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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.

Name/Title
The Tegernsee Haggadah | Unknown
Object Detail
Fol. 24v
Settings
Unknown
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 leaf and powder and different shades of blue, magenta, green, vermilion, red, brown and white.
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
Upper panel: 63 x 124 mm.; 5 lines high Lower panel: 48 x 138 mm.
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: 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. 

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