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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.

Name/Title
The Tegernsee Haggadah | Unknown
Object Detail
Fol. 12v
Date
Before 1489
Synagogue active dates
Reconstruction dates
Origin
Historical Origin
Unknown
Community type
Congregation
Unknown
Site
Unknown
Period
Unknown
Period Detail
Collection
Germany | Munich | Bayerische Staatsbibliothek (BSB)
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
Documentation / Research project
Unknown
Material/Technique
Black and brown ink, gold and silver leaf and powder, different shades of blue, magenta, green, vermilion, red, yellow and brown.
Material Stucture
Material Decoration
Material Bonding
Material Inscription
Material Additions
Material Cloth
Material Lining
Tesserae Arrangement
Density
Colors
Construction material
Measurements
Height
Length
Width
Depth
Circumference
Thickness
Diameter
Weight
Axis
Panel Measurements
58 x (42-45) mm.; 5 lines high
Condition
Extant
Documented by CJA
Surveyed by CJA
Present Usage
Present Usage Details
Condition of Building Fabric
Architectural Significance type
Historical significance: Event/Period
Historical significance: Collective Memory/Folklore
Historical significance: Person
Architectural Significance: Style
Architectural Significance: Artistic Decoration
Urban significance
Significance Rating
Languages of inscription
Unknown
Type of grave
Unknown
0
Ornamentation
Custom
Contents
Codicology
Scribes
Script
Number of Lines
Ruling
Pricking
Quires
Catchwords
Hebrew Numeration
Blank Leaves
Direction/Location
Façade (main)
Endivances
Location of Torah Ark
Location of Apse
Location of Niche
Location of Reader's Desk
Location of Platform
Temp: Architecture Axis
Arrangement of Seats
Location of Women's Section
Direction Prayer
Direction Toward Jerusalem
Coin
Coin Series
Coin Ruler
Coin Year
Denomination
Signature
Colophon
Scribal Notes
Watermark
Hallmark
Group
Group
Group
Group
Group
Trade Mark
Binding
Decoration Program
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)

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Negative/Photo. No.
M000429.jpg