In 1748 Bodenschatz began to issue his work on the Jews; he completed the publication in the next year. In it he dealt with the Jewish religion (_Kirchliche Verfassung der heutigen Juden, sonderlich derer in Deutschland_). He had planned a continuation on the Civil Laws of the Synagogue. But he left it unfinished, though he lived another half-century. Perhaps he had exhausted all his means, for the thirty copper-plates must have been expensive. The very title-page states he paid for them out of his own pocket. These illustrations he introduced with a double object: they were, in part, to serve as an ornament, but chiefly as an elucidation of the text. Both his book and his pictures became very popular, and did much to secure for Judaism a favorable consideration in Germany. As we know that Bodenschatz possessed some artistic skill, we may safely assume that he inspired and assisted the artists whom he employed. He does not appear, however, to have done any of the drawings with his own hand. Nearly all the pictures are signed. Most of them were designed by Eichler in Erlangen, and engraved by G. Nusbiegel in Nuremberg. Both of these belonged to artistic families; there were three generations of Eichlers, and a Nusbiegel engraved illustrations for Lavater’s works. One of the Bodenschatz pictures was engraved by C. M. Roth; another, among the best of the whole series--the illustration of Shehitah--was drawn by Johann Conrad Müller. It would be interesting to collect the names of those Christian artists and mechanics who, in the seventeenth and eighteenth centuries, were engaged in illustrating books on Judaism. There was, for instance, the Englishman R. Vaughan who worked at Josephus (Josippon); there was the Frenchman Bernard Picart; and there were very many others, though the exquisite medallions, which adorn the title-pages of all six volumes of Surrenhusius’ Latin Mishnah, were from a Jewish hand.