The Image at the Service of the Text: Figured Masorah in the Biblical Hebrew Manuscript BH Mss1

* Formerly shelf-marked Ms 118-Z-42. This article is the result of a research carried out under the auspices of the project “The Role of the Rabbinic Literature in the Textual Transmission of the Hebrew Bible II” (Ref: FFI2011-22888), part of the R&D Programme of the Spanish Ministry of Science and Innovation (MICINN). Most of the issues dealt with in that paper were presented at the tenth congress of the European Association for Jewish Studies (EAJS) that took place in Paris on July 22nd 2014.


INTRODUCTION
The Masoretic notes that appear along with the biblical text written in geometric or figured shapes have scarcely been studied to date.The few existing studies come from the field of Jewish art.
1 These works, however, do not usually pay attention to the content, but focus on the form.Considering micrography as a scribal art that uses the text to form the image 2 in which the text loses its function of being read, 3 they do not concern themselves with the information contained in the text.One exception, to the best of my knowledge is the work by Leila Avrin on the earliest dated biblical codex, the Cairo Codex of the Prophets, attributed to Moshe ben Asher. 4Avrin was the first to concentrate on both form and content and to read the Masorah in figured patterns in its entirety.5 Moreover, these studies do not agree about the terminology used to name the Masoretic notes written in figured patterns.Different terms are used, such as: "figured Masorah;" 6 "Masorah figurata;" 7 "micrographic 1 For the state of the art, cf.D. R. HALPERIN, Illuminating in Micrography: The Catalan Micrography Mahzor−MS Heb 8°6527 in the National Library of Israel (=The Medieval and Early Modern Iberian World, 51;Leiden-Boston: Brill, 2013) pp.16-18.
2 HALPERIN, Illuminating in Micrography,p. 4. This high quality manuscript 15 is a Masoretic Bible that comprises the entire Hebrew Bible except for the folios which contain Ex 9:33b-34:7b (340 unpaged folios), with the notes that form the Masorah Parva (MP) and Masorah Magna (MM). 16In addition, a number of lengthy Masoretic rubrics are given as appendices at the end of the main divisions (Pentateuch, Former Prophets, Latter Prophets and Writings). 17According to the note of purchase found on fol.334v, it was bought by R. Yishaq and R. Abraham, both doctors, in Toledo in 1280.
The manuscript has a huge number of Masoretic notes in figured patterns.The existence of figured Masorah has been already mentioned 18 and those found in the Pentateuch and Joshua read and edited; 19 however, their designs have not been described and studied in relation to their content.
This paper focuses on the figured Masorah notes, their location, shape and content.
Given the nature of this study, which pays attention to both the form and the text, it is going to follow, to the extent possible, the terminology These notes have been located in the MP, the MM and the sekum, -a short summary with general information that was usually placed at the end of each biblical book.These Masoretic notes are mainly written in straight lines in the right or left margin of the line of the biblical text where the word -normally marked with a circellus -to which they refer is placed.To a lesser extent, the notes are written in figured patterns (especially in the Pentateuch and the Writings) in the inter-column spaces and occasionally in the outer margins.At times, these notes begin at a level different to that of the word in the biblical text to which they refer.In seven cases (fols. 7r, 22r, 23r, 25r, 60v, 62r, 124r), the MP notes are placed around a decorated seder mark and once (fol.80r) around a decorated parashah mark.
The variety of patterns used in this Masorah is wide, up to twenty-nine different designs, some used just once (i.e. fols. 7v, 106v, 136r, 167r, 205r, 213v).The most common designs are one and two vertical parallel lines and the triangle and its variants (double-lined triangle, triangle with a line in the middle, etc.).
It is worth noting that in many of these notes, the figured pattern is combined with the usual form, i.e. writing in horizontal strokes.The in-formation contained in the note usually begins without any decoration and later continues in simple geometric shapes, which generally consist of a vertical line (fols. 7r, 16r, 19v, 27v, 66v, 69v, 79v, 164r, 206v, etc.).
Although MP notes written in figured patterns are usually on one word, there are some exceptions where there are two or more notes -each one dealing with one word -using the same design.These notes can be written in the same direction, separated from each other by the sequence of: two dots-circle-two dots (fol.260r), or appearing opposite directions (fols.124r, 264v and 305r).

Masorah Magna
The MM is usually divided -taking into the account the place where the notes appear -into upper MM (at the top margin) and lower MM (at the lower margin).The Masoretic notes written in figured pattern are found in both places.

The upper MM
The notes placed in this Masorah are mainly written in three straight lines 22 combined with figured patterns -mainly geometrical -usually placed under the last line and on top of the two inter-column spaces 23 (fig.1).

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ted seder mark in one of the inter-column spaces, 26 the Masoretic notes in figured pattern appear right on top of one of the inter-column spaces (fig.2). 27In five cases (fols.3r, 3v, 23r, 23v and 81r), the figured MM notes go into the inter-column space and occupy half of it (fig.3).
26 Fols.17v, 19v, 29r, 29v, 31r, 43r, 45v, 66v, 76r, 117r, 140r, 187v, 216r and 238r.   There are also some cases in which the geometric design occupies just one of the inter-column spaces for no apparent reason: fols.156v, 197v and 331r.The information written in figured patterns is usually part of a note that also has information written in non-figured patterns.Most of these notes start in the last straight line and continue in the patterns placed under that line; others start in the patterns placed under the last line and continue in the lower MM, usually written in non-figured patterns (i.e., fol.224r).

The lower MM
The Masoretic notes placed at the bottom margin are generally written in four straight lines (four hundred and six times).To a lesser extent (two hundred and sixty-three times), they are written in four straight lines combined with figured patterns, mostly geometrical, placed under the fourth line.In nineteen cases the Masoretic notes in figured patterns are also placed on the first line and go into the inter-column spaces28 or go up around the sekum.
29 Finally, there are two exceptional cases (fols.3r, 3v) in which all the information in the lower MM is given in figured patterns.Each note is clearly differentiated from the following one by the sequence of two dots-circle-two dots.
The most common design is a repetition of the combination of doublelined semicircles with inverted triangles, which can appear tighter or longer depending on the content.But it is possible to distinguish up to eleven different patterns made up of simple and double-lined semicircles, circles and triangles and also some examples of stichography arrangements and vegetal layouts (figs. 4-11).
Moreover, the Masoretic notes placed in the lower MM usually continue in figured patterns into the outer margins of the page.The connection between the notes placed in both margins is usually represented graphically.The connection is also attested by the notes that begin in the lower MM -written in straight lines or in the figured patterns placed under the lines -and continue in figured patterns in the outer margins.Only in fourcteen cases the notes of the lower MM are confined to the bottom margin.

30
Taking into the account the size and place, the lower MM located in the outer margins can be classified into two subgroups that I call: a) small outer lower MM; and b) big outer lower MM. 31 Both subgroups usually appear separately but appear together twenty-two times.32 30 Fols.5r, 8r, 21r, 34r, 41r, 45r, 47r, 75r, 89r, 100r, 105r, 156r, 197r and 321r.   There is one more case of MM in figured patterns -a six pointed star inside a rosette -placed in the outer margin of fol.5r.However, it cannot be classified in any of these groups due to its place: in the middle of the outer margin without a clear connection with either the upper MM or the lower MM.Moreover, one of the Masoretic notes identified in the design is on the word ‫רשאי‬ (Gen 8:5) located on the next folio, 5v.
The variety of patterns used to write the notes of this Masorah is huge: one hundred and fifty different designs, seventy-nine of them used just once.The designs range from the most simple -one or two parallel lines -to the most elaborate, in which several different elements (triangles, semicircles, lines) are combined (figs.12-18).Most of these designs are geometric but there are also a few in vegetal layouts (fig.19).The most frequent designs are a triangle upon a line (134 times) and one vertical line (98 times).b) Big outer lower MM The notes of this Masorah usually occupy nearly the entire length of the outer margin -the left margin on the verso and the right margin on the 33 Some cases extend beyond half the folio: fols.24v, 38v, 44v, 52v, 54v, 63v, 92r,  191v, 198v, 200v, 201v, 202v, 205v, 213v, 214v, 274v, 287v, 293v, 306 and 335v.  3Fols.5r, 8r, 21r, 34r, 41r, 75r, 100r, 105r, 156r, 197r and 321r.recto -and almost the width of one text-column, except for some cases that are smaller. 35Moreover, two cases are found in the space that is usually occupied by the left text column (fols.81v and 159v).
The central branch is usually higher than the sideways branches, apart from two cases, fols.3v and 18v.Most of the candelabras have rounded branches, but there is also one case with straight branches (fol.16v), one with a mixture of branches (fol.95v), and another two with full acanthus or acanthus semi-leaves as branches (fols.36v and 6r).
The branches usually end in a spade-shape leaf -sometimes with one or more circles on top but also in a full acanthus leaf (fol.23v), in an acanthus semi-leaf or in a mixture of some or all of them (fols.3r, 9v, etc.).These elements are also interspersed along the central branch and sometimes along the branches.
These candelabra trees are usually depicted with a base split into two acanthus semi-leaves but other elements for the base can also be found such as: a square with small circles at the corners and decorative coloured elements (fol.3r); a circle with a six-pointed star inside in addition to a spade-shape leaf (fol.9v); a hose-shape with some geometric elements inside (fol.14v); a double-lined circle with a lozenge and a small circle inside (fol.18v); an inverted crown-shape (fol.36v); a double-lined triangle with two acanthus semi-leaves plus an inverted triangle with two acanthus semi-leaves (fol.80r).The terminating decoration placed at the top can be: one or two spade-shape leaves, a double semicircle with small circles, a semicircle, a full acanthus leaf, a full acanthus leaf with spade-shape leaf on top, two acanthus semi-leaves, two acanthus semi-leaves with a spade-shape leaf, three spade-shape leaves one on top of the other, or no decorating element (fol.18v).
All these figures are different and their designs differ significantly from the design of the most well-known Catalan candelabra.A variation of the tree-shape motif is found three times (fols.80v, 130v and 145v).This variation consists of additional branches that protrude from the side branches in the opposite direction, downwards.They have rounded and straight branches that end in either an acanthus semi-leaf or a spade-shape leaf.The elements used for the top and the base are similar to those of the most common candelabra tree (fig.38).
In addition to this pattern, interlaces with vegetal elements, such as full acanthus leaves, acanthus semi-leaves and spade-shape leaves can be found (fols.79v, 85v and 91v; fig.39).These elements are arranged vertically with a spade-shape leaf plus one circle or a full acanthus leaf on top and the base splits into two acanthus semi-leaves.

Sekum 40
Six of the summaries that appear at the end of each biblical book 41 contain part of the information written in figured patterns: fols.23v, 48r, 95v, 106r, 132r and 265v.
40 I have differentiated this information from the Masoretic rubrics contained in the so-called "appendices" placed after several divisions of the Bible and with a common shape, i.e. blank folio, text in three columns, blank folio; cf.MARTíN-CONTRERAS, "M1's Masoretic Appendices," pp.65-81. 41Except for the books where the summary has been cut (Isaiah, Jonah, Nahum, Habakkuk, Ruth, Job, Lamentations, Nehemiah) and the book of the Chronicles (considered just one book by the Masorah).The geometric shape used is the triangle: alone (three times), with a line in the middle (once) and a sequence of two triangles (twice).
Except for fol.265v, the information is inserted into a decorated rectangular frame (fig.43).

CONTENT
Manuscript M1 contains a correct and comprehensive Masorah. 42The information contained in the Masorah does not differ significantly from the data in the Masorah of the Tiberian manuscripts of high quality, in particular the Aleppo Codex (A) and the Leningrad Codex (L).The main difference between the Masoretic information in M1 and those of A and L is how the former is expressed.It is well known that Masoretic notes are characterized by being formulated in a short, concise way, and on many occasions elliptically.
43 However, the Masoretic notes in M1 exhibit a tendency to be more explicit: 44 the MP notes usually offer some information and not ‫אלהים‬ from Gen 1:3 found in M1 and L, cf.just a mere number, the simanim -i.e., "references" or "catchwords" -are formed by more than two words, 45 there is less use of abbreviations in the MM notes, the MP notes usually use the formula ‫כת׳‬ ‫וסימ׳‬ ('their simanim are written') to indicate that there is a related MM note that gives the references for the complete list of occurrences, etc.This tendency is also seen in the amount of information included.For instance, the number of MM entries is usually higher in M1 than in the Tiberian manuscripts.This means that, at times, there are so many notes in the MM that they do not fit on the corresponding page and appear on the following page (for instance in the book of Genesis), 46 or that the number of entries with MM notes that lack a corresponding MP note is higher than usual.Indeed, some words have two MP or MM notes with the same or different information.

47
The content of the Masoretic notes written in figured patterns is similar to that given in the notes written in straight lines. 48In the MM notes, there is no distinction between the information given in the two formats: the lists of the collative type -known as Collative MM notes -49 predominate; alongside them are elaborative-type lists -the most common type in the MM notes of other manuscripts -which give the occurrences of a single word or combination of words.The same occurs with the sekum, where the information given in the two formats is the same: the number of pesaqîm, the parasiyyôt and the middle verse.
In the case of the information contained in the MP notes, small differences can be detected.Despite the similarity of the contents in the notes written in both formats, some kinds of contents are predominant in the notes written in figured patterns.One example is the notes that give not only informa-45 YEIVIN, Introduction, p. 75: "In the earlier MSS these simanim are short -usually one word only." 46Although the Masoretic notes are usually written on the same page as the corresponding lemma in the manuscript.Those words are usually marked in the main biblical text with a circellus. 47The existence of two MP notes for one word is sometimes indicated by two circelli (fol.139v).
49 Following Yeivin's categories: words, phrases or verses which are different, but which share some common characteristic; or words, phrases or verses which are the same except for some characteristic; cf.YEIVIN,Introduction, tion -the number of cases -but also references to the individual passages in which the words in question occur.The most numerous -and also the most common in the Masoretic codes -50 are MP doublet notes with attached catchwords referring to the other occurrence.There are also MP notes that mention and provide references to three (fols. 27v, 62r, 161v, 249r), four (fols. 57v, 59v, 65v, 174r), five (fols. 3v, 13r, 130r, 131r, 232v), six (fol.136r) and up to nine (fol.167r) cases.In the other codices, the Masoretic notes giving the references are usually found in the MM and not the MP.
Likewise, the notes similar in content to the aforementioned Collative MM notes are predominantly collated in the MP notes written in figured patterns.The difference from the MM notes is that the MP notes only include the heading of the list, without providing the references.This type includes notes that describe what the reading proposed by the Qere consists of and the number of cases that share the same Qere reading (fols. 111r, 116v, 137v, etc.), usually located next to a Qere indication.
All of these characteristics regarding the content of the MP notes in figured patterns confirm the tendency in M1 to present the Masoretic information more explicitly.

CONCLUSIONS
As we have seen, almost every folio of ms.M1 has Masoretic notes written in figured patterns.The notes can be found in any of the margins of the folio -inter-column spaces, upper, bottom and outer margins -but it is especially common in the upper margin (just 7 cases without any figured Masorah) and the lower outer margin (just 11 cases without it).The location of the Masoretic notes in figured patterns -especially those placed in the lower MM and the big outer lower MM -are sometimes related to the beginnings and endings of the biblical books, important passages in the text (the Song of Moshe, the Song of Deborah and David's Song of Praise) or to the material division of the book, 51 but at other points they are not (e.g. the book of Genesis).The notes placed in the small outer lower MM, upper MM and MP have no any relation at all.Quite often, the information about a word appears written in the two formats, one part of the note written in figured patterns and the other not.With the MM notes, in addition to the mixed format, notes appear whose information is divided and fills different spaces.For example, one part of the note appears in the upper MM and the other in the lower MM, or one part is in the lower MM and the other in the big or small lower MM.
The forms of the figured Masorah are mainly simple geometric shapes, such as triangles, semicircles, zigzags, circles or a combination of them.Veggetal motifs and, exceptionally, other forms (e.g., a six-pointed star, a house shape, etc.) also appear.The thirty-seven cases of the big outer lower MM are an exception in the context of the manuscript.Their designs, elaboration and complexity contrast with the simplicity of the other types.One of the most striking characteristics of these cases is that none of the designs are identical.In this respect, the great variety of designs employed in the cases of the small outer lower MM is also noteworthy.Thus, it is in the outer margins where the form of writing the Masorah most stands out.
In terms of content, the Masoretic information contained in the figured Masorah is accurate, explicit and similar to that of the Masoretic notes that are not written in figured patterns.With a few exceptions, the notes include textual information on words or expressions in the biblical text written on that folio.The main characteristic of the M1 Masorah is how the information is expressed or transmitted, with a tendency to give the most information possible.This tendency is, in my view, key when it comes to understanding and explaining the shape adopted by the Masorah in this manuscript.
The change in the usual way of expressing the Masoretic notes, from a high degree of conciseness, even ellipsis, to explicitness, generated a large amount of information.It was not possible to record the entire amount in the spaces traditionally set aside for that purpose.The upper and bottom margins allocated for the MM could no longer accommodate all the information.It was necessary to take over more space, but the only space available was that already earmarked for the MP notes, which was not much if the information was to be written in straight lines as usual.
In my view, these two "obstacles" -the lack of space and the need to share it -brought about the change in the form.Writing the Masorah in figured patterns solved both problems.On the one hand, the design pattern serves as a visual separation between the MP notes and the MM ones.

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On the other hand, the arrangement of the text in these patterns makes it possible to include a larger amount of information.
The fact that none of the designs in the big outer lower MM and almost none of those in the small outer lower MM are the same confirms the close connection between the shape and the amount of information.The shapes are determined by the Masoretic information the scribe had to copy in each folio.For instance, the series of geometric elements (triangles, semicircles, zigzags, circles etc.) are made up of a greater or lesser number of units.In the case of the candelabra tree, the repetition of the pattern of three branches, depend on the amount of information that must be incorporated in that folio.
Therefore, one of the main purposes behind writing the Masorah in figured patterns in manuscript M1 is a practical one.The Masorah adapts its usual shape in order to record all the information in the available space, but without losing its original function (of providing textual information about some of the words in the biblical text written on that page), place (the spaces between the columns and the top and bottom of the page) and size (always a very small letter).However, it is also true that the result is decorative as well and there is an aesthetic intentionality, as seen in the use of gold circles and other coloured elements and the use of lines to complete the design.
In short, biblical Hebrew manuscript BH MSS1 is exceptional in the context of 13th-century Hebrew Bibles on the Iberian Peninsula not only due to the high number of Masoretic notes in figured patterns and the profusion of designs used, but also because of the content and way of expressing it.
Recibido: 05/11/2015 Aceptado: 01/04/2016 52 The MP notes are usually written in horizontal lines.In only a few cases do the figured MM coexists with the figured MP (fols. 4v,7r,25v,54v,etc.) and their design is a vertical line with the separation made clear.

Figure
Figure 38.Fol.80v FERNáNDEz TEJERO, Las masoras del libro del Génesis, pp.XIX-XX.Because of this, M1 has been used to help to decipher the obscure cases in the Masorah of L; cf. C. MCCARTHY, "A Comparative Study of the Masorah Magna and Parva of the Book of Deuteronomy as Attested in the Leningrad and Madrid M1 Manuscripts," in Sofer Mahir: Essays in Honour of Adrian Schenker Offered by Editors of Biblia Hebraica Quinta, eds.Y. A. P. GOLDMAN, A. VAN DER KOOIJ, R. D. wEIS (Leiden-Boston: Brill, 2006) pp.177-191.