Difference between revisions of "Pigs in the Second Nuremberg Haggadah"

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== Second Nuremberg Haggadah ==
 
  
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The "Second Nuremberg [http://en.wikipedia.org/wiki/Haggadah Haggadah]" is an illuminated manuscript haggadah, apparently from the mid-15th century. It's name derives from its being held by the Stadtbibliothek Of Nuremberg from the mid-19th century until 1957. Its previous provenance is not known. In 1957 the Haggadah was acquired by the Schocken Collection  in Jerusalem and in 2004 was purchased by Mr. David Sofer of London.
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== Pigs in the Second Nuremberg Haggadah ==
  
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It is known as the "Second Nuremberg Haggadah" to distinguish it from another illuminated haggadah "the "First  Nuremberg Haggadah" currently found at the Israel Museum.
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===The Second Nuremberg Haggadah===
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The Second Nuremberg [http://en.wikipedia.org/wiki/Haggadah Haggadah]is a liturgical manuscript for Passover. It was produced mid-fifteenth-century [http://en.wikipedia.org/wiki/Ashkenazi Ashkenaz]. From the mid-nineteenth century until 1957, it was housed in the City Library of Nuremberg. In 1957, it became part of the Schocken Collection until 2004, when it was bought by David Sofer of London.
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Its decoration is compound. There are ritual depictions as well as biblical narratives enriched with [http://en.wikipedia.org/wiki/Midrash midrashic] material.
  
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The Haggadah contains beautiful illustrations on Passover motifs as well as three cycles of Biblical illustrations related to the story of the Exodus, the lives of the patriarchs, and various later Biblical figures. Many of these illustrations are based on Midrashic stories.
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The [http://jnul.huji.ac.il/dl/mss-pr/mss_d_0076/ digitalized version] of the manuscript is available online.
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===Depictions of pigs===
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====Folio 7r====
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There are two pigs in the manuscript, both of them constitute part of a building. On folio 7r, at the beginning of the text, ''Mah Nishtanah?'' (''What makes this night different from all other nights?'' This is a rhetorical question raised by a child. It is an introductory question to the retelling of the Exodus story. The folio is decorated with two scenes. The one in the outer margin is depicted a man within an imaginary tower which is placed onto the back of a roar. The figure is pouring out the second cup of wine (during [http://en.wikipedia.org/wiki/Passover_Seder Seder eve] each participants should drink four cups of wine). The inscription above the figure says, "After the bread of affliction, the second cup is poured out."
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The other scene in the lower margin of the folio depicts a child is asking his father about the custom of Seder.
  
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The illustrator of this haggadah is not known but researchers identify him as identical with the illustrator of another anonymous haggadah known as the "Yahuda Haggadah" which is found today in the Israel Museum.
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====Folio 27r====
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In the outer margin of folio 27r, a similar imaginary building is depicted. A man inside is lifting up the third cup of wine. The top of the building is decorated with a giant flower and a roar leaning against its stem.
  
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== Folio 7r ==
 
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[[Image:Second_Nuremberg_Haggadah_7r.jpg]]
 
  
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== Folio 27r ==
 
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[[Image:Second_Nuremberg_Haggadah_27r.jpg|thumb|frame]]
 
  
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== Notes ==
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Jerusalem, Schocken Institute Library ms 24087
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Germany, 15th century
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There are lots of animals depicted throughout the manuscript. They are placed in the lower margin, or constitute parts of architectural structures--just as the above mentioned pigs. Their function is merely decorative<sup>1</sup> Most of these animal motifs derive from playing cards which were popular in Upper- and Middle-Rhein regions during the fifteenth century. However, pigs do not appear on these playing cards. According to Joseph Gutmann, they might have a deeper meaning expressing a sort of warning against drinking to much and getting into the condition of "pigishness of Jewry's tormentors."<sup>2</sup>
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The [http://jnul.huji.ac.il/dl/mss-pr/mss_d_0076/ digitalized version] of the manuscript is available.  
 
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contributor: Zsofia Buda
 
  
 
== Bibliography ==
 
== Bibliography ==
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Kogman-Appel, Katrin. [http://aleph500.huji.ac.il/nnl/dig/books/bk001849516.html Die zweite Nürnberger und die Jehuda Haggada : jüdische Illustratoren zwischen Tradition und Fortschritt.] Frankfurt am Main : P. Lang, 1999.
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Kogman-Appel, Katrin. [http://aleph500.huji.ac.il/nnl/dig/books/bk001849516.html ''Die zweite Nürnberger und die Jehuda Haggada : jüdische Illustratoren zwischen Tradition und Fortschritt.''] Frankfurt am Main : P. Lang, 1999.
  
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K. Kogman-Appel. [http://jnul.huji.ac.il/dl/mss-pr/mss_d_0076/pdf/kogman.pdf "The Iconography of the Biblical Cycle of the Second Nuremberg and the Yahuda Haggadot: Tradition and Innovation"], in The Old Testament as Inspiration in Culture: International Academic Symposium – Prague, September 1995, edited by Jan Heller, Shemaryahu Talmon, Hana Hlaváčková and Martin Prudký, Prague, 2001.
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K. Kogman-Appel. [http://jnul.huji.ac.il/dl/mss-pr/mss_d_0076/pdf/kogman.pdf "The Iconography of the Biblical Cycle of the Second Nuremberg and the Yahuda Haggadot: Tradition and Innovation"], in ''The Old Testament as Inspiration in Culture: International Academic Symposium – Prague, September 1995'', edited by Jan Heller, Shemaryahu Talmon, Hana Hlaváčková and Martin Prudký, Prague, 2001.
  
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K. Kogman-Appel. [http://www.etf.cuni.cz/~prudky/OTculture/4_4-Kogman-Appel.pdf "The Second Nuremberg Haggadah and the Yahuda Haggadah: Were they Made by the Same Artist?"], in: Proceedings of the Eleventh World Congress of Jewish Studies, Jerusalem 1993, Division D, vol. II, Jerusalem 1994, 25-32.
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K. Kogman-Appel. [http://www.etf.cuni.cz/~prudky/OTculture/4_4-Kogman-Appel.pdf "The Second Nuremberg Haggadah and the Yahuda Haggadah: Were they Made by the Same Artist?"], in: ''Proceedings of the Eleventh World Congress of Jewish Studies'', Jerusalem 1993, Division D, vol. II, Jerusalem 1994, 25-32.
  
 
== External links ==
 
== External links ==
 
http://jnul.huji.ac.il/dl/mss-pr/mss_d_0076/
 
http://jnul.huji.ac.il/dl/mss-pr/mss_d_0076/
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== Notes ==
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<sup>1</sup>Katrin Kogman-Appel, ''Die zweite Nürnberger und die Jehuda Haggada : jüdische Illustratoren zwischen Tradition und Fortschritt''(Frankfurt am Main : P. Lang, 1999), 156.
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<sup>2</sup>Joseph Gutmann, ''Images of the Jewish Past: An introduction to medieval Hebrew miniatures'' (New York: Society of Jewish Bibliophiles, 1965), 20.
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[[category:Nuremberg]]
 
[[category:14th to 16th century]]
 
[[category:14th to 16th century]]
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[[category:urban]]

Latest revision as of 19:58, 28 January 2009

Pigs in the Second Nuremberg Haggadah

The Second Nuremberg Haggadah

The Second Nuremberg Haggadahis a liturgical manuscript for Passover. It was produced mid-fifteenth-century Ashkenaz. From the mid-nineteenth century until 1957, it was housed in the City Library of Nuremberg. In 1957, it became part of the Schocken Collection until 2004, when it was bought by David Sofer of London. Its decoration is compound. There are ritual depictions as well as biblical narratives enriched with midrashic material.

The digitalized version of the manuscript is available online.

Depictions of pigs

Folio 7r

There are two pigs in the manuscript, both of them constitute part of a building. On folio 7r, at the beginning of the text, Mah Nishtanah? (What makes this night different from all other nights? This is a rhetorical question raised by a child. It is an introductory question to the retelling of the Exodus story. The folio is decorated with two scenes. The one in the outer margin is depicted a man within an imaginary tower which is placed onto the back of a roar. The figure is pouring out the second cup of wine (during Seder eve each participants should drink four cups of wine). The inscription above the figure says, "After the bread of affliction, the second cup is poured out." The other scene in the lower margin of the folio depicts a child is asking his father about the custom of Seder.

Folio 27r

In the outer margin of folio 27r, a similar imaginary building is depicted. A man inside is lifting up the third cup of wine. The top of the building is decorated with a giant flower and a roar leaning against its stem.



There are lots of animals depicted throughout the manuscript. They are placed in the lower margin, or constitute parts of architectural structures--just as the above mentioned pigs. Their function is merely decorative1 Most of these animal motifs derive from playing cards which were popular in Upper- and Middle-Rhein regions during the fifteenth century. However, pigs do not appear on these playing cards. According to Joseph Gutmann, they might have a deeper meaning expressing a sort of warning against drinking to much and getting into the condition of "pigishness of Jewry's tormentors."2

Bibliography

Kogman-Appel, Katrin. Die zweite Nürnberger und die Jehuda Haggada : jüdische Illustratoren zwischen Tradition und Fortschritt. Frankfurt am Main : P. Lang, 1999.

K. Kogman-Appel. "The Iconography of the Biblical Cycle of the Second Nuremberg and the Yahuda Haggadot: Tradition and Innovation", in The Old Testament as Inspiration in Culture: International Academic Symposium – Prague, September 1995, edited by Jan Heller, Shemaryahu Talmon, Hana Hlaváčková and Martin Prudký, Prague, 2001.

K. Kogman-Appel. "The Second Nuremberg Haggadah and the Yahuda Haggadah: Were they Made by the Same Artist?", in: Proceedings of the Eleventh World Congress of Jewish Studies, Jerusalem 1993, Division D, vol. II, Jerusalem 1994, 25-32.

External links

http://jnul.huji.ac.il/dl/mss-pr/mss_d_0076/

Notes

1Katrin Kogman-Appel, Die zweite Nürnberger und die Jehuda Haggada : jüdische Illustratoren zwischen Tradition und Fortschritt(Frankfurt am Main : P. Lang, 1999), 156.

2Joseph Gutmann, Images of the Jewish Past: An introduction to medieval Hebrew miniatures (New York: Society of Jewish Bibliophiles, 1965), 20.

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