Thirteenth-century Ashkenazi illuminated Bible (Milan, Ambrosiana, MSS. B.30–32 INF). One of the earliest illuminated Hebrew manuscripts originating in Germany, it is a giant manuscript in three volumes, containing the twenty-four books of the Hebrew Bible. As attested by a colophon at the end of the first volume, the Bible was commissioned by Joseph ben Moses from Ulmana, possibly referring to Ulm in Swabia or to Nieder-Olm in the Rhineland. The Bible was copied by Jacob ben Samuel and was massorated and vocalized by Joseph ben Kalonymus in collaboration with another masorete. The first part was completed between 1236 and 1238. The three volumes were illuminated by two artists, whose style is related to the 13th-century school of Würzburg. Illustrations with biblical scenes are located mainly within the initial word panels of the various biblical books, or at their end. Some of the illustrations carry a messianic or eschatological meaning. A broad cosmological composition occupies an opening at the end of the third volume, suggesting an impressive climax for the entire Bible. The full page miniature on the right illustrates the seven heavens, accompanied by the four animals of Ezekiel’s vision and the luminaries (fol. 135...
Hebrew Bible (Jerusalem, National.. Library of Israel., MS. Heb 4°790, and a single page in Toledo, El Transito Synagogue and Sephardic Museum), copied c. 1260, perhaps in Toledo by Menachem ben Abraham ibn Malikh for Isaac bar Abraham Hadad, both members of known and documented Toledan families. At some later stage further decorations were added, apparently in Burgos. The Damascus Keter is an outstanding exemplar out of approximately 120 decorated Bibles from Iberia and belongs to a group of three very similar codices from the middle of the 13th century, produced in Toledo. It thus represents a rich tradition of Jewish art flourishing between the 13th and the 15th centuries. These Bibles were used either by scholars for private study, or for biblical readings during synagogue services.
Typical of numerous Bibles from the Middle East and the Iberian Peninsula, the decoration consists of numerous carpet pages executed in Micrography and enriched by painted embellishments. This is a technique typically used in Hebrew decorated books and harks back to Middle Eastern manuscripts of the 10th century. Apart from the carpet pages, the Damascus ...
Malcolm A. R. Colledge, Joseph Gutmann and Andrew R. Seager
[now Qal‛at as Sāliḩīyah.]
Site of a Hellenistic and Roman walled city in eastern Syria, on a plateau between two gorges on the west bank of the middle Euphrates. The name combines elements that are Semitic (Dura) and Macedonian Greek (Europos). Dura Europos was founded by the Seleucids in the late 4th century
(b ?Soria, Old Castile; fl c. 1300–12).
Spanish scribe and illuminator of Jewish origin. He worked at Tudela, Navarre, and at Soria, Castile. His colophons allow his hand to be securely identified in five manuscript Bibles. In one case (1306; Oxford, Bodleian Lib., MS. Kenn. 2), he used a conventional colophon; elsewhere, he concealed clues either in the painted illuminations (1302; Paris, Bib. N., MS. hébr. 21) or, more frequently, in the micrography and ornamental forms of the masorah (apparatus criticus; see Micrography) that he copied (Dublin, Trinity Coll. Lib., MS. 16; Lisbon, Bib. N., MS. Il.72, dated 1300; Paris, Bib. N., MS. hébr. 20, dated 1300; and a single page of the Paris Bible of 1302; see also Jewish art, §V, 1).
From the formulae and placing of Joshua’s different colophons, it is possible to deduce the extent and nature of his contribution to the copying and illumination of the manuscripts he signed. As a copyist, writing in square script, he probably worked on the ...
Richly illuminated manuscript of the Passover liturgy together with a series of liturgical poems to be read during the Passover week (London, BL, Add. MS. 27210), possibly made in Barcelona, c. 1320. This text was to be recited during the seder ceremony at the eve of the Passover holiday. Like most medieval Haggadot (see Haggadah), the Golden Haggadah has no colophon, and its scribe and patrons are unknown. It contains both marginal decorations and a series of full-page miniatures preceding the text and displaying a fully fledged cycle of biblical illustrations following the books of Genesis and Exodus from the Creation of Man to the Crossing of the Red Sea. Stylistically both types of decoration are indebted to early 14th-century Catalan Gothic art.
Similarly, the imagery of the biblical picture cycle also draws on Christian Old Testament iconography and reflects a familiarity with Christian art. The artists and patrons of the Golden Haggadah adopted Christian pictorial sources in a complex process of adaptation and modification, translating the Christian models into a Jewish visual language meaningful in its messages to the Jewish readership. Avoiding themes and iconographic features of a particular Christological concern, the imagery also reflects a close affinity with the traditions of late antique Bible interpretation (Midrash). This points to a specific circle of scholars active in Iberia during the 13th and early 14th centuries as being responsible for the imagery of the cycle. The use of traditional midrashic Bible exegesis is typical for Sephardic Rabbis of anti-rationalist standing, who opposed earlier philosophical trends and followed, rather, scholarly trends common among the Tosafists of northern France. It has also been observed that some images adopt a more specific anti-Christian stance and address polemical issues....
(fl c.?Tudela, Navarre, and/or ?Soria, Old Castile, 1300–12).
Spanish illuminator of Jewish origin. His signature, a full-page colophon in zoomorphic and anthropomorphic characters, is found in only one manuscript, the Cervera Bible (1299–1300; Lisbon, Bib. N., MS. Il.72; see also Jewish art §V 1.). However, another Bible (1312; Zurich, Floersheim Col., previously MS. Sassoon 82) could also be his work. Since the text of the Cervera Bible was copied in Cervera, Lleida, it has been generally supposed that Joseph trained in an illuminator’s workshop in that city. However, the connection with Cervera might be accidental (Metzger, 1970), while there are demonstrable links with Tudela and Soria, where Joshua ben Abraham ibn Gaon and another scribe copied the masorah (apparatus criticus) after May 1300. The decorative painting and penwork were executed in their entirety only after the masorah had been copied (Metzger, ‘Josué ben Abraham ibn Gaon … ’, 1990). The confirmed associations between Joseph and Joshua, whose brother ...
Illuminated Hebrew Machzor (Leipzig, Ubib., MS. Voller 1002/I–II)—prayer book for holy days—made c. 1310–20. Its two volumes contain the optional liturgical poems commonly recited according to the Ashkenazi rites. The text reflects the specific prayer rite of Worms and, even though this assumption cannot be confirmed by a colophon, it must have served this particular community up to the early 17th century when it was transferred to Poland.
Both volumes are richly illustrated in a style that recalls upper Rhenish schools of illumination and may have been decorated by artists trained in that region. At least two different hands, one of them most probably Christian, were involved in the layout of the book. The decorative programme includes elaborate initial panels and marginal images. The former display complex allegorical and symbolic compositions relating to the poems or the subject matter of the holy days. An example is the juxtaposition of various symbols related to the New Year showing a man with a Jewish hat blowing a ...
(b Jerusalem, Dec 14, 1926; d Jerusalem, June 29, 2008).
Israeli art historian of Jewish art. Educated first at the Hebrew University of Jerusalem, he moved to London and earned an MA in art history at the Courtauld Institute (1959) and a PhD at the Warburg Institute (1962). Returning to Jerusalem, Narkiss rose steadily through the ranks from 1963 when he began teaching at the Hebrew University and, in 1984, was appointed Nicolas Landau Professor of Art History. He also held fellowships and visiting positions at: Dumbarton Oaks Center for Byzantine Studies in Washington, DC (1969–70); the Institute for Advanced Study in Princeton (1979–80); the Institute of Fine Arts of New York University (1983), Brown University in Providence, RI (1984–5); the Centre National de la Recherche Scientifique in Paris (1987–8); the Center for Advanced Study in the Visual Arts in Washington, DC (Samuel H. Kress Professor ...
Illuminated manuscript of the Passover liturgy to be recited during the seder ceremony at the eve of the Passover holiday, also containing a series of liturgical poems to be read during the Passover week (Sarajevo, N. Mus of Bosnia and Herzegovina.), possibly made in Aragon, c. 1335. Its particularly rich decoration combines French-style marginal scroll decoration with a cycle of full-page miniatures showing biblical history. The latter opens with a visual rendering of the Creation, a theme rarely shown in Jewish art, and follows the story of the Israelites up to the passage through the desert after the Exodus from Egypt.
Like other Sephardic biblical picture cycles, the one in the Sarajevo Haggadah is indebted to Christian pictorial sources, especially of French origin, adapted to suit a Jewish patronage and readership. Jewish biblical exegesis plays a crucial role in the transmission of Christian iconographic formulae to a Jewish idiom. The Creation sequence, for example, reflects Nahmanides’ views of the Creation from Nothing opposing allegorical views about the eternal world held by rationalist philosophers. Likewise midrashic interpretation is dominant in the Sarajevo cycle, where midrashic elements were added to what were really Christian iconographic models....
(b Budapest, 1927; d Paris, 2008).
Art historian and scholar of Jewish and Christian art, active in France. Known as the ‘grande dame’ of Jewish art, Sed-Rajna came to Paris in 1948. She became Director of the Hebraic Section of the Institut de Recherche et d’Histoire des Textes at the Centre national de la recherche scientifique (CNRS) and then taught at the Ecole Pratique des Hautes Etudes and at the Institut d’Etudes Juives of the Université Libre in Brussels. In 1976 she founded with Bezalel Narkiss the Jerusalem Index of Jewish Art and became President of the European Association for Jewish Studies. She published six pioneering books and numerous articles, scrutinizing the role played by the artistic heritage of the Jewish people.
In all her works the visual expression of the Jewish tradition was envisioned in the larger framework of the history of arts. Her immense knowledge of both texts and images led her to publish in ...
Barbra Ruckriegel Egerváry
[formerly Lat. Scarbantia; Ger. Ödenburg]
City in north-west Hungary at the foot of the Lövér Hills. It is capital of Győr-Sopron county and was built on the site of the Roman Scarbantia, originally a Celtic settlement. Roman remains to be found in the area include a Mithraeum near Sopron-Rákos, and the possible remains of an amphitheatre, discovered in 1925. A medieval wall, of which sections still remain, ringed the town in the shape of a horseshoe. St Michael, one of the oldest churches, was built during the 14th century and completed in the later 15th. In the form of a basilica, it has three aisles and a narrow transept. Its Late Gothic towered façade is decorated with richly carved figures and ornamental work, as is its long chancel and square-ended side chancel. Gothic sedilia line the entire length of the chancel. The sacristy has reticulated vaulting and a tessellated, enamelled tiled floor from the late 15th century, the only one of its kind in Hungary....
Katrin Kogman Appel
Illuminated Hebrew prayerbook for holy days in two volumes (vol. 1: Wurzburg(?), 1272; vol. 2: late 13th century; Jerusalem, N. Lib., MS. heb. 4°781). As is common for Ashkenazi Machzorim, the Worms Machzor does not contain statutory prayers, but optional liturgical poems (piyyutim), common according to the Ashkenazi rites. The two volumes that currently constitute the Worms Machzor did not originally belong together, but must have been joined at some later stage during the history of the book, when it served the community of Worms . Textual evidence points at the possibility that the second volume reflects the local prayer rite of Worms and did not originate in Würzburg.
It is primarily the first volume that stands out in terms of decoration, whereas the second is sparsely illuminated. The decorations appear as initial word panels, large arches framing several of the text pages, and marginal scenes on the outer, upper, and bottom margins, some of which were trimmed during later bindings. The scenes relate to the contents of the ...