Illustration, Dissemination, and Production Diagrams in Moses Cordovero’s Pardes Rimonim Eugene D. Matanky Several scholars have noted that the works of M oses Cordovero (1522-1570), especially his popular composition Pardes Rimonim , are replete with diagrams and illustrations.1 Two of these diagrams are the focus of the present study: the sefirotic tree, found in Gate 7, Chapter 1, and the Tetragrammatonic wheel, which offers a graphic visualization of a passage from Sefer ha-Bahir concerning the seventy ־two ־letter divine name,2 found in Gate 21, Chapter 9. While these diagrams can teach us much about the ways in which knowledge was perceived through pictorial and imaginai representation,3 their very * This research was partially supported by the Israel Science Foundation (Grant 1296/20; PI Avriel Bar-Levav). This article reflects part of my doctoral research conducted under the supervision of Prof. Adam Afterman, whom I wish to thank for his generous support and advice. I further wish to express my gratitude toward Prof. Daniel Abrams, who encouraged me to pursue this topic and freely shared various materials. Lastly, many thanks to Avi Kallenbach, who read earlier drafts and provided invaluable feedback— both in terms of content and style— and Noam Lev ־El, with whom I discussed various aspects of this article. Special thanks are due to the staff of the Special Collections Reading Room of the National Library of Israel. 1 See Giulio Busi, Qabbalah visiva , Torino 2005, pp. 389-394; Daniel Abrams, ‘Kabbalistic Paratext’, Kabbalah: Journalfor the Study ofJewish M ystical Texts 26 (2012) pp. 17-18; Daniel Abrams, 6Divine Multiplicity: The Presentation of Differing Sefirotic Diagrams in Kabbalistic Manuscripts’, Kabbalah: Journalfor the Study of Jewish Mystical Texts 50 (2021), pp. 142-144; J.H. Chajes, ‘Spheres, Sefirot, and the Imaginal Astronomical Discourse of Classical Kabbalah’, Harvard Theological Review 113 (2020), pp. 238-262; Uri Safrai and Eliezer Baumgarten, “The Wedding Canopy Is Constituted by the Being of These Sefirot”: Illustrations of the Kabbalistic Huppah and Their Derivatives’, Jewish Quarterly Review 110 (2020) , pp. 435-457. 2 Although the vast majority of Cordovero’s diagrams may be traced to earlier kabbalistic works, I have been unable to locate a predecessor for this specific diagram after much searching and consultation. 3 See Busi, Qabbalah visiva; Marla Segol, Word and Image in M edieval K abbalah: The Texts, Commentaries , and Diagrams of The Sefer Yetsirah , New York 2012; Elliot Wolfson, ‘Metaphor, Dream, and the Parabolic Bridging of Difference: A Kabbalistic Aesthetic’, IMAGES: A Journal of Jewish Art and Visual Cidture 14 (2021) , pp. 82-95. Of special note are the studies that have been produced by the Kabbalah: Journal for the Study o f Jew ish M ystical Texts 51 (2022), pp. 738 ־