The Porto family: Eminent Sages, Scholars, and Prolific Seventeenth Century Authors
by Marvin J. Heller[1]
Among the illustrious families that have contributed to and enriched Jewish culture and history is the Porto (Rapa) family, comprised of sages and authors over the centuries. Known for their scholarship and valuable works, they also served in rabbinic positions in various locations. Originally from Lublin, the family came to Italy via Germany, settling in Porto in the vicinity of Verona. The family name Rapa stems from the German (Rappe in Middle High German), for raven. Rappoport is a combination of the Rapa, with Porto, done to distinguish this branch of the family from other Rapa branches. The Italian branch, our subject, providing eminent rabbis who authored distinguished works and served in the rabbinate in several cities in Italy.[2]
This article addresses the lives and works of several eminent members of the Porto family in the seventeenth century, describing a number of their diverse works. Entries are arranged chronologically.[3] A small number of Porto (Rapa) titles precede the works addressed in this article, also printed elsewhere. Among them are Kol Simhah (Prostitz, 1602) by R. Simhah ben Gershon Kohen, of Porto Rapa, on Shabbat zemirot; several editions of the Yalkut Shimonei with marginal annotations attributed to R. Menahem ha-Kohen Porto (Venice, 1566, Cracow, 1595-96, and Frankfort on the Main, 1687).[4] R. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport)’s works, that is, the Minhah Belulah and Zafenat Pane’ah, are, as noted elsewhere, not addressed in this article, as having been described independently.
1608 Moses ben Jehiel ha-Kohen Porto-Rafa (Rapaport) – Our first Porto family publication is a compilation of responsa by R. Moses ben Jehiel ha-Kohen Porto-Rafa (Rapaport, d. 1624) concerning the prohibition by rabbis of the use of the mikveh in Rovigo. Moses ben Jehiel served from 1602 as rabbi of Badia Polesine in Piedmont, and afterwards as rabbi of Rovigo.
The dispute, a cause célèbre, concerned a mikveh built in 1594 by R. Jekuthiel Consiglio, then rabbi in Rovigo, in his home. Unable to obtain spring water, Consiglio dug a well and drew water with a pail, a halakhicly invalid procedure, as a mikveh requires free-flowing not drawn water. To resolve the problem, Consiglio used a pail with holes large enough to negate its status as a vessel. The mikveh’s validity depended upon whether the water passing through the bucket with holes was considered either drawn or pumped, thereby invalidating the mikveh.
After ten years possession of the house passed to R. Avtaylon Consiglio, Jekuthiel Consiglio’s older brother.[5] Among the first to invalidate the mikveh Avtaylon Consiglio, who upon studying the matter, found his brother’s position too lenient, the holes in the pail being too small to justify the leniency. Jekuthiel, however, found support for the halakhic appropriateness of his mikveh from several prominent rabbis from Venice. The dispute was widespread, in Italy prominent rabbis, such as R. Ezra of Fano, R. Moses Menachem Rapo, and R. Moses Cohen Porto, as well as R. Moses Mordecai Margalioth of Cracow responded. The dispute even extended to Prague and Safed, Eretz Israel, the respondent in the latter location there including R. Israel Galante in Safed.[6]
1608, Palgei Mayyim
Courtesy of the National Library of Israel
Three books are devoted to the subject of the Rovigo mikveh, namely Miḳveh Yisrael (Venice, 1607) by R. Judah ben Moses Saltero of Fano, Palgei Mayim (1608) by R. Moses ben Jehiel, both opposed to the mikveh, and Mashbit Milḥamot (Venice, 1606) by R. Isaac Gershon, this last in support of Jekuthiel Consiglio and his mikveh.
The title of interest to us is Moses ben Jehiel ha-Kohen Porto-Rafa (Rapaport)’s Palgei Mayim. It was, in manuscript, initially entitled Milhamot ha-Shem but was renamed. Palgei Mayim was published by Zoan (Giovanni) di Gara in quarto format (40: 78,[38\, [2] ff.) in the month of Shevat שסח (368 = January-February 1608). The title-page, which has a pillared frame, informs that it is responsa from rabbis from both Italy and elsewhere. The title-page is followed by Moses ben Jehiel’s introduction in which he informs that he has entitled this work Palgei Mayim (“rivers of water,” var. cit.) for a river of knowledge of Torah goes out of Eden. Moses ben Jehiel’s purpose in writing Palgei Mayim was to”
To defend the sage who prohibits [the mikveh] and all of us who agree with him, for this is our sole intention: to divert slanderous remarks from him, and if we do not succeed in getting people to stay away from the mikveh as we wished to do, what matter? At least we will have saved our souls.
Next is a lengthy forward preceded by a head-piece with several figurines which reappears towards the end of the book as a tail-piece (below). The text begins with a responsum from Avtalyon Consiglio, followed by a responsum from R. Ben Zion Zarfati, continuing with additional responsa.
Palgei Mayim is a compilation of the responsa of the rabbis who prohibited the use of the mikveh, quoting twenty-eight opinions in support of Porto’s position, followed by Mish’an Mayim, which is a refutation of the rejoinder of the opposition. As noted above, Porto originally intended to entitle Palgei Mayim Milhamot Ha-Shem (Wars of the Lord, Numbers 21:14) but, as he writes, reconsidered doing so to avoid creating a more combative environment. A collateral effect of this and other disputes at this time, which involved numerous rabbis, according to Robert Bonfil, was to weaken the authority of the rabbis involved.[7]
This is the only edition of Palgei Mayim, R. Moses ben Jehiel ha-Kohen Porto-Rafa‘s (Rapaport) only published work. (Seforim Blog editor’s note: Palgei Mayim and the other works mentioned about the Rovigo mikveh controversy was recently reprinted by Mechon Zichron Aron in their two-volume set Geonei Padua (2014).
1627 R. Menahem Zion (Emanuel) Porto Kohen Rappa – Our next member of the Porto (Rapaport) family, R. Menahem Zion (Emanuel) Porto Kohen Rappa was born in Trieste towards the end of the sixteenth century, serving there as chief rabbi, subsequently holding a similar position in Padua, where he died in about 1660. A multifaceted individual, Menahem Zion (Emanuel) Porto, a mathematician and astronomer, authored a variety of books encompassing several fields. His works on those subjects were highly regarded. Indeed, he was praised for his works by Italian scholars such as the mathematician and astrologer Andrea Argoli; and by Tomaso Ercaloni and Benedetto Luzzatto for his sonnets. Menahem Zion was recommended, in 1641, by Gaspard Scüppius, editor of the Mercurius Quadralinguis, to the renowned Protestant Christian-Hebraist Johannes Buxtorf (the younger), with whom Porto later carried on an active correspondence.[8]
1627, Over la-Soher,
Courtesy of Virtual Judaica
Over la-Soher, a treatise on mathematics, is Menahem Zion’s primary, best known Hebrew title. It was published in 1627 as a quarto (40: 22 ff.) at the press of Pietro, Aluise, and Lorenzo Bragadin. The title is from Abraham’s purchase of Machpelah from Ephron the Hittite, concluding, “money current among the merchants (over la-soher)” (Genesis 23:16). The title-page has a pillared frame and simply states that it is a sefer ha-mispar (book of numbers).
The verso of the title page has verse encouraging purchase of the book, beginning, “hasten to acquire Sefer ha-Mispar, look into it . . .,” followed by Porto’s introduction (2a-3a) in square letters, extolling the great benefit and practical value of the subject matter and mentioning predecessors, particularly R. Elijah Mizrahi’s (c. 1450–1526) Sefer ha-Mispar, a deep and difficult work. However, Porto, while being concise, has added to and made his book more accessible to the reader. Having dealt extensively with merchants, Menahem Zion has entitled this book Over la-Soher. Finally, Porto greatly praises his patron R. Abraham ben Mordecai Ottiniger. There is a second introduction (3a-b) from R. Gershom ben Kalonymous Hefez, a student of Porto, who was responsible for publishing Over la-Soher.
The text follows in a single column in rabbinic type. Over la-Soher is divided into twelve chapters, dealing with practical arithmetic, multiplication, divisions and fractions. Numerous examples are given in Hebrew rather than Arabic numerals. This is the only edition of Over la-Soher.
Porto’s Italian works include Porto Astronomico (Padua, 1636); Breve Istituzione della Geographia (Padua, 1636); and Diplomologia, Qua Duo Scripturæ Miracula de Regressu Solis Tempore Hiskiæ et Ejus Immobilitate Tempore Josuæ Declarantur (Padua, 1643) reportedly translated into Hebrew by Porto and into Latin by Lorenzo Dalnaki.[9] Diplomologia, Qua Duo Scripturæ is dedicated to the emperor Ferdinand III. Originally written in Italian, it was translated by the author himself into Hebrew, who then sent it to Lorenzo Dalnaki of Transylvania who translated it into Latin.
Porto Astronomico di Emanuel Porto Rabbi Hebreo di Trieste (Padua, 1636), [10] is dedicated to Count Benvenuto Petazzo. In contrast to the favorable comments noted above, Cecil Roth is dismissive of this work, writing “The Porto Astronomico . . . is unimportant save as a curiosity.” Concerning Menahem Zion’s other books, Roth includes them in the category of “popularizing works” which “were published and seem to have achieved a measure of success.”[11]
1636, Porto Astronomico
Courtesy of Google Books
1628 Abraham ben Jehiel ha-Kohen Porto – A scholar of distinction, R. Abraham ben Jehiel ha-Kohen Porto, was active at the beginning of the seventeenth century. He resided in Cremona and Mantua, and afterwards in Verona. He studied under relatives and appears to have served as rabbi in Verona. Abraham Porto was the author of several works, most notably Havvot Ya’ir, rabbinic epigrams as well as several other works, still extant in manuscript.
Havvot Ya’ir, an alphabetical collection of Hebrew words with their cabalistic explanations, was published in 1628 in Venice at the Bragadin press by Pietro, Aluise, and Lorenzo Bragadin in quarto format (40: 40 ff.). The title-page is dated in a straightforward manner, as שפח (388 = 1688), but the chronogram in verse at the end of the book provides a completion date of Rosh Hodesh Sivan [5]388 (Friday, June 2, 1628). The text is enclosed by a pillared architectural frame and states that it is an appetizer based on the sayings of our sages “‘His speech shall flow as the dew’ (cf. Deuteronomy 32:2) for from one word shall come forth, flourish, and shine many words for the honor of ‘the desirable of the young men” (cf. Ezekiel 23:6, 12, 23) such as R. Samuel Hayyim Bassan of Verona, a student of R. Samuel Meldola.”
There is a dedication to “the desirable of the young men,” R. Samuel Hayyim ben Mordecai Bassan of Verona (2a) which concludes with lines of verse. Abraham Menahem’s introduction follows, in which he gives two further reasons for entitling the book Havvot Ya’ir. Firstly, as the villages provide provision for the large cities (Megillah 2b) so this small work will much illuminate and enthuse great rabbis to remember and briefly speak the words of our sages. Also, as one that does not have children, so is his “soul abased and languishes, this is my generations before the Lord.”[12] Abraham Menahem writes that the book is called,
Havvot Ya’ir to enlighten להאיר and to inflame the hearts of choice students such as yourself (Bassan) in the way of our sages, as to why the Torah is called “Etz Hayyim (tree of life)”, (Proverbs 3:18, 11:30, 15:4), for as the small trees ignite the larger ones so too my friend, the young ignite and inflame the hearts of those who are older, “He will magnify the Torah, and make it glorious” (Isaiah 42:21).
1628, Havvot Ya’ir, Venice
Courtesy of Virtual Judaica
There is an approbation from R. Judah Aryeh (Leone) Modena, R. Simhah Luzatto, and R. Nehemiah ben Leib Sarival. The text, assembled from the beginnings of his speeches, follows in a single column in rabbinic type.
Example of entries, which are arranged alphabetically, are כ kaf: beginning karpas, yahaz כרפס יחץ, the initial letters are כי for “For כי, behold, the darkness shall cover the earth, and thick darkness the people, but the Lord shall arise upon you” (Isaiah 60:2). The Patriarchs are an omen for their offspring. Jacob “divided ויחץ the children” Genesis 33:1). צ Tzadi:צחק “God has made me laugh “ (Genesis 21:6), and according to R. Pollack, Sarah said that she trusts that her offspring will be Talmudic scholars who will be experts in צ zizit and the ties of tefillin. This is the only edition of Abraham ben Jehiel Porto’s Havvot Ya’ir.
Among Abraham ben Jehiel ha-Kohen Porto’s other works are Gat Rimmon, a book of verse; Shimmush Avraham, a commentary on the Torah (below); and Hasdei David on the Psalms, all unpublished. He also wrote responsa, several published in the responsa of his contemporaries. Abraham’s brother was R. Moses ben Jehiel Porto-Rafa (Rapoport, d. 1624), and our Abraham also edited and printed the Minḥah Belulah (Verona, 1594) of R. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport), a kinsman.
Shimush Avraham
Courtesy of the Russian State Library
1675 Zechariah ben Ephraim Porto: – This Porto, a seventeenth century Italian scholar, was noted for his learning and still more for his other virtues. A native, resident of Urbino, R. Zechariah ben Ephraim Porto (d. 1672) also resided in Florence and Rome, where, in the latter location, he officiated as rabbi, although he modestly refused to assume that title. Zechariah ben Ephraim was also a philanthropist; in his will, Zechariah Porto, who was childless, left all of his wealth for communal bequests for Talmud Torahs, dowries, and support of communities in Eretz Israel. His extensive library was dedicated to the Talmud Torah in Rome.
Zechariah Porto was the author of Asaf ha-Mazkir, a work containing a list of all the explanations and comments found in the Ein Ya’aḳov, R. Jacob ben Solomon ibn Habib’s popular and much reprinted collection of the aggadic passages of the Talmud. Zechariah Porto would not publish his book; it was printed after his death by the Roman community (Venice, 1688; according to Zedner, 1675).[13]
The title-page of Asaf ha-Mazkir has images of Moses and Aaron on the sides, cherubim above holding the tablets with the ten commandments, and at the bottom additional imagery. It is dated with the chronogram “It is ‘Asaph the recorder (Asaf ha-Mazkir) אסף המזכיר’ הוא (435 = 1675)” (II Kings 18:18, 37; Isaiah 36: 3, 22). Asaf ha-Mazkir was printed at the Bragadin press by Domenico Vedelago in quarto format (40: [4], 400 ff.).
The title page of Asaf ha-Mazkir has the Bragadin frame with Moses and Aaron, and a brief text that simply states Porto’s name and that it is being published for the public good.[14] It is dated, “He is ‘Asaph the recorder’ אסף המזכיר הוא (435 = 1675)” (II Kings 18:18, 37, Isaiah 36:3, 22). The colophon dates conclusion of the work to Tuesday, 13 Adar, “relief and deliverance arise to the Jews from another place ממקום אחר (435 = March 11, 1675)” (Esther 4:14), which in fact was a Monday that year.
1675, Asaf ha-Mazkir
Courtesy of the National Library of Israel
The title page is followed by the introduction of the Talmud Torah, which praises Porto’s piety, charity, and many other fine qualities; verse, also praising Porto and his work, beginning, “The wage of the righteous” (Proverbs 10:16, 18:11); and the introduction of R. Moses ben Jacob Levi from Vienna, the editor. He writes in the same vein, but adds that he should not be held responsible for errors for work was done on Shabbat by gentiles which could not be corrected.[15] He too concludes with verse. Next is the Italian Noi Reformatori dello Studio di Padoa, dated 11. Marzo 1675 and signed Gio: Battista Nicolosi Segret.
1675, Asaf ha-Mazkir
Courtesy of the Library of Agudas Chassidei Chabad Ohel Yosef Yitzhak
The text of Asaf ha-Mazkir is set in two columns, headers and text from the Ein Ya’akov in square letters, sources in rabbinic type. Tractate names are in a decorative frame, chapters in bold letters. Entries consist of the statement in the Ein Ya’akov, followed by sources addressing those statements. An example of an entry is the last chapter of Kiddushin 82a,
One should always teach his son a clean and easy trade, etc.
Lehem Shelomo no. 366 109 f. amud a.
Tosfot Yom Tov ch. 4 195 f. amud b
This is the only independent edition of Asaf ha-Mazkir, Zechariah ben Ephraim Porto’s only published work. It was included in later editions of the Ein Ya’akov, beginning with the Amsterdam (1725-26) edition. As Eli Genauer noted, “It was included in later editions of the Ein Ya’akov, beginning with the Amsterdam (1725-26) edition.) An example of something like this is Chochmas Shlomo which was printed a few times and then never again because it made it to the back of the Vilna Shas underneath the Maharsha. So even though it was only published independently three times, it was published dozens of times onward by being in the back of the Vilna Shas.”
1619 Allegro Porto – The most unusual entry in our collection of seventeenth century Porto imprints is Allegro Porto’s Nuevo Musiche, a collection of secular madrigals. This, our last Porto entry, is not in our chronological order, nor is it part of our description of the Hebrew works by members of the Porto family. It is included, however, assuming that Allegro Porto was a member of the extended Porto family, in order to show the great diversity and productivity, even outside of our subject area of Hebrew imprints, of the family’s accomplishments.
A madrigal is an elaborate multi-part song for several voices, without instrumental accompaniment. It is a genre popular in the late sixteenth and early seventeenth centuries. Allegro Porto published Nuevo Musiche in 1619, followed by two collections of madrigals in 1622 and 1625, one lacking a title-page.[16] Shlomo Simonsohn credits Allegro (Simha) Porto with four collections of songs, but enumerates three only, all printed in Venice, Nuove Musiche, (1619), Madrigali a cinque voci (1625), and Madrigali a tre voci, libro primo (1619).[17]
Cecil Roth informs that although singers and instrumentalists were active elsewhere in Italy, it was in Mantua only that there was a “sequence of Jewish composers who published their works.” Among them was Allegro Porto whom Roth describes as prolific. His writings, according to Roth, also include four works, two collections of madrigals for five verses being published in 1625, one being dedicated to the Holy Roman Emperor Ferdinand II, the daughter of the Duke of Mantua being his empress, Simonsohnn describes her, Eleanora Gonzaga, as the sister of the Dukes Francesco II, Ferdinando and Vincenzo II. Among Porto’s madrigals was a collection in the new style (Nuevo Musiche, 1619), this dedicated to Count Alfonso de Porzia, chamberlain to the Duke of Bavaria. Another collection of Porto’s madrigals, this for three voices “‘with some arias and a romanesque dialogue’ (the first part alone is recorded, but perhaps there were others), published first in 1619, was reissued in the nineteenth century.[18]
No image accompanies this entry, in comparison to the other book descriptions; it was not possible to find an image of Porto’s Nuevo Musiche. The reason is its great rarity, for as Roth explains “Musical publications of this age are prodigiously rare, many surviving in only a single copy – others perhaps were less fortunate, so that to state dogmatically that certain compositions were unpublished is hazardous.” He notes that in the famed musical collection of King João of Portugal, assembled in the late eighteenth century, destroyed in the Lisbon earthquake of 1755, were four works by Allegro Porto.
Finale: the Porto family in the seventeenth centuries: – The various branches and members of the Porto family in the seventeenth century provided the Jewish communities of Italy, and by extension, world Jewry, with several distinguished rabbis and authors, their diverse works encompassing Torah commentary, responsa, mathematics, astronomy, kabbalistic linguistics, Aggadah, and even musical compositions. Their books, despite their value, were, with exception, published once only, in single editions. Given that these works are viewed positively, it is unfortunate that they were not republished or are not better known. Perchance, the very diversity of these Porto publications, represent the eclectic views of Renaissance Italy. They are a rich contribution to Jewish literature, representing the contributions of the seventeenth Porto family to the Jewish society of that period and to our times as well.
[1] I would like to express my appreciation to Eli Genauer for reading the article and his several comments, in particular for his observation on the editions of Asaf ha-Mazkir.
[2] This is a companion article to a previous article on a single distinguished Porto, R. Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport) and his works, the Minhah Belulah and Zafenat Pane’ah. Concerning that article see Marvin J. Heller, “Abraham Menahem ben Jacob ha-Kohen Rapa mi-Porto (Rapaport) Ashkenazi: A Renaissance Rabbi of interest” Seforim.blogspot.com (March 17, 2021).
[3] Several of the background descriptions of Porto family are from Richard Gottheil, Isaac Broydé, and Ismar Elbogen, “Porto,” Jewish Encyclopedia X (1901-06), pp. 133-34 and Shimon Vanunu, Encyclopedia le-Hachmah Italia (Jerusalem, 2018), var. cit.
[4] The Yalkut Shimoni entries are from the book descriptions in the Library of Agudas Chassidei Chabad Ohel Yosef Yitzhak library catalogue.
[5] Shmuel Glick, Kuntress ha-Teshuvot he-Hadash: A Bibliographic Thesaurus of Responsa Literature published from ca. 1470-2000 (Jerusalem & Ramat Gan, 2006-07) II, pp. 839-40 no. 2982 [Hebrew].
[6] A. M. Habermann, Giovanni Di Gara: Printer, Venice 1564-1610. ed. Y. Yudlov (Jerusalem, 1982), pp. 123-25 no. 257 [Hebrew]; Carmilly-Weinberger, Censorship and Freedom of Expression in Jewish History, pp. 160-61; Avraham Yaari, Unknown Documents concerning the dispute in Rovigo,” Studies in Hebrew Booklore (Jerusalem, 1959), pp. 420-29 [Hebrew].
[7] Robert Bonfil, Rabbis and Jewish Communities in Renaissance Italy, translated by Jonathan Chipman (London, Washington, 1993), pp. 107-08.
[8] Gottheil, Broydé, Elbogen, op. cit.
[9] Giovanni Bernardo De Rossi,. Dictionary of Hebrew Authors (Dizionario Storico degli Autori Ebrei e delle Loro Opere), ed. Marvin J. Heller, (Lewiston, 1999), p. 157
[10] Cecil Roth, The Jews in the Renaissance (New York, 1959), pp. 235-36; Meyer Waxman, A History of Jewish Literature: From the Twelfth Century to the Middle of the Eighteenth Century II (New York, 1933, reprint 1960), p. 487.
[11] Cecil Roth, op cit, p. 236.
[12] Meir Benayahu, “The Caleon Press” Asufot XIII (Jerusalem, 2001), pp. 194-95 [Hebrew].
[13] Ḥananel Nepi, Mordecai Samuel Ghirondi, Toledot Gedolei Yisrael (Trieste, 1853), p. 99 [Hebrew]; Joseph Zedner, Catalogue of the Hebrew books in the library of the British Museum (London, 1867), p. 788.
[14] Concerning the appearance of Moses and Aaron on the title-pages of Hebrew books see Dan Rabinowitz, “Aaron the Jewish Bishop,” ” Seforim.blogspot.com April 12, 2016).
[15] Concerning work done on Shabbat see Marvin J. Heller, “And the Work, the Work of Heaven, was Performed on Shabbat,” The Torah u-Maddah Journal 11 (New York, 2002-03), pp. 174-85, reprinted in Studies in the Making of the Early Hebrew Book (Brill, Leiden/Boston, 2008), pp. 266-77.
[16] Willi Apel, Harvard Dictionary of Music (Cambridge, 1969), p. 446.
[17] Shlomo Simonsohn, History of the Jews in the Duchy of Mantua (Jerusalem, 1977), p. 676.
[18] Cecil Roth, The Jews in the Renaissance (1959, reprint New York, 1965), pp. 286-87.