This vibrant scroll is an example of the revival of Hebrew manuscript illumination in the eighteenth century, as well as the reliance of artists on existing printed images. Even after the advent of printing in the mid-fifteenth century, Hebrew scribal arts were still practiced, as required by rabbinic law, for the creation of Torah scrolls, Esther scrolls, phylacteries, mezuzot, and divorce documents. Beginning in the first decade of the eighteenth century, a group of scribe-artists, initially working in Vienna, created lavishly decorated books of prayer for personal use. These luxury manuscripts were produced for wealthy Court Jews who acted as financial agents for ruling members of the Hapsburg Empire.

When painting the ornamentation of books and scrolls, artists were inspired by printed works. The decorative program of this megillah is modeled on the engraved Amsterdam border (cat. no. 82). In the opening panel, Ahasuerus and Esther, enthroned and flanked by members of their court, are placed above the three benedictions, while five scenes from the story fill the remaining border.

The same decorative programs were used by eighteenth-century scribe-artists to embellish both illuminated codices and scrolls. The first column of text in this megillah opens with a large, filigreed initial word panel flanked by two rampant, double- tailed lions. Not usually found in megillot, initial word panels of this type were common graphic elements in Haggadot, Grace after Meals books, and other compilations of specialized prayers produced during this period (cat. no. 35).