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    Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace
    Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace
    Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace
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    Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace

    By Joseph Shatzmiller

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    Demonstrating that similarities between Jewish and Christian art in the Middle Ages were more than coincidental, Cultural Exchange meticulously combines a wide range of sources to show how Jews and Christians exchanged artistic and material culture. Joseph Shatzmiller focuses on communities in northern Europe, Iberia, and other Mediterranean societies where Jews and Christians coexisted for centuries, and he synthesizes the most current research to describe the daily encounters that enabled both societies to appreciate common artistic values.


    Detailing the transmission of cultural sensibilities in the medieval money market and the world of Jewish money lenders, this book examines objects pawned by peasants and humble citizens, sacred relics exchanged by the clergy as security for loans, and aesthetic goods given up by the Christian well-to-do who required financial assistance. The work also explores frescoes and decorations likely painted by non-Jews in medieval and early modern Jewish homes located in Germanic lands, and the ways in which Jews hired Christian artists and craftsmen to decorate Hebrew prayer books and create liturgical objects. Conversely, Christians frequently hired Jewish craftsmen to produce liturgical objects used in Christian churches.


    With rich archival documentation, Cultural Exchange sheds light on the social and economic history of the creation of Jewish and Christian art, and expands the general understanding of cultural exchange in brand-new ways.

    Some images inside the book are unavailable due to digital copyright restrictions.

    LanguageEnglish
    PublisherPrinceton University Press
    Release dateJul 21, 2013
    ISBN9781400846092
    Cultural Exchange: Jews, Christians, and Art in the Medieval Marketplace
    Author

    Joseph Shatzmiller

    Joseph Shatzmiller is Professor of History at the University of Toronto and author of Shylock Reconsidered: Jews, Moneylending and Medieval Society (California, 1990).

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      Book preview

      Cultural Exchange - Joseph Shatzmiller

      CULTURAL EXCHANGE

      ___________________________________

      Jews, Christians, and Muslims from the Ancient to the Modern World

      William Jordan, Michael Cook, and Peter Schäfer, series editors

      Edited by Michael Cook, William Chester Jordan, and Peter Schäfer

      A list of titles in this series appears at the back of the book.

      CULTURAL EXCHANGE

      ________________________________

      Jews, Christians, and Art in the Medieval Marketplace

      Joseph Shatzmiller

      PRINCETON UNIVERSITY PRESS

      Princeton and Oxford

      Copyright © 2013 by Princeton University Press

      Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540

      In the United Kingdom: Princeton University Press, 6 Oxford Street, Woodstock, Oxfordshire OX20 1TW

      press.princeton.edu

      All Rights Reserved

      Jacket Art: Initial E: A Man Receiving a Purse from a Jew in Exchange for a Goblet (83.MQ.165.114). Artist: Unknown, Possible Michael Lupi de Candiu, about 1290–1310. Courtesy of the Getty Museum.

      Library of Congress Cataloging-in-Publication Data

      Shatzmiller, Joseph, author.

      Cultural exchange : Jews, Christians, and Art in the medieval marketplace / Joseph Shatzmiller.

      pages cm. — (Jews, Christians, and Muslims from the ancient to the modern world)

      Includes bibliographical references and index.

      ISBN 978-0-691-15699-6 (hardcover : alk. paper) 1. Jews—Europe, Western—Civilization. 2. Jews—Europe, Western—Social life and customs—To 1500. 3. Christians—Europe, Western—Civilization. 4. Christians—Europe, Western—Social life and customs—To 1500. 5. Europe, Western—Civilization—To 1500. 6. Europe, Western—Civilization—Jewish influences. 7. Europe, Western—Ethnic relations. I. Title.

      DS135.E81S53 2013

      381′.108992404—dc23       2012046441

      British Library Cataloging-in-Publication Data is available

      Publication of this book has been aided by a grant from Duke University’s History Department; the incorporation of the illustrations has been supported by a grant from The Lucius N. Littauer Foundation

      This book has been composed in Sabon

      Printed on acid-free paper. ∞

      Printed in the United States of America

      10 9 8 7 6 5 4 3 2 1

      Contents

      ___________

      List of Illustrations

      __________________________

      Preface

      _______________

      In writing this book I have tried to simplify the narrative as much as possible in order to facilitate the reading of its seven chapters. For this reason I have tried to reduce the volume of scholarly apparatus, perhaps less successfully than anticipated. Footnotes have been shortened to the most essential elements, but will send the curious reader to a more detailed bibliography.

      For the sake of simplification, almost all quotations and references are given in English, not Hebrew or Latin. In the majority of cases I have had access to reliable translations. When an alternative interpretation of a term or a sentence is possible, I have included that in brackets.

      In an effort to avoid the readers having to struggle with an avalanche of references, I have, when presenting a continuous set of data drawn from the same source, provided the reference within the text itself, not in the footnotes. The item number or the page number is given in parentheses. References to call numbers (signatures) of codices and folios of manuscripts are also included parenthetically in the text rather than in the footnotes. In several instances, when the title of a printed book made part of the discourse of a paragraph, I quoted its title in full in the text and provided also the bibliographical reference instead of relegating it to a note.

      This book has been generously supported by the Department of History, Duke University, and by the Lucius N. Littauer Foundation, New York. I wish also to express thanks to the libraries that provided permission to publish illustrations from their collections and especially to those who generously waived the fee or provided an educational discount. All credits are mentioned in the captions that accompany each of the illustrations.

      Larissa Klein, editorial assistant at Princeton University Press, worked with me for almost a year providing advice and helping with the onerous task of collecting permissions to publish illustrations from many different sources. We had close to daily contact struggling to achieve the permissions. Her efforts and successes can serve as an example of patience, perseverance, and efficiency. Dr. Brigitta van Rheinberg, editor-in-chief and executive editor of Princeton University Press, including its Judaica series, took an avid interest in my manuscript from the first minute and navigated its course within the different committees with much sympathy and understanding. Her wise suggestions helped shape the story and make it more effective. To both I send my heartiest thanks. Special thanks to Debbie Tegarden who worked with grace and efficiency on the final version of this book. Many other friends and colleagues have helped me during the many years that I worked on this project. They will find their names and my thanks in the notes.

      This book took a long time to write. Still, without the help, so generously given by these friends, it would have taken even longer. Let me extend my thanks to my wife Gayle Murray, who in many hours of hard work tried to make sense of my English and saw to it that I followed the rules of logic. The least I can do is dedicate this book to her.

      CULTURAL EXCHANGE

      _____________________________________

      INTRODUCTION

      __________________________

      This book is about the cultural exchange between Jews and Christians in the High and Late Middle Ages (c. 1230–1450 CE). Members of each group contributed to the other’s culture, even to their religious practices. The Christian protagonists appear more frequently in most chapters, but Jews, too, are handsomely represented. My interest in these people and their endeavors was raised while I was working on the history of the West European marketplace and its financial services. Moneylenders, Jews and non-Jews, could not always count on notarized contracts to secure the loans they were extending, and required tangible objects as collateral. They became, in fact, pawnbrokers. This fact led me to undertake the present project.

      Jews would often have in their possession artistic objects from the surrounding society. Even if held for a limited time, these objects were most likely influential in shaping the possessors’ own art. The idea of looking at the Christian environment when studying Jewish ritual objects was raised in 1960 by Mordechai Narkiss, then the director of the Bezalel Art Museum in Jerusalem. He was studying the shape of a Jewish ritual object—the spice box—known in Hebrew as a besamim box or hadass (myrtle). This small elegant object (see fig. 24) frequently shaped like a tower, is used in the concluding moments of the Sabbath and of holidays when the fragrance spread from the box announces the beginning of a new week. Narkiss noticed that originally these besamim (perfume) boxes were similar in shape to Christian reliquaries labeled in German as Monstranz. Jewish moneylenders, Narkiss suggested, must have kept such reliquaries as pawns to guarantee the loans they provided. To support this hypothesis he provided a dozen references showing how medieval Jews accepted Christian liturgical articles as securities. As if in support of this suggestion, Parisian art historian Victor Klagsbald noticed that in the sixteenth century, goldsmiths in Frankfurt called the besamim-hadass box a Judenmonstranz. Meyer Shapiro, the nestor of the discipline, would agree with Narkiss. He had no hesitation writing about the intimate bond between Christian and Jewish culture in the middle ages in spite of the separateness of the communities.¹

      Materials for this enterprise came from all corners of the Latin West. Fourteen years of searching did not provide me with enough data to concentrate the study in one region, or to limit its chronology to a span of time shorter than three centuries. The field of observation had to be extended in order to cover all aspect of the story I wished to tell. Even so, it is more than probable that I have not discovered all the information that could be of relevance. Thus, precious evidence has come to my attention since I first submitted the manuscript to the publisher and other relevant materials are sure to surface following the publication.

      __________________

      The first part of this book, chapters 1 to 3, is devoted to a study of the exchange of cultural values in the medieval money market and to the venues of their transmission. Here we can observe the cross cultural exchange of material objects. We enter now the world of pawnbroking. In chapter 1, we meet mostly peasants and humble citizens. As can be surmised, not much in terms of beauty can be expected to be discerned from the objects that these simple people brought to the market. Their relationships with the pawnbrokers are studied through the exploration of the tribunal registers of Manosque (in Upper Provence), which indicate the rules that governed the practice of exchange and exhibit the complications and disagreements that may have arisen between the business partners. Chapter 2 exposes members of the clergy in need of credit for their monasteries and churches. They were prepared to give as securities objects that were considered sacred. By relinquishing such objects they ignored papal and ecclesiastical councils’ prohibitions. Chapter 3 deals with moderate to high financial assistance that was required at times by well-to-do urban inhabitants and by members of the princely class. There were situations in which even members of royalty borrowed from Jewish moneylenders. Much more aesthetic value (at least to the modern eye) was present in the objects brought to the pawnbrokers’ premises by this class of borrowers. It is not hard to imagine how Jews could have been enchanted by pledges offered by the very upper class of society. Indeed, on rare occasions they expressed their admiration for the refined taste of such securities.

      __________________

      Part Two, anchored in Germanic lands, begins with chapter 4, which offers a most astounding testimonial to the influence that success had on the development of the aesthetic taste of Jewish financiers. It describes the decorations in an apartment discovered in the mid-1990s in the city of Zurich. In this apartment, between the years 1320 and 1330, lived the family of the exceedingly rich Rabbi Moses ben Menahem, the spiritual leader of the city’s small community who is well known today to rabbinic scholars. Visiting the premises in the summer of 2003, I was surprised by the remains of the wall paintings that once surrounded the living room. Although in all likelihood they were painted by non-Jews, I expected nevertheless to see scenes of great moments of the biblical narrative, or, alternatively, images of impossible hybrids, of waterfowl, of unicorns or of dragons swallowing serpents, the way they appear in the decorated medieval manuscripts. Instead, the message these frescoes send is bereft of any of the fantastic and is instead one of strict realism. Moreover, neither of the two frescoes has anything do with Jews or Judaism. One of the two shows a group of men and women dancing; the other shows a man and a woman riding in what seems to be a romantic promenade. In order to better understand the cultural profile of the rabbi and (mostly) to evaluate the contribution of these wall paintings as indications of the artistic horizons of German Jews of the fourteen century, I decided (for chapter 5) to briefly review their art history in the centuries that preceded and followed these frescoes (1230–1450 CE).

      __________________

      Part Three (chapters 6 and 7) will underline again the fact that the marketplace brought Jews in touch with Christian artists and craftsmen, where they learned to value their skill and expertise. That this helped to shape their sensitivity to what was considered then as beautiful is shown plainly by their preparedness to hire Christian artists and craftsmen to decorate Hebrew prayer books and to create for them objects with which Jews performed their liturgical obligations (chapter 6). These Christian professionals were not necessarily familiar with the intricacies of the Jewish religion, and when not consulting a Jew, at times committed mistakes. The late Ruth Mellinkoff went a step further and claimed that the deformed way Jews are presented in these Hebrew manuscripts was due to the hostility of these Christian painters toward the rival religion. In this chapter I cannot subscribe to this suggestion. These deformations, I shall try to prove, followed a Jewish initiative and not a Christian one. More than that, in most manuscripts and objects that I observed I did not sense any hostility. As far as I can tell, in most cases these non-Jews wished to present an honest product to the satisfaction of the patron. This lack of rivalry or animosity brings our book to chapter 7, the last—and for me the most intriguing—chapter. It shows Jewish artists and craftsmen working together for the church and its institutions. This is unexpected, because even current historiography is still centered on instances of tension and dispute and has the story of hostility as its central preoccupation. To be sure, historians are not pointing readers in the wrong direction since much of the relations in the past were unfortunately marked by persecutions and massive bloodshed. But a study like the present volume should prepare all of us to encounter instances of tolerance, of humanity, and of collaboration that existed then, as surely as they exist now.

      __________________

      The term cultural exchange when discussed from the point of view of the Jews means external input into their civilization. In the preceding pages we limited the discussion to art and craftsmanship and to the medieval marketplace. But other aspects of life, be it ceremonials, customs, or even communal institutions, can be subjects of examination as well. And indeed they were in the past and still are at present. In the appendix to this book I present such studies as conducted by distinguished scholars, and the reaction—some of it negative—their scholarship attracted. The towering figure of Historian Fritz (Yitzhak) Baer gets, of course, special attention. In a short addition to these pages I raise the issue of whether we can go beyond identifying influences and pointing to similarities and try to follow the channels through which these external inputs flowed.

      __________________

      Finally, a note about the monetary terminology used in the following pages. Although several coins were in use in the medieval marketplace, the most prevalent was the denarius. A pound (libra) of silver—or most often a mixture of silver and other metals—was divided into 240 denarii. Twelve denarii made for a solidus (shilling), and twenty

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