashi), a striking fact. And the Halachic implication of these two versions is not simple - a Sefer Torah that has some Chets like Rashi and some like Tosafot might be pasul, so the rabbis decided to adopt a "blend" of the two versions, which we still use to this very day: (my own hand-writing). The Sephardim have a slightly different version -> .

But this is not the end of the story. A few hundred years later the Ariza"l (16th century), the most revered Kabbalist, introduced a few changes in the letters of the Torah and one of the affected letters is the Chet. Instead of two connected Zains, the Ari wrote the Chet with a Vav and a Zain, like this .

Clearly, the Chet is the most controversial letter of the Hebrew alphabet and now you know why!

Purim of Saragossa

Now that we've all celebrated Purim, I want to share with you the story of another Purim, known to few, which is celebrated by the descendants of the Jewish Comunity of Saragossa (also spelled Zaragoza, Siracuse or Syracuse). Since this story is about a Sefer Torah, it's connected and relevant to this blog.

Before the story, a brief Halachic briefing. Everyone must give the proper "kavod" to a Sefer Torah or any other holy scroll and many customs we have today are a reflection of this Halacha. That's why we keep the Torah in a special cabinet, the Aron Hakodesh, and also why we all stand when the Chazzan carries the Torah to the Bimah for the Parshat Hashavua reading. Most rabbis say that one shouldn't take out a Sefer Torah from the Aron just to show it to visitors, another related Halacha.

Specifically pertaining to the holiness of a Mezuza, I've seen a discussion about a case where the gentile king or ruler requested a Mezuza for his house or palace. Some rabbis were very much against it since we fear for the Mezuza's "kavod", while others like the Rema permit it on the grounds that sometimes we make exceptions for the fear that turning down a royal request will create unnecesary tensions ("Eiva" in Hebrew). That's exactly what happened in Zaragoza, in the 15th century.

I quote a better story-teller:

"Scholars still debate the location of the story. Many favor Siracusa (Syracuse, on the island of Sicily) as the location of our story some 600 (1421) years ago. Others refer to Saragossa, Spain as the location. In any event, The Jewish main street of the city contained 12 synagogues. At the annual royal visit three Torahs dressed in gold and silver were taken from each synagouge to welcome and parade the King through the town. One day the leaders of the community decided that the practice violates the sanctity of the Torah and that henceforth the Torah containers would be marched dressed as before but empty without the Torahs. The practice went well for 22 years.

One day an apostate by the name of Marcus at a royal meeting revealed the secret. The King in a fury ordered a surprise inspection the next day and the slaughter of all Jews if Marcus is indeed correct. That night the Prophet Elijah appeared in the dreams of each of the 12 sextons and ordered them to insert the Torah in the empty cases. The next day, upon finding the scrolls in the containers the King ordered Marcus executed and relieved the Jews of taxes for a period. As a result of the miracle, the scroll was written and the 17th of Shevat celebrated as the Purim of Saragossa or Siracusa, still observed in many Sephardi families to this day."

You can read a longer version of this story on the Chabad site.
And the best part, we have some great pics from this rare Megilla! (credit goes to the Foundation for the Advancement of Sephardic Studies and Culture. Be sure to check the stories of other less known Purims here and here)

Amazing Megillot #3 - The Gross Family Meggilla

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This Megilla is like no other. It's an antique piece from the 18th century Germany and it remains in good condition. The coolness of this Megilla: the illustrations are very complex and detailed, also in various layouts, so the writing is not "uniform" and standardized like normal Megillot - it differs from page to page. Sometimes it has a round shape, or a long shape, as dictated by the illustrations around it.

This Megilla belongs to the private collection of the Gross Family, Tel Aviv. You can get a limited-edition facsimile edition for "just" U$ 4,000. You can read more here.

How Many Lines Should a Megilla Have? A Megillat Esther Buyers' Guide

Purim is fast approaching and many among us are running around looking for a new Megilla, or another Megilla case, another Pirush about Megillat Esther or, of course, a smashing costume. For those who are looking for Megillot, this post will clarify the many types of Megillot out there.

Although everyone has seen a parchment Megilla before, very few people can actually tell a good one from a bad one. Many times I will hear that "Wow, that's a good Megilla - all the columns start with the word Hamelech!", referring to the popular Hamelech Megillot. I guess people think that it requires great skill to always start a column with Hamelech, but that's a mistake.

Let's first get the facts straight - anyone can write an Hamelech Megilla. It requires no special skill, since the scribe must copy the words from a printed Tikkun, which means that the scribe doesn't actually arranges the words - he simply copies it. Today's Tikkunim are perfect and any Sofer can have a Hamelech Tikkun.

The מגילת אסתר המלך are indeed very popular among Ashkenazi Jews and these Megillot usually have 28 or 21 lines (see pictures in the end of this post), simply because that's the best way to come up with the word Hamelech always at the top. But the Yemenite Jews favor non-Hamelech Megillot since they hold that it's better to start every column with a new passuk (verse), so the Baal Koreh will not have to stop in the middle of the passage when moving to the next column.

Most congregations use a 42- lines Megilla for the synagogue's reading, since that's the same size of a Sefer Torah and probably because it's easier to read from in public (less columns). I've also seen a 14-lined Megillah.

But the Vilna Gaon, one of the greatest Sages of the past centuries, was very against all the aforementioned types of Megillot. In all these Megillot - 14, 21, 28 or 42 lines - the names of the Ten sons of Haman are written in a larger size, in accordance to the Halacha that these names should be written in two columns and in a page of their own. The only way to do that is by enlarging the font size (see picture in the right, a 28-lines Hamelech Megilla with the large names in the left side) and the Gaon saw that as a big problem since we have a Mesorah (tradition) which states all the odd-sized letters in the Tanach and nowhere there's a mention for writing the names of Haman's sons in big.

So what Megilla did the Gaon use? The Gaon offered a solution - the 11-lines Megilla, in which the names of the ten sons of Haman fit perfectly, without having to enlarge them at all (see picture in the right - my own 11 line Megilla). The only drawback - the columns do not start with Hamelech.

This Megilla is more expensive since it requires much more parchment than the other ones. My upcoming post, "My Progress #3", will show you more pictures of my own 11-lines Meggila, which almost ready just in time for Purim.

Whatever Megilla you choose, be it 11, 14, 21, 28 or 42 lined, is good and the most important thing is a nice writing and a reliable sofer. But it's always good to know the different options you have and with this information you will buy the Megilla that is right for you. Purim Sameach!

My Progress #2 - Another Pitum Haketoret

After my first work, I had to write a second Pitum Haketoret because my father needed one. The hand-writing is much nicer and finer than the first one, but I had to correct a few mistakes here and there, so there's minor scrapping. And I commited the capital sin of a Sofer - I accidentaly dropped water on it, which causes irreversable damage. Luckily, it fell in the bottom of the Klaf and I just cut it off.

Like the first, this one is big - 42 lines, just like a Sefer Torah. Most people have pocket-sized Pitum Haketoret today, since it's easier to carry, but I much prefer it big. The rabbis say that it's a very big Segula for Parnassah to say this every day, so I figured that the bigger the Pitum Haketoret is the more $ you will get!

Ktav Ashurit and the Modern Day Siddurim

First a very brief intro: there's a discussion in the Talmud in regards to what font was featured in the original Luchot. We follow the opinion that it was given in Ktav Ashurit, the very same font we use in all holy scrolls.

According to Judaism, just like the Torah was given in Ktav Ashurit, the world was created by God with these letters and therefore every single letter has unspeakable importance. It's no wonder that a large segment of the Kaballa deals exclusively with understanding the Ktav Ashurit letters - this is a mystical font. In fact, Halacha states even a non-holy text that was written in Ktav Ashurit letters should be treated like a holy text, since the font itself is holy. That's how important this Ktav is.

But when it comes to prayer books, it's hard to find Ktav Ashurit fonts. For some reason, the Siddurim we use today are not written in Ktav Ashurit font; rather, every publisher creates a new patented font when it comes to prayer books and Chumashim. The most popular is Artscroll’s, a modern and neat font that is used in everything the company publishes from Siddurim, Tehillim or Chumashim (see pic in the right). But a few communities have pushed for the usage of Siddurim that use the Ktav Ashurit font, most notably the Sefardic communities and some Hassidic (more specifically, Toldos Aharon and Biali) sects and it’s possible to find them with a little effort.

It’s much easier to find Sefardi editions of Ktav Ashurit siddurim, but I’m Ashkenazi and I bought the two editions I managed to find. The first is a modern and computerized version, only for the weekdays, and the second is a copy of a hand-written siddur (which some rabbis favor over the computer version) - see pictures below. Being a Sofer, I use these Siddurim rather than the popular Artscroll version since I prefer to stick to the millennium-old font rather than a modern day invention… but that’s just me.

Computerized Ktav Ashurit Siddur

Hand-written version

The Holy Shem

According to Halacha, when a Sofer writes the Shem in Torah, he must do so with the proper Kavanah, that is, he must recite a verbal santification before the writing of each and every Shem in the Torah. If the sofer fails do so, the Shem has no holiness and the Sefer Torah, Tefillin or Mezuzah is Pasul. That’s why there’s the minhag of going to the Mikve before writing the Shem – it’s part of this santification process.

Additionally, there’s a special kabbalistic way of writing the Shem, as thaught by the Arizal and thus not only the preparation to write the Shem is difficult, but also the actual writing itself.

According to Halacha once the Shem is written it can’t be erased, a prohibition derived from the Pasuk in Devarim Deut. 12-03:04, which states "ואבדתם את שמם מן המקום ההוא לא תעשון כן ליהוה אלהיכם (and you shall destroy the names of pagan gods from their places. You shall not do similarly to G-d your Lord)." Any paper containing the Shem cannot be thrown in garbage, and in fact there’s a glued paper in my Kollel’s door containing Shemot that no one can remove (photo in the right).

Because of this prohibition, the old printed Chumashim do not spell the full Shem but use a peculiar alternative, the Yud-Yud (photo in the right). This way, if a Chumash gets ripped or simple lost there will be no transgression of the aforementioned problem. But why did the publishers chose specifically Yud-Yud?

If you look in even older books, you’ll see a line under or above the Yud-Yud – I saw this in old Ketubot from all sorts (Hebrew University has a great collection).

I’ve heard two explanations for this. If you look in Sefardic and some Chassidic siddurim you’ll see that all the Shemot are written in the form of “Shiluv” (photo in the right), that is, in a combination of the letters of the written Shem and the way we pronounce the Shem (they are not the same). That’s a Kabbalistic custom and you will see that the Shiluv starts with Yud and ends with Yud. That might be the reason why the Yud-Yud was chosen to replace the Shem in the Siddurim.

But I saw in the Darkei Moshe another explanation. As I said, the ancient books have Yud-Yud with an underline. This underline is a Vav, and if you take the Gematria of the Yud (10) Yud (10) and Vav (6) you will get 26, which is the same numerical value as the Shem.
(The same explanation is said about the Aleph, which consists of two Yuds and one Vav. That’s an allusion that G-d (26) is one in this world).

Since some 15 years ago, the seforim publishers stopped using the Yud-Yud by and large, rather using the explicit Shem. I happen to know the owner of one of the most popular publishers of Jerusalem and he told me the Gedolim had asked him to use the Shem because unlike some time ago, the Seforim are much more durable and it’s easier to keep them in good condition. However, I’ve seen one very recent edition of the Chumash that uses a creative solution – they wrote the Shem but disconnected the “foot” of the first Hey (photo in the right). In a first look you may not realize, but it’s there and consequently there will be no problems in case the Chumash gets ripped or something.
(A side point: Why disconnect the first Hey? If they would do it in the second Hey, the first two letters of the Shem would read Yud-Hey, which is another Shem and we would be back to square zero).

All in all, it should be clear now that a very beautiful Sefer Torah or Tefillin or Mezuza can be worthless if the Sofer didn’t follow the rules of the game. Be carefull, and do your due diligence before you buy something so holy. This is just as serious as any other investment and if you fail to do your homework you might be getting yourself in the Safrut version of Maddof’s Ponzi scheme – a worthless piece of parchement. Be aware!

Amazing Megillot #2 - The Agam Meggilla

I saw this one in the website of the Library of Congress. I've seen other works by Agam but never a Holy Book and this Megilla really stands out because of the cool visual effects that Agam's trademark. Here's the Library's official description:

"The Agam Megillah (London and Israel, 1997). A recent addition to the Library's Hebraic collections is a modern decorated megillah by noted Israeli artist Ya'akov Agam. Produced on parchment measuring thirty-two inches high, the limited edition includes a silk-screened border by the artist, with the text handwritten by the scribe. In this megillah, the traditional text is adorned with distinctly modern decorative artwork. (Copyright © 2001 Artists Rights Society [ars], New York/adagp, Paris)"

My Progress #1 - Pitum Haketoret

This was my very first work, a large one-column Pitum Haketoret. It took me some 17 days to complete it and I managed to avoid any mistakes, so no scraping was needed. I used my own feather quill to write, and I had to do a lot of sharpening and all that messy stuff, but I'm really happy with the result and I use it every day after davening.

The Story of the Kulmus

The Kulmus is the feather a Sofer uses when writing in the Klaf. The previous statement is actually not entirely accurate – the kulmus is not necessarily a feather, in fact, the original kulmus was made from reeds. Let me explain. The Sefer Torah written by Moshe Rabbeinu wasn’t written like ours – he used reed quills, which are bamboo-like wood pencils. Reeds are viewed positively by Chazal, who said we should be “Soft as a reed and not hard like a cedrus” and for centuries reeds had the merit to be used for scribal writing.

Safrut is not “vacuum-sealed” and it was influenced by the calligraphy of the gentiles. Until 700 BCE, reeds were the most common writing instrument and that explains why the original Halacha is that Hebrew scribes must write a Sefer Torah with reeds. After 700 BCE, feather quills were "discovered" and became increasingly popular for writing purposes (source). In fact, some of the Dead Sea Scrolls, which are dated around 150 BCE were written with feather quills rather than reeds (source). That explains why the Ashkenazi scribes stopped using reeds, rather favoring the popular and "new" feather quills. I've also heard that the reeds in Europe were not as good and sturdy as the reeds found in the Middle East, and if true, this is another piece of this puzzle.

The main pro of using feathers is the fact that it stays sharp for longer than a reed – at least twice as long. Reeds are wood-pencils and wood wears out very quickly, forcing a scribe to constantly cut it sharp (it’s critical for a Sofer to have a sharp Kulmus, otherwise the Taguim will not come out properly).

The Sefardim however kept the original tradition of reed kulmusim by and large and until this day Safrut stores sell reeds alongside with feathers in their shelves. Because of the sharpening issues the Sefardic scribes usually don’t do the Taguim themselves, they will rather finish the Parsha and hand it over to a Metaieg, a Sofer who specializes in writing the Taguim.

The Poskim have subscribed to the feather quills and will allow the Sofer to use any instrument to write, even though it’s clear that the original Kulmus was from reeds.

In fact, a few other alternatives have appeared now that we are living in a technology-intensive world:

• Plastic kulmus, which is sold already sharpened, that is available for cheap and it’s quite good. I’ve used it in my first Meguila.

• Steel kulmus, which is pretty much a fountain pen made in the shape of a feather quill. I’ve tested it but it didn’t work well for me. And it’s expensive.

• Gold-dipped feather Kulmus. This is one really expensive, but you can write a whole Sefer Torah without having to sharpen your quill.

Aside from the obvious advantage of not needing any sharpening, the plastic/steel/gold kulmus hve another great pro. When writing with a feather, you will have to always cut it in the same size, in order to ensure that all the lines are written uniformly. But in practice that’s very hard to accomplish and, unless you are a master scribe, the letters will come out different in every column - sometimes thinner, sometimes a little thicker and that's not aesthetically good. With a plastic/steel/gold kulmus all the letters will be the same, effortlessly, since you don’t have to sharpen it.

So next time you see a Sofer writing with a (special) fountain pen, don’t shoot him. It’s permissible to write with other instruments besides feather quills.

Feather Quills (sharpened/ unsharpened)

Plastic Kulmus

Reed Kulmus (sharpened/ unsharpened)

Keset Hasofer and my Amazing Find

Countless books were written about Safrut throughout the centuries. The library of a Sofer must surely include the basics: Tur, Shulchan Aruch, Mishnat Sofrim (authored by the Chafetz Haim) and the Talmud passages relating to the writing of Sefer Torah, Tefillin and Mezuzot. But anyone trying to get down to the practical Halacha will soon find that the plethora of information in this subject makes it difficult to get the final answer of rather basic questions, like the permissibility of writing with feathers, opposed to reeds. This question is a very telling example. If one will only look at the Tur and Shulchan Aruch he will conclude that it's prohibited
to write with feathers, as stated in these books. But, hey, all Ashkenazi sofrim do write with feathers, so what is going on?

That's when the Keset Hasofer comes into the picture. Authored by same author of the popular Kitzur Shulchan Aruch, Rabbi Shlomo Ganzfried, this sefer intended to organize and give a final answer to all Safrut-related questions. Like he did in the Kitzur Shulchan Aruch, Rabbi Ganzfried compiled this book in a way anyone could understand and the Keset Hasofer was accepted as the last word for all Ashkenazi sofrim. For instance, he writes that the minhag of the scribes is to use feather quills and that there's absolutely nothing wrong with this practice. The final answer.

One of the leading rabbis of European Jewry in the first half of the nineteenth century, the Chatam Sofer said that no sofer could start to write a Sefer Torah, Mezuza or Tefillin before mastering the Keset Hasofer. In fact, he wrote the Haskama (letter of aprobation) featured in the beggining of the Keset Hasofer, alongside with the Haskama of the Tzanz Rebbe, also known as the Divrei Chaim.

Besides writing about the Halachot of Safrut, Rabbi Ganzfried decided between conflicting versions of the Torah and Megillat Esther, and that was perhaps his most important contribution to the Safrut world. Although all Jews have virtually the same text of the Torah, there are very few places - actually seven instances - where it's unclear how to write a particular word and the codices we posses have conflicting versions. Rabbi Ganzfried ruled which versions to follow in the latter part of the Keset Hasofer and thanks to him, we all follow the same unified text of the Torah (as I will explain in another post, the Teimanim differ).

Having all this in mind, I knew I had to buy the Keset Hasofer but I couldn't find it anywhere. I tried the usual book shops in Jerusalem, to no avail. So I forgot about it. I started to search for another important work, the Torah Shelema of Rabbi Kasher, and a friend directed me to a used-books shop in Mea Shearim. The smallest bookshop I've ever seen, this shop was specialized in old books but it is almost impossible to find anything there - all books, from the Zohar to Feldheim, are mixed together. So I decided to leave, but in my last look back something got my attention - a very old Keset Hasofer.

Unable to hide my excitement to the shop keeper, I was really happy to see that the book was in mint condition, despite its age. As I opened the front page, I saw the date - 1902. And I could also read the name of the owner in the top - "Aharon Toisig". I was sure this was no coincidence - this book was destined to come to my hands! So after some half hour discussing the price, I got this book for 120 shekels, or 30 dollars, a bargain.

Below are some pictures of this sefer.

Amazing Megillot Series #1

I saw this absolutely fabulous Megilat Esther in a Jerusalem Judaica store. It's not an antique piece - it's actually brand new. I can't find out who's the artist, I only know he's Russian, and this "bargain" has a price tag of U$ 100,000. It's easily the nicest Megilla I've ever seen, since everything is perfect - the writing is spotless, the color drawings make a strong statement and the sketching work is a very original idea.

The Mitzva of Writing Your Own Sefer Torah

The very last commandment of the Torah, number 613, is the obligation of every Jew to write a Sefer Torah to himself. That's right, every one. You probably know very few individuals who actually did this and there are many reasons why this Miztva is no so wide-spread.

First, the Maimonides own words: "Every Jew must write a Sefer Torah (...). If he writes it himself, it's like he has received the Torah from Mount Sinai; if he however doesn't knows how to write it, others may write on his behalf" (source). In fact the Rambam wrote a Torah for himself, as he states in Hilchot Sefer Torah: " (...) I have relied on it in the Torah Scroll that I wrote according to the Halakha".

The Rambam is not the only well-known personality who fulfilled this Miztva with his own hands. The first person to do it was Moshe Rabbeinu, who according to our tradition miraculously wrote thirteen (one for each tribe plus one extra for verification purposes) Sifrei Torah in the day he died. Other famous sofrim include Ezra, (400 b.c.e.), Rabbi Meir, (2nd century), the famous masorete Aharon Ben Asher (9th century), the Meiri, Avraham Sofer (1800's) and many others.

Over the centuries, many Sifrei Torah were written but, expectably, very few survived the test of time. Countless were burnt in the various pogroms and persecutions we suffered throughout the ages, but we do have a few scrolls that are almost one thousand years old.

The most notable example is the ספר תורה that the Ran, or Rabbeinu Nissim of Gironda (1320-1380), wrote for himself. One of the most revered Rishonim and the Gadol of his time, the Ran wrote a beautiful scroll in Gvil and it is still intact today, housed in the National Library of the Hebrew University. This scroll is not displayed in public, although I have a friend who saw it a few years ago in a special exhibition in the National Library. In my visit to Hebrew University just last month, I saw a "duplicate" of this Torah which looks exactly like the original and you can see my snapshots below.

Another famous Rabbi who wrote his own Torah is Rabbi Yitzchak Abuhav of Toledo (1300's) and this scroll is still in use today in Tzfat, in the city's uber-famous Kabbalistic Abuhav Synagogue (read the legendary story here).

Today, very few Jews write their own Sefer Torah, be it via a hired scribe or by themselves. Most of the Sifrei Torah sold today go to communities who need it for the services, but such purchases are "public" and the nature of this Mitzva is that every individual should have a Sefer Torah for himself. The community's scroll for the weekly Torah reading is not part of this Mitzva, to the extent that an individual will lose this Miztva if he writes a Torah for himself but later relinquishes it to the Shul without any explicit condition of retrieving it back.

So why so few Jews fulfill this Mitzva?

Firstly, the reason why 99.9% of the Jews don't write a Sefer Torah by their own hand is simply because is really hard to do so. This requires a great deal of time, will and patience. But why most Jews don't hire scribes to do the work for them?

The most obvious reason a financial one. It's really expensive to hire a good סופר and a Torah could cost up to U$50,000, a figure that is too high for most of us. But there's also an Halachic loophole.

The Rosh (Rabbeinu Asher, 1259 – 1328) writes that a Jew can fulfill this Mitzva by buying a Chumash, Talmud or any other Torah book. According to this, it would seem that you can fulfill this mitzva by buying any Feldheim or Artscroll book, which many of us posses anyways. But there is a discussion on how to interpret this Rosh. Some say that he thinks that today there's no Miztva of writing a Torah whatsoever, while some say he was merely saying that in addition to writing your Sefer Torah you can fulfill this Mitzva in another way - by purchasing Torah books. But everyone will agree that writing a Torah scroll is not the only way to fulfill this Miztva.

So if you take the financial issue added to this Halachic loophole, it understandable why most Jews don't write Sefer Torahs.

But I must stress that almost all authorities agree that the best way to fulfill this Miztva is by writing a Sefer Torah yourself or via a hired scribe. In fact, I'm planning to start writing my own Sefer Torah soon, although this project will likely take a few years. But if the Ran, Rabbi Abuhab could do it, why not me?

The Ran's Sefer Torah

Left: Detail of Shirat Hayam

Right: Steel cover of the scroll, saying "Ani Nissim MiGerundi Katavti Sefer Ze lekehilat (...)"

Left: Account of the whereabout of this scroll, written by the Ran's son in the outer side of the scroll. See transcript of this revealing short story here.

Right: Explanation note from Hebrew University

Welcome!

I think I should write a little introduction explaining the story behind this blog.

I started blogging a few years ago about Jewish Music, in a time where Jewish Music was a major interest for me. There weren't many blogs about it and I knew I had interesting things to share, so I started YK's Jewish Music Forum.

After these years, my interest has shifted towards different things, although I still like JM. Most importantly, I decided to fulfill a childhood dream and started a Sofer Stam program with a well-known sofer in Jerusalem, just few months ago. Suddenly, Safrut became a major field of interest and I'm spending a large part of my time doing extensive research about it. I can safely say that this is a very fertile subject, with tons of amazing and puzzling finds.

I wanted to develop a database so I would not forget all the cool things I came across and I realized that blogging about it will do just that. Granted, this is a topic much less "in" than Jewish Music and I'm not hoping to attract the masses here, but this is a blog that is really missing in the web. The Safrut blogs out there are few and I haven't found one that is run by a stereotype Sofer - male orthodox Jew; all of them are run by people out of this segment. There are also a few "Soferets" - woman scribes - who have blogs but again, very very few blogs run by the typical Sofer. But I did find great resources out there, one of them a great site run by Mordechai Pinchas , featuring lots of handy information about Safrut and I encourage all of you to take a look in his great diaries.

Don't get me wrong, I'm not at all what you are thinking. I'm not a professional Sofer - I started Safrut as a hobby and I don't sell any of my works. I'm young and have no beard, but I am strictly Orthodox and I think it's vital to have at least one blog that represents the majority of the Sofrim.

But aside from that, I'm starting something grand over here. The real reason why I became a Sofer was my desire to write my own Sefer Torah, in compliance with the Mitzva of Kitvu Lachem et Hashira Hazot - there's a miztva for every male Jew to write his own Torah and I'm planning to actually do it myself. This blog will broadcast this major journey and I will hopefully be posting my progress here. This objective is very very challenging, perhaps one of the most arduous Mitzvot out there, but I will try my best. May G-d Help Me!

To those of you who know my music blog, I favor quality over quantity when it comes to blog posts. I will not post daily, rather, I tend to write longer and more detailed posts, which are pretty much small articles on a specific topic. For the basics of Stam you can find other resources in the web; here I will go a little deeper and write about things you most probably never heard before. So stay tuned, add me to your RSS list (that will be the best way to follow this) and wish me luck.