When Rabbi Meir Kahane’s Father Translated the Torah

By Yosef Lindell

Yosef Lindell is a lawyer, writer, and lecturer living in Silver Spring, MD. He has a JD from NYU Law and an MA in Jewish history from Yeshiva University. He is one of the editors of the Lehrhaus and has published more than 30 articles on Jewish history and thought in a variety of venues. His website is yoseflindell.wordpress.com.

In 1962, the Jewish Publication Society published a new translation of the Torah. The product of nearly a decade of work, the new edition was the first major English translation to cast off the shackles of the 1611 King James Bible. Dr. Harry Orlinsky, the primary force behind the new translation and a professor of Bible at the merged Reform Hebrew Union College and Jewish Institute of Religion, explained that even JPS’ celebrated 1917 translation was merely a King James lookalike, a modest revision of the Revised Standard Version that “did not exceed more than a very few percent of the whole.”[1] This new edition was different. As the editors wrote in the preface, the King James not only “had an archaic flavor,” but it rendered the Hebrew “word for word rather than idiomatically,” resulting in “quaintness or awkwardness and not infrequently in obscurity.”[2] Now, for the first time, the editors translated wholly anew, jettisoning literalism for maximum intelligibility. More than sixty years later, JPS’ work remains one of the definitive English translations of the Torah.

The new JPS may have left the King James behind, but it didn’t satisfy everyone. In addition to making the Torah more intelligible, the editors incorporated the insights of modern biblical scholarship, both from “biblical archeology and in the recovery of the languages and civilizations of the peoples among whom the Israelites lived and whose modes of living and thinking they largely shared.”[3] So when asked by Rabbi Theodore Adams, the president of the Rabbinical Council of America, whether the RCA could accept an invitation from Dr. Solomon Grayzel, JPS’ publisher, to participate in the new translation, Rabbi Joseph B. Soloveitchik demurred. He wrote in a 1953 letter to Adams, “I am afraid that the purpose of this undertaking is not to infuse the spirit of Torah she-be-al peh into the new English version but, on the contrary, … to satisfy the so-called modern ‘scientific’ demands for a more exact rendition in accordance with the latest archeological and philological discoveries.”[4]

Just one year after JPS released its volume, in 1963, R. Soloveitchik’s wish for a more “Torah-true” translation was answered, but likely not in the way he expected. The two-volume Torah Yesharah published by Rabbi Charles Kahane (1905-1978) relies heavily on traditional Jewish commentary in its translation.[5] But as we’ll explore, because of its lack of fidelity to the Hebrew text, it can hardly be called a translation at all.

Here is the title page (courtesy of the Internet Archive):

The strategically placed dots on the title page indicate that Yesharah is an acronym for the author’s Hebrew name—Yechezkel Shraga Hakohen. R. Charles Kahane was born in Safed and received semichah from the Pressburg Yeshiva in Hungary. After immigrating to the United States in 1925 and receiving a second semichah from Yeshiva University’s Rabbi Isaac Elchanan Theological Seminary, he served as rabbi of Congregation Shaarei Tefiloh in Brooklyn for most of his professional career, a shul which drew over 2,000 worshippers for the High Holidays.[6] He was a founding member of the Vaad Harabbanim of Flatbush and helped Rabbi Avraham Kalmanowitz re-establish the Mir Yeshiva in Brooklyn. Today, however, he is known as the father of Meir Kahane, the radical and controversial Jewish power activist and politician who needs no further introduction. The father does not seem to have been directly involved in his son’s activities, but he took pride in Meir’s accomplishments and was a staunch supporter of the Irgun in Palestine, Ze’ev Jabotinsky’s Revisionist Zionist movement, and Jabotinsky’s youth group, Betar.[7]

R. Kahane told the New York Times that Torah Yesharah was inspired by Bible classes he gave to his adult congregants where many people did not understand the text even in translation.[8] (Recall that the new JPS translation was not yet available, and other English translations relied on the archaic King James.) He wanted to rectify this problem; indeed, the title page states that the work is a “traditional interpretive translation,” suggesting that it was intended to be more user-friendly. But calling it user-friendly does not do justice to what Kahane did. Here is most of Bereishit 22—the passage of Akedat Yitzchak:

Most translators try to approximate the meaning of the Hebrew. Not so R. Kahane. Nearly every single English verse here contains significant additions not found in the original. The first verse, for example, which states that the Akedah was meant to punish Avraham for making a treaty with Avimelech, follows the opinion of the medieval commentator Rashbam, who, notes that the words “and it was after these things” connect the Akedah to the previous episode—the treaty with Avimelech (Rashbam, Bereishit 22:1). But it’s hard to imagine that Rashbam, famous for his devotion to peshat—plain meaning—would have been comfortable with his explanation being substituted for the translation itself. Many other verses on this page provide additions from Rashi and other commentators. 

Pretty much every page of R. Kahane’s translation looks similar: Hebrew on one side and an expansive interpretive translation drawn from the classical commentators on the other. Kahane makes no effort to distinguish between the literal meaning of the Hebrew and his interpretive gloss.[9] Dr. Philip Birnbaum, the famed siddur and machzor translator, criticizes this aspect of the work in his (Hebrew) review, noting that Kahane’s interpretations are written “as if they are an inseparable part of the Hebrew source, and the simple reader who doesn’t know the Holy Tongue will end up mistakenly thinking that everything written in ‘Torah Yesharah’ is written in ‘Torat Moshe.’”[10]

To be fair, R. Kahane cites sources for his interpretations, but only at the back of each book of the Torah and only in Hebrew shorthand:

Thus, a reader not already fluent in Hebrew and the traditional commentaries would have little idea where Kahane was drawing his “translation” from and might not grasp how much the translation departed from the Hebrew original.[11]

Yet perhaps this was the point. R. Kahane considered literal translation to be illegitimate. In the preface to Torah Yesharah, Kahane contrasts Targum Onkelos, which is celebrated by the Sages, with the Septuagint translation of the Torah into Greek, which the Sages mourned. Kahane suggests that a Targum, which is an interpretation or commentary, is superior to a direct translation. Targum Onkelos, he writes, was composed under the guidance of the Sages and based on the Oral Law, and therefore it was “sanctified.” According to Kahane, “The Torah cannot and must never be translated literally, without following the Oral interpretation as given to Moses on Sinai. … It is in this spirit that the present translation-interpretation has been written.”[12]

Kahane was not the only Orthodox rabbi of his time to criticize translation unfaithful to rabbinic interpretation. We’ve already noted R. Soloveitchik’s concerns about the new JPS.[13] Similarly, the encyclopedist Rabbi Judah David Eisenstein reported that in 1913, when JPS was preparing its initial translation, Rabbi Chaim Hirschenson of Hoboken, NJ, convinced the Agudath Harabbanim to protest JPS’ efforts so the new work should not become the “official” translation of English-speaking Jewry the way the King James had become the official translation of the Church of England. The Agudath Harabbanim noted the Sages’ disapproval of the Septuagint and explained that only Targum Onkelos and traditional commentators that based themselves on the Talmud were officially sanctioned.[14]

R. Kahane’s approach also harks back to a series of articles in Jewish Forum composed in 1928 by Rabbi Samuel Gerstenfeld, a rosh yeshiva at RIETS (a young Rabbi Gerstenfeld is pictured below), attacking the original 1917 JPS translation. Gerstenfeld labeled the JPS translation Conservative and sought to demonstrate its departure from Orthodoxy by comprehensively cataloging all the places where the translation departed from the halakhic understanding of the verse. So, for example, he criticizes JPS for translating the tachash skins used in the construction of the Mishkan as “seal skins,” because according to halachic authorities, non-kosher animal hides cannot be used for a sacred purpose.[15] He believed that the word tachash should be transliterated, but not translated.[16] Gerstenfeld concludes that the JPS translators “missed a Moses—a Rabbi well versed in Talmud and Posekim, who would have been vigilant against violence to the Oral Law.”[17]

Still, R. Kahane’s interpretive translation with additions goes far beyond what R. Gerstenfeld was suggesting. To give one example: Gerstenfeld quibbles with JPS’ translation of the words ve-yarka befanav in the chalitzah ceremony (Devarim 25:9). The 1917 JPS translates that the woman should “spit in his face” (referring to the man who refuses to perform yibbum). Gerstenfeld notes that rabbinic tradition unanimously holds that the woman spits on the ground. He suggests that “and spit in his presence” would be a better translation.[18] Gerstenfeld’s suggestion is reasonably elegant—it gives space for the rabbinic reading without negating the meaning of the Hebrew. Kahane makes no such attempt to be literal, instead translating that she will “spit on the ground in front of his face.”[19] As we’ve seen, Kahane had no compunctions about adding words.

Thus, there is no English-language precedent for Torah Yesharah of which I am aware. As the preface suggests, R. Kahane was inspired by the Aramaic targumim, but it would seem more by Targum Yonatan Ben Uziel than Targum Onkelos. Onkelos translates word-for-word in most circumstances, typically departing from the Hebrew’s literal meaning to address theological concerns, such as a discomfort with anthropomorphism. Targum Yonatan, on the other hand, seamlessly weaves many midrashic additions into its translation and looks more like Torah Yesharah. For example, at the beginning of the Akedah passage, Targum Yonatan goes on a lengthy excursus suggesting that God’s command to sacrifice Yitzchak was in response to a debate between Yitzchak and Yishmael where Yitzchak boasted that he would be willing to offer himself to God. This digression is akin to Kahane’s addition of the Rashbam into his translation. If anything, Targum Yonatan is more expansive than Torah Yesharah.

Torah Yesharah received a fair amount of press upon its publication. It was even reviewed by the New York Times, which called it “[a] new and unusual translation” that was intended to make the Torah “more meaningful to Americans.” The article quoted Rabbi Dr. Immanuel Jakobovits, then the rabbi of the Fifth Avenue Synagogue in Manhattan (before he became Chief Rabbi of the United Kingdom), as calling it “an original enterprise” and “a most specifically Jewish rendering of the Torah.” While the Times was noncommittal about the work, a critical review in the Detroit Jewish News found Kahane’s language confusing and inferior to the new JPS translation published the prior year.[20] As for Dr. Birnbaum, he praised Torah Yesharah’s reliance on traditional Jewish interpretations and lamented the fact that most other biblical translations “were borrowed from the Christians from the time of Shakespeare,” but criticized the format (as noted above) and some of Kahane’s more tendentious translations.[21]

Despite the interest Torah Yesharah generated, its unique approach was not replicated. One might see echoes of R. Kahane in a better known translation—ArtScroll’s 1993 Stone Edition Chumash. As its editors explained in its preface, the “volume attempts to render the text as our Sages understood it.”[22] To this end, ArtScroll famously follows Rashi when translating “because the study of Chumash has been synonymous with Chumash-Rashi for nine centuries,”[23] even when Rashi is at variance with more straightforward readings of the text. Thus, for example, ArtScroll translates az huchal likro be-shem hashem (Genesis 4:26) based on Rashi as, “Then to call in the name of Hashem became profaned”—a reference to the beginnings of idol worship.[24] However, a more literal translation would run, “Then people began to call in the name of God,” which sounds like a reference to sincere prayer—the opposite of idolatry. It’s also well-known that ArtScroll declines to translate Shir Ha-Shirim literally, adapting Rashi’s allegorical commentary in place of translation.

On the other hand, ArtScroll’s overall approach is different than Torah Yesharah’s. ArtScroll is typically quite literal, translating word-for-word even when the syntax of the verse suffers as a result. An example from the Akedah is again relevant: va-yar ve-hinei ayil achar ne’echaz ba-sevach be-karnav (Genesis 22:13). ArtScroll’s translation, that Abraham “saw—behold, a ram!—afterwards, caught in the thicket,”[25] is awkward, but it preserves the word achar in the precise location that it appears in the Hebrew. When ArtScroll wants to highlight more traditional interpretations of the text in line with Chazal and others, it does so in the commentary, not in the translation itself.[26]

Two recent works—the Koren Steinsaltz Humash (2018) and the Chabad Kehot Chumash (2015)—are much closer to Torah Yesharah in that they insert commentary directly into the English translation. But they still differ in an important respect. Both the Steinsaltz—which is a translation of a Hebrew Humash based on the classes of Rabbi Adin Steinsaltz—and the Kehot “interpolate” a good deal of commentary into the translation (the former is more peshat based and the latter leans more on Rashi and Midrash). Nevertheless, they distinguish between what’s literal and what’s added by using bold font for the literal translation. This approach still has its downsides, as it can still be hard to read the English cleanly without the added gloss getting in the way of the literal meaning.[27] But it’s preferable to Torah Yesharah, where R. Kahane did not provide the reader any means of distinguishing between the text and his additions.

Today, Torah Yesharah is but a historical curiosity. Yet its existence highlights the fact that some mid-20th century Orthodox Jews felt a real need for a translation that followed in the footsteps of Chazal and other traditional commentators. To them, JPS’ translation did not embrace an authentic Torah approach. Before ArtScroll came on the scene, Torah Yesharah filled that niche for a time, but its unusual format blurred the line between the Word of God and the words of His interpreters.

Yosef Lindell is a lawyer, writer, and lecturer living in Silver Spring, MD. He has a JD from NYU Law and an MA in Jewish history from Yeshiva University. He is one of the editors of the Lehrhaus and has published more than 30 articles on Jewish history and thought in a variety of venues. His website is yoseflindell.wordpress.com.

[1] Harry M. Orlinsky, “The New Jewish Version of the Torah: Toward a New Philosophy of Bible Translation,” Journal of Biblical Literature 82:3 (1963): 251.
[2] The Torah: The Five Books of Moses (The Jewish Publication Society, 1962), Preface.
[3] Ibid.
[4] Joseph B. Soloveitchik, Community, Covenant, and Commitment: Selected Letters and Communications (Nathaniel Helfgot, ed., KTAV, 2005), 110.
[5] Charles Kahane, ed., Torah Yesharah (Torah Yesharah Publication: Solomon Rabinowitz Book Concern, NY, 1963).
[6] To the New York Times, Kahane described the shul as “progressive Orthodox,” and it likely lacked a mechitzah. See Robert I. Friedman, The False Prophet: Rabbi Meir Kahane (Lawrence Hill Books, 1990), 20. That, however, was not unusual for those times.
[7] The biographical information in this paragraph is drawn from Friedman (see previous note) and Libby Kahane, Rabbi Meir Kahane: His Life and Thought (Institute for the Publication of the Writings of Rabbi Meir Kahane, 2008).
[8] Richard F. Shepard, “Rabbi Publishes New Bible Study; Works on Early Scholars Are Reinterpreted,” New York Times (June 21, 1964), 88.
[9] Here is another example of a large interpretive insertion concerning God’s decision that Moshe and Aharon would not lead the people into Israel because of their sin regarding the rock (Bamidbar 20:12):

That’s quite a few more words than are found in the Hebrew!
[10] Paltiel Birnbaum, “Targum Angli be-Ruah ha-Masoret,” in Pleitat Sofrim: Iyyunim ve-Ha’arakhot be-Hakhmat Yisrael ve-Safrutah (Mossad Harav Kook, 1971), 75.
[11] Of note, Kahane’s translation is available on Sefaria, but with modifications that obscure its radicalness. For one, the format is different: the Hebrew and English are not juxtaposed in the same way. Second, the sources for each verse are cited directly below the translation in parentheses. This is not the way Kahane presented his sources in the original.
[12] Torah Yesharah, xviii-ix.
[13] Among the most intriguing critics of the new JPS was Avram Davidson, who wrote in Jewish Life in 1957 that because the translation was being prepared by non-Orthodox scholars who intended to depart occasionally from the Masoretic text in light of new archaeological discoveries, it was not “being prepared on the Torah’s terms” and was unacceptable. A.A. Davidson, “A ‘Modern’ Bible Translation,” Orthodox Jewish Life 24:5 (1957): 7-11. Davidson later became a science fiction writer of some renown but by the end of his life had become enamored with a modern Japanese religion called Tenrikyo.
[14] J.D. Eisenstein, ed., Otzar Yisrael vol. 10 (New York, 1913), 309. See also the criticism of the 1962 JPS translation and the discussion of Eisenstein and R. Gerstenfeld’s article in Sidney B. Hoenig, “Notes on the New Translation of the Torah – A Preliminary Inquiry,” Tradition 5:2 (1963): 172-205.
[15] Samuel Gerstenfeld, “The Conservative Halacha,” The Jewish Forum 11:10 (Oct. 1928): 533.
[16] Indeed, ArtScroll’s Stone Chumash leaves tachash untranslated. Interestingly, R. Kahane just translates “sealskins” like JPS.
[17] Samuel Gerstenfeld, “The Conservative Halacha,” The Jewish Forum 11:11 (Nov. 1928): 576.
[18] Ibid., 575-76.
[19] Torah Yesharah, 331.
[20] Philip Slomovitz, “Purely Commentary,” Detroit Jewish News (Aug. 21, 1964), 2.
[21] Birnbaum, 76. It’s interesting that Birnbaum was far more critical of non-literal translations of the siddur. When the RCA incorporated the poetic translations of the British novelist Israel Zangwill into its 1960 siddur edited by Rabbi Dr. David de Sola Pool, Birnbaum wrote a scathing review in Hadoar, accusing Zangwill’s efforts as being “free imitations,” not translations, and of having Christian influence. Paltiel Birnbaum, “Siddur Chadash Ba le-Medinah,” Hadoar 40:6 (Dec. 9, 1960): 85. Birnbaum may have been jealous of the RCA’s siddur, which was a direct competitor to his 1949 edition. Also, he was unimpressed with Zangwill in particular, who had married a non-Jew and was not halakhically observant. For more about this, see my article in Lehrhaus here.
[22] Nosson Scherman, ed., The Stone Edition Chumash (Mesorah Publications, 1993), xvi.
[23] Ibid.
[24] Ibid., 23.
[25] Ibid., 103.
[26] Rabbi Aryeh Kaplan’s 1981 Living Torah translation also bears some resemblance to Torah Yesharah in its tendency to follow Chazal, but it too, despite its exceedingly colloquial approach to translation, does not insert large interpretive glosses into the text.
[27] R. Steinsaltz calls the commentary “transparent” and “one whose explanations should go almost unnoticed and serve only to give the reader and student the sense that there is no barrier between him or her and the text,” but I am not sure I agree. See The Steinsaltz Humash (Koren Publishers, 2015), ix. 

Ten Commandment Representations in Hebrew Manuscripts & Books: Artistic Approaches to Theological Issues in Judaism

Dan Rabinowitz

Today, the Ten Commandments or Decalogue[1] are among the most prominently featured symbols associated with Judaism. The Decalogue is represented by two tablets, generally connected and rounded at the top. This representation occupies a central place within synagogue architecture, often displayed on the exterior or interior of the edifices and frequently above the ark itself, which is regarded as the most sacred element within the building. However, it is noteworthy that these practices only began to emerge in the 16th century. The exact origins of this practice remain unclear, but it is likely that they were influenced by the Christian adoption of the Ten Commandment tablets in art as representative of Judaism. Some scholars suggest that this may not be an instance of benign cultural exchange but might have its roots in anti-semitic legislation, which mandated that Jews wear badges shaped like the Ten Commandments with rounded tops. This imposition may have influenced Jewish consciousness, potentially resulting in eventual self-association with this symbol.[2]

Historical evidence indicates that the ancient Jewish community used of other symbols such as the lulav, shofar, menorah, ark, scroll, and etrog, but not the luchos. The absence of the luchos is unsurprising when one considers the inherent difficulties of accurately replicating them. There is substantial ambiguity surrounding the exact proportions and shape of the tablets. Consequently, accurate reproductions were improbable, preventing their adoption as a common, recognizable symbol. Apart from the Israelites in the desert who witnessed the Sinai revelation, the tablets were not publicly displayed but remained housed within the ark. The fact that the luchos were kept in the ark and never removed suggests that they were intentionally not intended for public display.

In contrast to other Temple implements that are meticulously described, the details of the luchos are only generally mentioned as being made of stone and numbering two. This lack of elaboration has resulted in uncertainty even regarding the inscriptions on the stones and their shape. Today, it is widely accepted that each tablet contained five commandments and can be sourced to the Mekhilta DeRebi Yishmael, Yisro (Horovitz-Rabin, 233-234); however, according to the prevailing opinion in the Talmud Yerushalmi (Shekalim 6:1; Sotah 8:3), each tablet contained the entire Decalogue. Additionally, Rav Saadia Gaon asserted that one tablet recorded the version given in Exodus, while the other contained the version from Devarim.

It was not until the early rabbinic period that there was an explicit discussion regarding the shape of the luchos. The two Talmuds are inconsistent as to the exact dimensions and shape of the tablets (and both versions appear in midrashic literature). According to the TY, the tablets were rectangular, six tefachim in length and three in width. The TB describes them as square, six by six. Some attempt to reconcile the two Talmudic versions, there is clearly no consensus are single traditional regarding the shape.[3]

Beyond the challenges in determining and reproducing accurate divisions and shapes, there is a theological concern with their display. The Mishna records that the recitation of the Decalogue was part of the daily service in the Beis haMikdash. Evidence of this practice is found in the Nash Papyrus, dating between the second and first centuries BCE. In that document, the Ten Commandments appear before the Shema. Although the Nash Papyrus is likely either tefillin or a mezuzah, it seemingly confirms inclusion in the liturgy even outside of the Temple.[4] Nonetheless, the liturgical practice was abolished by Rabban Gamaliel II of Yavne. The rationale for the abolition was that some sect, the Minim, had elevated the Decalogue above the rest of the Torah, and the continued public recitation might imply acceptance of that position.[5] It is worth noting that even when the Decalogue was incorporated into the liturgy, there is no mention of it being displayed.

None of these sources mention the most common shape, tablets with rounded tops. According to one theory, this shape was borrowed from the Roman writing tablet, the diptych, which consisted of two tablets hinged together. Regardless of the original source, the rounded-topped tablets became the standard in Christian art from at least the 12th century. Since Jews adopted the luchos as a symbol much later, roughly in the fifteenth to sixteenth centuries, they chose the most commonly recognized version, which features rounded tops.[6] 

The earliest extant depiction of the luchos appears in the Dura Europos Synagogue fresco, where Moshe is holding a scroll. While Dura Europos does not settle the issue of the shape of the tablets, it does begin to reveal some details about how the luchos iconography has evolved over time to address what can be referred to as the “minim conundrum.” The conflict between the Torah recording God delivering just the Decalogue at Sinai, whereas Jews believe that the entire Torah was given at Sinai.

Illuminated Manuscripts and the Ten Commandments: Resolving the Issue of the Minim

Many manuscripts, including Haggadahs, prayer books, and Bibles, feature imagery related to the Decalogue episode. Beyond merely illustrating the text these illustrators intentionally depicted the scene to address and resolve the minim issue and link the delivery and reception of the Decalogue with the entirety of the Torah. For example, many Ashkenazic Haggadahs include the Decalogue scene, typically accompanying the Dayenu, although two include it later in the liturgy. [7] The earliest, known as the Birds Head (dating to the beginning of the 14th century), depicts two fingers emerging from the cloud, presenting two rounded-topped tablets to Moshe. Immediately below, Moshe appears again transferring the tablets, now five, to two figures, presumably Aaron and/or Yehoshua. The dual tablets have been converted into five, referencing the Five Books of the Torah.[8] The Birds Head Haggadah’s metamorphosis during the transmission process of the two tablets into five is the only example of this solution in any Jewish (or non-Jewish) manuscripts.[9]

Figure 1: Birds Head Haggadah, fol. 23r, Israel Museum

A similar rereading of the Giving of the Law occurs in the thirteenth-century Parma Machzor. Unlike the Birds Head, which transforms the two tablets into five in their delivery, the Parma Machzor, however, depicts God giving Moshe three tablets, presumably alluding to the three books of Tanakh, the entire corpus of the Torah.[10]

Figure 2: Parma Machzor (Biblioteca Palatina, MS Parm. 2887)

Beyond transforming the tablets into more than the two mentioned in the Torah, other forms of iconographical methods were used to address the minim issue. Writing material underwent significant changes throughout the centuries. It was initially etched onto stones, like the luchos, then papyrus (like the Nash), and eventually, using animal skins that are much more resilient than papyrus, it was transformed into scrolls. Finally, “the most revolutionary invention in the history of the book” – the codex – was created at the beginning of the Common Era and became commonplace by the third century CE.[11] The codex, which we recognize as a book today, consists of individual pages written on both sides and addresses the major limitations of the scroll: the difficulty of quickly moving from one section to another and the fact that only one side could be used. Christians were the first to adopt this form sometime in the third century CE. Jews, however, adopted the book or codex much later than most other cultures, likely only in the ninth century.[12] This is unsurprising, as the scroll was not merely a device for Jews, but was imbued with special holiness.

These two forms, the scroll and codex, were used to address the minim issue. In these instances, they assumed the role of the entire torah as contrasted with the tablets, recording just the Decalogue. Scrolls are substituted for the tablets in at least two Haggadahs from the late fifteenth century (c. 1470-1480): the Nuremberg II and the Yahuda.

Figure 3: Second Nuremberg Haggadah (Center for Jewish Art)

Figure 4: Yahuda Haggadah (Center for Jewish Art)

In both, Moshe holds up an open scroll with wooden poles in a manner familiar from the hagbah ceremony. Likewise, in the well-known illuminator Joel ben Simon’s c. 1470 Machzor, now referred to as the Rothschild Weill Machzor, Moshe lifts the scroll. In a later Haggadah, known as MS 1388 Paris (1583), Moshe is holding a partially open scroll, though it is not raised like the other examples.[13] 

Figure 5: Rothschild Weill Machzor (Center for Jewish Art)

A similar image appears in the Ulm Machzor, c. 1430; however, Moshe is receiving it directly from God, echoing the approach of the Parma Machzor that there was no transformation, rather the delivery itself was the entire Torah.

Figure 6: Second Darmstadt Haggadah 9v (Center for Jewish Art)

The codex is similarly employed to address the minim issue. In the Second Darmstadt Haggadah (here), Moshe appears at the top right, beneath the shofar. He is holding two connected rectilinear tablets, hinged at the bottom. A man, dressed differently than Moshe and likely Aaron or Yehoshua, appears at the bottom right holding two separate rectilinear tablets, which are clearly sourced from Moshe. Finally, a group of Israelites appears in the bottom center of the page. The leader is now holding a book. This transforms the tablets into a book or Torah. The connection between the tablets becomes clearer as the person holding the book points to Aaron/Yehoshua and the tablets, indicating that the book’s source is the tablets and ultimately what Moshe received directly from God. Therefore, collectively, the page illustrates the transmission and transformation of the Luchos, from the ten into the Torah – received from God by Moshe, which was then handed off to Aaron and finally to the Jewish people.

Figure 7: Detail Second Nuremberg Haggadah (Center for Jewish Art)

There is perhaps another example of the codex that addresses the minim issue. In the Laud Machzor, c. 1290, the illustration for the piyyut recited on Shavous, Adon Ammani, the upper register has an angel delivering two separate rectilinear tablet while on the right side the Israelites receive a single item with a loop at the bottom. Unlike the Birds Head or other manuscripts that has the transformation into the Torah during the transmission stage; here, the only item the Israelites received was this single item with the loop. What is this unusual single panel with a loop? It may be a a codex. Manuscripts and codices were originally kept in cabinets, armaria, but in the late 13^th and early 14^th centuries they were more commonly placed on desks, and the practice of chaining books to prevent theft began (see here). Perhaps the loop in the Laud Machzor is a ring of a chained codex and another provides another example of using the codex to address the minim issue.

Figure 8: Laud Machzor 127r (Bodleian Library, MS Laud Or. 321)

Hebrew Book Illustrations & Anti-Jewish Representations

Illustrations in printed books, however, do not appear to be concerned with solving the minim issue. To the contrary, some iconography in printed books can be read to diminish or even undermine not only the torah’s transmission but even the continued applicability and viability of the Decalogue. Printed illustrated Hebrew books depict either Moshe receiving or transmitting the tablets or simply Moshe and the tablets without context. Of the four printed mother Haggadahs that served as models for nearly all subsequent printed illustrated Haggadahs, only one, Amsterdam 1695, depicts ma’mad har sinai. Unlike the other illustrations in that edition, which are modeled after Mathis Merian’s Bible, this illustration was borrowed from other Amsterdam Hebrew prints. As we have previously discussed, while the engraver clearly used Merian as a model he deliberately altered the images to suit the Jewish text rather than their original Christian source. Merian’s imagery for ma’amad har Sinai was entirely at odds with the Jewish view, and therefore, the illustrator sought an alternative source. Merian only depicts the sin of the Golden Calf and not the delivery or transmission of the Decalogue/Torah. That aligns with Christian theology that focuses on the sins of the Jews, rather than the monumental and exceptional example of God speaking directly to the Jews and imparting his Torah.

Figure 9: Amsterdam Haggadah, 1695 (Center for Jewish Art)

The Amsterdam Haggadah used the imagery that first appears on the titlepage of the 1679 Amsterdam Humash and reused on many subsequent editions of the Humashim from Amsterdam and other cities. Here, the mountain is in the middle and Moshe is still on top, receiving the tablets. They are square, and one is held in each of his hands. The illustration does not depict Moshe delivering the Torah or tablets; therefore, it does not address the tension between the Decalogue and the torah. Nonetheless, arguably implicitly, the inclusion of the image on a title page of a Humash, obviates the need to include additional imagery for the minim issue – Moshe receiving the tablets is literally attached and is the precursor to the entire Torah.

Figure 10: Humash, Amsterdam, 1679 (Gross Family Collection)

While the Decalogue scene does not appear in the other mother Haggadahs, Moshe with the luchos is used as one of the border figures in the Venice 1609 Haggadah. Moshe is carrying two connected round-topped tablets and has a light emanating from his forehead. This illustration of Moshe and the luchos is among the most common title page illustrations in Hebrew books.

Figure 11: Title Page Shu”t Rashba, Hanau, 1610 (Gross Family Collecdtion)

It first appears adorning the titlepage of Shu”T Maharil, Hanau, 1610. However, that image was clearly borrowed from a non-Jewish source. Moshe has horns, with rounded topped tablets, and is flanked by Aaron wearing a bishop’s mitre and holding a censer.[14] There is another nuance to the image that may also specifically Chrisitan, and more important theologically than whether Moshe had horns or light emanating from his head. Unlike the Jewish sources discussed above, Moshe does not hold the tablets aloft. Rather, they are standing on the ground, his hand on top. This aligns with the Christian view of the Decalogue; after Jesus, it was relegated to a secondary role or was even superseded by the New Testament. The depiction in Shu”T Hashiv R’ Eliezer, published in 1749 in Neuwied, Germany, presents a particularly striking variation. In this volume, Moshe’s hand is shown flat, seemingly serving to drive down the tablets into the ground rather than grasping them, as seen in the Hanua prints. Additionally, unlike other works that either show some of the text on the tablets or leave them blank, Hashiv depicts the tablets filled with lines, effectively obscuring or erasing any text.

Figure 12: Shu”t Hashiv Reb Eliezer, Neuwied, 1748

The unique nature of Hashiv’s title page is amplified when compared with to similar title pages, one may have even served as the a model for Hashiv. Critically, that title page includes subtle yet significant modifications. For example, David Gans, a disciple of Maharal, in his work Sefer Nitzahon, published in Altdorf in 1644, created one of the most exquisite Hebrew title pages. It features a similar depiction of Moshe as seen in Hashiv, with his hand resting atop the tablets that include some lines, resembling Hashiv. However, these tablets prominently display the Hebrew “Aseres ha-Dibros,” clearly underscoring their importance.

Figure 13: Sefer Nitzhon, Altdorf, 1644

Another contrary example is Yefeh Anaf, by R. Shmuel Jaffe, Frankfurt a.d. Order, 1696, which depicts a Jewish Moshe with rays emanating from his head, holding round-topped tablets with the beginning of each directive in Hebrew.

Like the three manuscripts discussed above, there is another title page that features Moshe with a scroll instead of tablets. This title page, which appears in a number of different Amsterdam books, for example, Sefer Shenei Luchos ha-Bris, Amsterdam, 1698, Yad Yosef, Amsterdam, 1700, and Eshlei Ravrevei, Amsterdam, 1711, is an amalgamation of four biblical figures, each symbolizing one of the four crowns: Torah (Moshe), priesthood (Aaron), kingship (Dovid), and a good name (Shlomo).

Figure 14: Shnei Luchos ha-Bris, Amsterdam, 1698

A later Amsterdam edition of the Humash combines all three Amsterdam illustrations on the title page. The 1827 Amsterdam Humash features Carl Christian Fuchs’s engraved title page. At the top is the image of Moshe accepting the two square tablets. Moshe appears below on the left, holding round-topped tablets with lines representing the text, and in the center is a crown of Torah. Fuchs includes another Amsterdam illustration at the bottom of the page, this one from the 1695 Haggadah, which depicts the temple.

Figure 15: Humash, Amsterdam, 1827

There is another unique depiction of the tablets on an early 19th-century title page. In the third edition of Mendelsohn’s Humash, Fürth, 1801-1803, Moshe and Aaron flank the title page. However, Moshe, with rays, holds only his staff. In the central image, the ark of the covenant is present, and the two tablets, with rounded tops, are superimposed in the foreground.

Figure 16: Derech Selulah, Fürth, 1802 (Gross Family Collection)

One printed book, however, R. Yosef Ergas’ Shomer Emunim (Amsterdam, 1736), may be a unique example that specifically addresses the minim issue. This work, which discusses the legitimacy of Rabbinic Judaism, includes a representation within a circular design surrounded by laurel leaves at the center of the upper register. Initially, the figure appears to be Moshe holding the luchos. However, the accompanying legend identifies the figure as “Rabbenu ha-Kodesh,” Rabbi Yehudah ha-Nasi, the compiler of the Mishna and a key figure in rabbinic Judaism. This suggests that the Mishna – Rebi Yehuda’s text – is synonymous with the luchos.

Figure 17: Shomer Emunim, Amsterdam, 1736 (Moreshet Auctions)

This interpretation is further supported when compared to the title page model for Shomer Emunim, David Nieto’s Matteh Dan, Kuzari ha-Sheni, (London, 1724). This work also defends rabbinic Judaism and depicts the figure labeled “Rabbenu ha-Kodesh” encircled in the upper register, but he is holding a book with the inscription “Mishna.” The printers of Shomer Emunim modeled the title page on Matteh Dan, yet went further in visually equating the Mishna with the Decalogue.

Figure 18: Matte Dan, London, 1714 (Moreshet Auctions)

Except for the Amsterdam prints, title page illustrations consistently show round-topped tablets, unlike Hebrew manuscripts where tablet shapes vary. This likely stems from printing developing after Christian art standardized the round-topped representation. Table 1 summarizes twenty-two manuscripts depicting the tablets, with no consistent shape linked to a specific era or region. In one instance both rounded and rectilinear shapes in the same manuscript.[15] In the Sarajevo Haggadah, the tablets appear on two separate panels (panels 30 and 32): once when Moshe receives and conveys the Decalogue, and a second time in the scene depicting what may be the Tabernacle, Solomon’s Temple, or the Messianic Temple.[16] In the first instance, the tablets are rounded, while in the second, they are rectilinear. It is conceivable, though admittedly improbable, that the original designs were rounded and depicted in the first panel. However, in the second panel depicting the temple, when the decision was made to construct the ark with a square shape, the tops may have been removed to ensure a better fit.

The Ultimate Message of Har Sinai

One final manuscript illustration is notable not only for the shape or material of the tablets, but for the broader message it conveys. The entire nation was present at ma’amad Har Sinai, including men, women, and children. The Dresden Machzor, circa 1290, depicts Moshe receiving the tablets on the upper right of the panel. On the left side of the top register, Moshe delivers them to a kneeling woman, with no men depicted. This representation indicates that the Torah was given to and applies to everyone equally. The shape itself conveys a universal message. The luchos feature rounded tablets within a rectangular frame, symbolizing that everyone fits within Judaism’s broad parameters.

Figure 19: Dresden Machzor, c. 1290 (MS Dresd. A.46A, 202)

Table 1: Manuscripts & the Shape of the Tablets