Korban Aharon. Venice, 1609–1611. Original Wooden Boards and Leather

Sefer Korban Aharon – a comprehensive commentary on the Sifra (Torat Kohanim), accompanied by the text of the Midrash itself. At the beginning of the volume appears the Baraita of Rabbi Ishmael, enumerating the Thirteen Principles by Which the Torah Is Expounded, together with the commentary Midot Aharon by the Gaon Rabbi Aharon ibn Chaim. In his introduction, the author explains that he incorporated his commentary on the Baraita of Rabbi Ishmael into Midot Aharon, since his commentary on the Sifra is based primarily upon these Thirteen Principles. First Edition. Printing commenced in Elul 1609 at the press of Giovanni di Gara in Venice. According to the colophon at the end of the volume, printing was completed in Tevet 1611. Korban Aharon is a fundamental and comprehensive commentary on the Sifra, the Midrash on Leviticus. (A copy containing glosses by the Vilna Gaon is known). At the beginning of the present volume (leaves 5–37a) appears the Baraita of Rabbi Ishmael, setting forth the Thirteen Principles of Torah Exegesis, accompanied by the commentary Midot Aharon. The Author: Rabbi Aharon ibn Chaim (c. 1555–1632): Rabbi Aharon ibn Chaim was a distinguished Torah scholar of Moroccan Jewry, born in Fez. In his youth, he studied at the yeshivah of his father, Rabbi Avraham ibn Chaim. He subsequently served as a dayan on the rabbinical court of Rabbi Vidal Tzarfati. He spent three years in Venice overseeing the printing of this work. During his stay, leading Torah scholars in Venice and the surrounding cities sought his counsel and halachic guidance. Toward the end of his life, he immigrated to the Land of Israel and settled in Jerusalem. Upon his passing, leading Jewish scholars in Italy, Egypt, and the Land of Israel mourned him deeply. Among them were Rabbi Yehudah Aryeh of Modena, Rabbi Yosef Trani (the Maharit), and Rabbi Azariah Figo, author of Gidulei Terumah and Binah La-Ittim. The work became a cornerstone of the study of the Sifra, providing an extensive and profound elucidation of its difficult passages and baraitot. It was subsequently reprinted several times in various locations throughout the Jewish world. The Chida, Rabbi Chaim Yosef David Azulai, notes in his Shem Ha-Gedolim that the author corrected this work four times during its printing, seeking to eliminate errors and inaccuracies. The author himself repeatedly expresses this concern in his introduction, writing: “And unto Him I shall plead that He save me from errors and mistakes, amen, may it be His will.” The title page likewise states that the book was “carefully and meticulously proofread by the esteemed author himself.” This explains the author’s three-year stay in Venice during the printing process. Other works by Rabbi Aharon ibn Chaim include Lev Aharon, a commentary on the Former Prophets, also printed in Venice. Its title page mentions additional commentaries he composed on the Sifrei and the Mekhilta, as well as Metach Aharon and Mitznefet Aharon, which remained in manuscript. Giovanni di Gara and the History of Hebrew Printing in Venice: Korban Aharon was the final sefer printed at the Venetian press of Giovanni di Gara, making it particularly significant to bibliographers and collectors. The esteem in which di Gara was held is reflected in the words of the Gaon Rabbi Shmuel Arquvolti, rabbi of the community of Padua and one of the rabbinical scholars who served as proofreaders at the press. In praise of the printer, he wrote: “When I passed through the gates of this great and renowned city, Venice, to behold the beauty of the new and ancient compositions being brought to light by the mighty prince of printers, my esteemed master Giovanni di Gara, a man of great distinction, integrity, and faithfulness…” These words reflect both the stature of di Gara’s printing establishment and the high regard in which it was held by his contemporaries. During the second half of the sixteenth century, di Gara was among the leading Hebrew printers in Venice, at a time when the city remained the foremost center of Hebrew printing in the world. He began his career at the press of Daniel Bomberg. In 1564 he established his own printing house. Di Gara and his employees took pride in their connection to the Bomberg tradition, sometimes advertising their type as “Bomberg letters.” His first publication, Seder Ha-Ma’amadot (1564), described him as “an heir of the Bombergs, ” reflecting the transfer of some of Bomberg’s typographical materials into his possession. He also acquired printing materials from other presses, including those of Mantua and Sabbioneta, and used title-page designs originating from those establishments. In 1605 the press suddenly ceased operations. Its final publication at that time, Meshal Ha-Kadmoni, apparently remained unfinished, presumably due to di Gara’s death. Over the course of his career, he printed dozens of Hebrew works. Nevertheless, printing activity subsequently resumed. At the beginning of 1611, the press was again operating, and Korban Aharon, begun in Elul 1609, was completed on 29 Tevet 1611. It proved to be the final work issued by di Gara’s press, accounting for its particular importance among bibliographers and collectors. On reverse of the title page is an interesting printer’s device, discussed by Avraham Yaari in Diglei Ha-Madpisim Ha-Ivri’im (Hebrew Printers’ Devices), illustration no. 35. An additional illustration appears after the introduction. These illustrations originated at the Venetian press of Bragadin. [4], 129, 302 leaves. 28.7 book

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