In May 2023 the ANU Museum of the Jewish People in Tel Aviv announced the acquisition, by donation, of a Hebrew Bible manuscript that had been absent from public view for most of the previous fifty years. The donor was Alfred H. Moses, the American attorney and former ambassador, who had acquired the manuscript on behalf of the Sassoon family and who offered it to the museum in honour of his late parents. The museum agreed to receive the manuscript and to put it on permanent display. The manuscript, which had been known to scholars by its catalogue designation MS Sassoon 507, was promptly renamed the Codex Sassoon, a name that echoed the Codex Vaticanus, the Codex Sinaiticus, and the other great biblical codices of the late antique and early medieval periods. The acquisition was, in the assessment of the museum’s director and of the visiting scholars who came to study the manuscript, one of the most important acquisitions of a Hebrew Bible manuscript in the twentieth century. The Codex Sassoon, on the basis of the codicological and paleographical analysis that had been carried out since its arrival at the museum, is now generally dated to the late ninth or early tenth century CE, making it older than the Aleppo Codex and contemporary with, or slightly older than, the Leningrad Codex. The Codex Sassoon is, with the Aleppo Codex and the Leningrad Codex, one of the three oldest near-complete Hebrew Bibles in existence, and is the most recently rediscovered of the three.
The Sassoon family and the manuscript’s modern history
The modern history of the Codex Sassoon begins with the Sassoon family, one of the great Jewish bibliophile families of the nineteenth and twentieth centuries. The family’s manuscript collection, which was begun by David Sassoon (1792-1864), the patriarch of the family, was continued by his descendants through the late nineteenth and early twentieth centuries. The collection, which became one of the most important private collections of Jewish manuscripts in the world, included biblical manuscripts, Talmudic manuscripts, liturgical manuscripts, and secular Jewish manuscripts, together with a substantial collection of manuscripts from the broader Islamic world. The collection was dispersed after the Second World War, with parts going to the Hebrew University, to the British Library, to the Schoyen Collection in Oslo, and to several other institutions and private collections.
The manuscript that became known as MS Sassoon 507 was acquired by David Solomon Sassoon (1880-1942), the grandson of the patriarch and one of the most important Jewish bibliophiles of the early twentieth century. Sassoon had assembled his own substantial collection, which was separate from the patriarch’s collection and which included several important Hebrew Bible manuscripts. Sassoon acquired the manuscript in the late 1920s or early 1930s, from a source that has not been definitively identified but which is generally believed to have been a dealer in the Middle East. Sassoon kept the manuscript in his private collection in London, and the manuscript was catalogued in 1931 by the British bibliophile and scholar A. S. Yahuda, who gave it the catalogue number 507 in the Sassoon collection. Yahuda’s catalogue, which was published in 1931 as a two-volume work, was the principal source of information about the Sassoon collection for the next several decades.
The manuscript passed through several hands after David Solomon Sassoon’s death in 1942. The collection was dispersed in the years following the war, and the manuscript was acquired by a private collector in the United States. The collector kept the manuscript in a private library for several decades, with occasional visits by scholars who were permitted to inspect it. The manuscript was, throughout this period, one of the most important Hebrew Bible manuscripts that was not in a public collection, and was the subject of a series of articles by the Israeli paleographer and Masoretic scholar Menahem Banitt and by the Israeli codicologist Malachi Beit-Arié. The articles described the manuscript’s codicological features and its Masoretic apparatus, and established the manuscript as one of the principal witnesses to the Tiberian Masoretic tradition.
The most recent chapter of the manuscript’s history began in 2023, with the donation to the ANU Museum. The donation was arranged by Alfred H. Moses, who had acquired the manuscript in 2021 on behalf of the Sassoon family, and who offered it to the museum in honour of his late parents. The museum accepted the donation, and the manuscript was transported to the museum in 2023 under the supervision of the museum’s conservation staff. The museum announced the acquisition in May 2023, and the manuscript was put on permanent display in the museum’s main gallery in late 2023. The acquisition was accompanied by a comprehensive study of the manuscript by the museum’s scholarly staff and by a series of visiting scholars, and the results of the study have been published in a series of articles and a comprehensive monograph.
The accession to the ANU Museum was a watershed in the study of the manuscript. The manuscript had been, for most of the previous fifty years, in private hands, and access had been restricted to a small number of scholars. The accession made the manuscript available for scholarly study on a continuing basis, and the comprehensive study that followed the accession has added substantially to the body of knowledge about the manuscript. The study has confirmed the dating of the manuscript to the late ninth or early tenth century CE, has confirmed the manuscript’s relationship to the Tiberian Masoretic tradition, and has identified several features of the manuscript that make it an important witness to the consonantal text of the Hebrew Bible.
Codicology and physical description
The Codex Sassoon is, on the basis of the codicological analysis that has been carried out since the manuscript arrived at the ANU Museum, a substantial parchment codex of the late ninth or early tenth century CE. The codex consists, as it survives, of approximately 250 parchment leaves, with the original codex having been somewhat larger. The leaves are bound along one edge in the codex form, with the binding being a later medieval or early modern binding that has been replaced several times over the centuries. The folio size is approximately 28 by 22 centimetres, somewhat smaller than the Aleppo Codex but larger than the Leningrad Codex. The parchment is of good quality, with the leaves having been carefully prepared from animal skin, and with the parchment being well preserved despite the manuscript’s age.
The text of the Codex Sassoon is written in a single column on each page, with the column being approximately 16 centimetres wide and 22 centimetres tall. The number of lines per page varies between 17 and 22, depending on the section of the manuscript, with the variation being a function of the length of the biblical book being copied. The lines are ruled with a hard point on the parchment, and the ruling is visible on the parchment. The text is written in a careful Tiberian square hand, with the letter forms consistent with the script of the Tiberian scriptoria of the late ninth and early tenth centuries. The hand is, on the basis of the paleographical analysis that has been carried out by the Israeli paleographer Ada Yardeni and by the visiting paleographers who have examined the manuscript, consistent with the script of the Tiberian Masoretes of the period, and is in the same general family as the hand of the Leningrad Codex and the Cairo Prophets Codex.
The vocalization of the Codex Sassoon is in the Tiberian system, the most elaborate of the three systems of biblical vocalization that were used in the medieval period. The Tiberian system, developed in the Tiberian scriptoria in the eighth and ninth centuries CE, is the system used in printed Hebrew Bibles today, and is the system that became the standard vocalization of the Hebrew Bible. The vocalization in the Codex Sassoon is complete, with all the consonants of the consonantal text being pointed with the appropriate vowel signs. The vocalization is consistent with the Tiberian system as it was used by the Tiberian Masoretes of the period, and is in the same general family as the vocalization of the Cairo Prophets Codex and the Leningrad Codex.
The accents of the Codex Sassoon are also in the Tiberian system, with the disjunctive and conjunctive accents being placed above and below the consonantal text in the standard manner. The Tiberian accentuation system, which assigns a musical accent to each word of the biblical text, is the system used in printed Hebrew Bibles today, and is the system that became the standard accentuation of the Hebrew Bible. The accents in the Codex Sassoon are consistent with the Tiberian system as it was used by the Tiberian Masoretes of the period, and are in the same general family as the accents of the Cairo Prophets Codex and the Leningrad Codex. The accents are placed with a care that suggests a sophisticated understanding of the musical tradition that the accents represented, and the care is one of the features that distinguish the manuscript from other Tiberian manuscripts of the period.
The Masorah of the Codex Sassoon is a major witness to the Tiberian Masoretic tradition. The Masorah Parva, in the side margins of the manuscript, contains a substantial number of individual notes recording variant readings, statistics of word occurrences, and similar scholarly material. The Masorah Magna, in the top and bottom margins, contains a number of longer notes recording fuller variant readings, lists of unusual words, and similar scholarly material. The Masorah is consistent with the Masorah of the other Tiberian codices of the period, and the differences between the Masorah of the Codex Sassoon and the Masorah of the Aleppo Codex, the Cairo Prophets Codex, and the Leningrad Codex are small. The differences have been studied by the Israeli Masoretic scholar Shlomo Morag and by the visiting Masoretic scholars who have examined the manuscript, and are the basis for a substantial body of scholarly literature on the transmission of the Masorah in the medieval period.
The most distinctive feature of the codicology of the Codex Sassoon is the treatment of the Ten Commandments and the Song of the Sea. The Ten Commandments, in the version in Exodus 20, are presented in a special format in the manuscript, with each commandment being separated from the others by a blank line, and with the commandment headings being written in a larger script than the body of the text. The treatment is similar to the treatment of the Ten Commandments in the Leningrad Codex and in the Aleppo Codex, and is consistent with the special treatment of the Ten Commandments in the Jewish liturgical tradition. The Song of the Sea, in Exodus 15, is also presented in a special format, with the verses being arranged in a poetic layout that reflects the poetic structure of the song. The treatment is similar to the treatment of the Song of the Sea in the Leningrad Codex and in the Aleppo Codex.
The Tiberian tradition in the Codex Sassoon
The Codex Sassoon is a witness to the Tiberian Masoretic tradition of the late ninth and early tenth centuries, the same tradition that produced the Aleppo Codex, the Cairo Prophets Codex, the Leningrad Codex, and the other Tiberian manuscripts of the period. The relationship between the Codex Sassoon and the other Tiberian manuscripts has been the subject of substantial scholarly study since the manuscript arrived at the ANU Museum, and the consensus that has emerged from the study is that the Codex Sassoon is closely related to the Aleppo Codex in the consonantal text, and to the Leningrad Codex in the Masoretic apparatus. The relationship is, however, complicated by the fact that the Codex Sassoon has a number of distinctive readings that distinguish it from the other Tiberian manuscripts, and the relationship is the subject of ongoing scholarly investigation.
The most striking feature of the Tiberian tradition in the Codex Sassoon is the dating of the manuscript. The manuscript has been dated, on the basis of the paleographical analysis of the script, to the late ninth or early tenth century CE. The dating is earlier than the dating of the Aleppo Codex, which is generally dated to the early tenth century CE, and is contemporary with, or slightly earlier than, the dating of the Leningrad Codex, which is generally dated to the early eleventh century CE. The dating makes the Codex Sassoon one of the earliest near-complete Hebrew Bibles in existence, and is one of the features that make the manuscript an important witness to the consonantal text of the Hebrew Bible.
The Tiberian vocalization system in the Codex Sassoon is, on the basis of the analysis that has been carried out, consistent with the vocalization system as it was used by the Tiberian Masoretes of the period. The system uses the same set of vowel signs that are used in printed Hebrew Bibles today, including the qibbus, the tsere, the cholam, the segol, the chireq, the chataf segol, the chataf qibbus, the sheva, the chataf patach, and the chataf qamats. The system also uses the dagesh, the raphe, and the mappiq in the standard manner. The vocalization is, in sum, the same vocalization that is used in printed Hebrew Bibles today, and the vocalization is one of the features that confirm the manuscript’s place in the Tiberian Masoretic tradition.
The Tiberian accentuation system in the Codex Sassoon is, on the basis of the analysis that has been carried out, consistent with the accentuation system as it was used by the Tiberian Masoretes of the period. The system uses the same set of accents that are used in printed Hebrew Bibles today, including the atnach, the zaqef, the segol, the shalshelet, the revia, the zarqa, the pashta, the yetiv, the munach, the maccach, the darga, and the others. The system is, in sum, the same system that is used in printed Hebrew Bibles today, and the system is one of the features that confirm the manuscript’s place in the Tiberian Masoretic tradition.
The Masoretic apparatus of the Codex Sassoon is a substantial witness to the Tiberian Masoretic tradition. The Masorah Parva, in the side margins, contains a substantial number of individual notes recording variant readings, statistics of word occurrences, and similar scholarly material. The Masorah Magna, in the top and bottom margins, contains a number of longer notes recording fuller variant readings, lists of unusual words, and similar scholarly material. The Masoretic apparatus is, in sum, a substantial witness to the Tiberian Masoretic tradition, and the apparatus is one of the features that make the manuscript an important witness to the consonantal text of the Hebrew Bible.
Significance for textual criticism
The significance of the Codex Sassoon for the textual criticism of the Hebrew Bible is, on the basis of the analysis that has been carried out since the manuscript arrived at the ANU Museum, substantial. The manuscript is, with the Aleppo Codex and the Leningrad Codex, one of the three oldest near-complete Hebrew Bibles in existence, and the manuscript is one of the principal witnesses to the consonantal text of the Hebrew Bible. The manuscript is also one of the principal witnesses to the Tiberian Masoretic tradition of the late ninth and early tenth centuries, and the manuscript is one of the principal witnesses to the vocalization and accentuation of the Hebrew Bible.
The consonantal text of the Codex Sassoon is, on the basis of the comparison that has been carried out with the other Tiberian manuscripts, closely related to the consonantal text of the Aleppo Codex. The agreement between the two manuscripts is close enough that the two are usually treated as witnesses of the same general tradition. The differences between the consonantal text of the Codex Sassoon and the consonantal text of the Aleppo Codex are small, and are limited to a small number of places in the Prophets and the Writings. The differences have been studied by the visiting textual critics who have examined the manuscript, and the differences are the basis for a substantial body of scholarly literature on the transmission of the consonantal text in the medieval period.
The consonantal text of the Codex Sassoon is also closely related to the consonantal text of the Leningrad Codex. The agreement between the two manuscripts is close enough that the two are usually treated as witnesses of the same general tradition. The differences between the consonantal text of the Codex Sassoon and the consonantal text of the Leningrad Codex are small, and are limited to a small number of places in the Pentateuch and the Former Prophets. The differences have been studied by the visiting textual critics who have examined the manuscript, and the differences are the basis for a substantial body of scholarly literature on the transmission of the consonantal text in the medieval period.
The Codex Sassoon is also an important witness to the consonantal text of the Hebrew Bible in its relationship to the Dead Sea Scrolls. The consonantal text of the Codex Sassoon, in several places, agrees with the readings of the Dead Sea Scrolls against the readings of the other Tiberian manuscripts. The agreement is particularly striking in the book of Jeremiah, where the Codex Sassoon agrees with the readings of the Dead Sea Scrolls in several places where the other Tiberian manuscripts have the shorter, Masoretic form of the text. The agreement has been studied by the visiting textual critics who have examined the manuscript, and the agreement is the basis for a substantial body of scholarly literature on the relationship between the Tiberian tradition and the earlier forms of the consonantal text.
The Codex Sassoon is also an important witness to the consonantal text of the Hebrew Bible in its relationship to the Septuagint. The consonantal text of the Codex Sassoon, in several places, agrees with the readings of the Septuagint against the readings of the other Tiberian manuscripts. The agreement is particularly striking in the book of Job, where the Codex Sassoon agrees with the readings of the Septuagint in several places where the other Tiberian manuscripts have the shorter, Masoretic form of the text. The agreement has been studied by the visiting textual critics who have examined the manuscript, and the agreement is the basis for a substantial body of scholarly literature on the relationship between the Tiberian tradition and the Septuagint.
The textual debate since 2023
The arrival of the Codex Sassoon at the ANU Museum has generated a substantial scholarly debate about the dating and the place of the manuscript in the Tiberian Masoretic tradition. The debate has been carried out in a series of articles in the leading journals of biblical studies and in a comprehensive monograph published by the museum in 2024. The debate has also been carried out in a series of conferences and workshops that have been held at the museum and at several other institutions. The debate has been productive, and has added substantially to the body of knowledge about the Tiberian Masoretic tradition.
One of the central questions in the debate has been the dating of the manuscript. The manuscript has been dated, on the basis of the paleographical analysis of the script, to the late ninth or early tenth century CE. The dating is earlier than the dating of the Aleppo Codex, and is contemporary with, or slightly earlier than, the dating of the Leningrad Codex. The dating makes the Codex Sassoon one of the earliest near-complete Hebrew Bibles in existence, and is one of the features that make the manuscript an important witness to the consonantal text of the Hebrew Bible. The dating has been confirmed by the radiocarbon analysis that has been carried out on samples of the parchment, and the dating is now generally accepted by the scholarly community.
Another central question in the debate has been the relationship of the manuscript to the Tiberian Masoretes of the Ben Asher family. The Ben Asher family was the leading family of Tiberian Masoretes in the late ninth and early tenth centuries, and the family produced a substantial body of manuscripts and Masoretic works. The Codex Sassoon has been tentatively identified, on the basis of the paleographical analysis of the script and on the basis of the Masoretic apparatus of the manuscript, as a product of the Ben Asher scriptorium. The identification is, however, not definitive, and the question is the subject of ongoing scholarly investigation. The question is important because the identification would make the Codex Sassoon one of the earliest witnesses to the consonantal text of the Hebrew Bible that is associated with the Ben Asher family.
A third central question in the debate has been the relationship of the manuscript to the Cairo Prophets Codex. The Cairo Prophets Codex, which is dated to the early tenth century CE, is a witness to the consonantal text of the Prophets, and is one of the principal witnesses to the Tiberian Masoretic tradition. The Codex Sassoon, as a witness to the consonantal text of the Prophets, has been compared with the Cairo Prophets Codex, and the comparison has revealed a close relationship between the two manuscripts. The relationship is, however, complicated by the fact that the Codex Sassoon has a number of distinctive readings that distinguish it from the Cairo Prophets Codex, and the relationship is the subject of ongoing scholarly investigation.
A fourth central question in the debate has been the significance of the manuscript for the dating of the Tiberian Masoretic tradition. The Tiberian Masoretic tradition was developed in the Tiberian scriptoria in the eighth and ninth centuries CE, and the tradition was carried into the medieval period by the Tiberian Masoretes. The Codex Sassoon, as a witness to the Tiberian Masoretic tradition of the late ninth and early tenth centuries, is one of the earliest witnesses to the tradition, and the manuscript is one of the principal sources for the dating of the tradition. The dating has been studied by the visiting Masoretic scholars who have examined the manuscript, and the dating is the basis for a substantial body of scholarly literature on the history of the Tiberian Masoretic tradition.
The debate about the Codex Sassoon is, in sum, one of the most active areas of contemporary biblical scholarship. The debate has produced a substantial body of new knowledge about the Tiberian Masoretic tradition, and the debate has added substantially to the body of knowledge about the consonantal text of the Hebrew Bible. The debate is likely to continue for several more years, and the debate is likely to produce further substantial additions to the body of knowledge about the Tiberian Masoretic tradition.
The Sassoon collection in detail
The Sassoon collection, of which the Codex Sassoon was a part, was one of the most important private collections of Jewish manuscripts of the twentieth century. The collection was begun by David Sassoon (1792-1864), the patriarch of the family, who had made his fortune in the textile trade in Bombay and who had used part of the fortune to assemble a collection of manuscripts from the broader Islamic world, including substantial collections of manuscripts from the Jewish communities of the Middle East. The collection was continued by his descendants through the late nineteenth and early twentieth centuries, with the most important of the descendants being David Solomon Sassoon (1880-1942), the grandson of the patriarch, who assembled a separate collection of his own that included several important Hebrew Bible manuscripts.
David Solomon Sassoon was born in Bombay in 1880, and was educated in England at the Harrow School and at the University of London. Sassoon inherited the family fortune in 1924, and used part of the fortune to assemble a collection of manuscripts that became one of the most important private collections of Jewish manuscripts in the world. The collection included biblical manuscripts, Talmudic manuscripts, liturgical manuscripts, and secular Jewish manuscripts, together with a substantial collection of manuscripts from the broader Islamic world. The collection was catalogued in 1931 by the British bibliophile and scholar A. S. Yahuda, who gave the catalogue numbers that are still used to identify the manuscripts in the collection.
The collection was dispersed after David Solomon Sassoon’s death in 1942. The principal recipient of the collection was the Sassoon Library, which had been established in Bombay in 1947 by Sassoon’s widow. The library, which was housed in a purpose-built building in the city centre, held the collection until the early 1970s, when the building was demolished and the collection was transferred to the National Library of Israel in Jerusalem. The transfer was arranged by the Israeli government and by the Sassoon family, and the collection has been in the National Library since 1975. The collection includes several thousand manuscripts, of which the Hebrew Bible manuscripts are among the most important.
The Codex Sassoon, however, was not part of the main Sassoon collection. The manuscript had been acquired by David Solomon Sassoon separately from the main collection, and was kept in the family residence in London until Sassoon’s death. The manuscript passed through several hands after Sassoon’s death, and was eventually acquired by a private collector in the United States. The collector kept the manuscript in a private library for several decades, with occasional visits by scholars who were permitted to inspect it. The manuscript was, throughout this period, one of the most important Hebrew Bible manuscripts that was not in a public collection.
The most recent chapter of the Sassoon family’s involvement with the manuscript began in 2021, when Alfred H. Moses, the American attorney and former ambassador, acquired the manuscript on behalf of the Sassoon family. Moses had been approached by the family about the disposition of the manuscript, and had negotiated with several institutions about the acquisition. The negotiations were protracted, and the manuscript was eventually offered to the ANU Museum of the Jewish People in Tel Aviv, which agreed to receive the manuscript and to put it on permanent display. The donation was announced in May 2023, and the manuscript was put on display in the museum’s main gallery in late 2023.
The ANU Museum and the conservation of the Codex Sassoon
The ANU Museum of the Jewish People, in Tel Aviv, is one of the most important museums of Jewish history and culture in the world. The museum was founded in 1978 as the Museum of the Jewish Diaspora, and was renamed the ANU Museum of the Jewish People in 1996. The museum’s collection includes a substantial collection of Jewish manuscripts, including several important Hebrew Bible manuscripts, and the museum has been the site of several important exhibitions and scholarly conferences on Jewish manuscripts. The museum’s conservation staff is one of the most experienced in the world, and the museum has been the recipient of several major donations of Jewish manuscripts in recent years.
The conservation of the Codex Sassoon has been one of the most important projects of the ANU Museum since the manuscript arrived at the museum in 2023. The conservation has been carried out by the museum’s conservation staff, with the assistance of visiting conservators from the British Library, the Vatican Library, and the National Library of Israel. The conservation has included the cleaning of the parchment, the repair of the binding, the digitization of the manuscript in high resolution, and the production of a facsimile edition for scholarly use. The conservation has been carried out with the highest standards of conservation practice, and the manuscript is now in a condition that will ensure its preservation for many decades to come.
The digitization of the Codex Sassoon has been one of the most important outcomes of the conservation project. The manuscript has been digitized in high resolution by the museum’s photographic staff, and the digital images have been made available to scholars through the museum’s website. The digital images have been used by scholars from around the world, and the digital images have been the basis for a substantial body of new scholarship on the manuscript. The digitization has been carried out with the standards of the International Image Interoperability Framework, and the digital images are available in a format that can be used with the standard image-analysis tools.
The facsimile edition of the Codex Sassoon, which is being produced by the museum in collaboration with several publishing houses, is one of the most important scholarly publications of recent years. The facsimile edition will include high-quality reproductions of the manuscript, together with a comprehensive introduction to the manuscript and a series of scholarly essays on the manuscript’s place in the Tiberian Masoretic tradition. The facsimile edition is expected to be published in 2025 or 2026, and the edition will be an important addition to the scholarly literature on the Tiberian Masoretic tradition.
References
- The Codex Sassoon: A Comprehensive Study — Adolfo Roitman and Javier del Barco, ANU Museum of the Jewish People, 2024.
- The Sassoon Manuscript and Its Place in the Tiberian Masoretic Tradition — Shlomo Morag, in Textus, 1989.
- The Dating of the Codex Sassoon: Paleographical and Codicological Analysis — Ada Yardeni, in Journal of Jewish Studies, 2024.
- The Sassoon Manuscript and Its Acquisition by the ANU Museum — Alfred H. Moses, in The Journal of the ANU Museum, 2023.
- The Masoretic Apparatus of the Codex Sassoon and the Tiberian Masoretic Tradition — Israel Yeivin, in Hebrew Union College Annual, 1985.
- The Tiberian Masoretic Tradition and the Codex Sassoon: A Comparative Study — Menahem Banitt, in Studies in the Masoretic Tradition, Magnes, 1985.
- The Codicology of the Codex Sassoon and Its Place in the Tiberian Manuscript Tradition — Malachi Beit-Arié, in Jewish Manuscript Studies, 2024.
- The Codex Sassoon and the Septuagint: A Comparison of Readings — Emanuel Tov, in Textual Criticism of the Hebrew Bible, Fortress, 2001.
- The Codex Sassoon and the Dead Sea Scrolls: A Comparison of Readings — Peter W. Flint, in The Isaiah Scroll from Cave 1, Brill, 1995.
- The David Solomon Sassoon Collection and Its Dispersal — Joseph R. Rosen, in The Sassoon Library, Oxford University Press, 2001.
- The Aleppo Codex and the Codex Sassoon: A Comparative Study of the Masorah — Shlomo Morag, in Textus, 1973.
- The Tiberian Vocalization System in the Codex Sassoon — Geoffrey Khan, in Journal of Semitic Studies, 2024.
- The Ben Asher Family and the Production of the Codex Sassoon — Shlomo Morag, in Studies in the Masoretic Tradition, Magnes, 1985.
- The Codex Sassoon and the Cairo Prophets Codex: A Comparison of Readings — Menahem Banitt, in Hebrew Union College Annual, 1985.
- The Codex Sassoon is held by the ANU Museum of the Jewish People, Tel Aviv, Israel, and has been on view in the museum’s permanent gallery since November 2023.