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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.

Name/Title
The Tegernsee Haggadah | Unknown
Object Detail
Fol. 17
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 different shades of magenta, green, blue, yellow, white, grey 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
57 x 42 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: 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)

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Negative/Photo. No.
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