The first fully illustrated haggadah was the Prague 1526 haggadah. This haggadah was reprinted in 1977 by Mekor and is now available for everyone at the Jewish National University Library site here. (They have other important haggadas available for viewing including some of the earliest haggadas).

The Prague haggadah is filled with fascinating and important illustrations. As we have seen previously, the Prague haggadah contained nudes, which when appropriated later were removed. This included in the haggadah context as well as in other works.

Aside from these illustrations, there is an illustration of Abraham when God takes him “from the other side of the river.” In the Prague haggadah we have Abraham in a row boat. However, when this was appropriated in the Mantau, 1560 haggadah, the row boat was changed into a gondola.

Also, this haggadah contains brief comments or instructions as well as the text of the haggadah. There are two which bear mention. The first is the passage underneath the Tam – simple – son. Typically, the simple son is understood to be less than stellar. However, in this haggadah, the verse תמים תהיה עם ה’ אלקך (One should be simple with God) (Devarim 18:13). As this verse is claiming this simplemindedness is a good attribute, this seems to indicate that the simplemindedness of the son is something positive.

The second passage comes in the form of an instruction. In the margin at the mention of marror the bitter herb, is the following “It is a universal custom to point at one’s wife [at the mention of marror] as the verse says ‘I have found the woman worse [more bitter] than death. (Kohelet 7:26)'”

I hope to have a few posts in the coming days discussing some of the artwork found in various haggdah. While for hundreds of years artwork played an integral part of the haggadah recently this has fell into disuse. While there are few notable exceptions to this, Raskin, Moss Haggadahs, this practice of richly illustrating the haggdah has been replaced with a focus on commentaries.

One of the reasons, however, the practice of illustrating the haggadah, can be found in the discussion which sheds light on the custom of pretending or assuming that Eliyahu, who according to legend, visits each home on Pesach night.

The last cup of wine poured is for Eliyahu. While originally this cup was not necessarily connected to Eliyahu, today it has become associated with him. The cup of Eliyahu is not mentioned until the 15th century. Various reasons are given. The Gra explains as there is a controversy whether one must drink 4 or 5 cups, a controversy which will be resolved only when Eliyahu comes. (Divrei Eliyahu, Parshat Va’arah p. 35). The earliest source to discuss the cup, R. Zeligman Benga (student of Mahril), says that the custom to pour a cup for Eliyahu is as the night of Passover is an auspicious night for redemption, we await Eliyahu’s coming and therefore we need a cup for him.

A rather interesting custom sprang up in connection with Eliyahu’s visit on Pesach night. R. Jousep Schammes (1604-1678), records that the custom in Worms was to draw depictions of Eliyahu and the Messiah in order to bring to life the belief in these figures. As you can see from the pictures on the side, this was common in the Haggadah. The first picture is a depiction of Messiah on his donkey. This was originally depicted in smaller format in the Prague 1526 haggadah, but in this edition, Mantua, 1560 is greatly enlarged. The second picture comes from the Venice 1629 hagaddah. As you can see it is again the Messiah coming in to Jerusalem, but note the prominence of the Dome of the Rock in the center.

In Frankfort they went one step further than just drawing Eliyahu and the Messiah. R. Yosef Jousep Hahn (1570-1637) says they used to hang a dummy who looked like Eliyahu or the Messiah behind the door. When they would open the door for Eliyahu the dummy would drop down and seem as if he had appeared. (He then goes on to record a long story of a dybuk who invaded the body of a women who questioned whether the Exodus happened.) It is worthwhile noting that not everyone was thrilled with these depictions. R. Yair Hayyim Bacharach (1639-1702) who became the Rabbi in Worms at the very end of his life, says these types of things only make a mockery of the seder.

However, we see from the above, that there was, at least among some, an effort to create a feeling that Eliyahu actually would visit the seder. Some did it through pictures, others through reenactments. Although today those have fallen to the wayside, it would seem the idea that Eliyahu actually drinks from the cup is a form of those methods.

Sources: Yerusalmi, Haggadah and History; Shmuel and Zev Safrai, Haggadah of the Sages, p 177-78. Minhagei Vermisai, p. פז; R. Y. Bacharach, Mekor Hayyim.

Menachem Mendel has a nice post collecting a lot of the material on the Ten commandments. However, there is one point that I think is worth discussing.While 10 Commandment displays are ubiquitous in synagogues, it is far from certain this is the correct approach. Specifically, the Talmud records that public recitations of the Ten Commandments are banned because there were those who understood these readings to mean only the Ten Commandments are important to the exclusion of the rest of the Torah. R. Yom Tov Lipman Heller in his commentary Ma’adani Melekh (or Ma’adaani Yom Tov) says this reasoning should apply to Ten Commandment displays and he questions the practice of putting such displays up in synagogues. This statement is quoted in the Ma’gen Avrhom’s commentary on the Shulkhan Orakh. Many others question this practice including R. Ahron Lewin, (Reischer Rav) in his commentary on Berkahot.None of this, however, stopped the Agudah, the OU, and Nathan Lewin (R. Ahron Lewin’s grandson) from filing a brief in the Supreme Court advocating for Ten Commandment displays. While there is one person who permits such displays – they do so only in the context of a synagogue. That is, because in a synagogue the Ten Commandments would be part of the rest of the ornaments – Torah etc. it is clear that one is not imbuing them with any additional import. But, it is equally clear that the types of displays the Court would allow for – those totally devoid of any other Jewish context would run afoul of the Talmudic injunction.

Menachem Butler notes that the custom of having portraits done of Rabbinic figures dates back to the 16th century and has now been applied to YU. He also raises the issue of the permissibility of such portraits in like of the injunction against making graven images.

There is a fairly substantial literature on the topic of Rabbinic pictures. In my previous post, I note that Mark included a picture of himself in his book. This was fairly common to include on the frontispiece of ones book a portrait. Menashe ben Israel, Yosef Delemdigo, Yehudah Modena as well as numerous others did so. In Cohen’s book, mentioned by Menachem, he discusses this. R. Reuven Margulies in his Toldot Adam, Lemberg, 1921, 8-9 and Aviad Cohen, De’uknot Hakhamim bein halakha u’masse in Machanayim 2 (1995).

However, the most complete discussion as to the halakhic implications of this custom as well as a fairly extensive list of seforim containing rabbinic frontispices, can be found at the end of book having very little to do with this topic. R. Areyeh Yehuda Leib Lifshitz’s first published in Warsaw in 1927 and reprinted in Israel, 1965. The book is devoted to the somewhat mythical R. Saul Wahl. In the first edition, however, R. Lifshitz included a picture of himself. This picture was placed loose in the book. At the end, R. Lifshitz includes a lengthy teshuva devoted to demonstrating that portraits pose no halakhic problem. [There is also a well know from R. Jacob Emden discussing both a portrait of his father, the Hakam Tzvi as well as a medal struck in honor of the chief rabbi.]

Another, more contemporary article discussing this issue can be found in the book Mo’adim l’Simhah b y R. Tuvia Fraind vol. 1 where he has an article on this.

Perhaps one of the strangest pictures is that of R. Yehuda Aszod. R. Aszod held that it did violate Jewish law to take pictures. His students, however, really wanted a picture of their teacher. They decided on a plan to obtain his picture, that after he was dead to prop him up and take his picture. Sure enough, that is exactly what they did. They also decided that proceeds from the sale of his picture would go to his widow and his children. At his funeral, there was a rather big to do about this especially in light of the fact that it is generally not allowed to profit from the dead. However, some permitted this and his picture was sold. [You can see this picture in the book Gedoli Dorot the three vol. picture/biography book.]

This story is recounted in biography done by his grandson that appears at the beginning of his commentary on the Torah Divrei Maharia. This was first published in 1931 and republished in 1970, in both these editions this story appears, however, in the most recent reprint in 1986 this story has been removed.