One would like to hope that it will not always retain this unique position. The Crawford Haggadah (now in the Rylands Library, Manchester) is certainly older, and, in my judgment, finer. It is true that the editors of the Sarajevo manuscript claim that theirs is the most ancient illuminated Haggadah extant. They admit that the _text_ of the Crawford Haggadah is older by at least half-a-century, but assert that the full-page pictures belong to the fifteenth century, thus falling two centuries after the text. I altogether contest this statement. But even if it were conceded, nevertheless the beauty of the Crawford Haggadah consists just in the text, in the beautiful margins, full of spirited grotesques and arabesques, no doubt (like the Sarajevo manuscript itself) produced in Spain under strong North French influence. Mr. Frank Haes executed a complete photograph of the Crawford manuscript, and it ought undoubtedly to be published. As I write, I have before me two pages of Mr. Haes’ reproduction--the _dayyenu_ passage; nothing in Jewish illuminated work can approach this, unless it be the rather inferior, but very beautiful, British Museum manuscript of the same type. The editors of the Sarajevo Haggadah were ill-advised in omitting to reproduce the whole of the text of their precious original. It is in the text that the genuine excellence of the Jewish manuscripts is to be found. But the Sarajevo Haggadah gives us too much that is delightful for us to cavil over what it does not give. Here we have, in the full-page drawings, depicted the history of Israel from the days of the Creation, the patriarchal story, Joseph in Egypt, the coming of Moses, the Egyptian plagues, the exodus, the revelation, the temple that is yet to be. Very interesting is the picture of a synagogue. This late thirteenth (or early fourteenth) century sketch evidently knows nothing of the now most usual ornament of a synagogue--the tablets of the decalogue over the ark. On this subject, however, I have written elsewhere, and as my remarks have been published, I can pass over this point on the present occasion. I have mentioned above the striking attempt to depict the Deity, but it is equally noteworthy that in the revelation picture no such attempt is made. Into Moses’ ear a horn conveys the inspired message; but the artist does not introduce God. At least, one hopes not. We prefer to regard the figure at the top of the mountain as Moses, and it is not difficult to account in that case for the figure standing rather lower up the hill, also holding the tablets. We must assume that this under figure is Aaron, though it is not recorded that he received the tablets from his brother. There is another possibility. In the medieval illuminations it was a frequent device to express various parts of a continuous scene in the same drawing. Thus the Sarajevo artist may have intended to show us Moses in two positions, and though the method lacks perspective, the