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Hebrew Psalms and the Utrecht Psalter

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Pamela Berger argues that the illustrations in the famous and widely influential Utrecht Psalter manuscript were inspired by a late antique Hebrew version of Psalms, rather than a Latin, Christian version of the text.

Image courtesy of interviewee. February 27, 2024

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This video video discusses the Trech Salter, a visually rich book of Psalms from the Middle Ages, highlighting a significant discovery made by Court Vander Hust in the 1990s. He noted that the illustrations within the Salter may be older than the accompanying text, leading to an investigation of the iconography. The presenter suggests that many motifs in the illustrations correspond to Hebrew texts and commentaries (Midrash) rather than the Latin verses, sometimes revealing deeper insights that traditional interpretations may overlook.

For example, the first Psalm's imagery features a blessed man meditating and a wicked man depicted with snakes, linking to Jewish commentaries. Other examples illustrate that the illustrations elaborate on concepts found in the Hebrew scriptures, often producing visual narratives that diverge from the Latin translations.

This video video also notes interpolations of Christian imagery, like scenes of the resurrection, discussing their potential interpretations in light of scriptural texts. Further, the presenter highlights stylistic elements and potential geographical origins of the artwork, suggesting a community of wealth that would have supported the production of such an illustrated Psalter in regions like Galilee.

It concludes with a speculation on the collaborative involvement of artists and rabbis during the creation process and implies a broader historical context in Judaism, Christianity, and artistic development, especially how the visual culture reflects theological disco∫urses of the period. The discussion underscores the enduring legacy of the Salter and the dialogue between art, scripture, and cultural identity over centuries.

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Today I'm gonna talk to you about one

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of the great masterpieces of the Middle Ages,

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the Trech Salter, which is a book of Psalms,

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which is purportedly, I literally illustrated.

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That is to say the motifs are literal renditions

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of the verses of the Psalms.

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However, in the 1990s court,

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Vander Hust made a discovery.

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He realized that the images, one

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of which you see on the screen now,

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and the text, a little bit of what you see over here,

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came in two separate packets.

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And when Court Vander hosts saw that, he said,

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I think he had a hunch.

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I think that it's possible

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that the pictures are much older than the text.

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When I read that, I wanted to follow his hunch

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and see how much older those pictures could be,

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and if the iconography could lead us somewhere.

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What I discovered was that in fact, motifs in the picture

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follow not the Latin text that's over here, little bit

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of it, but in fact, the Hebrew text

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and the Hebrew commentary on the text,

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which is called the Mid Rush,

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and I'll give you an example of this right away.

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The first Psalm, as you probably know, opens

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with a conversation between two men

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and one says to the other, happy is the man who

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walks not in the path of the wicked,

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nor sits in the seat of the scorner.

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This is the man who sits in the seat of the scorner.

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This is the happy man or blessed man, the blessed man.

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He spends his days reading the Torah,

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reading the book, and meditating on it.

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You can see his hand is up there near his cheek

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and he's meditating on it day.

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This is a symbol for day, a man who is in a little circle,

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like a little sun God from the Hellenistic past

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or night he meditates day and night.

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Now, let's get back to this scorner.

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We see the wicked man who's sitting in the seat

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of the scorner and he holds his sword

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and they hold various, pitchforks and spears.

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But what is that figure there?

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He has snakes on his head.

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He has snakes biting his breasts.

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He has snakes wound all around his feet,

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and snakes biting his face.

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Where do those snakes come from?

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They do not come from the Latin text.

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So I took a look at the mid rush

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and what did I see from the mid rush?

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We can see that fat does mention

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Snakes. I, there

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were several places,

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but I took this one, the words of Adam.

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Adam says, in the madic commentary on this psalm,

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if I had not sat in the seat of the serpent, a seat of

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scorn, how blessed I been, it follows from this

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that the serpent was a scorner.

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So that word from the psalm

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that the wicked man is a scorner was taken

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and elaborated upon in the mid rush in various ways.

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And that is why the artist felt

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comfortable putting this very, strange

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creature with snakes all over him here in the picture.

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The first picture. Now I'm gonna show you a few examples

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of this, how it's the Hebrew text

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or the mra, the mra, this miserable mra Raj, Ms.

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Raj, that, that, dictated,

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many, many of the images here.

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I'm just going to show you a few.

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For instance, on this one, the Hebrew says,

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for like grass, the wicked

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will swiftly be cut down.

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Now here you can see better the, the grass,

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and they're going to cut.

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This man's already cutting down the grass.

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He's cutting down these herbs, these pieces of grass here,

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and he is sharpening his, his, side.

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Well, the Latin text only says relating to the grass.

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The grass shall wither

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drying up dying.

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The grass isn't withing, the grass is being cut.

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So it is the Hebrew y malu

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of having the grass swiftly cut.

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Another example, the wicked here are the wicked.

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In this case, these people here are the judges,

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and these are the petitioners.

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And the judges are likened to a snake, which has venom,

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a snake, which has venom.

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Here is the snake.

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Here is the venom coming out

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of his mouth there, right?

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Little closer view of it.

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So you can see the venom vetter,

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the Latin text says the wicked.

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I like the also says in a second sentence, the wicked,

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I like the deaf asp, and as is a snake

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or a viper, here's the Latin word as SPUs,

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that stopped with her ear.

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But this second figure here

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is not a snake at all.

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In fact, it looks like a snail.

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If you've ever seen snails on the beach with their world,

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shells snails had feet,

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snake stoned.

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And if we look to the Hebrew of the psalm, it says,

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the wicked are like a snail shaul that melts

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as the slithers along.

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And the miash continues the same kind of interpretation

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like the snail of the Shaul, which oozes on its way.

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So its track is not known. It's oozing on its way.

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You know how the snail has mucus coming out of it,

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and here's the mucus coming out of it, just

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so the analogy is the evil tongue oozing on its way

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makes itself known by its slime.

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So there we have this slime,

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the Latin text talking about this as an as is

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just not consonant with what the image is.

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Now, sometimes in the Uex Salter, we have an interpolation

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of a Christian scene.

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Susie Dure counted 10 interpolation such as that.

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And this is a place where this

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tomb looks just like the late antique,

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the typical late antique Christian tombs.

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And so when the artists saw that, he thought, Hmm,

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well maybe I'll make this, I'll add to this,

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the three Marys coming to the tomb of Jesus with, you know,

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they wanted to assuage his body with ointments.

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And they ask the angel who's sitting upon the tomb,

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where is Jesus?

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And the angel with a talking gesture, a figure

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with a hand out like that is speaking.

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The angel says he has risen,

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but the figure inside the tomb

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right over here is still there.

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He has not risen.

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So we have to again, look to

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what the Hebrew text says in this psalm,

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and it's in the voice of David.

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And David is saying, my heart rejoices

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and my soul is elated.

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My flesh or my body re

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dwells in safety even after death.

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Now, the Talmud corroborates this, it says about this verse

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and the Psalms seven, there were,

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who did not have their bodies decay in the tomb, Abraham,

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Isaac and Jacob, Moses, Miriam and Aaron

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and youngest son of Jacob, whose name is Benjamin

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and David, whose body dwelt in safety.

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So that's what the Talmud says about this particular

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scene here.

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So there's no doubt in my mind anyway,

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I hope I'm making the argument for you too,

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that this could not be Jesus.

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'cause Jesus is never shown lying in his tomb.

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On the third day when the Marys come, that is David.

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It follows the Hebrew text.

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I know this is very blurry,

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but I wanna show you what I'm going to show you

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of the larger scene.

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This is by the shores of the river Babylon.

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We wept for Zion. That's what this psalm is.

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And the part I'm gonna show you is in the middle here,

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the musicians who were taken from Jerusalem when Jerusalem

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was destroyed,

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and Nebuchadnezzar who says to them,

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here is this will be better.

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Here is Nebuchadnezzar

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with his hand up talking to the musicians.

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And he says to the musicians, blaming a song of Zion

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and musicians in no way wanna play a song of Zion.

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So as they get up,

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they put their thumbs in their mouths and they crush them.

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So the musician says to Nebuchadnezzar,

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we hands we're manacled and

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therefore our thumbs are crushed.

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So we cannot play a song of Zion for you,

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thereby outwitting Nebuchadnezzar.

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Now, Nebuchadnezzar does not fare well in Jewish literature.

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And one of the ways that they made fun of Nebuchadnezzar was

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to call Nebu Nebuchadnezzar, a

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dwarf nana.

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And here inexplicably in the Rex Salter, we see

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this dwarf like figure in

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between Nebuchadnezzar and the musician.

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Now, we, we can be almost positive

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that the Carol Lynch artist who drew that figure between

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Nebuchadnezzar and the the Jewish musician had no idea

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what this dwarf meant, but he put it in anyway.

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Now, there are some scenes which have other reasons

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for not really being part of, couldn't be really part

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of a Christian EU tre Salter illustrative book.

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One of them is the zodiac.

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The church fathers railed against the Zodiac.

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And matter of fact, they criticized the Jews for years

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seeing the zodiac at all.

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But here we do see a wheel of the zodiac with the

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Ari and Taurus and all the

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other creatures as they go around.

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But there's a second reason why I know this comes

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out of a Jewish mil.

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This is a wheel of Zodiac from Hamad

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Tiberius synagogue mosaic.

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And it shows the ring of the zodiac also.

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But then when we come down here to Betula, who is Virgo,

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around September, we see

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that she has an very interesting attribute.

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Unlike the Greco Roman Virgos, she's holding a torch.

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Now, what's the explanation for Virgo

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September holding a torch?

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Well, September is a time of harvest

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and accustom amongst the Jews was at the time of harvest,

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the young people would run

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through the streets holding up torches.

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So a Virgo with a torch became an element in the Jewish,

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zodiac wheel.

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Now, if we look there, you won't see this

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because, it's, it's written over by this word here,

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but there is here at the point of September, a

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Virgo holding up a torch.

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These are her feet. This is her robe. This is her head.

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This is her arm. And then there's a torch that goes up here,

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right there is her torch.

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So we know that this had to have been copied,

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from a Jewish source, ultimately

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because the torches, the zodiac is really not part

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of the Christian world, nor the zodiac.

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There were two places, however, where the Zodiac was used.

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There's something called the Leiden Aate,

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which was in the Carolingian court,

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but that was considered a scientific instrument,

234
00:12:58.435 --> 00:12:59.835
a scientific drawing.

235
00:13:00.225 --> 00:13:03.115
Another place is in the monastery of the Lady Mary,

236
00:13:03.455 --> 00:13:06.195
but there are no animals there or creatures there.

237
00:13:06.505 --> 00:13:09.755
It's all figures who are holding something that relates

238
00:13:09.855 --> 00:13:12.155
to the labors of the month.

239
00:13:14.615 --> 00:13:19.355
Now let's take a look at the style of the eure assaulter

240
00:13:19.655 --> 00:13:22.275
and let's see what it can tell us about

241
00:13:22.445 --> 00:13:24.635
where it might have been executed.

242
00:13:25.615 --> 00:13:29.435
So we've taken a pretty good look at the style of this.

243
00:13:29.665 --> 00:13:32.115
I'll take this away so you can see it better again here.

244
00:13:32.775 --> 00:13:35.195
Um, you can see that there's a kind

245
00:13:35.195 --> 00:13:37.035
of an overall quality to this.

246
00:13:37.035 --> 00:13:39.435
There's this, there's this, there is a triangular,

247
00:13:39.965 --> 00:13:43.075
triangular, composition,

248
00:13:43.075 --> 00:13:44.475
but there's an overall quality.

249
00:13:44.975 --> 00:13:47.195
And here also there's an overall quality

250
00:13:47.465 --> 00:13:49.275
that you can see from one angle.

251
00:13:49.625 --> 00:13:53.275
This was a mosaic in the synagogue

252
00:13:53.335 --> 00:13:55.035
of ook in the aisle.

253
00:13:55.575 --> 00:13:58.755
The ook synagogue is under the auspices.

254
00:13:58.895 --> 00:14:01.675
Uh, the, the archeologist is Jodi Magnus,

255
00:14:01.675 --> 00:14:03.275
and I thank her,

256
00:14:03.295 --> 00:14:07.435
and Jim Haberman for this photograph that they gave to me.

257
00:14:08.135 --> 00:14:09.915
So there's an overall quality.

258
00:14:10.265 --> 00:14:12.675
There's also here we can see some,

259
00:14:13.175 --> 00:14:15.115
we can see some modeling on the figures.

260
00:14:15.115 --> 00:14:17.395
You can see lighter tesser array, darker tesser array,

261
00:14:17.425 --> 00:14:19.355
lighter tesser array, darker tesser array.

262
00:14:19.455 --> 00:14:22.795
So you have the sense of three dimensionality in most

263
00:14:22.795 --> 00:14:27.035
of these bodies, though you do see also sometimes a figure

264
00:14:27.105 --> 00:14:28.915
with a black line around it here.

265
00:14:29.415 --> 00:14:31.755
Um, but many times it's not.

266
00:14:31.775 --> 00:14:35.395
So maybe it was just a different artist who laid down those.

267
00:14:37.015 --> 00:14:40.115
So Ben, we also have here, we have two

268
00:14:40.135 --> 00:14:44.315
or three rows of gray kind of tessie as little platforms.

269
00:14:44.615 --> 00:14:47.835
And we have here little mounds for,

270
00:14:48.015 --> 00:14:50.195
to support whatever the motif is.

271
00:14:50.195 --> 00:14:53.165
Little mounds here as here.

272
00:14:53.545 --> 00:14:56.405
We also have, we also have three dimensionality.

273
00:14:56.515 --> 00:14:57.725
Look at this lion's body.

274
00:14:57.915 --> 00:15:02.485
There's a, a lighter part, a little bit more s color,

275
00:15:02.545 --> 00:15:03.725
and then a darker part.

276
00:15:03.945 --> 00:15:07.765
So we get the sense of this lion as being rounded in space.

277
00:15:08.515 --> 00:15:11.685
Then there's the ashler masonry, typical of the building,

278
00:15:12.025 --> 00:15:16.165
the lar masonry, typical of the building, and,

279
00:15:16.165 --> 00:15:17.245
and the three dimensionality

280
00:15:17.305 --> 00:15:19.045
to the building, as you can see here.

281
00:15:19.875 --> 00:15:24.045
Also, the figures are much too large for the architecture.

282
00:15:24.145 --> 00:15:26.725
And here also they're building the Tower of Babel.

283
00:15:26.905 --> 00:15:29.285
The figures are much too large for the architecture.

284
00:15:30.145 --> 00:15:32.925
Um, this was just to show you that this overall quality

285
00:15:33.195 --> 00:15:36.565
that we have in this composition is continent with

286
00:15:36.715 --> 00:15:39.125
what we find in the eTrex Salter as well.

287
00:15:41.875 --> 00:15:46.455
Now, let's take another look at this c**k synagogue

288
00:15:46.955 --> 00:15:49.695
and this wadi hamam synagogue.

289
00:15:49.835 --> 00:15:53.215
Two separate synagogues. But what do we find?

290
00:15:53.845 --> 00:15:57.885
Well, here there are

291
00:15:57.945 --> 00:15:59.645
two men fighting.

292
00:16:00.025 --> 00:16:03.805
One has a mallet and one has a saw two men fighting.

293
00:16:04.465 --> 00:16:06.485
One has a saw, one has a mallet.

294
00:16:07.145 --> 00:16:11.445
Two men, sawing a board here with a saw.

295
00:16:12.075 --> 00:16:16.885
When you have the same motifs in both synagogues,

296
00:16:16.885 --> 00:16:20.245
which are a few miles away, the art historian's mind goes

297
00:16:20.265 --> 00:16:22.445
to model books.

298
00:16:22.825 --> 00:16:25.525
What's a model book where you take a piece of parchment

299
00:16:26.025 --> 00:16:30.285
and you draw figures on it that you might want to use in one

300
00:16:30.285 --> 00:16:31.365
of your other works of art?

301
00:16:31.575 --> 00:16:33.765
These could have, these were also used in silver.

302
00:16:33.915 --> 00:16:35.285
They could be used in ivory,

303
00:16:35.465 --> 00:16:38.485
but they also could be used here in the synagogue

304
00:16:38.765 --> 00:16:40.045
mosaics of the Galilee.

305
00:16:40.385 --> 00:16:44.725
So when you see this, you know that these both came out

306
00:16:44.725 --> 00:16:46.925
of a model book, okay?

307
00:16:47.585 --> 00:16:49.805
If they, if they came out of a model book,

308
00:16:50.275 --> 00:16:52.765
some artists drew them into a model book.

309
00:16:52.865 --> 00:16:55.205
So we already have parchment

310
00:16:56.145 --> 00:17:00.325
and maybe, maybe could be chalk, it could be, could be,

311
00:17:00.485 --> 00:17:05.125
charcoal figures drawn in a fairly illusionistic

312
00:17:05.775 --> 00:17:09.245
style, a little bit reminiscent of hellenism, right?

313
00:17:09.705 --> 00:17:14.525
So that we have those same qualities that we would need

314
00:17:15.065 --> 00:17:19.365
for drawing on parchment in a book of Psalms.

315
00:17:19.595 --> 00:17:23.685
Okay? So we're building toward this book of Psalms

316
00:17:23.685 --> 00:17:26.005
that I am hypothesizing,

317
00:17:26.505 --> 00:17:28.925
was created perhaps in this region

318
00:17:29.375 --> 00:17:31.565
where we see a plethora.

319
00:17:31.565 --> 00:17:32.925
There are at least nine synagogue.

320
00:17:32.925 --> 00:17:35.205
I mean, there have been more discovered all the time,

321
00:17:35.265 --> 00:17:37.525
but there, there have been at least nine

322
00:17:38.285 --> 00:17:43.205
synagogues uncovered with mosaic, pa, pa like these.

323
00:17:44.705 --> 00:17:46.325
Now, who would have the funds?

324
00:17:46.555 --> 00:17:50.965
What kind of family would've the funds to make up a, a,

325
00:17:51.245 --> 00:17:55.885
a model to make up a salter like the illustrated salter

326
00:17:55.955 --> 00:17:57.645
that the ure salter is?

327
00:17:58.635 --> 00:18:01.925
Well, we know that there were wealthy Jewish

328
00:18:02.765 --> 00:18:04.245
families living in the Galilee.

329
00:18:04.945 --> 00:18:07.485
It was rich land.

330
00:18:08.195 --> 00:18:10.765
They had slaves as well as

331
00:18:12.035 --> 00:18:13.685
workmen working for them.

332
00:18:14.275 --> 00:18:17.405
When the crop was brought into the cities far as,

333
00:18:17.925 --> 00:18:20.285
tiberius and sold, there would be revenue

334
00:18:20.505 --> 00:18:22.765
and they would garner more and more revenue, become wealthy,

335
00:18:22.945 --> 00:18:24.245
and have a villa

336
00:18:24.245 --> 00:18:26.885
or a house, whether in the countryside or in the city.

337
00:18:27.435 --> 00:18:29.285
This house is in Cheon,

338
00:18:29.665 --> 00:18:32.645
and it is the house of a man named Leonis.

339
00:18:33.265 --> 00:18:35.645
Um, and let's take a look at it.

340
00:18:36.105 --> 00:18:39.565
It, it's particularly has Hellenistic qualities in

341
00:18:39.565 --> 00:18:42.845
that we have Greek written on Greek written on it.

342
00:18:43.225 --> 00:18:46.765
Um, there's an attempt to make, I mean, it's very difficult

343
00:18:47.305 --> 00:18:48.645
to get, you know, the kind

344
00:18:48.645 --> 00:18:51.725
of shading you would have at drawing into,

345
00:18:52.205 --> 00:18:53.285
a, a work like this.

346
00:18:53.305 --> 00:18:55.605
But we have a, a motif from the Greco-Roman

347
00:18:55.605 --> 00:18:57.045
world, a river God.

348
00:18:57.465 --> 00:19:00.205
And how do we know that this house is the house

349
00:19:00.205 --> 00:19:04.165
of a Jewish man with so many,

350
00:19:04.775 --> 00:19:06.405
Roman motifs, et cetera?

351
00:19:06.795 --> 00:19:09.325
Well, because there is a dedication inscription.

352
00:19:09.545 --> 00:19:13.685
And in that dedication inscription is a menorah, right?

353
00:19:14.345 --> 00:19:17.885
And so we know that this house was most likely the house

354
00:19:18.105 --> 00:19:22.605
of a Jew, and he had the funds to make this kind of mosaics,

355
00:19:22.665 --> 00:19:24.805
not only in this room and in this room,

356
00:19:25.145 --> 00:19:27.565
but in other rooms of the house as well.

357
00:19:28.625 --> 00:19:30.805
Now, I hypothesize that

358
00:19:31.805 --> 00:19:35.565
p som book would not have been made for a whole synagogue.

359
00:19:35.865 --> 00:19:38.925
You don't, you read a few psalms in the synagogue,

360
00:19:39.065 --> 00:19:41.205
but it has more personal psalms,

361
00:19:41.205 --> 00:19:43.325
and a Psal book is something more likely

362
00:19:43.555 --> 00:19:44.925
that a family would have

363
00:19:45.105 --> 00:19:47.925
and would read appropriate psalms at appropriate times

364
00:19:48.425 --> 00:19:52.085
of the, the year, death, birth, whatever,

365
00:19:53.535 --> 00:19:55.555
and other things.

366
00:19:55.975 --> 00:20:00.435
So my hypothesis is that a very wealthy man,

367
00:20:01.095 --> 00:20:05.115
was the one who supported the making

368
00:20:05.935 --> 00:20:09.675
of this Sam book in,

369
00:20:10.455 --> 00:20:12.395
the area of the Galilee.

370
00:20:14.705 --> 00:20:18.645
Now, let's just finally look at this comparison

371
00:20:19.475 --> 00:20:21.805
between, lemme just get this down in a

372
00:20:21.805 --> 00:20:22.965
way so we can see it better.

373
00:20:23.875 --> 00:20:27.165
This comparison between this river God

374
00:20:28.225 --> 00:20:30.205
and this river God.

375
00:20:30.905 --> 00:20:33.325
He has river reads around him.

376
00:20:33.665 --> 00:20:35.925
He has lots of hair, as does the other one.

377
00:20:36.185 --> 00:20:37.765
He has a big beard

378
00:20:38.425 --> 00:20:42.405
and they both have their elbow on a vessel out of which

379
00:20:43.135 --> 00:20:44.445
flows water.

380
00:20:45.385 --> 00:20:46.605
He has his elbow

381
00:20:46.985 --> 00:20:50.445
On a vessel out of which flows water, right?

382
00:20:51.105 --> 00:20:53.285
He has the bottom part of his body covered

383
00:20:54.625 --> 00:20:56.285
and he has a big beard.

384
00:20:56.985 --> 00:21:01.605
So these two figures, I would hypothesize

385
00:21:02.115 --> 00:21:05.605
both were done during the late antique period

386
00:21:06.945 --> 00:21:08.245
in the Galilee.

387
00:21:09.465 --> 00:21:13.525
But since we have little motifs like this,

388
00:21:14.015 --> 00:21:16.725
which come out of the mid rush, as I showed you,

389
00:21:17.955 --> 00:21:20.765
they couldn't have been just done by artists.

390
00:21:21.595 --> 00:21:26.205
They had to have been done with the advice of people

391
00:21:26.265 --> 00:21:29.805
who knew the mid rush, the commentary very well.

392
00:21:31.055 --> 00:21:33.185
Some people like the rabbis.

393
00:21:33.805 --> 00:21:34.905
Now you'll say to me,

394
00:21:35.005 --> 00:21:37.585
but the rabbis, what about the second commandment?

395
00:21:38.505 --> 00:21:43.135
Well, the rabbis in fact knew the artists

396
00:21:43.435 --> 00:21:47.815
and even showed a slight degree of admiration for them.

397
00:21:48.695 --> 00:21:51.815
I found in the Miash several places

398
00:21:52.065 --> 00:21:55.055
where the rabbis talk about the artists.

399
00:21:55.955 --> 00:22:00.425
The rabbis also said the artists require

400
00:22:01.095 --> 00:22:05.625
several colors to make an image red and green

401
00:22:05.885 --> 00:22:07.585
and black and white.

402
00:22:09.015 --> 00:22:13.755
The Lord can make an embryo out of a drop of red

403
00:22:14.135 --> 00:22:15.275
and a drop of white.

404
00:22:17.445 --> 00:22:21.305
The artist takes a long time to make a figure.

405
00:22:22.855 --> 00:22:26.835
The Lord can make a figure with one stroke.

406
00:22:27.815 --> 00:22:32.105
And then the rabbi said, the artist

407
00:22:32.655 --> 00:22:36.965
dies, but the work of his hand endures.

408
00:22:38.645 --> 00:22:40.485
Wouldn't those rabbis?

409
00:22:40.985 --> 00:22:45.165
And those artists have been surprised that some form

410
00:22:45.785 --> 00:22:49.885
of the initial, initial manuscript

411
00:22:50.395 --> 00:22:53.565
that they created, probably in the fourth

412
00:22:53.585 --> 00:22:57.445
or fifth century, endured in this form

413
00:22:58.665 --> 00:23:00.285
and several other forms

414
00:23:01.025 --> 00:23:03.685
for over 1500 years.

Exploring Iconography in the Trech Salter

00:00:00 - Today I'm gonna talk to you about one of the great masterpieces of the Middle Ages, the Trech Salter, which is a book of Psalms, which is purportedly, I literally illustrated. That is to say the motifs are literal renditions of the verses of the Psalms. However, in the 1990s court, Vander Hust made a discovery. He realized that the images, one of which you see on the screen now,
00:00:36 - came in two separate packets. And when Court Vander hosts saw that, he said, I think he had a hunch. I think that it's possible that the pictures are much older than the text. When I read that, I wanted to follow his hunch and see how much older those pictures could be, and if the iconography could lead us somewhere.
00:01:09 - follow not the Latin text that's over here, little bit of it, but in fact, the Hebrew text and the Hebrew commentary on the text, which is called the Mid Rush, and I'll give you an example of this right away. The first Psalm, as you probably know, opens with a conversation between two men and one says to the other, happy is the man who
00:01:39 - nor sits in the seat of the scorner. This is the man who sits in the seat of the scorner. This is the happy man or blessed man, the blessed man. He spends his days reading the Torah, reading the book, and meditating on it. You can see his hand is up there near his cheek and he's meditating on it day. This is a symbol for day, a man who is in a little circle, like a little sun God from the Hellenistic past
00:02:15 - Now, let's get back to this scorner. We see the wicked man who's sitting in the seat of the scorner and he holds his sword and they hold various, pitchforks and spears. But what is that figure there? He has snakes on his head. He has snakes biting his breasts. He has snakes wound all around his feet, and snakes biting his face.
00:02:44 - They do not come from the Latin text. So I took a look at the mid rush and what did I see from the mid rush? We can see that fat does mention Snakes. I, there were several places, but I took this one, the words of Adam. Adam says, in the madic commentary on this psalm, if I had not sat in the seat of the serpent, a seat of

Symbolism of Serpents and Snails in Art

00:03:19 - that the serpent was a scorner. So that word from the psalm that the wicked man is a scorner was taken and elaborated upon in the mid rush in various ways. And that is why the artist felt comfortable putting this very, strange creature with snakes all over him here in the picture.
00:03:48 - of this, how it's the Hebrew text or the mra, the mra, this miserable mra Raj, Ms. Raj, that, that, dictated, many, many of the images here. I'm just going to show you a few. For instance, on this one, the Hebrew says, for like grass, the wicked will swiftly be cut down. Now here you can see better the, the grass,
00:04:19 - This man's already cutting down the grass. He's cutting down these herbs, these pieces of grass here, and he is sharpening his, his, side. Well, the Latin text only says relating to the grass. The grass shall wither drying up dying. The grass isn't withing, the grass is being cut. So it is the Hebrew y malu
00:04:51 - Another example, the wicked here are the wicked. In this case, these people here are the judges, and these are the petitioners. And the judges are likened to a snake, which has venom, a snake, which has venom. Here is the snake. Here is the venom coming out of his mouth there, right? Little closer view of it. So you can see the venom vetter,
00:05:22 - I like the also says in a second sentence, the wicked, I like the deaf asp, and as is a snake or a viper, here's the Latin word as SPUs, that stopped with her ear. But this second figure here is not a snake at all. In fact, it looks like a snail. If you've ever seen snails on the beach with their world, shells snails had feet,
00:05:54 - And if we look to the Hebrew of the psalm, it says, the wicked are like a snail shaul that melts as the slithers along. And the miash continues the same kind of interpretation like the snail of the Shaul, which oozes on its way. So its track is not known. It's oozing on its way. You know how the snail has mucus coming out of it, and here's the mucus coming out of it, just so the analogy is the evil tongue oozing on its way

Christian Interpolations in the Uex Salter

00:06:29 - So there we have this slime, the Latin text talking about this as an as is just not consonant with what the image is. Now, sometimes in the Uex Salter, we have an interpolation of a Christian scene. Susie Dure counted 10 interpolation such as that. And this is a place where this tomb looks just like the late antique,
00:07:02 - And so when the artists saw that, he thought, Hmm, well maybe I'll make this, I'll add to this, the three Marys coming to the tomb of Jesus with, you know, they wanted to assuage his body with ointments. And they ask the angel who's sitting upon the tomb, where is Jesus? And the angel with a talking gesture, a figure with a hand out like that is speaking.
00:07:33 - but the figure inside the tomb right over here is still there. He has not risen. So we have to again, look to what the Hebrew text says in this psalm, and it's in the voice of David. And David is saying, my heart rejoices and my soul is elated. My flesh or my body re
00:08:05 - Now, the Talmud corroborates this, it says about this verse and the Psalms seven, there were, who did not have their bodies decay in the tomb, Abraham, Isaac and Jacob, Moses, Miriam and Aaron and youngest son of Jacob, whose name is Benjamin and David, whose body dwelt in safety. So that's what the Talmud says about this particular
00:08:35 - So there's no doubt in my mind anyway, I hope I'm making the argument for you too, that this could not be Jesus. 'cause Jesus is never shown lying in his tomb. On the third day when the Marys come, that is David. It follows the Hebrew text. I know this is very blurry, but I wanna show you what I'm going to show you of the larger scene. This is by the shores of the river Babylon. We wept for Zion. That's what this psalm is.
00:09:08 - the musicians who were taken from Jerusalem when Jerusalem was destroyed, and Nebuchadnezzar who says to them, here is this will be better. Here is Nebuchadnezzar with his hand up talking to the musicians. And he says to the musicians, blaming a song of Zion and musicians in no way wanna play a song of Zion.

Jewish Interpretations of Nebuchadnezzar and Zodiac

00:09:38 - they put their thumbs in their mouths and they crush them. So the musician says to Nebuchadnezzar, we hands we're manacled and therefore our thumbs are crushed. So we cannot play a song of Zion for you, thereby outwitting Nebuchadnezzar. Now, Nebuchadnezzar does not fare well in Jewish literature. And one of the ways that they made fun of Nebuchadnezzar was to call Nebu Nebuchadnezzar, a
00:10:11 - And here inexplicably in the Rex Salter, we see this dwarf like figure in between Nebuchadnezzar and the musician. Now, we, we can be almost positive that the Carol Lynch artist who drew that figure between Nebuchadnezzar and the the Jewish musician had no idea what this dwarf meant, but he put it in anyway.
00:10:45 - for not really being part of, couldn't be really part of a Christian EU tre Salter illustrative book. One of them is the zodiac. The church fathers railed against the Zodiac. And matter of fact, they criticized the Jews for years seeing the zodiac at all. But here we do see a wheel of the zodiac with the Ari and Taurus and all the
00:11:14 - But there's a second reason why I know this comes out of a Jewish mil. This is a wheel of Zodiac from Hamad Tiberius synagogue mosaic. And it shows the ring of the zodiac also. But then when we come down here to Betula, who is Virgo, around September, we see that she has an very interesting attribute. Unlike the Greco Roman Virgos, she's holding a torch.
00:11:46 - September holding a torch? Well, September is a time of harvest and accustom amongst the Jews was at the time of harvest, the young people would run through the streets holding up torches. So a Virgo with a torch became an element in the Jewish, zodiac wheel. Now, if we look there, you won't see this because, it's, it's written over by this word here,
00:12:20 - Virgo holding up a torch. These are her feet. This is her robe. This is her head. This is her arm. And then there's a torch that goes up here, right there is her torch. So we know that this had to have been copied, from a Jewish source, ultimately because the torches, the zodiac is really not part of the Christian world, nor the zodiac.

Artistic Analysis of Medieval Synagogue Mosaics

00:12:50 - There's something called the Leiden Aate, which was in the Carolingian court, but that was considered a scientific instrument, a scientific drawing. Another place is in the monastery of the Lady Mary, but there are no animals there or creatures there. It's all figures who are holding something that relates to the labors of the month. Now let's take a look at the style of the eure assaulter
00:13:22 - where it might have been executed. So we've taken a pretty good look at the style of this. I'll take this away so you can see it better again here. you can see that there's a kind of an overall quality to this. There's this, there's this, there is a triangular, triangular, composition, but there's an overall quality. And here also there's an overall quality that you can see from one angle. This was a mosaic in the synagogue
00:13:55 - The ook synagogue is under the auspices. the, the archeologist is Jodi Magnus, and I thank her, and Jim Haberman for this photograph that they gave to me. So there's an overall quality. There's also here we can see some, we can see some modeling on the figures. You can see lighter tesser array, darker tesser array, lighter tesser array, darker tesser array. So you have the sense of three dimensionality in most of these bodies, though you do see also sometimes a figure
00:14:29 - but many times it's not. So maybe it was just a different artist who laid down those. So Ben, we also have here, we have two or three rows of gray kind of tessie as little platforms. And we have here little mounds for, to support whatever the motif is. Little mounds here as here. We also have, we also have three dimensionality. Look at this lion's body.
00:15:02 - and then a darker part. So we get the sense of this lion as being rounded in space. Then there's the ashler masonry, typical of the building, the lar masonry, typical of the building, and, and the three dimensionality to the building, as you can see here. Also, the figures are much too large for the architecture. And here also they're building the Tower of Babel. The figures are much too large for the architecture.
00:15:33 - that we have in this composition is continent with what we find in the eTrex Salter as well. Now, let's take another look at this c**k synagogue and this wadi hamam synagogue. Two separate synagogues. But what do we find? Well, here there are two men fighting. One has a mallet and one has a saw two men fighting.

Artistic Connections Across Ancient Synagogues

00:16:07 - Two men, sawing a board here with a saw. When you have the same motifs in both synagogues, which are a few miles away, the art historian's mind goes to model books. What's a model book where you take a piece of parchment and you draw figures on it that you might want to use in one of your other works of art? These could have, these were also used in silver. They could be used in ivory,
00:16:38 - mosaics of the Galilee. So when you see this, you know that these both came out of a model book, okay? If they, if they came out of a model book, some artists drew them into a model book. So we already have parchment and maybe, maybe could be chalk, it could be, could be, charcoal figures drawn in a fairly illusionistic
00:17:09 - So that we have those same qualities that we would need for drawing on parchment in a book of Psalms. Okay? So we're building toward this book of Psalms that I am hypothesizing, was created perhaps in this region where we see a plethora. There are at least nine synagogue. I mean, there have been more discovered all the time, but there, there have been at least nine
00:17:44 - Now, who would have the funds? What kind of family would've the funds to make up a, a, a model to make up a salter like the illustrated salter that the ure salter is? Well, we know that there were wealthy Jewish families living in the Galilee. It was rich land. They had slaves as well as
00:18:14 - When the crop was brought into the cities far as, tiberius and sold, there would be revenue and they would garner more and more revenue, become wealthy, and have a villa or a house, whether in the countryside or in the city. This house is in Cheon, and it is the house of a man named Leonis. and let's take a look at it. It, it's particularly has Hellenistic qualities in that we have Greek written on Greek written on it.
00:18:47 - to get, you know, the kind of shading you would have at drawing into, a, a work like this. But we have a, a motif from the Greco-Roman world, a river God. And how do we know that this house is the house of a Jewish man with so many, Roman motifs, et cetera? Well, because there is a dedication inscription. And in that dedication inscription is a menorah, right?

Wealthy Support for Psalter Creation in Galilee

00:19:18 - of a Jew, and he had the funds to make this kind of mosaics, not only in this room and in this room, but in other rooms of the house as well. Now, I hypothesize that p som book would not have been made for a whole synagogue. You don't, you read a few psalms in the synagogue, but it has more personal psalms, and a Psal book is something more likely that a family would have
00:19:48 - of the, the year, death, birth, whatever, and other things. So my hypothesis is that a very wealthy man, was the one who supported the making of this Sam book in, the area of the Galilee. Now, let's just finally look at this comparison
00:20:21 - way so we can see it better. This comparison between this river God and this river God. He has river reads around him. He has lots of hair, as does the other one. He has a big beard and they both have their elbow on a vessel out of which flows water. He has his elbow On a vessel out of which flows water, right?
00:20:54 - and he has a big beard. So these two figures, I would hypothesize both were done during the late antique period in the Galilee. But since we have little motifs like this, which come out of the mid rush, as I showed you, they couldn't have been just done by artists.
00:21:26 - who knew the mid rush, the commentary very well. Some people like the rabbis. Now you'll say to me, but the rabbis, what about the second commandment? Well, the rabbis in fact knew the artists and even showed a slight degree of admiration for them. I found in the Miash several places
00:21:55 - The rabbis also said the artists require several colors to make an image red and green and black and white. The Lord can make an embryo out of a drop of red and a drop of white. The artist takes a long time to make a figure.

Legacy of Art in Jewish Tradition

00:22:27 - And then the rabbi said, the artist dies, but the work of his hand endures. Wouldn't those rabbis? And those artists have been surprised that some form of the initial, initial manuscript that they created, probably in the fourth
00:23:01 - and several other forms for over 1500 years.

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