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  (XI) Obj. ID: 19960 The Tegernsee Haggadah,, Germany
Austria,
Before 1489. // Joseph son of R. Ephraim edit
 
Category: Hebrew Illuminated Manuscripts


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
6a Period Detail
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
9b Documentation/
Research project
Unknown |
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Unknown |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19 Remarks
20 Description

More Details...
 
21 Ornamentation
22 Custom
23 Contents
Latin introduction to the Haggadah (reading from back to front fols. 7 to1v).
Passover Haggadah of German-Ashkenazi rite (fols. 7v-35v), vocalised, opening with the kiddush (fol. 7v). The haggadah includes the first verse only for שפוך (Pour out thy wrath; fol. 24v); piyyutim: אז רוב נסים (fol. 31v), אומץ גבורתיך (fol. 33), אדיר במלוכה (כי לו נאה) (fol. 34); ends with אדיר הוא (fol. 35v).
In the piyyut נשמת כל חי (fol. 29) the name of its author Isaac (יצחק) in an acrostic is marked by dots (fol. 31).
24 Codicology
24a Scribes The Jewish scribe Joseph son of R. Ephraim copied the Hebrew text (fols. 7v-35v). Vocaliser unknown. Schwerzenbeck, the librarian of the Benedictine Monastery of Tegernsee, wrote the Latin introduction (fols. 7-1v). The Latin annotations in the margins of the haggadah were written by Erhard of Pappenheim (fols. 7v, 8, 9, 10, 12, 12v, 13, 14, 15, 21, 22-23v, 24v-28, 29, 31). An annotation in Hebrew by Erhard is written on the blue background of the illustration on fol. 15. Script The Haggadah: The main text is written in square Ashkenazi script of different sizes in dark brown and red ink. The instructions for the Seder are written in semi-cursive Ashkenazi script in red or black ink (e.g. fols. 24-24v, 35).
24b Script
24c Number of Lines The Latin introduction is written in 46 lines per page in two columns. The Haggadah is written mostly in 13 lines per page, except for e.g. fol. 31v (15 lines), fols. 32, 33v, 34v (12 lines). The Latin introduction is written in two text columns per page. The Haggadah in Hebrew is copied in one text column per page.
24d Ruling The Latin introduction: Ruling in plummet on both sides of the leaves, each ruled separately; 46 horizontal and 2 + 2 + 2 vertical lines. Upper and lower lines ruled across the entire page. The Haggadah: Ruling in plummet on both sides, usually 14 horizontal and 2 + 2 vertical lines; for piyyutim: 2 + 1 + 1 + 1 + 2 (fols. 19v-20) and 2 + 1 + 1 + 2 (fols. 32-33) vertical lines.
24e Pricking The Latin introduction: Pricking discernible in all but the inner margins, except for fols. 7-9; 26 pricks for the Latin text on fol. 7. The Haggadah: Pricking per quire noticeable in all margins as well as for additional horizontal lines; stubs are also pricked.
24f Quires Five quires, three of eight and two of six leaves, arranged according to Gregory's rule. List of quires: I6 (1-6v); II8 (7-14v: fols. 8 and 12 are single leaves, no text missing); III8 (15-22v: fols. 16 and 20 are single leaves, no text missing); IV8 (23-30v: fols. 25 and 28 are single leaves, no text missing); V6 (31-36v). The 15th-scentury Tegernsee binder has written on the first page of the Haggadah primum folium huius libri (fol. 7v), proceeding to mark the next as secundum. His next numberings are of quires: 2q (fol. 15), 3q (fol. 23), 4q (fol. 31).
24g Catchwords No catchwords visible.
24h Hebrew Numeration None
24i Blank Leaves Fols. 7 (originally blank)-7v, 36-36v.

25 Material/Technique
Parchment I + 36 + I leaves.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
Full page: (288-291) x (231-238) mm.
Text space of the Latin text: (211-213) x (151-162) mm. written in two columns (fols. 6v-1; width of one: 71 mm.).
Text space of the Hebrew text: (180-204) x (142-162) mm.
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
Fol. 36v, last blank folio of the codex, lower edge, in semi-cursive Ashkenazi script in light brown ink: אני הסופר יוסף ב"ר אפרים ז"ל, I am the scribe Joseph the son of R. Ephraim of blessed memory.
The same name appears within the panel illustrating the Wise Son (fol. 12): יוסף ב"ר אפרים ז"ל, Joseph the son of R. Ephraim of blessed memory.
31 Scribal Notes
By the vocaliser: Hebrew corrigenda in square script in light brown ink (fols. 11, 14, 30, 31v).
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding

Early 19th century red morocco binding on cardboard, decorated with a gold-tooled floral frame on the front and back. The spine has head and tail bands and four cords, and the sections in between are decorated with gold-tooled frames and central sun-ray motifs.

36 Decoration Program

The decoration of the manuscript consists of painted panels executed in tempera (various shades of blue, vermilion, red, magenta, green, yellow, brown, grey and gold leaf and powder on a yellowish-brown ground). It includes four initial word panels for some of the main sections, and twenty text illustrations, usually in a panel placed next to the initial word or below the text they illustrate.

The initial words and some of the illustrated panels were planned when the text was written, since they are wholly or partly included within the text column (fols. 10, 12-13, 15v, 19, 21-22, 24v).

A pair of acanthus scrolls extends from the borders of most of the panels into the margins.

  1. Four painted initial word panels in large letters for some of the main sections (fols. 10, 19, 22, 24v). One panel includes a text illustration (הא - This is the bread of affliction, fol. 10).
  2. 20 painted text illustrations: Kiddush (fol. 7v); Havdalah (fol. 8v); Bread of Affliction (fol. 10); Bondage of the Israelites in Egypt (fol. 11); Four Sons: Wise Son (fol. 12), Wicked Son (fol. 12v), Simple Son (fol. 12v), the Son who does not know how to ask (fol. 13); Naked and Bare (fol. 15); Pithom and Raamses (fol. 15v); Infants cast into the River (fol. 16); Outstretched arm (fol. 17); Plague of Lice (fol. 17v); The Five Rabbis of Bnei Brak: Rabbi Yossei Haglili (fol. 18), Rabbi Eliezer (fol. 18), Rabbi Akiva (fol. 18v), Rabban Gamliel (fol. 20v); Mazzah (fol. 21); Maror (bitter herbs; fol. 21v); The Messiah entering Jerusalem (fol. 24v).
36 Summary and Remarks

A Passover Haggadah of Ashkenazi rite was copied by Joseph son of R. Ephraim, who wrote his name twice: once at the bottom edge of the last verso of the manuscript (fol. 36v); and the second time within the panel depicting Rabbi Akiva as the Wise Son (fol. 12).

The decoration programme consists of four large painted initial word panels for some of the main sections, and twenty small painted panels, of which only four are placed within the text space (fols. 12, 12v, 13, 15v) and the rest are in the margins, depicting traditional ritual and textual illustrations, as well as one eschatological depiction of the Messiah entering Jerusalem, illustrating the text "Pour out thy wrath" (fol. 24v). From all but three panels issue a pair of long-stemmed fleshy acanthus leaves, sometimes curling and often enhanced by gold buds, thorns and floral motifs.

The figures within the panels are placed either in a meadow (fols. 8v, 12v (upper panel), 15, 18 (upper panel), 24v) or in rooms with tiled floors, wooden ceilings and arched entrances (fols. 7v, 10, 12, 12v (lower panel), 13, 17, 17v, 18 (lower panel) 18v, 20v, 21, 21v). They are squat and richly dressed in robes and mantles, the drapery folds rendered with darker tones of the same colour, and highlights of either white or yellow. They wear varying kinds of opulent head-gear: high caps (e.g. fols. 8v, 11, 12), a head gear recalling a bowler hat (e.g. fols. 12v, 16), hats divided horizontally into two or three sections (e.g. fols. 18, 21v) with an extension (e.g. fols. 11, 20v), and Jewish hats (fols. 7v, 24v). The women wear white wide kerchiefs tied under the chin (e.g. fols. 10, 21v). Hands, hair and facial features are outlined in black ink; the irises are mostly looking sideways.

Style

The style of the manuscript poses a serious problem. On the one hand no exact parallel has yet been found for the style of the figures in the panels. On the other hand, the style of the acanthus scrolls which issue from them was very popular in the last quarter of the 15th century and appears in many manuscripts which were produced in the Danube region of South Germany andAustria. A united figure and foliage style similar to that of our haggadah, if found, could indicate a specific workshop or place where the paintings were executed.

We are deeply grateful to the scholars of the Österreichische Akademie der Wissenschaften, Kommission für Schrift- und Buchwesen des Mittelalters, Otto Pächt-Archiv at the Institut für Kunstgeschichte of the University of Vienna (Drs. M. Roland, Ch. Beier, A. Tif), the head of the Manuscript Department of the Österreichische Nationalbibliothek in Vienna (Dr. A. Fingernagel), as well as to colleagues in the Manuscript Department of the Bayerische Staasbibliothek, Munich (Drs. B. Hernad and K.-G. Pfändtner), for their helpful comments and examples. Being familiar with this regional style through wide research and publications, they suggest that at this stage of research we should agree on a general definition of the region for the style of our haggadah, namely the Danube region of South Germany and Austria.

Despite that, a close stylistic comparison for the acanthus scrolls pointed out to us by Dr. Roland is found in a Breviary produced for Brixen Diocese between 1460 and 1480 and housed there in the Nicholas Cusanus Seminarbibliothek (figs. 2, 4).

Taking into consideration the fact that the motifs are common to many manuscripts and that the scrolls in the Breviary are fleshier, leading to a denser composition, the resemblance lies mainly in the way the leaves were executed: they are composite, often with small trifid and curling leaves, the edges rounded, with hidden gold buds and spidery ink extensions. Our Haggadah (figs. 1, 3, 5-6) could have been decorated in the same workshop as the Brixen Breviary, which alas is not adorned with figures.

                                          

Fig. 1: Munich, BSB Cod. hebr. 200, fol. 10            Fig 2: Brixen Breviary

                                                                            Brixen, Nicholas Cusanus  Seminarbibliothek, Cod. A12, fol. 24v

                                                                            (Courtesy of Cusanus Semiarbibliothek)

 

                                            

Fig. 3: Munich, BSB Cod. hebr. 200, fol. 12v        Fig. 4: Brixen Breviary

                                                                            Brixen, Nicholas Cusanus Seminarbibliothek, Cod. A 12, fol. 55v

                                                                            (Courtesy of Cusanus Semiarbibliothek)                     

                                           

Fig. 5: Munich, BSB Cod. hebr. 200, fol. 18       Fig.6:Munich, BSB Cod. hebr. 200, fol. 24v

 

The decoration programme as well as the iconography of the illustrations reflect those which appear in other Ashkenazi illuminated haggadot of the 15th century, for example the figures of the Four Sons (fols. 12-13) and the Five Rabbis of Bnei Brak (fols. 18-18v, 20v), or the Bondage of the Israelites inEgyptand the building of the cities of Pithom and Raamses (fols. 11, 15v). However, some images reflect Christian iconography (Shalev-Eyni, forthcoming facsimile). A striking example is the blessing of the wine (kiddush; fol. 7v): a man holding a cup of wine, his right hand raised in a gesture of blessing with index and middle finger, typical of Christian rather than Jewish custom. A similar gesture is found in the panel illustrating the bread of affliction (הא לחמא עניא; fol. 10): the man points at the mazzah with his right hand in the Christian blessing. A third example is the depiction of the man brandishing a sword in his right hand, and his left in the Christian blessing, illustrating the mighty hand over Jerusalem (fol. 17): the text in the haggadah cites part of and interprets biblical verses (I Chron. 21:15-16) which describe an angel with a sword, who was sent by the Lord to destroy Jerusalem.

The Latin Text

The haggadah is preceded by a Latin text, which was copied in 1493 by Ambrosius Schwerzenbeck in the first quire (fols. 1-6, but to be read 6-1) with an introduction on the recto of the first folio of the haggadah (fol. 7). The Latin text describes the ritual of the Seder and the miniatures which illustrate it. It discusses the way the mazzah is prepared and mentions the confession extracted from the Jews of Trent in the blood libel case of 1475, at which he was present. He also underlines the difference between Christianity and Judaism, unfavourably to the latter (Aigner 2010, pp. 20-28, 78-90).

The thirty-five Latin marginal annotations next to the Hebrew text of the haggadah were written by Erhard in 1492, explaining the text and the customs (see Appendix).         

This haggadah raises two intriguing questions: one, which at present cannot be answered, concerns the anonymous patron who apparently did not make much use of it; the second concerns its history. The haggadah was acquired by Paulus Wann of Kemnath who studied in Vienna(Magister in 1447), and in 1477 became a canon of Passau Cathedral of (Verfasserlexikon 1999, 10). His friend was Ambrosius Schwerzenbeck the librarian (1481-1500) of the Benedictine monastery in Tegernsee. Paulus Wann donated many books to Tegernsee, amongst them our haggadah, which he bequeathed in 1489, without any annotations (cf. his hand in Clm 18389, fols. 2-9, from 1485). Interested in its contents and with no knowledge of Hebrew, Schwerzenbeck turned to Erhard (Verfasserlexikon 1980, 2) who studied Hebrew with Petrus Nigri, the Hebraist. Apparently Erhard was at the Dominican monastery in Regensburgfrom 1475-1484, under the priorship of Johannes Nigri, the brother of Petrus. The haggadah was sent to him requesting him to describe and explain its contents. He wrote his text in one quire (Q12-1; measuring 210 x157 mm.) in small cursive script in dark ink, which was bound at Tegernsee together with a miscellany of religious tractates (Clm 18526b, fols. 190v-200). To facilitate his work he added annotations in the haggadah.

As can be gathered from Schwerzenbeck's note added in this quire (Clm 18526b, fol. 190; cf. his script in Clm 18880, fol. 5v): Anno Domini 1492 scriptum istud factum est ab Erhardo religioso de ordine predicatorum, he received Erhard's text in1492. He copied it diligently in 1493 (Cod. hebr. 200, fol. 1v) in a neat, legible textualis in a quire the size of the haggadah (I6; measuring 288 x 238 mm.). However, Schwerzenbeck was unable to copy the many Hebrew inscriptions which punctuate Erhard's text and left lacunae. This suggests that Erhard did not see the copied version, and no Hebraists were present at Tegernsee to assist Schwerzenbeck (Redlich 1931, pp. 66-71, 76-84; Bischoff (ed.) 1979, IV 2, pp. 734-863).   

Scholars have tried to identify the Hebraist Erhard (Bischoff 1967, II pp. 187-191; Dall'Asta and Dörner (ed.) 2003, pp. 7-10). His name is known from Schwerzenbeck's note (Clm 18526b, fol. 190) as well as from the table of contents of the miscellany in which Erhard's quire is bound (verso of front flyleaf): Tactatis declarans esum agni paschalis Iudeorum Erhardi de ordine predicatorum.

The haggadah is not mentioned in Schwerze

38 Suggested Reconstruction
39 History/Provenance
Latin explanations of the Passover ritual and of the contents of the haggadah copied in 1493 (fol.1v) by Ambrosius Schwerzenbeck, librarian at Tegernsee (reading from back to front, fols. 7 to 1v).
Latin annotations to the text:
• By Erhard of Pappenheim in black and red ink, in textualis (fols. 7v-8, 9, 10) and cursive script (fols. 12-13, 14, 15, 21, 22-23v, 24v-28, 29, 31).
• By the 15th-century binder in brown ink (fols. 7v, 8, 15, 23, 31; see Quires).
• In brown ink, unknown date: flags added above Pithom and Raamses, the latter with crosses (fol. 15v).
On the front cover pastedown by a librarian of BSB: Cod. hebr. 200 in 40 (present signature) and the contents in Latin and German.
On the back cover pastedown: Cod. hebr. 200.
On the front cover flyleaf: Ms. h. 200.
Stamps of the Court and State Library:
Fols. 1, 35v: oval ink-stamp with the previous name of the Library BIBLIOTHECA/ REGIA/ MONACENSIS.
Library stickers: On back pastedown and spine: Cod. Hebr. 200.
40 Main Surveys & Excavations
41 Condition
Except for the first and last leaves (fols. 7, 36v), the haggadah does not show much use.
42 Biography
43 Bibliography
Bischoff 1967 II B. Bischoff, Mittelalnteliche Studien II, Stuttgart 1967. Bischoff (ed.) 1977, 1979 B. Bischoff, Mittelalterliche Bibliothekskataloge Deutschlands und der Schweiz: Regensburg IV 1, Munich 1977; Freising-Tegernsee, IV 2, Munich 1979. Dall'Asta and Dörner (ed.) 2003 M. Dall'Asta and G. Dörner (ed.), "Reuchlin und Erhardus von Pappenheim", Johannes Reuchlin Briefwechsel II: 1506-1513, Stuttgart-Bad Cannstatt 2003, pp. 7-10. Edmunds 1980 S. Edmunds, 'The Place of the London Haggadah in the Work of Joel ben Simeon", Journal of Jewish Art, 7 (1980), pp. 25-34. Finesinger 1937/38 S. Finesinger, "The Custom of Looking at the Fingernails at the Outgoing of the Sabbath", Hebrew Union College Annual, 12/13 (1937/38), pp. 347-365. The Floersheim Haggadah, facsimile 1985 The Floersheim Haggadah, facsimile, Zurich 1985 Aigner 2010 F. Aigner Die Münchner Pessach-Haggadah: Bayerische Staatsbibliothek, Cod. hebr. 200 (M.A. thesis for Ludwig-Maximilians-Universität München, Fakultät für Geschichts- und Kunstwissenschaft, Department Kunstwissenschaften Kunstgeschichte), Munich 2010. Friedman 1985 M. Friedman, "The Four Sons of the Haggadah and the Ages of Man", Journal of Jewish Art 11 (1985), pp. 16-40. Goitan 2010 T. Goitan, The Erna Michael Haggadah (M.A. Thesis, Hebrew University of Jerusalem) 2010 (Hebrew, unpublished). Goldstein, facsimile 1985 D. Goldstein, The Ashkenazi Haggadah: A Hebrew Manuscript of the Mid- 15th Century from the Collections of the British Library, Ms. Add. 14762, A Facsimile Edition, London 1985. Gutmann 1967/68 J. Gutmann, "When the Kingdom Comes, Messianic Themes in Medieval Jewish Art", Art Journal, 27/2 (1967/68), pp. 168-175. Gutmann 1970 J. Gutmann, "Joel ben Simeon", Studies in Bibliography and Booklore, vol. 9 (1970), pp. 76-95. Gutmann 1974 J. Gutman, “The Messiah at the Seder: A Fifteenth-Century Motif in Jewish Art”, Raphael Mahler Jubilee Volume, Tel Aviv 1974, pp. 29–38. Gutmann 1979 J. Gutmann, Hebrew Manuscript Painting, London 1979. Kaufmann Haggadah, facsimile 1990 Kaufmann Haggadah (Budapest, Oriental Library of the Hungarian Academy of Sciences), facsimile, Budapest 1990. Knauer 1996 G. N. Knauer, "Iter per miscellanea: Homer's Batrachomyomachia and Johannes Reuchlin", S. G. Nichols and S. Wenzel (ed.), The Whole Book: Cultural Perspectives on the Medieval Miscellany, Michigan 1996, pp. 23-36. Knauer 2004-2012 G. N. Knauer, The humanistic Collectanea of a Benedictine monk, Johannes ex Grafing, a student of Johannes Reuchlin and Conrad Celtis: Observations concerning Munich, BSB, MSS Cgrm 582a, Chm 400, 401, Cgrm 323 (Unfinished draft kept in the BSB), Munich 2004, 2009, 2012. 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Narkiss, The Golden Haggadah, Introduction and Facsimile (Eugrammia Press and British Museum), London 1970. Narkiss 1982 B. Narkiss, Hebrew Illuminated Manuscripts in the British Isles: A Catalogue Raisonné, vol. I: Spanish and Portuguese Manuscripts, in collaboration with A. Cohen-Mushlin and A. Tcherikover, Jerusalem and London 1982. Narkiss 1991 B. Narkiss, "The Art of the Washington Haggadah", The Washington Haggadah: A Facsimile Edition of an Illuminated Fifteenth Century Hebrew Manuscript at the Library of Congress Signed by Joel ben Simeon, ed. M. M. Weinstein, Washington DC 1991, pp. 29-101 (at 29-54). Narkiss 1997 B. Narkiss, The Golden Haggadah, London 1997. Narkiss and Sed-Rajna, IJA 1976/2 B. Narkiss and G. Sed-Rajna, "Erna Michael Haggadah", The Jerusalem Index of Jewish Art, vol. I, Jerusalem, 1976/2. Narkiss and Sed-Rajna, IJA 1976/3 B. Narkiss and G. Sed-Rajna, "Chantilly Haggadah", The Jerusalem Index of Jewish Art, vol. I, Jerusalem, 1976/3. 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Sed-Rajna, "Kaufmann Haggadah", The Jerusalem Index of Jewish Art, vol. IV, Jerusalem, 1986/7. Po-Chia Hsia 1992 R. Po-Chia Hsia, Trent 1475: Stories of a Ritual Murder Trial, New Haven 1992 Redlich 1931 V. Redlich, Tegernsee und die deutsche Geistesgeschichte im 15. Jahrhundert, Munich 1931. Roth, facsimile 1963 B. C. Roth, Sarajevo Haggadah, facsimile, Tel Aviv-Jerusalem 1963. Rothschild Miscellany, facsimile 1989 The Rothschild Miscellany, facsimile, London 1989. Sabar 1997/98 Sh. Sabar, "Messianic Aspirations and Renaissance Urban Ideals: The Image of Jerusalem in the Venice Haggadah, 1609", Jewish Art 23-24 (1997-1998), pp. 295-312. Saltman 1981 E. S. Saltman, “The ‘Forbidden Image’ in Jewish Art,” Journal of Jewish Art 8 (1981), 42-53. Schonfield, facsimile 1992 J. Schonfield (ed.), The Barcelona Haggadah, facsimile, London 1992. Shalev-Eyni, forthcoming facsimile S. Shalev-Eyni, "The Making of the Codex: Scribal Work, Illumination and Patronage", The Monk's Haggadah: A Fifteenth Century Illustrated Passover Haggadah from the Monastery of Saint Quirinus at Tegernsee with a Prologue by the Friar Erhard of Pappenheim, (ed.) D. Stern, Ch. Markschies and S. Shalev-Eyni (Penn State University Press, forthcoming facsimile). Sicherl 1978 M. Sicherl, Johannes Cuno. Ein Wegbereiter des Griechischen in Deutschland (Studien zum Fortwirken der Antike 9, W. Marg and H. Rüdiger ed.), Heidelberg 1978. Sicherl 1994 M. Sicherl, "Neue Reuchliniana", H. Eideneier (ed.) Graeca recentiora in Germania (Wofenbütteler Forschungen 59), Wiesbaden 1994, pp. 65-92. Spitzer, facsimile 1967 M. Spitzer (ed.), The Bird's Head Haggadah of the Bezalel National Art Museum in Jerusalem, introduction and facsimile, Jerusalem 1967. Steinschneider 1895 M. Steinschneider, Die Hebräischen Handschriften der K. Hof- und Staatsbibliothek in München, Munich 1895, No. 200. Steimann 2007 I. Steimann, Two Illuminated Haggadot from Candia of the 16th Century, (M.A. Thesis, Hebrew University of Jerusalem) 2007 (unpublished). Verfasserlexikon 1980 (2), 1999 (10) Die deutsche Literatur des Mittelalters:Verfasserlexikon, Berlin- New York 1980, 1999. Walde 1916 B. Walde, Christliche Hebräisten Deutschlands am Ausgang des Mittelalters (Alttestamentiche Abhandlungen VI 2, 3), Münster i. W. 1916. Weinstein, facsimile 1991 M. M. Weinstein (ed.), The Washington Haggadah: A Facsimile Edition of an Illuminated Manuscript at the Library of Congress Signed by Joel ben Simeon, M. Myron Weinstein (ed.), Washington 1991. Zirlin 1986/87 Y. Zirlin, "The Schocken Italian Haggadah of c. 1400 and its Origins," Jewish Art 12-13 (1986/87), 55-72. Zirlin 1995 Y. Zirlin, "Joel Meets Johannes: a Fifteenth-century Jewish-Christian Collaboration in Manuscript iIlumination", Viator, 26 (1995), pp. 265-82. Zirlin 2005 Y. Zirlin, "discovering the Floerseim Haggadah", Ars Judaica 1, Ramat-Gan 2005, pp. 91- 108. Further reading M. Beit Arié, Hebrew Codicology, Institut de recherche et d'histoire des textes, Etudes de paléographie hébraïque (Paris, 1976), 87-88, 102 and pl. 26. M. Beit-Arié, "Joel Ben Simeon's Manuscripts: A Codicologer's View", Journal of Jewish Art, 3-4 (1977), pp. 25-39. M. Beit-Arié, "Codicological Description and Analysis of the Washington Haggadah", The Washington Haggadah: A Facsimile Edition of an Illuminated Manuscript at the Library of Congress Signed by Joel ben Simeon, ed. M. M. Weinstein, Washington, 1991, pp. 105-135. M. Beit- Arié, "Joel ben Simeon's Manuscripts: A Codicological View", The Makings of the Medieval Hebrew Book: Studies in Paleography and Codicology, ed. M. Beit-Arié, Jerusalem, 1993, pp. 93-108. E. M. Cohen, "Joel ben Simeon Revisited: Reflections of the Scribe’s Artistic Repertoire in a Cinquecento Haggadah", A Crown for a King. Studies in Jewish Art, History and Archaeology in Memory of Stephen S. Kayser, eds. Sh. Sabar, S. Fine, W. M. Kramer, Jerusalem 2000, pp. 59-71. I. Fishof, "The Origin of the Sîddûr of the Rabbi of Ruzhin", Jewish Art, 12-13 (1986-1987), pp. 73-82. M. Fooner, "Joel ben Simeon Illuminator of Hebrew MSS. in the XVth Century", The Jewish Quarterly Review 27 (1937), pp. 217-232. M. Glatzer, "The Ashkenazic and Italian Haggadah and the Haggadot of Joel ben Simeon", The Washington Haggadah: A Facsimile Edition of an Illuminated Manuscript at the Library of Congress Signed by Joel ben Simeon, ed. M. M. Weinstein, Washington, 1991, pp. 139-145. J. Goldin, "Some Minor Supplementary Notes on the Murphy Haggadah", The Yale University Library Gazette, 43 (1968), pp. 39-43. J. Gutmann, “The Haggadic Motif in Jewish Iconography”, Eretz Israel 6 (1960), pp. 16-22. J. Gutmann, "The Illuminated Medieval Passover Haggadah: Investigations and Research Problems", Studies in Bibliography and Booklore 7 (1965), pp. 3-25. J. Gutmann, "Thirteen Manuscripts in Search of an Author: Joel Ben Simeon, 15th Century Scribe-Artist", Studies in Bibliography and Booklore, 9 (1970), pp. 76-95. A. Haidinger, Verborgene Schönheit, die Buchkunst im Stift Klosterneuburg (Katalog zur Sonderaustellung 1998) Klosterneuburg-Vienna, 1998. A. Haidinger, "Die Handschriftengruppe um den Josefsmeister in Wien, Österreichische Nationalbibliothek, Cod. 2774", Codices Manuscripti (Heft 48/49, June ) 2004, pp.35-42, figs. 2, 3. F. Heimann, "Die Illustrationen in der 2. Darmstädter Pesach Haggada", Kairos 25 (1983), pp. 18-35. F. Heimann-Jelinek, "Die Illustrationen der Floersheim-Haggada im Vergleich mit den Illustrationen der zweiten Darmstädter Pesach Haggada", Kairos 29, 3-4 (1987), pp. 176-216. E. Irblich (ed.), Thesaurus Austriacus, Europas Glanz im Spiegel der Buchkunst Handschriften und Kunstalben von 800-1600, Vienna 1996. F. Landsberger, “The Washington Haggadah and its Illuminator”, Hebrew Union College Annual 21 (1948), pp. 73-103. M. Metzger, “A propos de l’illustration de maror zé (voici l’herbe amère) dans quelques haggadot du XVe siècle”, Bulletin de nos communautés 18:8 (April 1962). K.-G. Pfändtner, "Die Handschriften
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
19960
48 Temp: Addenda
OVRPO=ntl%3Atrue%2Cntl_localname%3Atrue%2Csubject%3A%2Csubject_detail%3A%2Cobject%3Atrue%2Cobject_detail%3A%2Cmaker_profession%3Atrue%2Cmaker_name%3Atrue%2Cmaker_detail%3Atrue%2Cdate%3Atrue%2Cperiod%3Atrue%2Cperiod_detail%3Atrue%2Cphotographer%3A%2Cphoto_date%3A%2Cphotographer_copyright%3A%2Corigin%3Atrue%2Corigin_detail%3Atrue%2Chistorical_origin%3Atrue%2Cschool%3Atrue%2Cschool_detail%3Atrue%2Ccommunity%3Atrue%2Ccommunity_detail%3Atrue%2Ccollection%3Atrue%2Ccollection_detail%3Atrue%2Ccopyright%3Atrue%2Csite%3Atrue%2Csite_detail%3Atrue%2Clocation%3Atrue%2Clocation_detail%3Atrue%2Cdescription%3A%2C&

Registrar
Function: Name: Date:
49 Documenter Prof. Aliza Cohen-Mushlin; Ilona Steimann 2008; 2008 49a
50 Researcher Prof. Aliza Cohen-Mushlin; Ilona Steimann; Yaffa Levy 2009-2013; 2009; 2013 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head Michal Sternthal. Project Head: Prof. Aliza Cohen-Mushlin 04.2106; 2008-2015 53a
54 Editor Christine Evans 2013 54a
55 Donor Supported by the Fritz Thyssen Foundation 55a

Less Details


Object's images (82 image(s))

      [1] [2] [3] [4] [5]

(XXII) ID: 199985 The Tegernsee Haggadah, Fol. 11, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199985 The Tegernsee Haggadah, Fol. 11, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 11
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Israelites in bondage in Egypt
Acanthus Leaf |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000427.jpg
20 Description

Fol. 11: A rectangular panel along the lower margin of the page and extending up the outer margin depicts the hard labour of the Israelites. The composition is divided into three groups. On the right, two bearded men facing each other are preparing the mortar, shown as a white heap between them. The man on the left is preparing blocks of mortar, one lying in a bowl at his feet. At the centre of the panel, a young man is building a brick wall, while behind him an Egyptian taskmaster holding a club is supervising the work. On the left a group of three men are engaged in building a tower: a young man is carrying bricks on his shoulder; another, with a pail of mortar, is climbing a ladder leaning against a tower, at the top of which stands the builder. He is holding a trowel in his right hand and adjusting the bricks with his left. The panel is framed by a black ink line, with an acanthus stem issuing from the top, and another descends into the panel near the figure on the right. 

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and different shades of blue, magenta, green, red, yellow, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements (53-96) x 200 mm.; 4-7 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
   

Fig. 1: Avadim hayinu

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 11

Fig. 2: Avadim hayinu

Floersheim Haggadah

North Italy, 1502

Zurich, Floersheim Coll. no sign., p. 10

(Floersheim Haggadah, facsimile 1985)

 

 

 

Fig. 3: Avadim hayinu

BarcelonaHaggadah

Barcelona, mid-14th century

London, BL Add. 14761, fol. 30v

(Schonfield, facsimile 1992)

Fig. 4: Avadim hayinu

Murphy Haggadah

Joel ben Simeon (artist)

North Italy, c.1455

Jerusalem, NLI 406130, fol. 10v

(Murphy Haggadah, facsimile n.d.)

 

 

Fig. 5: Avadim hayinu

Bird's Head Haggadah   

Franconia, c.1300         

Jerusalem, IM MS 180/57, fol. 15

(Spitzer, facsimile 1967)

The illustration to "We were bondmen" (עבדים היינו) is found in most Ashkenazi and Italo-Ashkenazi haggadot. It usually depicts the erection of the two cities, Pithom and Raamses, mentioned in the text of the haggadah (figs. 2, 5 the cities identified, and 4). In other cases, such as theBarcelonaand Tegernsee Haggadot (figs. 1, 3), the Israelites are building a tower, which might be either city. The iconography of this scene frequently includes Israelites mixing mortar, climbing a ladder and placing the bricks at the top of the tower or wall. An early version appears in the Bird's Head Haggadah of c.1300 fromFranconia(fig. 5). An interesting detail in our haggadah, which also appears in others, is the figure of an Egyptian taskmaster, who is taller than the others and holds a club or whip (figs. 1-4). This detail may derive from the full story of the labour inEgypt(Ex. 5:13).

See: General Document for acanthus branches.

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199985
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199986 The Tegernsee Haggadah, Fol. 12, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199986 The Tegernsee Haggadah, Fol. 12, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 12
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Sons, the Four, the wise son
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000428.jpg
20 Description

Fol. 12: The Wise Son is depicted within a rectangular panel in the lower left corner of the text space, next to the text it illustrates. He is shown as a bearded man holding an open book, wearing a tall green cap, a green robe with a yellow collar and a gold belt, and stands on a dark magenta tiled floor, below an arched opening and a yellow boarded ceiling. On the left, on the blue ground of the panel, the scribe, Joseph son of R. Ephraim of blessed memory (יוסף ב"ר אפרים ז"ל), has written his name vertically in semi-cursive Ashkenazi script.

From the centre of the left border of the frame, two fleshy acanthus stems extend into the outer and lower margins.

A Latin annotation by Erhard is written in red cursive script:

Next to: חכם מה הוא אומר מה העדות והחקים והמשפטים

Quid sapienti respondendum sit hunc ritum querenti

What the wise man has to answer when asked about this rite.

See: General Document for acanthus branches and Appendix.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, vermilion, red, yellow, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 75 x 48 mm.; 6 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

Fig. 1: The Wise Son

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 12

Fig. 2: The Wise Son

LondonAshkenazi Haggadah

Meir Jaffe (scribe)

Bämler of Augsburg and Joel ben Simeon (artists)

Augsburg(?), c.1460

London, BL Add. 14762, fol. 8v

(Goldstein, facsimile 1985)

Fig. 3: The Wise Son

FirstCincinnatiHaggadah

Meir Yaffe (scribe) 

Ulm, 1480s

Cincinnati, HUC Klau Lib. MS 444,

p. 10

(Optical disc: col. facsims.)

 

In Ashkenazi and Italo-Ashkenazi haggadot of the 15th century the Wise Son, who asks "What is the meaning of the laws and traditions God has commanded?" (Deut. 6:20), is similarly depicted: a man, sitting or standing, holding a book (figs. 1-3). Moreover, the representation of the Wise Son is usually similar to depictions of the Sages mentioned in this haggadah (cf. fols. 18, 18v, 20v).

The scribe of the Tegernsee Haggadah, Joseph son of R. Ephraim, saw fit to inscribe his name next to the Wise Son. 

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199986
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199987 The Tegernsee Haggadah, Fol. 12v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199987 The Tegernsee Haggadah, Fol. 12v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 12v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Sons, the Four, the wicked son
Sons, the Four, the simple son
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000429.jpg
20 Description

Fol. 12v: Two panels, illustrating the Wicked Son and the Simple Son, are set within the text space to the left of the text they illustrate.

In the upper panel, framed in magenta, the Wicked Son is depicted as a soldier about to decapitate a young man lying on the ground. The soldier wears a silver helm, half-armour and knee-cops, a dagger and a sword hanging from his waist. His right foot is placed on the prostrate man, and his left hand is pulling back his head, preparatory to decapitating him with a halberd held in his right hand. The scene is set in a green flowery meadow under a dark blue sky.

In the lower panel, the Simple Son is depicted as a bearded man seated within a vaulted room, his elbows on his knees, his head in his hands, looking askance. He wears a green robe and a blue hat. The magenta background of the room is decorated with white feathery scrolls; the floor is of red tiles and the ceiling of yellow and brown boards.

Fleshy magenta and green acanthus stems decorated with gold buds extend from the left of both panels along the inner and lower margins. 

Latin annotations by Erhard are written in red cursive script:

1. Next to: רשע מה הוא אומר מה העבודה הזאת לכם ולא לו

    Quid impio parvipendenti

    What to answer an impious man who deprecates

2. Next to: תם מה הוא אומר מה זאת ואמרת אליו

                Quomodo simplici sciscitanti

    How to answer a simpleton who always inquires.

See: General Document for acanthus branches and Appendix.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold and silver leaf and powder, different shades of blue, magenta, green, vermilion, red, yellow and brown.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 58 x (42-45) mm.; 5 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

 

Fig. 1: The Wicked Son

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 12v

Fig. 2: The Wicked Son

Floersheim Haggadah

North Italy, 1502

Zurich, Floersheim Coll. no sign., p. 7

(The Floersheim Haggadah, facsimile 1985)

 

Fig. 3: The Wicked Son

BarcelonaHaggadah

Barcelona, mid-14th century

London, BL Add. 14761, fol. 34v

(Schonfield, facsimile 1992)

Fig. 4: The Wicked Son

LondonAshkenazi Haggadah

Meir Jaffe (scribe)

Bämler of Augsburg and Joel ben Simeon (artists)

Augsburg(?), c.1460

London, BL Add. 14762,

fol. 9

(Goldstein, facsimile 1985)

In Ashkenazi and Italo-Ashkenazi haggadot of the 15th century, the Wicked Son who asks "What does this ritual mean to you?" (Ex. 12:26) is usually depicted as either an armed soldier or a fashionably dressed figure (fig. 2; Kogman-Appel 1993, p. 162). In our haggadah the Wicked Son "excludes himself from his people" (הוציא את עצמו מן הכלל) by demonstrating his wickedness to his victim. Such a scene is found in the Barcelona Haggadah (fig. 3), and in haggadot associated with Joel ben Simon such as the London Ashkenazi Haggadah of c.1460 (fig. 4) from Augsburg (?) or the Murphy Haggadah of about 1455 fromNorth Italy(Gutmann 1970, pp.76-95). In all these cases, as in the Tegernsee Haggadah, the Wicked Son is ready to kill his victim with a halberd, spear or sword.

The illustration in the lower panel of the Simple Son who asks "What is all this?" in different Ashkenazi haggadot from the 15th century depicts a young man sitting or standing. He supports his face with one or both hands (figs. 5, 6, 7) or points to the text (fig. 8).

 

       

Fig. 5: The Simple Son

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200,

fol. 12v

Fig. 6: The Simple Son

FirstCincinnatiHaggadah

Meir Jaffe (scribe)

Ulm, 1480s

Cincinnati, HUC MS 444, p. 11

(Optical disc: col. facsims.)

Fig. 7: The Simple Son

Siddur of the Rabbi of Ruzhin

South-east Germany, c.1460

Jerusalem, IM MS 180/53,

fol. 159v

(Jerusalem, CJA Documentation)

Fig. 8: The Simple Son Yahuda Haggadah

Franconia, 1465-1470

Jerusalem, IM MS 180/50,

fol. 9v

(Narkiss and Sed-Rajna, IJA 1978/3)

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199987
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199988 The Tegernsee Haggadah, Fol. 13, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199988 The Tegernsee Haggadah, Fol. 13, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 13
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Sons, the Four, the son who does not know how to ask
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000430.jpg
20 Description

Fol. 13: The Son who does not know how to ask is depicted within a panel at top left of the text space, next to the text it illustrates. The frontal figure is standing with feet in profile, arms and hands spread, in a vaulted room with red tiles and a yellow boarded ceiling. He wears a magenta robe and round magenta hat with a green brim.

Scrolls of fleshy acanthus leaves in magenta, green, blue and yellow ochre with powder gold extend from the left of the panel into the outer margin, dotted with burnished gold.

The Latin annotation by Erhard is written in red cursive script:

Next to: ושאינו יודע לשאול את פתח לו

Instructio multiplex interrogare nescientis

Manifold instructions for one who does not know how to ask.

See: General Document for acanthus branches and Appendix.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, vermilion, red, yellow, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 55 x 39 mm.; 5 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

 

 

 

Fig. 1: The Son who does not know how to ask  

Tegernsee Haggadah

Munich, BSB Cod. hebr., fol. 13

Fig. 2: The Son who does not know how to ask  

BarcelonaHaggadah

Barcelonamid-14th century

London, BL Add. 14761, fol. 35v

(Schonfield, facsimile 1992)

 

Fig. 3: The Son who does not know how to ask  

LondonAshkenazi Haggadah

Meir Jaffe (scribe)

Bämler of Augsburg and Joel ben Simeon (artists)

Augsburg(?), c.1460

London, BL Add. 14762, fol. 9v

(Goldstein, facsimile 1985)

literature (M. Metzger 1973, p. 167).

The Son who does not know how to ask for whom "you should open the discussion", is depicted with his hands spread sideways similar to the Sephardi Barcelona Haggadah (figs. 1, 2). In Ashkenazi and Italo-Ashkenazi haggadot of the 15th century the fourth son is usually depicted as a fool, dressed as a jester and holding a mirror (fig. 3; Friedman 1985, pp. 16-40). According to M. Metzger, although the depiction of a fool is not related to the text of the haggadah, it arose from the popularity of this image in German folk 

 

 

Fig. 1: The Son who does not know how to ask  

Tegernsee Haggadah

Munich, BSB Cod. hebr., fol. 13

Fig. 2: The Son who does not know how to ask  

BarcelonaHaggadah

Barcelonamid-14th century

London, BL Add. 14761, fol. 35v

(Schonfield, facsimile 1992)

 

Fig. 3: The Son who does not know how to ask  

LondonAshkenazi Haggadah

Meir Jaffe (scribe)

Bämler of Augsburg and Joel ben Simeon (artists)

Augsburg(?), c.1460

London, BL Add. 14762, fol. 9v

(Goldstein, facsimile 1985)

The Son who does not know how to ask for whom "you should open the discussion", is depicted with his hands spread sideways similar to the Sephardi Barcelona Haggadah (figs. 1, 2). In Ashkenazi and Italo-Ashkenazi haggadot of the 15th century the fourth son is usually depicted as a fool, dressed as a jester and holding a mirror (fig. 3; Friedman 1985, pp. 16-40). According to M. Metzger, although the depiction of a fool is not related to the text of the haggadah, it arose from the popularity of this image in German folk literature (M. Metzger 1973, p. 167).

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199988
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199989 The Tegernsee Haggadah, Fol. 15, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199989 The Tegernsee Haggadah, Fol. 15, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 15
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Naked and bare
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000431.jpg
20 Description

Fol. 15: In the centre of the outer margin a magenta panel depicts a naked young woman in a Venus Pudica pose with long light brown hair reaching to the calf, illustrating the adjacent text "Thy breasts are fashioned and thine hair is grown, whereas thou wast naked and bare (Ezek. 16:7). The flowery meadow may in this case allude to Ezekiel (Ezek. 16:6): "I have caused thee to multiply as the bud of the field".

Within the blue background there is a Hebrew inscription in semi-square script, "maiden" (נערה), by Erhard.

The Latin annotation by Erhard is written in red cursive script:

Next to: רבבה כצמח השדה נתתיך (יחזקאל טו, ז)

Ezech. 16 (Ezek. 16:7).

See: General Document for acanthus branches and Appendix.

Remarks

     

Fig. 1: Naked and bare

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 15

Fig. 2: Naked and bare

ChantillyHaggadah

Candia, first half of the 16th century

Chantilly, Musée Condé MS 732, fol. 13

(Steimann 2007, pl. CXII:1)

Fig. 3: The expulsion fromEden

Prayer Book

Netherlands, c.1480

The Hague, KB 135 E 19, fol. 32

(Steimann 2007, pl. CXIII:3)

   

 

Fig. 4: Female mandrake

Hortus Sanitatis

Hortus Sanitatis, Jacob Meydenbach

Mainz, 1491

U.S.National Library of Medicine

(CourtesyU.S.NLM)

Fig. 5: Bud of the field

The SecondDarmstadtHaggadah

North Italy, late 15th century

Darmstadt, HLHB Cod. or. 28, fol. 6

(Steimann 2007, pl. CXII:4)

 

 

This subject appears in Ashkenazi and Italo-Ashkenazi haggadot from the 15th century on, whereas in Sephardi haggadot the text referring to "naked and bare" was not illustrated. Some depictions of a naked maiden relate literally to the words "thy breasts are fashioned, and thine hair is grown, whereas thou wast naked and bare" (Ezek. 16:7; figs. 1, 2). In the Tegernsee Haggadah and in the Chantilly Haggadah (fig. 2) from Candiathe maidens are depicted as Venus Pudica (Modest Venus), similar to the depiction of the modest Eve in contemporary European manuscripts (fig. 3). Our artist apparently adopted the posture of Eve ashamed of her nakedness after eating the forbidden fruit; or he might have been inspired by a female mandrake similar to that in the printed Hortus Sanitatis of 1491 (fig. 4).

Another rendering of the same subject in Ashkenazi haggadot stresses the idea of multiplication of children, with two flanking a naked woman and a third looking down from a tree, as in the Second Darmstadt Haggadah of the late 15th century from Italy (fig. 5).

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and different shades of blue, magenta, green, vermilion, yellow, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 56 x 37 mm.; 4 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

Fig. 1: Naked and bare

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 15

Fig. 2: Naked and bare

ChantillyHaggadah

Candia, first half of the 16th century

Chantilly, Musée Condé MS 732, fol. 13

(Steimann 2007, pl. CXII:1)

Fig. 3: The expulsion fromEden

Prayer Book

Netherlands, c.1480

The Hague, KB 135 E 19, fol. 32

(Steimann 2007, pl. CXIII:3)

 

 

 

Fig. 4: Female mandrake

Hortus Sanitatis

Hortus Sanitatis, Jacob Meydenbach

Mainz, 1491

U.S.National Library of Medicine

(CourtesyU.S.NLM)

Fig. 5: Bud of the field

The SecondDarmstadtHaggadah

North Italy, late 15th century

Darmstadt, HLHB Cod. or. 28, fol. 6

(Steimann 2007, pl. CXII:4)

 

This subject appears in Ashkenazi and Italo-Ashkenazi haggadot from the 15th century on, whereas in Sephardi haggadot the text referring to "naked and bare" was not illustrated. Some depictions of a naked maiden relate literally to the words "thy breasts are fashioned, and thine hair is grown, whereas thou wast naked and bare" (Ezek. 16:7; figs. 1, 2). In the Tegernsee Haggadah and in the Chantilly Haggadah (fig. 2) from Candiathe maidens are depicted as Venus Pudica (Modest Venus), similar to the depiction of the modest Eve in contemporary European manuscripts (fig. 3). Our artist apparently adopted the posture of Eve ashamed of her nakedness after eating the forbidden fruit; or he might have been inspired by a female mandrake similar to that in the printed Hortus Sanitatis of 1491 (fig. 4).

Another rendering of the same subject in Ashkenazi haggadot stresses the idea of multiplication of children, with two flanking a naked woman and a third looking down from a tree, as in the Second Darmstadt Haggadah of the late 15th century fromItaly(fig. 5).

 

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199989
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199990 The Tegernsee Haggadah, Fol. 15v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199990 The Tegernsee Haggadah, Fol. 15v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 15v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Israelites building Pithom and Raamses
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000432.jpg
20 Description

Fol. 15v: In the upper part of the text space two small panels depicting cityscapes are placed next to the text “Pithom” and “Raamses”, flanking the large word "and they imposed" ( (ויתנוon the right and left respectively. The cities are walled, each with a donjon and towers. Pithom on the right has a yellow building with a red roof and turret and Raamses has two yellow buildings with green roofs, and a mast on a tower. Acanthus branches issue from the panels and spread along the inner, outer and upper margins.

See: General Document for acanthus branches.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and different shades of blue, green, magenta, vermilion, yellow, grey and white
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 43 x (35-43) mm.; 4 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

 

Fig. 1: Pithom and Raamses

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 15v

Fig. 2: Pithom and Raamses

Siddur of the Rabbi of Ruzhin

South-east Germany, c.1460

Jerusalem, IM MS 180/53, fol. 163

(Jerusalem, CJA Documentation)

 

Fig. 3: Pithom and Raamses

An-sky Haggadah

Spain, 14th century, with 15th-16th century Italian additions

Moscow,RussianStateArchive of Literature and Art,

fond. 2583 (An-sky), op.I, d.1

(Kantsedikas and Serheyeva 2001, fig. 9)

Depictions of the completed cities of Pithom and Raamses next to the words "They imposed hard labour upon us…" (ויתנו עלינו עבודה קשה) appear in several Ashkenazi and Italo-Ashkenazi haggadot of the 15th century. Besides our haggadah (fig. 1), the cities appear in the Siddur of the Rabbi of Ruzhin (fig. 2) and in the An-sky Haggadah (fig. 3), although in the latter and in other haggadot the building process is shown (cf. fol. 11). 

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199990
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199991 The Tegernsee Haggadah, Fol. 16, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199991 The Tegernsee Haggadah, Fol. 16, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 16
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Israelites male Infants, cast into the river |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000433.jpg
20 Description

Fol. 16: An unframed text illustration appears in the lower margin of the page, below the text in the Haggadah commenting on the biblical phrase "our labour" (Deut. 26:7): "these are the sons, as it is said, 'Every boy that is born you shall throw into theNile' …" (Exod. 1:22). In the illustration an armed Egyptian is holding a naked blond boy by the leg about to throw him into a round lake surrounded by a meadow with trees. The bearded Egyptian prepares to draw the black sword at his waist with his right hand. He wears a short magenta tunic with red hose and a green hat. 

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and different shades of magenta, red, green, blue, yellow, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

Fig. 1: Infant cast into the water

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 16

Fig. 2: Infants cast into the water

Murphy Haggadah

Joel ben Simeon (artist)

North Italy, c.1455

Jerusalem, NLI 406130, fol. 12

(Murphy Haggadah, facsimile n.d.)

 

 

Fig. 3: Infant cast into the river

Italian Prayer book (Maraviglia Siddur)

Joel ben Simeon (artist)

North Italy, 1469

Joel ben Simeon (scribe and artist)

London, BL Add. 26957, fol. 42

(The BL Manuscript Online Catalogue

http://www.bl.uk/catalogues/illuminatedmanuscripts/ILLUMIN.ASP?Size=mid&IllID=52558)

Fig. 4: Infant cast into the river

FirstCincinnatiHaggadah

Meir Jaffe (scribe) 

Ulm, 1480s

Cincinnati, HUC Klau Lib. MS 444,

p. 19

(Optical disc: col. facsims.)

 

 

 

Fig. 5: Infants cast into the river

Rothschild Miscellany

Ferrara?, 1470s

Jerusalem, IM MS 180/51, fol. 158v

(Rothschild Miscellany, facsimile 1989)

Fig. 6: Infants cast into the river

Siddur of the Rabbi of Ruzhin

South-east Germany, c.1460

Jerusalem, IM MS 180/53, fol. 164

(Jerusalem, CJA Documentation)

The scene in the Tegernsee Haggadah also appears in the North Italian Murphy Haggadah of c.1455 and consists just of the main components: an Egyptian casting a child into the water (figs. 1, 2). A similar iconography appears in the Maraviglia Siddur of 1469, which, like the Murphy Haggadah, was illustrated by Joel ben Simeon in North Italy, although theNileis shown as a river rather than as a round lake (fig. 3). In the First Cincinnati Haggadah the casting of the infant is similar (fig. 4), though in the presence of Pharaoh and an attendant. In other haggadot the iconography of this scene may include a group of Hebrew women mourning their children, situated within a landscape with the gushing waters of a river (figs. 5, 6). 

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199991
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199992 The Tegernsee Haggadah, Fol. 17, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199992 The Tegernsee Haggadah, Fol. 17, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 17
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject `And a drawn sword in his hands outstretched over Jerusalem`
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000434.jpg
20 Description

Fol. 17: In the upper outer margin, a green-framed panel depicts a bearded man brandishing a sword in his right hand above his head, illustrating the text next to it: "…having a drawn sword in his hand stretched out over Jerusalem" (I Chron. 21:16). The bearded man, in a magenta tunic, is seated in a room, his left hand pointing with two fingers and thumb joined in the gesture of Christian blessing (Shalev-Eyni, forthcoming facsimile).

Two branches of fleshy magenta, green and blue acanthus leaves extend from the corners of the panel.

See: General Document for acanthus branches.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold and silver leaf and different shades of magenta, green, blue, yellow, white, grey and brown.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 57 x 42 mm.; 5 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

Fig. 1: Drawn Sword ... overJerusalem

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 17

Fig. 2: Drawn Sword ... overJerusalem

The SecondDarmstadtHaggadah

North Italy, late 15th century

Darmstadt, HLHB Cod. or. 28, fol. 7v

(Steimann 2007, pl. XCIV:1)

 

Fig. 3: Drawn Sword ... overJerusalem

Murphy Haggadah, attributed to Joel ben Simeon

North Italy, c.1455

Jerusalem, NLI 406130, fol. 13v

(Murphy Haggadah, facsimile n.d.)         

 

Fig. 4: Drawn Sword ... overJerusalem

Siddur of the Rabbi of Ruzhin

South-east Germany, c.1460

Jerusalem, IM MS 180/53, fol. 165v

(Jerusalem, CJA Documentation)

 

Fig. 5: This is the mighty hand

(R. Yosei)                                                                          upon the Egyptians (R. Eliezer)           

Yahudah Haggadah

Joel ben Simeon                             

Franconia, 1465-1470

Jerusalem, IM MS180/50, fol. 16

(Narkiss and Sed-Rajna, IJA 1978/3)

The illustration of the sword stretched out overJerusalemalludes to the mighty hand of the Lord and appears in haggadot of the 15thcentury. In the Second Darmstadt Haggadah, for example, it shows an arm and hand holding a sword appearing from the sky, identified by an inscription as "his outstretched sword" (fig. 2). The sword is stretched out over a walled city representingJerusalem. A similar depiction is in the Murphy Haggadah attributed to the scribe and artist Joel ben Simeon (fig. 3). In our manuscript it is a man seated on a bench who holds the sword, whereas in the Ruzhin manuscript of c.1460, an armoured man is drawing it, both illustrating the same text and expressing a similar interpretation of the "hand of the Lord".

On the other hand, interpretations of the mighty hand of the Lord cited by R. Yosei in the Yahudah Haggadah and R. Eliezer in the Second Nuremberg Haggadah, both from south Germany (figs. 5, 6), are each illustrated by a winged angel.

The iconography of the human figure alluding to the mighty hand of God in our haggadah and the Ruzhin Siddur is exceptional. It could be argued that the figure is a Christian representation of God. However, since it has no halo and is not emerging from the sky, it seems that the artists or patrons wanted to tone down any Christian connotation. Instead, the figure of a man drawing a sword could allude to the biblical text (I Chronicles 21:16) partly quoted in the haggadah: "the angel of the Lord stands between the earth and the heaven, having a drawn sword in his hand stretched out overJerusalem" and sent by the Lord to destroy the city. The gesture of blessing probably suggests that the Lord is reversing his order for destruction, and the figure of the man could represent a wingless angel or be just a literal illustration of a "drawn sword".

A parallel example of a figure of a man replacing the representation of God is found in the 14th-century Sarajevo Haggadah from Barcelona (?). There, the seventh day of creation, which in Latin Bibles is commonly illustrated by a seated, nimbed God, has a seated Jew resting on the Sabbath (Narkiss 1969, p. 60; Saltman 1981, pp. 42-53).

 

Fig. 4: Seventh Day of Creation

TheSarajevoHaggadah

Barcelona (?), 14th century

Sarajevo, Zemaljski Muzej Bosne i Hercegovine

(Roth, facsimile 1963)

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199992
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199993 The Tegernsee Haggadah, Fol. 17v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199993 The Tegernsee Haggadah, Fol. 17v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 17v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Lice, Plague of
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000435.jpg
20 Description

Fol. 17v: In the lower outer margin, next to the list of the plagues which hit Egypt, a panel shows a man seated on a bench brushing his hair to get rid of lice, which fall on to the red tiled floor on the left. The man wears a blue robe and powder gold shoes. 

Fleshy, curling acanthus leaves extend from the upper and lower parts of the frame.

Due to lack of space, the ascender and flag of the ל' of the display word אילו, was moved to the outer margin, above the upper scroll of the panel. Similar cases are, fols. 13 (יכול), 20 (על) (cf. fols. 22-22v, 25).

See: General Document for acanthus branches.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, red, yellow, grey and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 49 x 39 mm.; 4 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

 

 

Fig. 1: Plague of Lice

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 17v.

Fig. 2: Plague of Lice

Rylands Sephardi Haggadah

Catalonia, mid-14th century

Manchester, John Rylands Library, Heb. 6, fol. 16

(Loewe, facsimile 1988)

Fig. 3: Plague of Lice

FirstCincinnatiHaggadah

Meir Jaffe (scribe)

Ulm, 1480s

Cincinnati, HUC Klau Lib. MS 444, p. 23

(Optical disc: col. facsims.)

 

Fig. 4: Treatment for head lice

Hortus Sanitatis, Jacob Meydenbach

Mainz, 1491

Vatican, BAV Stamp. Pal. II 581, fol. SIIIv

(Copyright Science Photo Library)

Lice were one of the ten plagues which hit the Egyptians. In other haggadot all ten plagues usually are depicted. In Sephardi haggadot the iconography of the plague of lice includes Moses and Aaron, while Pharaoh and his people suffer (fig. 2). By contrast, in Ashkenazi and Italo-Ashkenazi haggadot, unidentified people are afflicted with lice (fig. 3) as in the Tegernsee Haggadah (fig. 1). The hairbrush, which is used to remove lice, reflects a detail of everyday life in 15th-centuryGermany. A similar hairbrush appears in contemporary German books (fig. 4). 

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199993
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199994 The Tegernsee Haggadah, Fol. 18, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199994 The Tegernsee Haggadah, Fol. 18, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 18
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Rabbi Yossei Haglili
Rabbi Eliezer (Rabbis, the Five)
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000436.jpg
20 Description

Fol. 18: Two panels depicting two Rabbis from the haggadah, both holding an open book, in the upper and lower part of the outer margin.

The upper panel, next to the text of Rabbi Yossei the Galilean, depicts a bearded man holding out an open book, seated in a green meadow against a blue sky.

The second panel, extending into the lower margin, shows Rabbi Eliezer, one of the five rabbis of Bnei Brak, seated on a bench and holding an open book inscribed with Hebrew-like squiggles. He has long grey hair and beard, and a three-tiered magenta hat. 

Elongated foliate scrolls extend from both the upper and lower sides of the frames, interlacing along the space between the panels.

See: General Document for acanthus branches.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, vermilion, grey, yellow, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements (56-60) x (38-39) mm.; 5 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

Fig. 1: Rabbi Yossei

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 18

Fig. 2: Rabbi Yossei

Murphy Haggadah

by Joel ben Simeon

North Italy, c.1455

Jerusalem, NLI 406130, fol. 15

(Murphy Haggadah, facsimile n.d.)

Fig. 3: Rabbi Eliezer of Bnei Brak   

Floersheim Haggadah

North Italy, 1502

Zurich, Floersheim Coll. no sign., p. 13

(Floersheim Haggadah, facsimile 1985)

 

 

Fig. 4: Rabbi Eliezer of Bnei Brak

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 18

Fig. 5: Rabbi Eleazar ben Azariah of Bnei Brak

Rylands Sephardi Haggadah

Catalonia, mid-14th century

Manchester, John Rylands Library Heb. 6, fol. 22v

(Loewe, facsimile 1988)

The iconography of rabbis who are mentioned in the text of the haggadah is similar in Sephardi and Ashkenazi haggadot of all periods. It usually has a bearded man sitting on a bench, holding an open book (figs. 1, 2, 4, 5). In most cases the rabbis are depicted in three-quarters view or in profile, but are sometimes shown frontally (figs. 1, 3).

See also fols. 18v and 20v.

See: General Document for acanthus branches.

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199994
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199995 The Tegernsee Haggadah, Fol. 18v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199995 The Tegernsee Haggadah, Fol. 18v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 18v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Foliate scrolls
Rabbi Akiva (Commentary on the Plagues) |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000437.jpg
20 Description

Fol. 18v: A bearded man within a panel in the lower outer margin illustrates the adjacent text of Rabbi Akiva. The Rabbi, with grey beard and bareheaded, is seated on a bench holding an open book and looking upwards. The tiled floor is in alternating dark and light green. On the blue ground on the left the inscription R. Akiva ר' עקיבה)) is written in semi-square script by Erhard. 

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, grey, vermilion, yellow, and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 53 x 39 mm.; 4 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

Fig. 1: Rabbi Akiva

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 18v

Fig. 2: Rabbi Akiva

Floersheim Haggadah

North Italy, 1502

Zurich, Floersheim Coll.

no sign., p. 14

(The Floersheim Haggadah, facsimile 1985)

Fig. 3: Rabbi Akiva teaching

Kaufmann Haggadah

Barcelona, 1350-1360

Budapest, MTAK Kaufmann Coll. A 422,

fol. 33v

(Kaufmann Haggadah, facsimile 1990)

 

The iconography of Rabbi Akiva, similar to that of other rabbis in Sephardi and Ashkenazi haggadot from all periods, consists of a bearded man, usually sitting, with or without an open book in his hands (figs. 1, 2). In some Sephardi examples Rabbi Akiva is depicted with his disciples (fig. 3).

See also fols. 18 and 20v.

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199995
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199996 The Tegernsee Haggadah, Fol. 19, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199996 The Tegernsee Haggadah, Fol. 19, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 19
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Initial word panel (Not used; see: Initial word panel, Illustrative, Initial word panel, decorative) |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000438.jpg
20 Description

Fol. 19: The initial word "How many" (כמה (מעלות טובות)) is written in large letters in burnished gold within a wide panel in the upper part of the page. The panel's background is divided horizontally into two registers, the upper in magenta, the lower in green, both decorated with feathery white scrolls. The panel frame is in the other colour. 

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and different shades of magenta, green and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 61 X 128 mm.; 5 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

Fig. 1: Dayyenu

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 19

Fig. 2: Kiddush

Erna Michael Haggadah

Bohemia(?), first half of 15th century

Jeruslam, IM MS 181/18, fol. 4v

(Narkiss and Sed-Rajna, IJA 1976/2; Goitan 2010)

The white feathery scrolls decorating the initial word panels are typical of manuscripts produced inGermanyandCentral Europeduring the 15th century (figs. 1-3).

 

 
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199996
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199997 The Tegernsee Haggadah, Fol. 20v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199997 The Tegernsee Haggadah, Fol. 20v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 20v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Rabban Gamaliel
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000439.jpg
20 Description

Fol. 20v: In the lower outer margin, a panel with a man seated on a bench illustrates the adjacent text of Rabban Gamliel. Wearing a robe of yellow ochre brushed with gold powder and a red folded hat with a brim, he is holding an open book in his left hand, while pointing sideways with his right index finger. The magenta ground of the panel is decorated with feathery yellow scrolls and the tiled floor is in alternating dark and light grey. Acanthus scrolls decorate the top and bottom of the panel.

See: General Document for acanthus branches.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, green, magenta, red, grey, yellow, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 49 x 43 mm.; 4 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

Fig. 1: Rabban Gamliel

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 20v

Fig. 2: Rabban Gamliel

Hileq and Bileq Haggadah

South Germany, second half of

15th century

Paris, BnF hébr. 1333, fol. 18v

(Narkiss and Sed-Rajna 1981)

Fig. 3: Rabban Gamliel

Hispano-Moresque Haggadah

Catalonia, c.1300

London, BL Or. 2737, fol. 20v

(Narkiss 1982, fig. 81)

 

The iconography of Rabban Gamliel, similar to that of other rabbis in Sephardi and Ashkenazi haggadot from all periods, usually consists of a seated man with or without an open book in his hands (figs. 1, 2). In the Hileq and Bileq Haggadah he is similarly pointing with his right index finger, but upwards. In some Sephardi examples he is depicted with his disciples (fig. 3).

See also fols. 18 and 18v.

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199997
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199998 The Tegernsee Haggadah, Fol. 21, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199998 The Tegernsee Haggadah, Fol. 21, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 21
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Display the matzah
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000440.jpg
20 Description

Fol. 21: A bearded man holding three mazzot is depicted in a rectangular panel placed within the lower right text space next to the word mazzah. He holds up one mazzah in his right hand and holds the other two in his left. He has brown hair and beard, and wears a long green robe and red pointed shoes. He stands on a tiled floor of alternating dark and light grey.

Two elongated acanthus stems issue from the lower part of the panel frame, extending up the inner margin and along the lower one.

Latin annotation by Erhard is written in black cursive script:

Next to: מצה זו שאנו אוכלין על שום מה

Elevantur azime et omnibus secundo ostenduntur

The mazzot are raised and shown to everybody for the second time.

See: General Document for acanthus branches and Appendix.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, grey, red, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 60 x 35 mm.; 5 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

 

 

Fig. 1: Displaying the Mazzah

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 21

Fig. 2: Displaying the Mazzah

Hileq and Bileq Haggadah South Germany, second half of the 15th century

Paris, BnF hébr. 1333, fol. 19

(Narkiss and Sed-Rajna, IJA 1978/1)

Fig. 3: Displaying the Mazzah

Bird's Head Haggadah

Franconia, c.1300

Jerusalem, IM MS 180/57

fol. 28v

(Spitzer, facsimile 1967)

 

Fig. 4: Displaying the Mazzah

Golden Haggadah

Barcelona, c.1320

London, BL Add. 27210,

fol. 44v

(Narkiss, facsimile 1970)

 

The mazzah which is held up while reciting "this mazzah …" is depicted in Sephardi and Ashkenazi haggadot of all periods. In the Ashkenazi tradition the mazzah is being held up by a man in the margins (figs. 1-3). The protrusion at the top the mazzah in the Hileq and Bileq Haggadah (fig. 2) indicates that this is the first of the three mazzot. The second mazzah would have two and the third three protrusions, as seen in the Bird's Head Haggadah of c.1300 (fig. 3). In our haggadah, besides the raised mazzah the man is holding two others (fig. 1) though these are without protrusions. By contrast, in Sephardi haggadot the large ornamental mazzah is depicted in the centre of the page (fig. 4; Narkiss 1997, pp. 15-16). 

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199998
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 199999 The Tegernsee Haggadah, Fol. 21v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 199999 The Tegernsee Haggadah, Fol. 21v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 21v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Man pointing at the wife
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000441.jpg
20 Description

Fol. 21v: A panel at the right of the text column and in the outer margin illustrates the text of "maror" (bitter herbs). A man is pointing with his right index finger at his wife, seated next to him on the same bench. The woman is wearing a yellow robe and a magenta mantle with gold powder lining; her hair is covered with a wimple reaching to her shoulders. The man wears a green robe and a two-tiered magenta hat. The floor has alternating dark and light blue tiles and a red wall decorated with feathery scrolls in red ink with yellow dots.

Acanthus leaves extend from the top and bottom of the panel into the outer margin.

See: General Document for acanthus branches.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, red, yellow, grey brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 58 x 69 mm.; 5 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

Fig. 1: Displaying the Maror

Yahuda Haggadah

Franconia, 1465-1470

Jerusalem, IM MS 180/50, fol. 21

(Narkiss and Sed-Rajna, IJA 1978/3)

Fig. 2: The Maror

Golden Haggadah

Barcelona, c.1320

London, BL Add. 27210, fol. 45v

(Narkiss, facsimile 1970)

 

 

 

 

Fig. 3: Man pointing at his wife

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 21v

 

Fig. 4: Displaying the Maror;

Man pointing at his wife

Rylands Sephardi Haggadah

Barcelona, c.1360

London, BL Or. 1404, fol. 18

(Loewe, facsimile 1988)

Fig. 5: Displaying the Maror; Man touching his wife's head

TheWashingtonHaggadah  Joel ben Simeon (scribe and artist)

Germany (?), 1478

Washington, Library of Congress, Hebraic Section, MS 1, fol. 16

(Weinstein (ed.), facsimile 1991)

Fig. 6: Displaying the Maror;

Man and wife pointing at each other

Hileq and Bileq Haggadah

South Germanysecond half of the 15th century

Paris, BnF hébr. 1333

fol. 19v

(Narkiss and Sed-Rajna, IJA 1978/1)

 

The illustration for "maror" (bitter herb), which is held up while reciting "This bitter herb …" is usually found in Sephardi and Ashkenazi haggadot of all periods. In both traditions the display of the maror is depicted similarly to that of the mazzah (see fol. 21): in the Ashkenazi haggadot it is usually held up by a man shown in the margin (fig. 1), whereas in the Sephardi haggadot it is a large ornamental plant in the centre of the page (fig. 2). In the Tegernsee Haggadah (fig. 3) the artist was satisfied with indicating the wife as a bitter herb, omitting a plant.

This gesture, which also appears in other haggadot (figs. 4-6), refers to the embittered relations between man and wife, alluding to Eccles. 7:26: "and I find more bitter than death the woman" (Narkiss 1991, pp. 73-74). This iconography appears as early as the 14th century in Sephardi and Provençal haggadot (fig. 4, and Sassoon Haggadah, fol. 114), and in 15th-century Italian and Ashkenazi haggadot (fig. 5; Rothschild Miscellany, fol. 160 and Second Darmstadt Haggadah, fol. 12). In the Hileq and Bileq Haggadah (fig. 6) the couple is inscribed, on the right above the man: "Says the picture: (when saying) 'this bitter herb' let me raise my voice. (Indeed), both this (lettuce) and this (wife) are the cause (of this bitterness)". The wife on the left is pointing back at her husband. On the left above her is inscribed: "The woman's answer: 'I thought you (yourself) were one of the (causes of bitterness)'. Then a third (man) comes and makes a stench between them" (Narkiss and Sed-Rajna, IJA 1978/1). 

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
199999
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 200000 The Tegernsee Haggadah, Fol. 22, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 200000 The Tegernsee Haggadah, Fol. 22, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 22
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Initial word panel (Not used; see: Initial word panel, Illustrative, Initial word panel, decorative)
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000442.jpg
20 Description

Fol. 22: At the bottom of the text space, the initial word "It is therefore" (לפיכך) is written in large gold letters in a rectangular panel the width of the text column. The background of the panel is divided vertically into two sections: the right magenta, the left blue, and the frame is painted in the other colours. Two acanthus branches spring from the left of the panel into the outer and lower margins.

The Latin annotation by Erhard is written in black cursive script:

Next to: לפיכך אנחנו חייבין להודות להלל ולשבח

Hic omnes levant calices

Here all raise their cups.

See: General Document for acanthus branches and Appendix.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, grey and red.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements 51 x 160 mm.; 5 lines high
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
200000
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 200001 The Tegernsee Haggadah, Fol. 22v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 200001 The Tegernsee Haggadah, Fol. 22v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 22v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Initial word, decorative
Ascender, decorated |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000443.jpg
20 Description
21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
200001
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 200002 The Tegernsee Haggadah, Fol. 24v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 200002 The Tegernsee Haggadah, Fol. 24v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 24v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Messiah, Coming of
Initial word panel (Not used; see: Initial word panel, Illustrative, Initial word panel, decorative)
Acanthus scroll |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000444.jpg
20 Description

Fol. 24v: The page is decorated with two panels. The upper panel frames the initial word "Pour out Thy wrath" (שפוך) within the text column. The word is written in large gold letters on a green ground decorated with feathery scrolls in green ink. From the right of the magenta double frame two acanthus scrolls extend along the outer margin to the bottom of the page.

The panel in the lower margin depicts Elijah blowing a horn to announce the entry of the Messiah intoJerusalem. Behind him the Messiah is riding a white horse; both are approaching the open gate ofJerusalemand pointing towards it. Elijah, shown as a youth wearing a yellow ochre tunic and red shoes, is blowing a gold horn. The Messiah has a long brown beard and hair, and wears a yellow ochre pointed Jewish hat and a magenta robe. His horse has a gold bridle.Jerusalemis symbolised as an open gate with gold hinges in the lower part of a magenta tower.

A Latin annotation by Erhard is written in red cursive script:

Next to: שפוך חמתך אל הגויים אשר לא ידעוך ועל הממלכות אשר בשמך לא קראו (תהלים, עט ו)

Effunde iram tuam in gentes quae te non noverunt et in regna quae nomen non invocaverunt (Ps. 78:6)

Pour out thy wrath upon the heathen that have not known thee and upon the kingdoms that have not called upon (thy) name (Ps. 79:6).

See: General Document for acanthus branches and Appendix.

21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
Black and brown ink, gold leaf and powder and different shades of blue, magenta, green, vermilion, red, brown and white.
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements Upper panel: 63 x 124 mm.; 5 lines high Lower panel: 48 x 138 mm.
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks

 

 

Fig. 1: Messiah enteringJerusalem

Tegernsee Haggadah

Munich, BSB Cod. hebr. 200, fol. 24v

Fig. 2: Messiah enteringJerusalem

The FirstNew YorkHaggadah

Joel ben Simeon

Lower Rhine, c.1445

New York, JTS MS 4481, fol. 14v

(JTS and CJA Documentation)

 

 

Fig. 3: Messiah enteringJerusalem         

HamburgMiscellany                             

Middle Rhine, 1434                              

Hamburg, Staats- und Universitätsbibliothek                               

Cod. heb. 37, fol. 35v                           

(Gutmann 1979, pl. 30)

Fig. 4: Messiah enteringJerusalem

TheWashingtonHaggadah

Joel ben Simeon (scribe and artist)

Germany, 1478

Washington, Library of Congress,

Hebraic Section, MS 1, fol. 19v

(Weinstein (ed.), facsimile 1991)

For a list of all haggadot which include this scene and of variations of its iconography, see Gutmann 1974, pp. 30-31 n. 3; Narkiss 1991, pp. 76-82.

 

 

 

 

 

 

 

The scene depicting the Messiah enteringJerusalemappears in several Ashkenazi and Italo-Ashkenazi haggadot from not earlier than 15th century. In the Tegernsee Haggadah Elijah, the harbinger of the Messiah, is blowing a horn (fig. 1; Gutmann 1967/68, p. 175), illustrating the event which follows the great wars of Gog and Magog at the end of time, when God will pour his wrath out upon the nations who do not know him, but will save Israel and re-establish the Temple (Narkiss 1991, p. 76; Sabar 1997/98, p. 298). The appearance of Elijah in this scene relates to the custom of opening the door to Elijah at the end of the Seder meal and offering him a special cup of wine (fig. 2) while holding the fourth cup of wine (Narkiss 1991, p. 77; Gutmann 1967/68, pp. 173-75; Gutmann 1974, pp. 29-38). In other haggadot the figure riding a horse or an ass sometimes conflates the attributes of the Messiah and of his harbinger by blowing the horn (figs. 2, 3), or being crowned and is accompanied by four figures, each with a banderole inscribed with a prophecy relating to the coming of the Messiah (fig. 3), while in the lower margin the dead rise from their tombs (Narkiss 1991, pp. 78-79 and n. 196). An outstanding illustration is in the Washington Haggadah (fig. 4) of 1478 fromGermany, where behind Elijah on the donkey sit the father and son, the mother and daughter, while the small figure of the servant hangs from the tail. 

38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
200002
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 200003 The Tegernsee Haggadah, Fol. 31v, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 200003 The Tegernsee Haggadah, Fol. 31v, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 31v
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Initial word, decorative |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000445.jpg
20 Description
21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
200003
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a

(XXII) ID: 200004 The Tegernsee Haggadah, Fol. 35, Germany
Austria, Before 1489 edit
Category: Hebrew Illuminated Manuscripts
ID: 200004 The Tegernsee Haggadah, Fol. 35, Germany
Austria, Before 1489 edit
 
Category: Hebrew Illuminated Manuscripts

General Document


2 Name/Title The Tegernsee Haggadah | Unknown
3a Object Passover Haggadah
3b Object Detail Fol. 35
4a Artist/ Maker Joseph son of R. Ephraim (Scribe)
5 Date Before 1489
6 Period Unknown
7 Origin Germany
Austria
|
8 Community Ashkenazi
|
9 Collection Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
10 Location Germany | Bayern (Bavaria) | München (Munich) | Bayerische Staatsbibliothek (BSB)
|
11 Site Unknown
12 School/Style Danube region of south Germany and Austria|
13 Iconographical Subject Initial word, decorative
Ascender, decorated
Scribal rubrication |
14 Category
17 Photographer Unknown
18 Photograph Date
19 Negative/ Photo. No. digital
19a Scan No. M000446.jpg
20 Description
21 Ornamentation
 
21 Ornamentation
22 Custom
23 Contents
24 Codicology
24a Scribes
24b Script
24c Number of Lines
24d Ruling
24e Pricking
24f Quires
24g Catchwords
24h Hebrew Numeration
24i Blank Leaves

25 Material/Technique
25a Material Structure
25b Material Decoration
25c Material Bonding
25d Material Inscription
25e Material Additions
25f Material Cloth
25g Material Lining
25h Tesserae Arrangement
25i Density
25j Colors

26 Measurements
26a Height
26b Length
26c Width
26d Depth
26e Circumference
26f Thickness
26g Diameter
26h Weight
26i Axis
26j Panel Measurements
27 Direction/Location
27a Façade (main)
27b Entrances
27c Location of Torah Ark
27d Location of Apse
27e Location of Niche
27f Location of Reader's Desk
27g Location of Platform
27h Temp: Architecture Axis
27i< Arrangement of Seats
27j Location of Women's Section
27k Direction Prayer
27l Direction Toward Jerusalem

28 Coin
28a Coin Series
28b Coin Ruler
28c Coin Year
28d Denomination

29 Signature
30 Colophon
31 Scribal Notes
32 Watermark
33 Hallmark
33a Group
33b Subgroup
33c Hallmark Identification
33d Hallmark Group Classification
33e Hallmark Reference
34 Trade Mark
35 Binding
36 Decoration Program
36 Summary and Remarks
38 Suggested Reconstruction
39 History/Provenance
40 Main Surveys & Excavations
41 Condition
42 Biography
43 Bibliography
43a Short Name
43b Full Name
43c Volume
43d Page

44 Type
45 Temp: Batch Number
|
46 Temp: Aleph Number
47 Temp: Sys. Number / Doc. Name
200004
48 Temp: Addenda

Registrar
Function: Name: Date:
49 Documenter 49a
50 Researcher 50a
51 Architectural Drawings 51a
52 Computer Reconstruction 52a
53 Section Head 53a
54 Editor 54a
55 Donor 55a



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