Select manuscript from this collection: B26  K26 K37  S102  56/107

Country of Location:
Country of Location
Switzerland
Location:
Location
Zürich
Library / Collection:
Library / Collection
Braginsky Collection
Shelfmark:
Shelfmark
K29
Manuscript Title:
Manuscript Title
Ketubah (כתובה), Ancona, 14 Tishri 5550 (October 4, 1789)
Caption:
Caption
Parchment · 1 f. · 80.8 x 54.3 cm · Ancona · 1789
Language:
Language
Hebrew
Manuscript Summary:
Manuscript Summary
This marriage contract was made in one of the most important Jewish communities of Italy, the Adriatic seaport of Ancona, which also was a leading center of ketubbah illustrations. The main episode at top center, depicts the prophet Elijah ascending to heaven, riding in his fiery horse-drawn chariot, while his amazed disciple, Elisha, watches below. This scene thus refers to the first name of the bridegroom, Elijah Mordecai, son of the late Judah mi-Cerrata. The other two biblical episodes appear in the cartouches at the center of each of the side borders. At right, the scene of the Triumph of Mordecai, refers to the second name of the bridegroom, Mordecai. Depicted at left is the scene of David holding the head of Goliath; it is to be understood as a reference to David Camerino, father of the bride Tova, daughter of David, son of Abraham Obedai Camerino of Senigallia. (red)
DOI (Digital Object Identifier):
DOI (Digital Object Identifier
10.5076/e-codices-bc-k-0029 (http://dx.doi.org/10.5076/e-codices-bc-k-0029)
Permanent link:
Permanent link
https://www.e-codices.ch/en/list/one/bc/k-0029
IIIF Manifest URL:
IIIF Manifest URL
IIIF Drag-n-drop https://www.e-codices.ch/metadata/iiif/bc-k-0029/manifest.json
How to quote:
How to quote
Zürich, Braginsky Collection, K29: Ketubah (כתובה), Ancona, 14 Tishri 5550 (October 4, 1789) (https://www.e-codices.ch/en/list/one/bc/k-0029).
Online Since:
Online Since
03/22/2017
External resources:
External resources
Rights:
Rights
Images:
(Concerning all other rights see each manuscript description and our Terms of use)
Document Type:
Document Type
Document
Century:
Century
18th century
Dated:
Dated
1789
Decoration:
Decoration
Figurative, Full Page, Fully Painted, Gold / Silver, Ornamental
Liturgica hebraica:
Liturgica hebraica
Ketubbah
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e-codices · 01/25/2017, 18:03:54

Home of one of the most important Jewish communities of Italy, the Adriatic seaport of Ancona was a leading center of ketubbah illustration. Distinctive types of richly decorated ketubbot developed locally. In fact, the prominent Jewish families of Ancona invested so much effort and money in commissioning sumptuous ketubbot for the weddings of their offspring that community authorities were forced to limit the amount that could be spent on the decoration of the contract.
This large piece of parchment is decoratively trimmed at the top. Its captivating border, highlighted by designs in strikingly bright tones of gold and green, closely follows popular frames of the time. Within the colorful floral and ornamental patterns that frame the text are three vibrant biblical episodes. Supported by a pair of classical hybrid figures at top center, the main episode depicts the prophet Elijah ascending to heaven, riding in his fiery horse-drawn chariot, while his amazed disciple, Elisha, watches below. The identification of the scene is confirmed by a biblical quote from II Kings 2:11. Typical of Italian ketubbot, the depiction of biblical heroes in their finest hour alludes to the names of the bridal couple. This scene thus refers to the bridegroom’s first name, as Elia is a variant of Elijah. This identification is reinforced by the crown above, alluding to the “crown of the good name” of the groom.
The other two biblical episodes appear in the cartouches at the center of each of the side borders. At right, the scene of the Triumph of Mordecai, inscribed with the text of Esther 6:11, refers to the second name of the bridegroom, Mordecai. Depicted
at left is another triumph – that of David over Goliath, accompanied by a quote from I Samuel 18:14. As no biblical figure bears the bride’s name, Tova, the selected scene refers not to her, but to her father, David Camerino.

A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 192.

e-codices · 01/25/2017, 18:00:05

Die Hafenstadt Ancona mit ihrer bedeutenden jüdischen Gemeinde war eines der führenden Zentren der Herstellung illustrierter Ketubbot. Hier entstand ein eigenständiger, besonders prunkvoll ausgestatteter Typus. Jüdische Familien investierten so viel Mühe und Geld in Ketubbot für die Hochzeit ihrer Kinder, dass sich der Gemeindevorstand gezwungen sah, die für die Ausschmückung aufgebrachte Summe zu begrenzen.
Die üppige, in leuchtendem Gold und Grün gehaltene Randbordüre orientiert sich an den beliebten dekorativen Rahmenmustern der Zeit. Die Szenen in den drei Kartuschen sind allesamt Anspielungen auf die Namen wichtiger Akteure bei dieser Hochzeit. Zunächst als Anspielung auf den ersten Namen des Bräutigams in der oberen Kartusche – mit der «Krone des guten Namens» versehen – die Himmelfahrt des Propheten Elija auf dem von Pferden gezogenen Feuerwagen, während sein Begleiter und Schüler Elischa staunend zurückbleibt. Dabei stehen die Worte aus dem entsprechenden Bibelvers: «Und Elija fuhr im Wirbelwind gen Himmel» (2. Könige 2:11). In der rechten Randbordüre nimmt der «Triumph Mordechais» aus dem Buch Esther Bezug auf den zweiten Namen. Die Szene mit David, der das Haupt Goliaths hält, ist hingegen als Reverenz gegenüber dem Brautvater zu verstehen.

Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 196.

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A Journey through Jewish Worlds. Highlights from the Braginsky collection of Hebrew manuscripts and printed books, hrsg. E. M. Cohen, S. L. Mintz, E. G. L. Schrijver, Amsterdam, 2009, p. 192.

Schöne Seiten. Jüdische Schriftkultur aus der Braginsky Collection, Hrsg. von Emile Schrijver und Falk Wiesemann, Zürich 2011, S. 196.

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