_Historia sive continuatio_ Flavii Josephi _ad hæc usque tempora_. _De divinitate legis Mosaicæ._ _De scientia Talmudistarum, in singulis facultatibus._ _Philosophia Rabbinica._ _De disciplinis Rabbinorum._ _Nomenclator Hebraius & Arabicus._ I have also published, and printed, with my own presse, above 60 other books, amongst which are many bibles in _Hebrew_, and _Spanish_, with all our _Hebrew_ prayers corrected, and disposed in good order. _FINIS_ NOTES (P = page; l = line) PORTRAITS OF MENASSEH BEN ISRAEL (Frontispiece, and pp. 1 and 105) Pocock, in his biographical introduction to the English translation of Menasseh ben Israel’s “De Termino Vitæ” (Lond., 1700), gives the following pen-picture of the author derived from the recollections of English Jews who remembered the days of the Whitehall Conferences:— “He was of middle stature and inclining to fatness. He always used his own hair, which (many years before his death) was very grey; so that his complexion being pretty fresh, his demeanour graceful and comely, his habit plain and decent, he commanded an awful reverence which was partly due to so venerable a deportment. In short, he was _un homme sans passion, sans legiereté, mais hélas! sans opulence_” (p. viii). This description agrees with the portraits of Menasseh. Three of these portraits are extant. Two of them are by Rembrandt, and one is by a Jewish line-engraver, Salom Italia. Curiously enough, although far inferior in artistic merit to the Rembrandts as a portrait, Menasseh prized the Italia engraving highest. He sent a copy to the Silesian mystic Frankenberg in 1643, and he writes in the _Bonum Nuncium Israeli_:— “Abr. à Frankenberg ... effigiem meam, aeri incisam misissem, ubi ad symbolum meum Perigrinando Quærimus, cui ab uno latere Hominis Peregrinantis, ab altero candelæ emblema adscriptum cum hoc dicterio ‏נר לרגלי דברך‎ sic praefatur” (p. 92). The shield in the left-hand corner of this portrait was used by Menasseh as a trade-mark in his printing-office. It has for this reason been reproduced on the title-page of the present work. Salom Italia’s portrait is often found bound up with the first Latin version of the “Hope of Israel,” and was roughly copied in the Spanish edition published at Madrid in 1881.