The Akedah (binding of Isaac) is a very popular theme in the arts. It appears in music, most recently (from a decidedly Christian perspective), the critically acclaimed indie musician Sufjan Steven’s who has the song Abraham (on his Seven Swans CD). In the visual arts, numerous representations of the Akedah can be found, from Rembrandt to Chagall. Some of the earliest Jewish art also contains the Akedah. In both the Dura_Europos Synagogue and the Beth-Alpha Synagogue there are depictions of the Akedah. This trend was continued in Hebrew manuscripts throughout the Middle Ages. In Hebrew books, however, there is a dearth of illustrations generally. At most in Haggadot or on title pages, at times, there are minor illustrations. But, there is a notable exception.

In 1685, the work Pachad Yitzhak was published in Amsterdam. This book, written by Rabbi Dr. Isaac Vita (or Hayyim) Cantarini (see note 1), is about the attack on the Jewish ghetto of Padua in 1684. Preceding the title page there is an elaborate illustration of the Akedah. The simple reason for the inclusion of this is due to Cantarini’s first name Isaac and thus an allusion to his name. But, as we will see, there is more to this illustration.

In his later work Et Kets, also published in Amsterdam in 1710 he includes another depiction of the Akedah. This work is devoted to figuring out when the Messiah will come, (he thinks in 1740), a much more upbeat topic than his prior work. As you can see both illustrations, it bears discussing them in some detail.

The illustrations are most likely done by two different artists. This is so, as there are slight distinctions between the two. For instance, in the earlier one, Abraham has a full beard, while in the later one he only has a mustache. The ram in the first has straight horns, while in the second has circular ones. These distinctions, however, are not as meaningful as others.

The overall depictions are of two different time periods. In the first, the illustrations depicts Abraham just as he was about to slaughter Isaac and the angel calling out to stop him. But, in the second the illustration is of Abraham going after the ram and not Isaac. The signifcance of this is tied to the actual books. In Pachad Yitzhak the book discusses a terrific threat to the Jews and their salvation. Thus, the illustration is of the same – the terrific threat to Isaac and the salvation. The second work, Et Kets, is a much more positive book. This work has none of the fear of the prior instead, is fully devoted to Messiah and thus the illustration is only of the ram and its sacrifice.

Further, there are different Hebrew words which appear on both the illustrations. On the first the word ערכה (prepared or set up) appears across Abraham’s chest. This word expresses Abraham’s readiness to sacrifice Isaac. It would seem, similarly, the Jews of Padua were willing to sacrifice themselves for God. But the word ערכה only means to prepare and not to actually sacrifice. Thus, Isaac was only prepared but not sacrificed and so too the Jews of Padua were placed in danger but ultimately redeemed.

In Et Kets, the words ירא יראה appear. These words are a reference to what Abraham called the place where the Akedah took place. Importantly, Abraham uttered these words after the entire episode. These were words of jubilation on both him passing his test and Isaac’s redemption. Again, these words fit well with the content of Et Kets.

These allusions are unsurprising knowing the style of R. Dr. Cantarini. His books are written rather cryptically, with many many allusions to Biblical and other themes throughout.

Now, a word or two about the author. R. Dr. Isaac Cantarini lived in Padua. He came from a family of cantors or hazzanim. Thus, his name was בן חזן (ben hazzan – son of a hazzan) or in Italian Cantarini which has the same meaning. He received his medical degree from the University of Padua on the 11th of February 1664. He was a prominent Rabbi and the head of the Yeshiva in Padua. Among his students was R. Moshe Hayyim Luzzato (Ramchal). The Ramchal wrote a dirge on R. Dr. Cantarini’s death. R. Dr. Cantarini was a very popular speaker. One Shabbat, there were so many non-Jews in attendance, the Jews were forced to sit in the woman’s section. He authored repsonsa and appears in some of the contemporary responsas of his contemporaries. One work he appears in is R. Isaac Lamporti’s encyclopedia Pachad Yitzhak. Sharing the same first name and titling their books the same caused at least the Jewish Agency to conflate the two and erroneously claim about R. Dr. Cantarini that he “Published Pahad Yizhak (Fear of Isaac), a rabbinical encyclopedia which also described the attacks on the Padua community the year before.”

In his medical practice he was highly respected by both Jews and non-Jews. He left in manuscript some of his medical writings.

Note 1. At the end of his life the name Rafael was added, see Shmuel David Luzzato, Otzar Nechmad III p. 147.

Sources: Mordecai Ghirondi, Toldot Gedoli Yisrael, p. 143 no. 154; Joseph Gutmann, The Sacrifice of Isaac in Medieval Jewish Art, in Artibus et Historiae, Vol. 8 no. 16 (1987), pp. 67-89; Simon Ginzburg, The Life and Works of Moses Hayyim Luzzatto, index under Cantarini; S.D. Luzzato, Otzar Nechmad, III pp. 128-149; also the Jewish Encyclopedia has an entry (better than EJ) here.

As part of the hagadah there is an extensive discussion where various verses are discussed in depth. One of the verses, Devarim 26:7, says that “God heard our pain” (וירא את ענינו), this is interpreted in the hagadah as refraining from martial relations. In the Venice 1629 edition of the hagadah this is illustrated by having husband and wife sleeping in separate beds.

[As you can also see, for some reason the text of this edition has two yuds in the word ענינו I don’t know why.]

Also, you can see in the top left hand corner of the illustration (click on the picture for a more detailed view) a lamp is lit as well. I assume this was also to show the lack of marital relations. The law on Yom Kippur is that one needs to have a light on, according to one understanding this is so one will not come to have relations with ones wife. Perhaps this was used here for the same effect. This understanding is bolstered by the fact the Talmud in Yoma learns the prohabition against marital relations on Yom Kippur from the Eygptian slavery. (Yoma, 74b)

According to one scholar, Israel Yuval, this understanding of the verse is polemical in nature. He explains that when the Jews were prohibited from martial relations this was “pain” as this “counteracts the claim of Jesus’ miraculous birth.” If one could have a child born through miraculous means, then it would mitigate the effect of abstinence. Consequently, we are emphasizing the Jewish view is that such abstinence is harmful.

[However, some have questioned Yuval’s emphasis on finding Christological elements in the hagadah.]

Sources: Yerushalmi, Haggadah and History, plate 50; Joshua Kulp, The Origins of the Seder and Haggadah, Currents in Biblical Research, 4.1(2005) 109-134 (discussing Yuval and summarizing the state of the current literature); Safrai and Safrai, Haggadah of the Sages, 136-138.

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)'”

While I do not intend to focus solely on racy title pages, I do have a futher update to my previous posts I, II. It appears that the title page used in the Levush (Prauge, 1590) was actually a recycled page. It was first used in the Prague 1526 Haggada.

Now aside from this page, which we have seen is objectionable to some today, there were other objectionable illustrations in this edition. Yerushalmi in his Haggadah and History, notes that there was an illustration accompaning the verse found in haggadah from Exekiel 16:7. That verse reads “I cause you to increase, even as the growth of the field. And you did increase and grow up, and you became beautiful: you breasts grew, and your hair has grown; yet you were naked and bare” Accompaning this verse the following illustration appeared, which as you can see, really just shows just what the verse describes.

Now in the Venice 1603 they wanted to illustrate this verse, however, they did not want to use a nude, so they replaced it with a picture of a man, which of course, has little to do with the verse. In fact, they felt the need to place a legend on the picture so the reader would not be too confused the legend reads “A Picture of a Man!” (on the right)

Printing was started by non-Jews, however, Jews quickly entered the printing business. However, at times, Jews “borrowed” from non-Jews sources with some interesting repercussions.

Early on many of the Jewish books borrowed title pages from non-Jewish works. This was so, as early title pages utilized woodcuts, which were rather expensive to make. In an effort to cut costs, printers would reuse these woodcuts from other books. Soncino in his early Talmuds as well as in other books used the title page that was used for Aesop’s Fables. (See Marvin J. Heller, The Printing of the Talmud, p. 68-70)

In 1697 the Teshuvot haBakh were published for the first time. This first edition actually has two variant editions. The first one was published with a rather elaborate title page that included unclothed women. It appears this edition was immediately pulled and a second title page was substituted. This second page was much simpler with just two cherubs above the text of the title no more nudes. (For more on this topic of altering title pages, see Isaac Rivkind, Sefer Ashir B’Sha’arim, in Studies in Bibliography and Booklore, vol. 1 1953 p. 96-100; A. Freimann, “Ueber Schicksale hebraischer Bucher,” in Zeitschrift fur Hebrasche Bibliographie, X (1906) esp. p. 175)
More recently, R. Mordechai Yaffo’s Levush was republished. This reprint, aside from resetting the type, adding the Eliyaha Rabba and Zuta, and adding additional notes also includes an extensive introduction. This introduction traces the history of the various editions of the Levush as well as explaining its overall value. When it traces the printing history, it includes reproduces the title page of the first edition (Lublin 1589). However, this title pages has strategic white outs. In the first edition on the title page it includes female nudes, these are now whited out.

The inclusion of nudes was not that uncommon. I have seen other seforim that include such depictions either on the title page or at times even in the text. One notable example is a Mahzor published in Venice in 1710. This edition includes a depiction of semi-nude women right before the start of Barukh She’amar. From an artistic perspective this arguably adds to the book, however, from a religious perspective one must assume that it may offend some. However, there is no explanation for this picture so we are left to wonder what was the motive of the publishers.