Img. ID: 199989
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
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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) |
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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) |
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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).
| Cod. hebr. 200 (Steinschneider 1895, No. 200)
A | Acanthus scroll
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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).