Bodenschatz made use of his predecessor Picart, whose twenty plates illustrative of the “Ceremonies des Juifs” appeared in Amsterdam in 1723. But what he chiefly owed to Picart was the composition of the groups; the details are mostly original. Similarly he derived his idea for the processions of the bride and the bridegroom, with their musical performers, from Kirchner, but here, again, the details are his own, and the total effect is full of charm. I do not wish, by any means, to depreciate Kirchner, who in his _Jüdisches Ceremoniel_ (1726) has some fine engravings. One of them, depicting the preparation of the Passover bread, is as vigorous as anything in Bodenschatz, though I think that the latter is, on the average, superior to Kirchner. Readers can easily judge the character both of the Bodenschatz and the Kirchner pictures from the specimens so wisely reproduced in the volumes of the _Jewish Encyclopedia_. No one need complain that the _Encyclopedia_ prints these illustrations too profusely. For--to limit my remarks to Bodenschatz--though copies of that worthy’s book are common enough, many of them are incomplete. From the British Museum example, six of the thirty plates are missing; the Cambridge copy also lacks some of the plates, in particular the marriage ceremony under the canopy, which, however, may be seen in the _Jewish Encyclopedia_, vol. vi, p. 504. On the other hand, the _Encyclopedia_ (vol iii, p. 432) somewhat exaggerates the glare of the eyes in the grim realism of Bodenschatz’s picture of an interment. What is assuredly one of the most interesting of Bodenschatz’s plates does not, so far as I have noticed, appear in the _Encyclopedia_. I refer to the Pentecost celebrations, where Bodenschatz shows us both the cut flowers and the growing plants in the synagogue decorations of the day. The floral border of this plate is particularly well conceived. Very attractive, too, is the picture of Blessing the New Moon: the outlines of the houses stand out in bold relief. Bodenschatz is careful to inform us that the favorite time for the ceremony is a Saturday night, when the men are still dressed in their Sabbath clothes, and thus make a good show. The Priestly Benediction is also a notable success; the Cohen with his hands to his eyes impresses. More than once Bodenschatz depicts a curious scene, once common now almost unknown. On the front of the synagogue is a star, cut in stone, and after the marriage the husband shatters a vessel by casting it at the star. The glass, where the custom is retained, is now broken under the canopy. By the way, the author also introduces us to the more familiar ceremony of the same nature at the actual wedding or betrothal. Altogether ingenious is the plate on which are diagrammatically represented the various forms of boundaries connected with the Sabbath law.