Resolving Biblical Contradictions – in Translation

The first Hebrew translation of the famous work El Conciliador also served as the translator’s own personal diary

“I was happy and joyful as my beloved daughter was born…and died on the night of the 5th”

For thousands of years, Jews and Christians alike have turned to the Bible as a means of resolving the many contradictions in their lives. In the 17th century, the Rabbi and diplomat Menasseh Ben Israel turned the tables: he wrote a book named El Conciliador (The Conciliator), in which he attempted to resolve the contradictions within the Bible itself. This was a tremendous task, and his target audience did not consist only of fellow Jews.

Click here for the complete manuscript online

In El Conciliador, Menasseh Ben Israel addresses two potential audiences: Christian scholars and clergymen interested in gaining more knowledge about the Jewish faith, and the descendants of the Conversos in Spain and Portugal. The latter wished to return to their Jewish roots after many generations during which they (and their ancestors) were forced to live as Christians.

A copper engraving by the Jewish artist Salom Italia depicting Menasseh Ben Israel encircled by Latin writing. The print, whose dimensions are 13×19.5 cm, was apparently produced soon after the engraving was done in 1643. From the Abraham Schwadron Collection at the National Library

The book follows a consistent pattern: the author presents two contradictory Biblical verses, describes the precise contradiction he found in them (as the reader does  not necessarily spot the contradiction or in some cases he or she may identify another contradiction instead), and then attempts to “resolve” the contradiction: he makes use of both Jewish and non-Jewish sources, occasionally quoting luminaries such as Seneca or Plato, thereby displaying extraordinary in-depth knowledge coupled with interpretive skills.

It is interesting to note that when Menasseh Ben Israel refers to Plato as an authority he does not hesitate to claim that the father of philosophy was directly influenced by the Jewish religion and that many of his conclusions are based on the Bible.

The Latin translation of Menasseh Ben Israel’s El Conciliador was completed in 1633 and shows the book’s importance to the Christian public. From the National Library of Israel collection

Like many of Menasseh Ben Israel’s endeavors, El Conciliador was crowned a tremendous success. The book was re-published over the years in a number of editions, and was even translated into other European languages. It established its author as an authority on Jewish sources, and earned him the title “Ambassador of the Jews”. In the wake of the book’s success, an extensive exchange of letters began between Menasseh Ben Israel and Christian scholars throughout the continent. It took over 200 years for El Conciliador to be translated into Hebrew.

“Resolving” the Contradictions of the 19th Century in Hebrew

Little is known about the life of Mr. Raphael Kirchheim, who translated El Conciliador into Hebrew. We know even less about why this 19th century German-Jewish scholar chose to undertake this task. It is possible that as a Jew affiliated with the Reform movement, which attracted many German Jews in the 19th century, he saw the translation of El Conciliador as a project with personal and general-Jewish significance, especially when considering the period in which he was active.

The first page of the Hebrew translation of El Conciliador by Raphael Kirchheim. This is not a complete translation of the original book, but primarily a translation of the sections focusing on the Pentateuch. From the National Library of Israel collection

After all, the time in which Kirchheim lived was a period in which the unity which had characterized the Jewish people for much of their history was irreparably ruptured, a century replete with novel Jewish figures: enlightened Jews fighting to reform education and the Jewish library; Hassidim searching for a new spiritual experience; Orthodox Jews struggling to maintain the status quo; and toward the end of this tumultuous century: Zionist pioneers.

Reminiscent of the author of the work he translated into Hebrew, Kirchheim’s translation tells us a thing or two about his own boldness. Kirchheim did not suffice with simply translating, he also wrote his comments (and often reservations) on El Conciliador’s conclusions alongside various paragraphs. In one section, for example, the translator notes that “What the author writes in Rabban Gamliel’s name is a lie, and he said the opposite to his disciples”, and in a later place in the manuscript he notes that “His [Menasseh Ben Israel] words are the opposite and are not found without each other”.

It is unclear whether Kirchheim intended to publish his translation: the manuscript is full of erasures, amendments and internal glosses. Additionally, at the end of the manuscript, Kirchheim documents the names of his relatives, the deaths of his father and his two wives over ten years apart. He does not forget to record the births of his son and daughter. When writing about his daughter, for example, Kirchheim writes “The 3rd of Adar 5601 [February 2, 1841] – was happy and joyful for me because my beloved daughter Mina was born”, two days later he added the heartbreaking words, “And (she) died on the night of the 5th”.

The page which ends the Hebrew manuscript of El Conciliador in which the translator notes the history of his immediate family. Here Kirchheim records the birth of his son and daughter, and his daughter’s death a few days after her birth. From the National Library of Israel collection

Most of the details surrounding the Ben Israel/Kirchheim manuscript are still unknown to us.

However, the more pressing question is undoubtedly: can the resolution of the many contradictions in the Bible truly bring about friendship between the various members of this tumultuous nation?

The Initial Proposals That Fell Short: How the Israeli National Emblem Was Chosen

It was a close competition between artists to see who would receive the honor of designing the National Emblem

By Daniella Gardosh-Santo and Yoram E. Shamir

Two days before the declaration of independence of the State of Israel, the members of the People’s Administration realized that they forgot a rather important detail about the polity about to be formed: They had yet to decide on the State’s name. Various suggestions were tabled at that meeting: Judah, Zion, and of course, the eventual winner – Israel.

Three weeks after the State’s establishment, the interim provisional government invited the citizens of Israel to propose a design for the national flag and emblem. The design guidelines left the competing artists with room for creative license.

The guidelines specified which colors were to be used: sky-blue and white “and any other color as per the artist’s taste” and the emblem was to feature a seven-lamp candelabra and seven stars. The guidelines also stated that,  “Any other suggestion or idea is welcome,” and included the disclaimer that, “The government is not obliged to accept any of the suggestions received.”

No inscription was specified and no guidelines were given regarding borders or framing of the emblem.

The final date for submissions was June 14, 1948.

Inscription: “Proposed emblem for the State of Israel”

 

Inscription: “Peace Upon Israel” and the names of the 12 tribes

 

 

 

Inscription: “Israel”. Above: “Proposed emblem for the State of Israel”; next to yellow box: “Can also be gold.”

 

Above: Some of the proposals rejected by the Commission to Select the National Emblem

The Provisional Government’s call yielded 450 proposals submitted by 164 applicants. One by one they were all rejected by the committee established for the purpose. A second ad calling for submissions was published. In the second round, the proposed emblem by Gavriel and Maxim Shamir of Shamir Brothers Studio carried the day. The combination of five elements in the Shamir Brothers proposal convinced the commission members that they had found a winner:

One of the first sketches proposed by the Shamir Brothers to the Commission to Select the National Emblem

The menorah and the stars appeared as required by the tender. The Shamir brothers added three additional elements: The olive branches, the heraldic shield and the colors.

They chose to design the menorah in a modern fashion. “Our intention was to create a modern symbol and forego the traditional element,” they revealed in an interview to ‘Maariv’ (Hebrew). The olive branches were added as the brothers found them to be “the most appealing expression of the love of peace among the People of Israel.” In the same interview the brothers told of how they  had thoroughly studied all the emblems of the countries of the world.

The Shamir brothers in the 1970’s. Photo by Yoram Shamir

In the course of their research they discovered that no country had a candelabra in its emblem, but one country did have a six-pointed star, like the “Star of David”. It is most likely that they also learned that the vast majority of national emblems were in the shape of heraldic shields, such as those used by royal and noble houses since the middle ages.

Although the design had been approved, the Shamir brothers were asked to make some changes to the emblem. Firstly, to add the name “Israel.” Second, to replace the modern menorah with the one carved into the Arch of Titus in Rome. After examining two versions prepared by the brothers, the committee decided to drop the stars. The final proposal was submitted to the commission on February 10, 1949 and was approved unanimously.

Two days later the official newspaper of the Provisional Government published an announcement of the national emblem signed by the commission’s chairman, Yosef Sprintzak. A few months later, the Shamir brothers prepared a final version of the emblem, in which the base of the menorah was embellished.

Sketch of the final version of the national emblem from 1949, signed by Prime Minister David Ben-Gurion. When the commission to select the flag and emblem was criticized for the lengthy process, Ben-Gurion replied: “Choosing a flag and emblem for the state is not done every day.”

The unveiling of the emblem brought with it both praise and criticisim. The critique focused on the graphic design and the choice of the menorah from the Arch of Titus, which is at odds with the description of the temple menorah as described in the bible. “Apparently foreign hands have been involved, and it is not all in accordance with the sacred text,” was the ruling of Chief Rabbi Isaac HaLevi Herzog.

An article published on February 21, 1949 in the ‘Yedioth Ahronoth’ newspaper posited: “What would the artists prefer: A design that was approved, yet critiqued, or one that was rejected and acclaimed by all? We would safely guess that the Shamir Brothers would choose the former.”

About the authors of the article

Daniella Gardosh-Santo formerly served as head of the Children and Youth Department for Israel’s public broadcaster Channel 1. She is the daughter of renowned cartoonist ‘Dosh’ – Kariel Gardosh. Along with her brother she initiated the Dosh prize for cartoonists. Daniella and Yoram Shamir were co-curators of the exhibit “More Than Just an Emblem” at The Israeli Cartoon Museum in Holon.

Yoram E. Shamir has been studying graphics for the past decade. He recently  curated (along with Rotem Kislev) an exhibit on the National Library website titled “Football Under the Auspices of His Majesty.” Over the last three years Shamir has edited two books on graphics as well as a website devoted to the works of his father and uncle – The Shamir Brothers.

 

 

In Color: Amazing Photos of Jews and Muslims in the Holy Land From 1900

The then-revolutionary photochrom method gave the world its first color pictures — based on the imagination of the employee working the printing plates.

An Ashkenazi Jew in a rainbow-colored striped gown, center

The National Library’s photo collections include several albums of pictures produced at the end of the 19th century using the process known as photochrom. What was this method and why do the photos resemble oil paintings more than the black-and-white originals?

The first color photo was taken in 1880 by Thomas Sutton, a student of the mathematician and inventor James Clerk Maxwell. It was a picture of a scarf.

The Western Wall at the end of the 19th century. Men and women are seen leaning on the wall.
Rachel’s Tomb.

Even though the technique for making color photos was developed within decades of the invention of photography, it would take more than 100 years for color photography to relegate black and white to the art world. The mass shift towards color happened in the 1970s. Until then, color photography involved expensive techniques used almost exclusively by professional photographers. In its first few decades, it was considered unreliable.

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Twenty years after the creation of the first photographic image, a Swiss printer named Orell Fussli developed photochrom. Unlike color photography that captures the object’s original colors, the photochrom technique involved coloring black-and-white photos. Fussli’s innovation was to use lithography, a printing method that had been around for centuries.

Within a few years, photochrom became widespread. Its main advantage was its low cost and relative ease of producing multiple copies that could be sold.

In 1888 the company Fussli worked for opened a subsidiary called Photochrom Zurich. From its inception to the 1920s the company used its patent to dominate the global market for color photos. Zurich was the place to go to for anyone wishing to splash color in a photograph.

The entrance plaza at the Al-Aqsa Mosque.
Jaffa Gate, Jerusalem.
The Foundation Stone in the Dome of the Rock.
The Jordan River.

The Swiss company’s monopoly led to an interesting twist. In the absence of specific instructions, company employees had no way of reconstructing the original colors in a black-and-white photo. So they simply had to rely on their imagination.

This brings us to those two albums in the National Library in Jerusalem.

The first album, produced in 1900, is a collection of photos from a pilgrimage by a group of Austrians to the Holy Land. But it wasn’t the tourist-pilgrims who took the photos. At that time there were several professional photographers in Ottoman Palestine. The pictures were taken by the professionals, and the coloring was done by Photochrom Zurich.

The pilgrims, like other clients who were interested in photos from the Holy Land, selected their favorite pictures, apparently of places they had visited on their tour.

An Ashkenazi Jew in a rainbow-colored striped gown, center.
The Lions’ Gate, Jerusalem.
A woman from Bethlehem.
Muslim worshipers. The picture was apparently taken at the Al-Aqsa Mosque.

Therefore it is no surprise that most of the photos in the first album show key locations in Jerusalem and nearby areas. The only other location shown in the photographs is the coastal town of Jaffa. In that photo, Jaffa longshoremen are seen rowing the boat of renowned tour guide Rolla Floyd.

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Tour guide Rolla Floyd shows tourists around the Jaffa harbor

In this album, the entrance plaza to the Al-Aqsa Mosque was adorned with wonderful colors, while Jaffa Gate, the Lions’ Gate and the Foundation Stone in the Dome of the Rock also recieved the photochrom treatment. It’s possible that the way these photos were colored reflects the conceptions the Swiss employees had of the land’s inhabitants. In all the photos they are shown wearing heavy garments with loud color combinations.

An Arab tailor.
The Dome of the Rock (from the second album).

We know very little about the history of the second album, which was produced earlier. We do know that on every cardboard page there is a stamp of ownership belonging to a Swiss evangelical school. It’s possible that the owners actually visited the Holy Land, but it is also possible that they simply purchased the album from another source.

The 36 photochrom prints in this album show landscapes in Ottoman Palestine and Syria. Several photos in the first album are found in the second one as well, and in some cases the photos show the same scenes at a slightly different moment.

In any case, this album illustrates several examples of the artistic freedom of the Swiss company’s employees. One example is a photo of an Ashkenazi Jew in a rainbow-colored striped gown – most likely not faithful to the original.

And this article cannot end without mentioning the beautiful photo of the Western Wall from the end of the 19th century. Men and women are seen leaning on the wall attired in a vivid array of black, white, red, green and brown.

The American Politician Who Would Not Remain Silent in the Face of the Holocaust

How Henry Morgenthau went from mild-mannered cabinet secretary to being one of the greatest advocates for Europe’s Jews during the Holocaust?

Official portrait of Henry Morgenthau, Jr., 1930s, Collection of the National Library

Despite his many virtues, President Franklin D. Roosevelt was in short supply of the virtue of religious tolerance. During a meeting with Secretary of the Treasury, Henry Morgenthau, Jr., he told the Jewish politician that the United States was a Protestant country and therefore, as President he would never openly petition for either the Catholic or the Jewish minority. He explained that in his choice of Morgenthau for the position of secretary of the treasury – a key cabinet post in the period of the Great Depression and World War II – he was looking for the best man for the job. However, his aides claimed, even when he was still alive, that he had asked them to find him “the most talented Jew for the position.”

Nevertheless, the Secretary of the Treasury still considered the President a very close friend. Roosevelt’s relationship with Morgenthau however, was no different than the relationships he had with his other subordinates – the President specialized in provoking a basic insecurity among those who worked under him. Due to his independent wealth, Morgenthau would have had no problem buying a fancy home for his family to live in while he was working in Washington, DC, but instead, he moved his family from one rented apartment to another because. “I never felt that my work could wait until morning,” Morgenthau remarked years after Roosevelt’s death. This fear made the Secretary of the Treasury (along with most of the President’s advisors), into a submissive employee who did his best to not provoke the President’s ire.

The Three Great Leaders at Yalta: Joseph Stalin, Franklin Delano Roosevelt and Winston Churchill

This all changed with a phone call to Morgenthau’s office toward the end of 1943. That fateful day, the Secretary of the Treasury picked up the phone in his office and was surprised to hear a familiar voice – it was none other than the Rabbi and close friend who had officiated at Morgenthau’s own wedding. The agitated Rabbi pressured Morgenthau to tell him everything he might know about what was happening in occupied Europe. The baffled Secretary of the Treasury asked his friend to explain the meaning of his request.  Over many minutes, the Rabbi related in great detail the long list of atrocities the Nazis were perpetrating against the Jews, the emptying of the ghettos, the trains to the East and the concentration camps. “Henry, do you know that lampshades are being manufactured out of the skin of the slaughtered Jews?” his friend asked. Reeling from all he had heard, Morgenthau asked to end the conversation before he fainted.

The more he learned and heard from the many reports coming from survivors who had managed to escape the inferno,  the more Morgenthau felt himself changing from a mild-mannered man into a man with a mission. He felt it his duty to save as many Jews as possible.  Determined to force Roosevelt to act even at the price of his job, he met with the President in 1944 and presented him with a detailed report titled “Report on the Acquiescence of this Government in the Murder of Jews.” He then spread the facts before the President (which Roosevelt had known already since the start of 1942), and demanded that the American government take every action to stop the systematic and industrialized killing of the Jewish People. He did not stop with a moral demand, but appealed to the President’s base interest. He called upon Roosevelt to reveal publicly what was happening in Europe and to condemn the Nazi atrocities in no uncertain terms, lest the discovery lead to a scandal which would seriously damage Roosevelt’s chances of re-election to a fourth presidential term.

The chance Morgenthau took paid off: within weeks a refugee commission was formed, whose purpose was to unite the efforts to smuggle Jews out of Nazi occupied areas. An agreement was signed allowing for the unrestricted admission into the US of Jews from Europe, and considerable aid was sent to Raoul Wallenberg to help in his heroic rescue efforts. Less than two months after their encounter in the Oval Office, Roosevelt made his first speech acknowledging the Holocaust that was raging in Europe. Morgenthau did not stop there. He formulated a plan of action against Germany: the plan called for the destruction of all military and civil industry in Germany at the end of the war. “The Morgenthau Plan” was rejected by Harry Truman, Roosevelt’s successor to the presidency after the latter’s death in April 1945 (only weeks before Germany’s surrender).  In the end, the efforts of Morgenthau and of other American activists led to the rescue of 200,000 Jewish refugees from the jaws of the Nazi killing machines.

After the war Henry Morgenthau was fired by President Truman. He became an enthusiastic and loyal supporter of the fledgling State of Israel, and was appointed chairman of the United Jewish Appeal in America.

Letter from Morgenthau to Dr. Yehuda Leib Magnes, congratulating him on the achievements of the Hebrew University, and showing Morgenthau’s support (even during the war) for the “state in the making.” From the Yehuda Leib Magnes Archive, The Central Archives for the History of the Jewish People at the National Library of Israel