É. Apor (ed.): David Kaufmann Memorial Volume: Papers Presented at the David Kaufmann Memorial Conference, November 29, 1999, Budapest.

ORMOS, István: David Kaufmann and his Collection

ISTVÁN ORMOS a winged angel appearing above the burning bush."

0 In the Golden Haggadah, too, a winged and nimbed angel appears on the mountain above the burning bush,"

1 and in the Haggadah bearing the shelf-mark Or. 1404 in the British Library the head of an angel (?) can be seen amidst the flames."

2 It is more proper for a Jewish illuminator to represent the Lord or His angel by rays of gold and the part of a wing, or by a hand stretching out of a wing as in the case of the Sarajevo Haggadah or in the Haggadah Or. 2737 of the British Library: there can be no doubt that the former illumination represents the angel; perhaps the latter one does too, yet could it not be supposed that in the latter the wing is representing the angel while the hand the presence of the Lord?"

3 One could also refer to the Second Nürnberg Haggadah, where a banderole can merely be seen appearing slantwise from the sky - perhaps from a cloud? - with a brief description of the scene in Hebrew."

4 It is at least doubtful whether we are seeing God taking a rest at the end of the Creation in the Sarajevo Haggadah (f.2r) as suggested by Müller's and von Schlosser's caption (

Gottes Sabbathruhe

): this manuscript represents the presence of God by rays of gold (God addressing Adam in Paradise; f.3v), a hand reaching out of the sky (the sacrifice of Isaac; f.8r), and by rays of gold and angelic wings together (the burning bush; f.21v). It is more likely that the seated figure in the hood represents a believer observing the Sabbath."

5 Scheiber adduced further data to indicate the Christian background of the Kaufmann Haggadah's illuminator: in the representation of the death of the firstborn, there are women among the pallbearers (f.lv; fig. 3), and people kneel during prayer (f.26r; fig. 4)

11

6 - in this illustration one of the figures has his hat on while the other is bareheaded during prayer."

7 Scheiber also adduced the representation of the 1,

0 Ibid. 281. 11

1 NARKISS: 1982. I. 62 [fol. lOv], II. 40 [fig. 132], 1,

2 Ibid. I. 94 [fol. Ív], II. 94 [fig. 283], 11

3 Eugen WERBER, The Sarajevo Haggadah. Sarajevo 1988. fol. 21 v. METZGER 1973. 281-283. David Heinrich MÜLLER - Julius VON SCHLOSSER, Die Haggadah des Bosn.-herceg. Landesmuseums in Sarajevo. In: David Heinrich MÜLLER - Julius VON SCHLOSSER, Die Haggadah von Sarajevo. Eine spanisch-jüdische Bilderhandschrift des Mittelalters. Vienna 1898. 40 [fol. 21']. NARKISS: 1982. I. 47 [fol. 67r], II. 33 [Plate XXVIII, fig. 88], 1,

4 NARKISS - SED-RAJNA 1981. Card No. 60 [ad fol. 13r], Cf. METZGER 1973. 280-281, 286. MÜLLER - VON SCHLOSSER, Die Bilderhaggaden 1898. 143 [ad fol. 13r]. On the whole subject - with Christian parallels - see METZGER 1973. 279-288 [Le buisson ardent]. SEDRAJNA 1987. 93-94. Cf. also RÉAU 1955-1959. II. I. 185-186. "

! MÜLLER - VON SCHLOSSER, Die Haggadah von Sarajevo. Eine spanisch-jüdische Bilderhandschrift des Mittelalters. Vienna 1898. Tafelband, fols 2, 3', 8, 21'. WERBER 1988. 24, 27 (essay). '"•SCHEIBER 1957. 16-17. Ibid. 27 [ad p. 40], 11

7 Ibid. 27 [ad p. 40], 150