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THEDEADSEASCROLLSONLINE
TAKINGONA[SECOND]LIFEOFTHEIROWN
Dr.SusanHazan
TheNewMediaUnit,TheIsraelMuseum,Jerusalem
Introduction
The Israel Museums 2008 conference on the Dead Sea Scrolls and ContemporaryCultureservedtoupdatethescholarlycommunityonthemostrecentdevelopmentsin
Scrolls research, underlining the reconceptualization and recontextualization of the
scrolls inacontemporaryworld.Thispaper focuseson thescrollsandtheirelectronic
message,andthedifferentwaysinwhichtheirsignificancecannowbecommunicated
toschoolchildren,universitystudents,andthepublicinmeaningfulways.Thisisatime
whenpeoplenolongerdwellonancientmanuscripts,butgrazeinsteadonsoundbytes
andfleetingvisualsinanerathatisnowreferredtoasaninformationage.Howcanthe
scrollsmessagetraveltheseelectronicbyways,andhowreadilycantheirmessagebe
heard amongst all the white noise of information that is generated by the Internet,
mobile telephony and other electronic media? At the New Media Unit at the Israel
Museum,we see itasour remit to findmeaningfulways todisseminate the religious
andculturalmessageoftheQumrancommunityoftheSecondTempleperiod,andto
extend thewrittenwordof the2,000 yearoldmanuscripts to thepublicbeyond the
glassshowcase,andthemuseumwalls.
The international scholarlycommunitywhohavemade theDeadSeaScrolls their life
workhavededicatedthemselvestothishighlyspecialisedfield;endeavouringtocreate
asharedvocabulary inordertodefine theirownparameters foracademicdiscussion.
Thesediscussionscontinuetoevolvearoundthescrolls,theirgraphicquality,thescribal
features,andtheirhistoricalmessage,butthelinguafrancasoartfullyarticulatedattheconference was not actually expressed in a language easily shared by outsiders.
Referringtospecifictextsbytheiridentificationnumberscurtly,as11QPsa,4Q179,CD,
1Q5961, 2Q18 and the like, this was a language that was not truly transparent to
outsiders. While the dynamic group of scholars was freely able to engage in intense
discussion with one anothera discussion anchored in cryptic endnotes and savant
referencesthiswasnotaconversationthatmademuchsensetothoseoutsideofthe
guild.
At the same time the knowledge inscribed in the scrolls is highly attractive to those
outsideof the cabal,and it is critical tomake thisknowledgeavailable to thepublic,
withoutdumbingdownthecontent.PeoplemaywellhaveheardabouttheScrolls
perhaps fromaDanBrownnovel,or inabrief,popularencounterwith theScrollson
cable TVbut once they have looked up the Dead Sea Scrolls on Google, or on
Wikipedia, it is critical that they find theirway to information froma competentand
trustworthy source; such as the Israel Museum. In this case, the very notion of a
museuminspiresasenseoftrust,andthefactthatthisknowledgeislocatedunderthe
umbrella of the museum assures the visitor/user that the information is, in fact,
accurate,uptodate,andreliable.Atthesametimethemuseumisobligedtomakeits
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collectionsnotonlyavailabletoitspublic,butalsointellectuallyaccessible.Thismeans
that resources must be presented with the right level of interpretation; so that the
laymancanmakesenseofthematerialinawaythatispertinenttohimorher.
Towards this goal we use the tools available to us in an information age; our
institutionalwebsite,web2.0tools,webcastingandwearenowmovingintonewvirtual
worlds.Inordertorelaythesignificantprimarysourcesandthesecondaryinformationthat serves to contextualize and interpret the scrolls, we have to rearticulate the
content that is to be uploaded online or inworld in meaningful ways. When our
[physical] visitors come into The Dorot Foundation Dead Sea Scrolls Information and
StudyCenter inmemoryof JoyGottesmanUngeleider theywilldiscoveranumberof
differentplatforms:films,documentaries,databases,animationsand installations.Our
goal isnotonlytobeabletopresenttherichnessofcontent innewways,butalsoto
inspireourpublicandtofindnewcompellingwaystopresenttherelevanceoftheDead
SeaScrollstotheminanAgeofInformation.
ThispapermarkssomeoftheScrollsdigitalfootprints,andinvitesyoutogobehindthe
scenesoftheNewMediaUnittoseethekindsofsolutionswehavedeveloped inthe
museum.We find thatweareona constantly changing rollercoaster learning curve,
because in contrast to Dead Sea Scrolls scholarship, a field that moves forward with
greatcaution,thefieldofnewmediaflashesbyatthecrackofasoundbyteandevolves
ataspeedthatnotonlydemands innovativeresponses,butalso leavesussometimes
quitebreathless.
TheDeadSeaScrollsdigitalfootprints
Sincetheirdiscoveryin1947,theDeadSeaScrollshavestimulatedmuchpublicinterest
all over the world. The worldwide distribution of digital images, scholarly research,
translations and transliterations has now become available not only through the
thousandsofbooksandprintpublications,onmicrofiche,aswellasonCDROMs,on
line,andacrossdigitalnetworks;andnowover3Dplatforms.Thetaleoftheirdiscovery
hasfiredtheimaginationofscholarandlaymanalike.Whilethediscoveryignitedpublic
imagination,itwasalsoshroudedinanauraofmystery.Therecognitionthatthescrolls
reflected a time during the Second Temple period, the time when Jesus of Nazareth
lived,notonlygeneratedcriticalscholarlyresearchbutalso intrigues the laymanwho
now,perhapsforthefirsttime,isabletoseekinformationfromprimaryresourcesover
theInternetinwaysthatwereunthinkableevenfiveyearsago.
Sincetheirinitialdiscovery,theScrollsandtheidentityofthecommunitythatguarded
themhasgeneratedmuchscholarlyandpublicinterest.TheScrollsandscrollfragments
discoverednear theDeadSearepresentacapaciouscorpusofancient textsemerging
fragmentby fragment fromaprototypearchiveandperhaps thegreatestmanuscript
findofthetwentiethcentury.TheDeadSeaScrollsdiscoveryreflectsanimpressivelink
to the past. The thousands of fragments, manuscripts and scrolls represent a rich
literarycollectionreproducedbyhandinanumberofcopies,writteninthreedifferent
languages:Hebrew,Aramaic,andGreek.
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The linkfromthepasttothepresentstillrunsstrongviathenumerouswebsitesthat
continuetorefertotheScrolls.AGooglesearchforDeadSeaScrollswillreturnover
onemillionresults;reflectingtheunwavering interest intheScrollsandtheirenduring
mystique. With the early CDROMs and databases that emerged from the Dead Sea
Scrollresearch,cametherealizationthatthedistributionofthehistorical,culturaland
religiousmessagecontainedwithinmanuscriptscouldbedisseminatedmoreefficiently
via electronic publications. This, in turn, both stimulated popular interest in themanuscripts,and functionedasamoreefficient tool for sharing scholarly research in
researchcentersallovertheworld.ThefirstCDRomdeveloped,TheDeadSeaScrolls
Revealed, was produced in 1994, by Pixel Multimedia, Tel Aviv, and Aaron Witkin
Associates,London.1
Figure1:TheDeadSeaScrollsRevealedPixelMultimedia,
TelAvivandAaronWitkinAssociates,London,1994
This was perhaps the first electronic tool that brought the secrets of the mysterious
manuscriptsontothecomputerscreen.Thepopularmultimedia interfacepresentsthe
critical historical texts and sources from the Second Temple Period, and a
comprehensive section on the excavations at Khirbet Qumran. This is illustrated by
photorealisticwalkthroughs,and flyovers,across theancient settlementas itmight
haveappearedtwothousandyearsago;asectiononScrollsresearch,withdetailsabout
howthescrollswerewrittenandthe laboriousprocessesofdecipheringandanalyzing
thetexts;andextensivebackgroundmaterialonthedebatesthataroseduringthemanyexcavations of the Essene Compound. The intuitive navigation tool guided the user
throughthetexts,images,CADsimulations,andvideoclipsandprovidedastimulating,
andinformedintroductiontotheDeadSeaScrolls.
1 The Dead Sea Scrolls Revealed. Produced by Pixel Multimedia, Tel Aviv, and Aaron Witkin Associates,
London, 1994.
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TheJerusalembased,academicinstitution,TheOrionCenterfortheStudyoftheDead
SeaScrollswasestablished in 1995as part of the Institute for Jewish Studiesat the
HebrewUniversityofJerusalem.Theirscholarlywebsite(orion.mscc.huji.ac.il)provides
manyresourcesforthestudyoftheScrolls,andstimulatesandfostersresearchonthe
Scrolls, integratingsuchareassuchasbiblicalstudies,Jewish literatureandthoughtof
theSecondTemplePeriod,earliestChristianityandtheNewTestament,andthestudy
ofearlyrabbinicalJudaism.Theresourcespageoffersameticulousbibliographicallistingofpublications innineteen languages;Afrikaans,Arabic,Czech,Danish,Dutch,Finnish,
French, German, Hebrew, Hungarian, Italian, Japanese, Korean, Norwegian, Polish,
Portuguese,Russian,Spanish,andSwedish.
TheDeadSeaScrolls,ElectronicReferenceLibrarymakesavailablethecomplete
set of digitized images, (2,700 photographs) and full texts from the eleven caves of
KhirbetQumran.2
Figure2:TheDeadSeaScrolls,ElectronicreferenceLibrary,
VolumeI,OxfordUniversityPressandBrillAcademicPublishers,1997
The launchoftheCDROMcamesoonafterthe IsraelAntiquitiesAuthoritycelebrated
the releaseof theDead SeaScrolls to theworldat large in1991and soon to follow
wouldbethepublicationofextensiveMicroficheCollectionandaFacsimileEditionof
theDeadSea Scrolls (1991) inbook format, in two folio volumes.Soonafter that, in
1991theHuntingtonLibrarymadeitscollectionavailabletothepubliconmicrofilm.3
The images in the Electronic Reference Library Volume 1 are annotated with cave
number, text title, inventory number, and links to other images containing the same
scrollorfragment,withcrossreferencestothemicroficheeditionpublishedbyE.J.Brill
andthefacsimileEditionoftheBiblicalArchaeologySociety.Asearchablelistofbiblical
2The Dead Sea Scrolls, Electronic Reference Library, Volume I (Oxford/Leiden: Oxford University Press
and Brill). Images are reproduced by permission of the Israel Antiquities Authority OptiMedia Ltd, 1997.3 Huntington Library Collection on Microfilm. Los Angeles: The Microfilm Company of California, Inc.,
1991.
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passagesattested to theQumrancorpus isalso included.All imageswere scannedat
300dpi.andmaybemanipulatedonscreenwithzoom,brightnessandcontrastbuttons
embedded in the interface. As well as the panning and zooming tools built into the
program, individual imagescanbe flipped90degreesclockwiseorcounterclockwise.
Thisintuitivemanipulationfacilitatesthecomparisonoftheimageswithintheprogram
whichthenmaybecopiedoutsideoftheprogramorprinted.Thearchivedindexisfully
searchable using specific terms, wildcards and/or Boolean operators. The Dead SeaScrolls Electronic Reference Library provides researchers with a comprehensive
collectionof referencematerial,extensive searchoptionsandpliantdigitized images,
makingindividualscholarlyresearchawayfromtheoriginalmanuscriptsfeasibleallover
theworld.
TheDeadSeaScrollsElectronicReferenceLibrary,2 isaCDROMproduced in1999.4
TheCDROMiscomposedofacomprehensive,fullyindexed,andcrosslinkedcollection
ofnonbiblical texts,both inHebrewandEnglish translation,aswellasa selectionof
highresolutiondigitizedimagesofDeadSeaScrollsfragments.
Figure3:TheDeadSeaScrolls,ElectronicReferenceLibrary,2
EditedbyEmanualTov,KonininkijkeBrillNV,Leiden,TheNetherlands,1999,
Inaddition,theCDROMcontainsrelevantreferencematerialforscholarlyworkonthe
Scrolls and related literature. The search capabilities of the WordCruncher software
allowuserstofindanyoralloccurrencesofwordsandphrases inanyoralltexts.This
practicalreferencetoolcontainseditedHebrewandAramaictranscriptionsandEnglish
translationsofallthenonbiblicalscrolls.Presentedonfacingpages,themanuscriptsor
fragments are arranged by serial number from Cave 1 to 11. The Databases
approximately900 imageswerescannedat400dpionanAgfaArcusscanner.Eachof
the images is tagged to,and correspondswith,aparticular transcriptional text,which
allows theuser toviewmore thanone image simultaneouslyandmaybeenlarged to
500%within the interface.There isanunlimiteddistributionof thedatabase,allowing
4The Dead Sea Scrolls, Electronic Reference Library, Vol. 2 (Ed. Emanuel Tov; Leiden/Provo, Utah: the
Foundation for Ancient Research and Mormon Studies and its Center for the Preservation of Ancient
Religious Texts at Brigham Young University; Brill: 1999).
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images and transcriptions to be made available to an individual or institution at a
relativelylowcost.
TheDeadSeaScrollsattheIsraelMuseum
AsthepermanentlocationofthejewelsoftheDeadSeaScrolls,theIsraelMuseumhas
a special responsibility to conserve, display, and interpret the manuscripts for thehundredsofthousandsofvisitorswhoflocktotheShrineoftheBookeveryyeartosee
theScrollsforthemselves.Theinstitutionalwebsitehasthereforeacriticalroletoplay
bothinpreparingthevisitorbeforethevisitorenhancingtheexperienceafterthevisit
by filling in the gaps or strengthening the understanding of the Scrolls and their
meaning. At the same time, the museum acknowledges that many of the web visits
come from people who will probably not actually come into the museum in their
lifetime,but they tooare curiousabout the scrollsandmayalsowish to learnabout
themfromafar.
Thewebsite,thereforeneedstocatertodifferentcommunities,and incontrasttothe
more academic nature of the Orion Centre, the museum has to present a far more
experiential approach in keeping with the museum as a social space of informal
learning.
Figure4:HomepageoftheShrineoftheBookattheIsraelMuseumwebsite
Oneofthewaysofgettingasenseofbeingtherewithoutleavingyourseatisthrough
the virtual tour; a photorealistic walkthrough of the museum campus. The various
hotspots throughout the tour lead visitors toboth theupperand lower levelsof the
ShrineoftheBookcomplexandinviteyouintotheexhibitionspacesthemselveslocated
underneaththewhitedomeandblackbasaltwall.
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Figure5:OnlinevirtualtouroftheShrineoftheBook upperlevel
Theinteractivemapalsoguidesvisitorsalongtheirrouteandservestocontextualizethe
experience for the visitor, while preserving a sense of the location of the actual
manuscriptsinthephysicalgallery.
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Figure8:TheGreatIsaiahScroll,envisionedandfundedbyGeorgeBlumenthal
withdigitalphotographybyArdonBarHama
ThescrollshavebeencreatedasaFlashapplication,enablingvisitorsfromalloverthe
worldtoopenupthescrollsandviewthemforthemselveswiththeaidofamagnifying
glassforaloserlookatthescholarlydetails.Ourweeklystatisticsinformusthatthisan
extremely popular part of our website and from the impressive number of hits we
receive from all parts of the world we are confident that this service is greatly
appreciatedbyourvisitors.
Displayingthescrolls inthiswaynotonlymakesthemaccessibleonline, italsoextends
the experience of the physical display in the museum where, due to conservation
limitationsofdisplayingthescrollsinthegalleries,onlysinglesectionsofthescrollscan
beexhibitedatanygiventime.Tothisend,boththeGreatIsaiahScrollandtheTemple
Scrollarepresentedona largescreen in theDorotFoundation InformationandStudy
Center,whichwillsoonofferourvisitorsanopportunitytobeabletoperusetheentire
scrollsforthemselvesusingatouchscreen.
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Figure9:TheGreatIsaiahScrollonalargetouchscreen,envisionedandfundedby
GeorgeBlumenthalwithdigitalphotographybyArdonBarHama
Figure10:ViewingtheTempleScrollonlinewithmagnifyingglass
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AlsolocatedintheDorotFoundationInformationandStudyCenteronthemainwallis
the beguiling installation created by the digital artist, Ariel Malka. The narratives are
representedas tiny, textualvignettesand interpret the storyof Isaiah in theirunique
way..Accordingtotheartist,ArielMalkathegenerationsofwanderingsfromEgyptian
oppression are depicted as emerging from chaotic waters to freedom in the Sinai
wilderness; from theBabylonianexile to restoration in theLandof Israel;where theyculminate in Ezekiels vision of the Water of Life flowing into the Sea of Death. The
JavaScriptorium5chartsthejourneyofthePeopleoftheBookinaneverendingloopof
dynamic, microcalligraphy inspired by medieval Jewish scribal art. The electronic
renditionofthebiblicaldecreeAndletthemmakemeasanctuary,thatImaydwellin
theirmidst(Exodus25:8)appearsasacloudbydayandacolumnoffirebynight.ThedivinecolumnlinksHeavenandEarthasanaxismundi,representingboththecenterofthe world, and the sanctuary that resides within the Qumran Sect the collective
SpiritualTempleintheJudeandesert.
ZoomoutontheSeaofChaos...Adivinecolumn,linkbetweenHeavenandEarthis
representedatthecenteroftheworld.
Thesanctuaryisrepresentedatthecenterof
FromAxisMunditoTerraIncognita...TheSinaiwilderness.
LookingthroughtheIshtarGateatBabylon,5See the screen shots of the work reflecting a new kind of scriptorium; this time written in the computer
language of Java; The 3D animation on the theme of desert wandering, and the concept of sanctuary alludes
both to the programing language of the software in which it was compiled Java, created by Sun,
Microsystems as well as to the ancient tradition of scribal work that took place in a scriptorium.
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theDesertEncampment,amongthepeopleofIsrael.
freshlyconqueredbyKingCyrusofPersia...Emancipationoftheoppressed.
Beginningofthesecondexodus...
Ezekiel'svisionoftheWaterofLifeflowingintotheSeaofDeath.
Figure11:JavaScriptoriumArielMalka,isbasedonaJavaapplicationthatmakesuse
ofOpenGLtogeneraterealtime3Danimation,
Walkingin3Dworldsatrulysocialexperience
While the interfacesdescribedabovearedesigned for the individualvisitor sittingon
theirown in frontof thescreen, the followingexamplesof3Dworldsallows for real
time interaction and a more social kind of experience. The Shrine Educational
Experience (SEE)wasaprojectconceived in2001,andwasdevelopedover2years
togetherbyShrineoftheBookattheIsraelMuseum,Jerusalem,andthePolitecnicodi
Milano, Italy, with the support of the Dorot Foundation. This project brought young
adultstogetherfromallovertheworldsynchronously,wheretheymetintheonline,inthe virtual Shrine of the Book to meet, learn, play, and discuss issues related to the
famousDead Sea Scrollsand the livesof thepeopleof theQumran communitywho
oncelivedbytheDeadSea.
Theworldtheymetinwasaspeciallydeveloped3Denvironment,whereseveralusers,
representedbyavatars, (graphicanimations)entered,and interacted together in real
time. The students cooperated through interaction with the environment, and with
eachother,manipulatingobjectsandchattingastheywent.Ourchallengein2002was
to find a way to engage students, where the key to the success or failure of these
environmentswasmeasuredinitsabilitytoholdacriticalmassofusersinrealtime;notonly in the technical sense,butalso intellectually.At this time, themuseumand the
Polytecnicoweredesigninganenvironmentthatwouldbefamiliartoourstudentsfrom
onlinecomputergamesthatwerepopularatthetime,DungeonsandDragonsandtheSims,forexample.But,whatwewereactuallyseekingwaswhatwefelttobeakindof'socialglue';thekindofexperiencethatcausedtheplayertobecometotallyengagedin
theenvironment.Unlikethebattlescenesthatstudentswere familiarwith fromtheir
onlinegamingandhadkept thempreviouslyglued to their screens, thisengagement
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stimulated intense discussion about issues that we realized that really touched their
livesinmeaningfulways.
Figure12:TheShrineEducationalExperience(SEE),2001,developedtogetherbythe
IsraelMuseum,Jerusalem,andthePolitecnicodiMilano,Italy
The highly structured, educational program that was geared to schools, took place
duringschooltimeandinaccordancewiththedifferentnationalcurriculainIsrael,Italy,
GermanyandSwitzerland.The fourweekly sessions tookplace inaneducationaland
highly structuredenvironment where students introduced themselveswith theirown
PowerPointpresentationsshownintheonlineinterfaceandwentontolearnaboutthe
Essenes and what it might have meant to leave their homes, to move down to the
desert,anddedicatethemselvestotheQumrancommunity.
The series of challenges and quizzes brought these discussions right into their
classroom,andthetestsessionsbrought25classroomsfromthedifferentcountriesinto
theonlineVirtualShrineandQumransimulatedenvironment.Wewereamazedtosee
howengagedthestudentsbecameandhowmuchtheywerepreparedtodiveintothe
resources and prepare their own contributions that were consequently shared with
their peers in the final session. We presented our project at conferences and in
academicpublications,andtheSEEprojecthassincebecomethebenchmarkforvirtual
worldsformuseums.6
6Susan Hazan, From the First Millennium to the Third, the Content is the Message! in
Museums and the Web 2001: Selected Papers from an International Conference, ICHIM
2001, Politecnico di Milano, Milano, Italy (ed. David Bearman and Jennifer Trant,
Archives & Museum Informatics, Pittsburgh, USA, 2001)
http://www.archimuse.com/publishing/ichim01_vol1/hazan.pdf;
S. Hazan, Paolo Paolini, and Nicoletta Di Blas, The SEE Experience: Edutainment in3D Virtual Worlds, inMuseums and the Web 2003: Conference Proceedings (ed. David
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Thiswasacriticallearningexperienceforus.ThePolitecnicoandmuseumteams
learneda lotaboutthetechnologyand interactionaswedevelopedthe interfaceand
whentheprogramwentintothetestphase,wefoundthatwealsolearnedagreatdeal
fromthestudentsthemselves.Theyoungadultsweretotallysavvyonlineshortcutting
theirway to theanswersby reading thewebaddressat the topof thepage (toour
dismay) and simply moving on to the next number instead of running around in the
treasure hunt. However, they did discoverto their delighta bug in the program,whenanavatarflewup intotheocularonthewhitedomethatcausedthestudentto
getstuckinthehole.Inspiteofthebugsandshortcuts,wedidrealizethatthiswasan
excellent method of bringing quality content into the classroom, and we were
encouragedby theenthusiasmofthestudentsand their teacherswhoparticipated in
thefourweeklysessions.
As3Dworldsdeveloped,themuseumrebuilttheShrineoftheBookasavirtualspace;a
spacewhichcouldbetakenupbyvisitorsonlineasvirtualavatars,thistimeusingthe
proprietary environment of Linden Labs7 Second Life. Faithfully modeled on the
blueprint of the Shrine of the Book complex, the 3D world reproduced the physical
space invirtualminiature.Muchas thephotorealisticvirtual toursenabledvisitors to
movearoundthemirroroftheShrinecomplex,the3Dworldofferedasimilarsenseof
beingtherebutwithonemajordifferencethisspacewasnotsimplyaprojectionon
the local computer, but a fully social space where visitors traveled the campus with
fellowavatars.Thisenablednewkindsof social interactionsand,critically,a senseof
sharingthevisitwithothersinrealtime.
Bearman and Jennifer Trant; Charlotte, North Carolina, USA , Archives & Museum
Informatics,
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Figure13:MappingouttheShrineoftheBookinSecondLife
Figure14:TheshrineoftheBookasseenfromthepathleadingupfromtheArt
Garden
Figure15:Thewhitedomeandblackwallatvirtualsunset
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