After many years of being cut off from Judaism, the conversos of Spain and Portugal migrated to other countries around the world, with many of them attempting to return to the Jewish faith. They didn’t have much knowledge of Judaism, and they didn’t even know the Hebrew alphabet. However, childhood memories, family stories, and discreetly maintained traditions encouraged these “New Christians” to try to reconnect with their roots in their newly adopted homes.
Throughout the 16th century, converso communities began to print Jewish books in Spanish. Initially, these printed works included the foundational Jewish texts, followed later by works on Jewish philosophy, anti-Christian texts, and books of poetry. A Portuguese grammar book and a play based on the Book of Esther, both printed by conversos during this period, have been preserved. A little later, in the 17th century, conversos published what is considered the world’s first Jewish newspaper, the Gazeta de Amsterdam. The newspaper was published in Amsterdam and was primarily intended for Jewish merchants.
It all began in the city of Ferrara, in northern Italy. Conversos settled there in the 16th century, and established the earliest printing industry dedicated to works of Spanish and Portuguese conversos. The publishing work later moved to Venice, and then in the 17th century to Amsterdam, where it remained for approximately 200 years. During the expulsion from Spain and Portugal in the last decade of the 15th century, there was already a Jewish community living in Ferrara, and the Jewish printing house had been operating there for several years. From 1477 to 1551, it published the Arba’ah Turim (a work dedicated to Jewish religious law) and commentaries on the books of Job and Daniel.
Against this backdrop, Ferrara attracted many conversos wishing to return to their Judaism, since the location offered them such a comfortable environment. Among those who settled there was Abraham Usque, a converso who had printed Latin books in Portugal. In 1543, he came under suspicion of practicing Judaism in secret and fled from Portugal to Ferrara.
Shortly after the arrival of the conversos in Ferrara in 1552, a Spanish member of the community named Yom-Tob Atias published a siddur (prayer book) and later a book of the Selichot penitential prayers. Usque and Atias met each other and in 1553, they published a complete Bible in Spanish together. According to an inscription found on the inside cover, this was done with the approval of the Duke of Ferrara. The full title of the Bible they published was: “The Bible in the Spanish language, translated word for word from the true Hebrew by very excellent scholars, seen and examined by the office of the Inquisition.” To this day, it is commonly known as “The Ferrara Bible.”
Since it is a very literal translation, it is a bit of a strange read in Spanish; rather than writing the biblical stories in Spanish, the text is translated word for word, sometimes without syntax, exactly as it is written in the original Hebrew. While the Ferrara Bible was printed in Roman letters, some people consider the translation to be written in the Judeo-Spanish language of Ladino, because it adheres strictly to the original Hebrew text.
The Ferrara Bible was first and foremost intended for conversos who wanted to study the Bible but did not have sufficient knowledge, if any, of Hebrew. The other target audience included Spanish-speaking Christians.
In the past, certain scholars surmised that in order to serve both types of readers, the Ferrara Bible was printed in two similar versions, with the differences reflecting the two target audiences’ respective expectations. In any case, the National Library of Israel has a copy of each version.
The “Christian” version states that it was printed by Jerónimo de Vargas and Duarte Pinel. The first page includes a long dedication to Duke Ercole II d’Este, who ruled Ferrara at the time of publication and granted Jews equal rights. The Jewish version was printed by the same two publishers, but in this version, they appear under their Hebrew names—Yom-Tob Atias (who some claim was Jerónimo de Vargas’ father) and Abraham Usque. In this version, the dedication is to Doña Gracia Nasi, the famous Portuguese converso and Jewish philanthropist. Doña Gracia may have funded the project or supported it in other ways.
In the colophon – the final note attached to a book or manuscript summarizing its production process—some copies have the year written as 1553, while others have it written as the corresponding year in the Hebrew calendar, 5313.
However, the differences between the two versions of the Ferrara Bible don’t stop there. For example, they were printed in two different sizes and on different types of paper.
In the 1950s, Professor Stanley Rypins, a scholar of English literature, conducted a thorough examination of the existing copies of the Ferrara Bible. He found 49 different copies around the world and demonstrated that there were many differences among them, though most of these differences were small and insignificant.
Contrary to the assumptions of past scholars that the Ferrara Bible had both a Jewish and a Christian version, Rypins argued that there was in fact no version specifically tailored for Christian readers. On the contrary, over the years, some have even claimed that this Bible is anti-Christian and that the translations of certain verses that have been interpreted as a historical basis for Christianity maintain the original literal text, in an effort to undermine official Christian doctrine.
Nevertheless, in some copies, there is one significant change favoring Christian dogma. One of the verses used in Christianity for missionary purposes appears in the Book of Isaiah, chapter 7, verse 14. In the original, it reads as follows:
“Behold, the young woman is with child, and she shall bear a son, and she shall call his name Immanuel.”
In Christian literature, the verse was translated according to Christian theology, which asserts that Jesus’ mother is the Virgin Mary:
“Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel.”
In some copies of the Ferrara Bible, the Hebrew word almah is translated into Spanish as moca (young woman). In others, it is translated as virgen (virgin), and in most cases, the printers simply wrote alma in Roman letters, thus avoiding controversy. In about half of the copies found, the word alma appeared, and Rypins demonstrated that this was how the Bible was originally printed. He claimed that the word was later changed to virgen, likely for political-religious reasons, and after several printings, to moca. Each change required the printer to adjust the font to maintain a uniform length of the row of text. To achieve this, abbreviated words were sometimes expanded to their full forms, and sometimes small spaces were added between words.
Throughout the period of publication, errors in page order and typos were corrected in the various printed copies that were released. Nevertheless, typographical errors can still be found here and there in some of the copies. Rypins viewed all these issues as proof that the different editions of the Ferrara Bible were indicative of an ongoing process of corrections; it wasn’t that there were two versions, each intended for a different audience, rather – all copies of the Ferrara Bible were intended for Spanish and Portuguese conversos in the mid-16th century. In the copies Rypins found, it was also evident that due to the prohibition against writing or pronouncing the name of God unnecessarily, most copies used the capital letter “A” as a substitute for the name. Some copies also included a list of the weekly Haftarah portions read in the synagogue.
The illustrated title page of the Ferrara Bible includes a drawing of a ship being tossed about by stormy waters at sea. One of its masts is broken, and it is surrounded by waves, gusts of wind, and sea monsters. The illustration alludes to the situation of the Jewish People in general and the conversos of Spain and Portugal in particular. The printers were hinting at the eternal nature of Judaism, which is forced to fight against its spiritual enemies but manages to survive and persevere despite it all.
The ship is also depicted with an armillary sphere, an instrument that serves as a model of objects in the sky and which was used in maritime navigation. The armillary sphere was the symbol of Abraham Usque’s printing house and appears in other books he printed as well.
Usque published over 25 books before his printing house was closed in 1558. One of his books, Shiltei Giborim (“The Signs of Heroes”) by Rabbi Yaacov Ben Yoav Elia of Pano, included a lamentation for 24 conversos who were executed in Ancona in 1556. News of this lamentation reached the ears of Bishop Antonio Ghislieri (later, Pope Pius V), who then demanded that the book be burned and Usque be punished.
In 1996, literary and theater scholar Moshe Lazar published an accurate facsimile edition (that is, a new print completely identical to the original) of the Ferrara Bible, with a print run of 1,000 copies. Earlier, in 1992, to mark the 500th commemoration of the expulsion of the Jews from Spain, Lazar released a critical edition (one that traces all known editions) of the Ferrara Bible. In the introduction, Lazar wrote that to prepare this edition, he located some 60 copies of the Bible. These copies and others, which might still be circulating and unaccounted for in remote parts of the world, helped the conversos of Spain and Portugal return to Judaism in the 16th century.