The works of the Reverend and learned John Lightfoot D. D., late Master of Katherine Hall in Cambridge such as were, and such as never before were printed : in two volumes : with the authors life and large and useful tables to each volume : also three maps : one of the temple drawn by the author himself, the others of Jervsalem and the Holy Land drawn according to the author's chorography, with a description collected out of his writings.

SECT. II. Of the Singers and Temple Musick.

NOt to insist upon the ordaining and division of the Singers and their Courses, of which there is large description, 1 Chron. 25. nor to search the ground of the Tem∣ple Musick from the Law; about which the Gemarists are copiously inquisitive in the Treatise a 1.1 Erachin; let us take up a little consideration first of the persons of the singers themselves, and then of their Song and Musick.

b 1.2 Maimony tells us, that the Singers were Levites and Israelites together 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 He had spoken im∣mediately before, that the Song of the Temple was properly with Voices, and not with Instruments, because the ground of that Song which was the Service, was the Voice. 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 which is a Maxime that the Talmud speaketh of exceeding oft; yet he concludeth that others stood with the Voices, with Instruments. And some of them (saith he) were Levites, and some of them were Israelites of note, that had married with the Priest∣hood; for none might go up into the desks of the Song men, but men of note.

The Mishnah in the Treatise Erachin cited above, doth make the like division in this point, and it doth it so, as that the Israelites our Rabbin speaketh of, appear to have their part in the instrumental Musick only, and not in the Vocal. For having made men∣tion of the sounding of the Trumpets, and the Musick of other Instruments, and how, when they were used, it concludeth thus: Now these (that played upon such and such instruments, for that was the discourse in the next words before) were the servants of the Priests. The words of Rabbi Mier: Rabbi Jose saith, it was the Family of Pegarim, and the Family of Tsippariah of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Emmaus which were taken to the Priesthood. Rab∣bi Haninah the son of Antigonus, saith they were Levites. The Gloss upon the place, saith these were Families of Israelites of note, whose Daughters the Priests had married. c 1.3 The Treatise Succah, speaketh of these very Families, and saith they were of Ai and Emmaus (it is written 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 there) and the Gloss there, saith they were Israelites of worth, whose daughters and widows were sit to be married to the Priests.

So that it is a disputed case whether any were imployed in the Musick but the Levites only; but if any other, they were to be as near the Priesthood as possible, both for alli∣ance and qualifications, and when they were come to the highest they could, they were not admitted to joyn Voices with the Vocal Musick, which was the proper Song, and the proper Service, but only to joyn with the Instrumental: which was but thus much, that if any man of worth and piety, or in near affinity with the Priesthood, had addicted himself to Musical Devotions, and to pour out his Praises to God that way, (as that was then greatly in use) if he came to offer to joyn his Skill and Devotion to the Temple Cho∣rus, they refused him not, but let him put in with his Instrument among the Instruments, but among the Voices he might not joyn, for that belonged only to the Levites. So it is said in the 2 Sam. 6. 5. And David and all the House of Israel played on all manner of Instruments made of fine wood, even on Harps, and on Psalteries, and on Timbrels, and on Cornets, and Cymbals.

As for the number of the Singers, that is the Voices, they were never to be under twelve, for so was the number of every Course when they were divided into their Cour∣ses, 1 Chron. 25. But as many above twelve as might be, and so their Tradition is express; f 1.4 There must not be less than twelve Levites in the desks, but they add to the number ever. And whereas the Levites Children might never come within the Court, upon any other occasion, nor at any other time whatsoever: yet might they come in when the Le∣vites were singing, and might sing with them, not going up into the Desks, and looking over as the Levites did, but standing upon the ground, between their Fathers Legs. g 1.5 And the Warrant for this they take from those words in Ezr. 3. 9. Then stood Jeshua with his sons, Kadmiel and his sons, &c. And they sang together by course, &c. And they back it also with this reason, &c. 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 h 1.6 Because the voice of those was small, and the others big, those trebled, and the other sang more base: And so by this means they made the more full, and the more sweet Musick.

The Instruments that they used, were either wind Instruments, or Instruments with strings. The first of their wind Instruments to be looked after, were their Trumpets, of whose Attendance on the Altar service we find mention, 2 Chron. 7. 6. and 29. 26. and in divers other places, where the use of them is ascribed to the Priests, and not to the Levites; for indeed they were none of the Consort, but a Musick when the Consort stop∣ped, as we shall see anon.

The number of the Trumpets was to be i 1.7 not under two, nor above an hundred and twen∣ty, the reason why not under two, was because of that command, Num. 10. 2. Make thee two Trumpets: and why not above 120. was because of that example at the beginning of the Temple Service, 2 Chron. 5. 12.

The Lord enjoined in Numb. 10. 10. That in the day of their rejoycing, and in their so-Lemn Feasts, and in the New Moons, they should blow with Trumpets: This was the war∣rant and engagement of this Trumpet Musick, and the manner of it was thus:

Those that blew with Trumpets were the Priests, for so was the original institution, that the Priests the sons of Aaron should blow with them, Numb. 10. 18. 1 Chron. 15. 24. And their standing, when they were about this piece of service, was not where the Levites stood in the desks, or near them, but it was clean on the other side of the Altar, and they stood looking down the Court when they blew the Trumpets, as the Levites stood looking up the Court when they sang and plaid, but both looking on the Altar: k 1.8 Two Priests stood by the Table of the Fat 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 with two silver Trumpets in their hand, &c. as saith the Mishnah of the Talmud in the place cited in the Margine: Now it speaketh of two Priests, because that was the lowest number of Trumpets that might be used, and if there were more, they stood in the same place in more compass, namely on the West side of the rise of the Altar, for there as is observed in the place, the Table of the fat was placed.

The manner of their blowing with their Trumpets was first a long plain blast, then a blast with breakings and quaverings, and then a long, plain blast again; this the Jews call 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and in their short writings they express it thus 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. The Mishnah last cited, saith, thas the Priests standing in the place there mentioned, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, sounded, blew alarm, sounded, for so let me English it till further discourse do more fully shew its meaning.

The Priests did never blow, but these three blasts went together, and hereupon arose that dispute which occurs more than once or twice in the Talmud, about how many times the Trumpets sounded before the Altar every day.

The general Tradition ran thus, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉: l 1.9 They never sounded less than one and twenty soundings in the Sanctuary, and never more than eight and forty: But there were some that express it thus, m 1.10 That they never sounded less than seven soundings, nor more than sixteen: Now the reason of this difference, which indeed was no difference at all, was this n 1.11 because the one party held the three di∣stinct

blowings to be but one sounding, and the other held them to be three soundings distinct.

The Jews do express these three several soundings, that they made at one blowing, by these words, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 o 1.12 an Alarm in the midst [for so our English renders 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, Num. 10. 5, 6. Vatablus, vox infracta, a broken or quavering sounding] and a plain note before it and after it: which our Christian Writers do most commonly express by Taratantara; though that word seem to put the quavering sound before and after, and the plain in the midst, contrary to the Jewish description of it.

A second wind Instrument that they used, was 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Chalil, or 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Abbubh, a Pipe, or Hoboy, or Cornet, or some such loud Wind Musick [which of these I will not much question:] the Jews in this story give us some Character of it. p 1.13 Our Rabbins have delivered [say they] that there was an Abbubh or Pipe in the Sanctuary; [the Gemara and the Gloss intimate Chalil and Abbubh were all one] It was smooth, it was thin, it was of reed, and it was from the days of Moses. The King commanded, and they gilt it all over with gold, but then the sound of it was not so sweet as before. They took off the gilding, and the sound was as sweet as ever.

Now this Pipe or Hoboy, or call it what you will, was not a constant Musick at the Altar every day, as the Trumpets were, and the other instruments that we are to speak of, but it was used only twelve days in all the year, q 1.14 There were not to be less than two Chalils or Pipes [saith the Talmudick Tradition] and there were not to be more than twelve. And on twelve days of the year did they play on the Chalil, before the Altar, namely at the killing of the first Passeover [or the Passeover in the first month:] and at the killing of the second Passeover; [in the second month] on the first Holiday of the Passeover Week, on the Holiday of Pentecost, [Lev. 23. 21.] and on the eight days of the feast of Tabernacles: And they play∣ed not on a Pipe of brass but of reed, because the sound of that is sweet: And the close was made with one Pipe or Hoboy alone, because such a close is most delightsome: For one Pipe [r 1.15 saith the Gloss] drew out the close after the other had done: for this is a better way than if they should have closed all together. And this Musick of the Chalil was at the time of the Offering: and the Levites sung the Hallell with their voices, all the twelve days mentioned, but on the other days the other instruments were used, and they sung the ordinary song.

Those other instruments therefore, that were the constant Musick, and never failed from attendance were these three, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Nebhel, Kinnor and Tseltsel, and these were severally distributed to the sons of the three Master Musicians, Asaph, Heman and Jeduthun, 1 Chron. 15. 19, 20, 21. See these three Instruments named together [save that instead of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 the word 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 is used, which maketh no difference] 1 Chr. 16. 5. and 25. 1. Neh. 12. 27. &c. 2 Chron. 29. 25.

In going about to determine punctually and exactly, what kind of Instruments these three were; we might spend a great deal of time in shewing what this and that, and the other Author saith of them: and when we have done all, we must sit down with a con∣jecture, that it may be one of them was of this fashion, and another was of that, for it will be very hard and daring to be positive in them; and therefore we will only take up with Josephus his Character and description of them, who himself was often present no doubt at the Temple Musick, and whose describing of them will give satisfaction enough to those that look rather after the time, order, and managing of the Musick, than at the very consort of the Musick it self.

• 1. 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 s 1.16 He renders 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and desines it thus, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.
• 2. 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 He expresseth by 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and gives it this character; 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.
• 3. And 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 or 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 he translateth 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and saith of that kind of instrument, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.

Upon which words we may take up these Observations:

• 1. That 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 which our English constantly translates Harps and Psalteries, were strong instruments, and not wind instruments, as those were that we have spoken of before.
• 2. That though both these were instruments with strings, yet there was this difference between them. 1. That the one was struck with a quillor a bow, as are our Citterns and Viols; and the other with the singers, as the Pandura and the Lute. And 2. that the notes of the one was made and differenced by stops and frets, and of the other by the several strings, for so are the words 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 to be understood and distinguish∣ed. 3. That the 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Nebhel had twelve strings, which made twelve several Notes; [as it is with our Harps and Virginals, where the several Notes are not made by stops, as they are on Lutes, but every several string is a several Note] And the 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Kinnor had ten strings, but the Notes were made with frets and stops. I should therefore according to Josephus his character, if that be current, translate Nebhel a Harp, for the several strings made the several notes, and it was struck with the fingers, in both which things our

• Harps agree. And 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Kinnor I should liken to our Citterns or Viols, stopt on the frets, and played on with a quill or bow, and should translate it a Viol. l 1.17 Rabbi Judah said, The 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Kinnor of the Sanctuary had seven strings: but in the days of Messias it shall have eighth, as it is said, To him that excelleth upon Sheminith, or upon the eight string of the world to come.
• 3. 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 which both our English, the LXX. [in Psal. 150.] and Josephus [in his words cited] do render Cymballs, seemeth to have been neither wind instrument, nor string in∣strument, but some broad instrument of brass, whereon their musick was made by heat∣ing on it as on a Taber. They were great and broad Cymbals of brass, saith Josephus. And the Talmudicks tell this story of one of their Cymbals; u 1.18 There was a Cymbal 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 in the Sanctuary, and it was made of brass, and the sound of it was sweet. It became crackt, and the wisemen sent and fetcht workmen from Alexandria, who mended it, but then the sound was not so sweet as before. They took off the mending, and the sound was as sweet as it used to be. * 1.19 There might not be above one Cymbal in the Quire at once, and this seem∣eth to have born the Base, as being deepest and loudest: to this the Apostle alludes in his ex∣pression, 1 Cor. 13. 1.

We shall not be further curious, nor inquisitive about this matter, concerning the form or nature of the musick-instruments: since our inquiry is after the song it self, I shall on∣ly add this, w 1.20 that of the Nebhels or Harps, there might not be less than two in the Quire, nor above six: x 1.21 and of the 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Kinnor or Viols not under nine, but as many above as possible: and so the least Quire that could be, was nine Viols, two Harps and one Cymbal. And now let us hear the Musick it self.

1. The Trumpets sounded their 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Taratantara [for so for company will we call it,] y 1.22 every morning at the opening at the Court Gates, particularly at the opening of the East gate, or the gate of Nicanor: z 1.23 Now though this practice had not any ex∣press and literal Command, yet was it grounded upon this necessity and reason, because that the Levites and Stationary men might have notice to come to attend their Desks and Service: and that the People of Jerusalem might hear and take notice, and those that would come to the Temple: so that this sounding was as it were the Bells to ring them into the Service: And after this the Trumpets sounded not till the very time of the morning Sacri∣fice.

2. The Song and Musick began not to sound, till the pouring out of the Drink-offering. This is a Traditionary Maxime, exceeding common, and received among the Rabbins, and they descant upon it thus, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 1 1.24 They utter not the song but over the Wine of the Drink-offering: 2 1.25 for a man singeth not but for gladness of heart. 3 1.26 Therefore they utter not the song at the very time of the Offering, but over the Wine which cheareth God and Man, as Jud. 9. 13. And so the Treatise Tamid describing the manner of the daily service, relateth that when the High-priest was minded to offer the Sacrifice, 4 1.27 He went up the rise or bridge of the Altar, and the Sagan on his right hand: when he came to the midst of the rise, the Sagan took him by the right hand and lift him up: then the first man that was to bring up the pieces of the sacrifice, reached him up the head and the feet, and the second reached him the two shoulders, and so the rest reached him the rest of the parts, and he disposed of them, &c. And when he was to go about the Altar, to sprinkle the blood upon the horns of it, he began at the South-east corner, and from thence to the North-east, and so to the North-west, and concluded at the South-west. They give him the wine of the drink-offering to pour it out: the Sagn stood by the horn of the Altar, and a napkin in his hand: and two Priests stood by the Table of the fat, and two silver Trum∣pets in their hand to sound. They came and stood by Ben Arza, the one on his right hand, and the other on his left: He [the High-priest] stooped down to pour out the drink-offering, and the Sagan waved with his napkin, and Ben Arza struck up his Cymbal, and the Levites be∣gan the song. And so may we understand that passage, 2 Chron. 29. 27. And when the burnt∣offering began, the song of the Lord began with the Trumpets and with the Instruments; name∣ly, when the drink-offering was poured out, for till then the Offering was not perfect be∣cause every burnt offering was bound to have a meat offering, and a drink offering, or else it was not right, Num. 15. 5. And this may be the proper cause, whatsoever the Jews descant, why the Musick began not till the drink-offering: namely, they stayed till the offering was compleat, and then began.

3. The constant and ordinary Psalms that they sang were these:

5 1.28 On the first day of the week, the four and twentieth Psalm, The earth is the Lords, and the fulness thereof, &c.

On the second day of the week, the forty eight Psalm. Great is the Lord, and greatly to be praised in the City of God. &c.

On the third day, the eighty second Psal. God standeth in the Congregation of the mighty, and judgeth among the Gods, &c.

On the fourth day, the ninety fourth Psal. O Lord God to whom vengeance belongeth, &c.

On the fifth day, the eighty first Psal. Sing aloud unto God our strength, make a joyful noise unto the God of Jacob, &c.

On the sixth day of the week, the ninety third Psal. The Lord reigneth, he is cloathed with Majesty, &c.

On the sabbath day they sang the ninety second Psal. which bears the Title of A Psalm or Song for the Sabbath day.

These were the known, and constant, and fixed Psalms, that the singers sang, and the musick plaid to, on the several days of the week: And the reason of the choice of these several Psalms for the several days; 6 1.29 the Gemara on the Treatise Rosh hashanah, and the Gloss upon the Treatise Tamid, do give to this purpose.

On the first day of the week they sang the Psalm, The earth is the Lords, and the fulness thereof, &c. Because on the first day of the week of the Creation, God possessed the world, and gave it in possession, and ruled in it.

On the second day of the Week they sang the Psalm, Great is the Lord, and greatly to be praised, &c. For on that day the Lord divided his works, the waters, and reigned over them.

On the third day they sang the Psalm, God standeth in the Congregation of the migh∣ty, &c. Because on that day the earth appeared, on which is Judging and Judges; and by his Wisdom he discovered the Earth, and established the World by his Understand∣ing.

On the fourth day they sang the Psalm, O Lord God to whom Vengeance belongeth, &c. Because on the fourth day he made the Sun, Moon and Stars, and will be avenged on them that worship them.

On the fifth day the Psalm, Sing aloud unto God our strength, &c. Because of the variety of Creatures that were made that day to praise his name.

On the Sixth day the Psalm, The Lord reigneth, he is cloathed with Majesty, &c. Because on the sixth day God finished his works, made man, who understands the glory of the Creator, and the Lord ruled over all his works. Thus they descant.

4. 7 1.30 Now the singers, in singing of these Psalms, divided every one of them into three parts, making three large pauses or rests in them; and ceased their Musick and Singing for a while; these parts and pauses the Talmudicks call 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, and they say thus of them, that they were 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 Pausings or intermissions in the vocal musick, and when the voices ceased, the instruments ceased also, and so in every Psalm the musick made three intermissions.

5. At these intermissions the Trumpets sounded, and the People worshipped 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 For at every pause [saith the Talmud] there was a soun∣ing with the Trumpets, and at every sounding there was a worshipping, their sounding with the Trumpets, was, as hath been spoken before, a Taratantara, [as we have chosen to call it,] and they never sounded otherwise than so, when they sounded, namely, three strains, a plain, a quavering, and a plain again: and thus did the Trumpets sound one and twenty blasts every day; three at the opening of the Court gate, nine at the morn∣ing sacrifice, and nine at the evening sacrifice: namely, three soundings at the three pau∣sings of the Musick, and the three strains named, at every sounding: and so we see that the Trumpets were never joyned with the Quire in Consort, but sounded only when the Quire was silent.

Thus was the Song, and these were the Psalms sung ordinarily throughout all the year: but at some certain days there were other Psalms and Songs used, and the Trumpets also sounded extraordinary soundings, besides that number now mentioned.

As 1. 8 1.31 On the Eve of the Sabbath, the Trumpets sounded two soundings more than they used to do at other days; namely one [which consisted of the three strains] to cause the People to cease from work, and another to distinguish between the common day, and the holy day that was now come in.

2. On the Sabbaths themselves, there was an additional sacrifice, besides the daily sacri∣fice, according to the appointment, Num. 28. 9, 10. 9 1.32 And at the time of this additio∣nal sacrifice, the Levites sang Moses his Song, in Deut. 32. Hear O Heavens, and I will speak, &c. but they sang it not all at one time, but divided into six parts, and sang one part of it every Sabbath, and so in six Sabbath days they finished it, and then began again. Thus did they at the additional morning sacrifice: and at the evening sacrifice they sang Moses song in Exod. 15. And the consideration of this [that on the Sabbaths they sang both the songs of Moses] helpeth to illustrate that passage in Rev. 15. 3. where the Saints are said to sing the Song of Moses the servant of God: because they were now come to their ever∣lasting Sabbath, having gotten the Victory over the Beast, and over his Image, and over his Mark, and over the number of his Name, and having the Harps of God in their hands: 10 1.33 Now at the additional sacrifice, and song of the Sabbath, the Priests sounded

their Trumpets three times more, as they did at the ordinary songs, the singers making their pauses and stops in those songs, as well as in the other.

3. 11 1.34 At the Additional sacrifices which were appointed for the first day of the year, Num. 29. 1, 2, &c. [which was called the feast of Trumpets, because the Trumpets then sounded to give notice of the years beginning] the Levites sang the eighty first Psalm, Sing aloud unto the God our strength, &c. And if the first day of the year fell upon the fifth day of the week, [for which day this Psalm was appointed in the ordinary course] then they said it twice over, once at the daily sacrifice, and once at the additional sacrifice, but beginning at one of the times at the sixth verse, I removed his shoulder from the bur∣then, &c.

4. At the evening Sacrifice of the first day of the year, they sang the nine and twentieth Psalm, The voice of the Lord shaketh the Wilderness, &c. And if the first day of the year chanced to light upon the Sabbath, the Psalms of the first day of the year were sung, and took place of the Psalms for the Sabbath.

5. At the Passeover, and at some other times, as hath been related, they sang the Hallel, which to describe we will refer till we come to take up the Celebration of the Passeover in its due place.

Notes

• a 1.1

  Erachin fol. 11.
• b 1.2

  Maim. in Kete Mikdash per. 3.
• c 1.3

  Succah per. 5. in Gemara.
• f 1.4

  Erachin ubi supr.
• g 1.5

  Glossa ibid.
• h 1.6

  Gemara. ibid.
• i 1.7

  Maym. ubi supr.
• k 1.8

  Tamid. per. 7.
• l 1.9

  Erachin. per. 2. in Mish. & Succah. per. 5
• m 1.10

  Gemara. ib.
• n 1.11

  Talm. Ier. in Succah. per. 5. & Gemara. ••••b. I•• Erach. per. 2.
• o 1.12

  Talm. Bab. in Succah. ubi sup. in Gemar. fol. 53. & Gloss. ib. & Gloss. in Erach. ubi sup.
• p 1.13

  Gemara in Erach. ibid. & Aruc. in 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.
• q 1.14

  Erach. ubi sup. in Mishu.
• r 1.15

  Gloss. ibid.
• s 1.16

  Iosrph l. 7. c. 10. pag. apud. me. 216.
• l 1.17

  Gemara in Erach. ubi sup.
• u 1.18

  Ibid. sol. 10. & Tal. Ierus. in Succah. sol. 55.
• * 1.19

  Maym. in Kele Mlkd. per. 3.
• w 1.20

  Erach. per. 2 in Mishu.
• x 1.21

  Tosaph. in Erach. per. 2.
• y 1.22

  Succ. per. 5. in Mish. Maym. in
• z 1.23

  Gloss. ibid.
• 1 1.24

  Erachin. in Gemara. ubi sup. sol. 11.
• 2 1.25

  Gloss. ibid.
• 3 1.26

  Gloss. in Pesachen. cap. 5. sol. 64.
• 4 1.27

  Tam. per. 7.
• 5 1.28

  Tamid. ubi sup. Rosk. hash. sol. ••1. Maym. in Tamid. per. 6.
• 6 1.29

  Rosh; hash. ubi sup Gloss. in Tamid. c. 7.
• 7 1.30

  Ibid.
• 8 1.31

  Succ. per. 5.
• 9 1.32

  Maym. in Tamid. per. 6.
• 10 1.33

  Succah uot jup.
• 11 1.34

  Rosh. hash. ubi sup. & Maym. ubi sup.