Forty years ago, the young rabbi Irvin Ungar found himself enamored with the work of a Polish émigré illustrator, Arthur Szyk. The artist's last name (pronounced Shik) had been known to readers of Colliers, Esquire, and Time magazines before, during, and shortly after World War II for his intricate anti-Nazi caricatures and his minutely detailed medieval-style illuminations created for biblical stories, Jewish texts, and secular literature. After his death in 1951, however, Szyk was virtually forgotten.