This  extraordinary ilan was crafted by an unknown Ashkenazi kabbalist in the second half of the seventeenth century. The Panoply Tree presents a complex integration of kabbalistic traditions, drawing on a wide array of texts and visual schemata. At its summit, above Keter, Ein Sof radiates the ten primordial lights (eser zahzahot). The beams are labeled with the names of these lights, such as or mezuhzah (polished light) and or mi-zohar (light from splendor). These lights featured prominently in  Ma‘ayan ha-Hokhmah (Wellspring of Wisdom), a work associated with the early kabbalists of the "Circle of Contemplation” and were likewise highlighted in the sixteenth-century kabbalistic summa by Rabbi Moses Cordovero, Pardes Rimonim (Orchard of Pomegrates). 
 
The upper half of the composition is dedicated to the highest World of Azilut, while the lower half depicts the cascading structure of Beriah, Yezirah, and ‘Assiah. The concentric circles at the top function as a passageway, inscribed with the phrase: "Ein Sof, blessed is He and blessed is His Name; Ten zahzahot." This highest realm is also labelled  avir he-hallal, indicating the aetheric light of Ein Sof that fills the primordial void.
 
A striking feature of this ilan is its layered arrangement of texts and figures, combining diagrammatic precision with an extensive kabbalistic miscellany. Although incorporating multiple sources of inspiration, the lower section is particularly indebted to ‘Emek ha-melekh (The Valley of the King), Rabbi Naftali Hertz Bacharach’s encyclopedic Lurianic treatise, published in Frankfurt in 1648.  As a structured yet densely interwoven composition, The Panoply Tree embodies an effort to map the totality of divine emanation and cosmic order within a single, visually arresting schema.
 
Courtesy of Berlin State Library—Prussian Cultural Heritage, Oriental Department, Ms.or.fol. 130, 2.