This remarkable ilan was produced on parchment in Paris in 1606 by a Scottish Hebraist working under the name Jacob Hebroni. Hebroni’s ilan is a distinctive reworking of a centuries-old “Great Parchment” that had reached Paris with the library of Catherine de’ Medici (1519–1589), after having been acquired from an Italian Jew by the famed scholar Egidio di Viterbo (1472–1532). “Great Parchment” ilanot are distinguished by their featuring of a highly idiosyncratic text, Iggeret Sippurim (Epistle of Stories), which introduces the ten sefirot through brief, story-like narratives. 
 
Unlike most ilanot, this piece incorporates vibrant colors, presenting each medallion in a distinctive hue. The divine names, from EHYH to Adonai, are inscribed in bold, hollow lettering, while the outer rings of the medallions contain the familiar names and appellations of the sefirot.
 
To the right and left of the ilan stand the Menorah (Candelabrum) and the Shulhan lehem ha-panim (Table of Showbread), reflecting their placement in theTabernacle/Temple and their deep symbolic resonance. Below, vivid imagery enriches the composition: the Merkavah (Divine Chariot) supported by four cherubs, and two striking depictions of the Garden of Eden, its gates guarded by celestial beings. 

This Great Parchment presents a striking fusion of meticulous schematization and vivid artistic expression, blending structured theosophical mapping with an unusually rich visual palette. The interplay of bold calligraphy, symbolic iconography, and carefully applied color elevates it beyond a didactic tool, distinguishing it as an exceptional instance of artistic refinement within the tradition of ilanot.
 
Courtesy of The Bodleian Libraries, University of Oxford, CC-BY-NC 4.0