The most beautiful manuscript from medieval Sepharad is also the most “non-Jewish” looking. We will deconstruct this assumption and re-read the images with an eye to apprehending their intrinsic Jewishness. We will also discuss the forty-six distinct depictions of women, the presence of which has been glossed over as mere "narrative detail," as well as the title page, added over three hundred years after the manuscript was first illuminated for long-hidden clues to why this magnificient treasure was made—and for whom.