The Torah Ark of Arthur Szyk

Home , Abba Hillel Silver, Arthur Szyk, Bezalel Narkiss, Center for Jewish Art, Irvin Ungar, Morris Rosenfeld

arts

Susan Nashman Fraiman

Rothberg International School, The Hebrew University of Jerusalem, Jerusalem 9190501, Israel; [email protected]

Received: 14 April 2020; Accepted: 13 May 2020; Published: 19 May 2020

Abstract: This paper discusses the design and symbolism of a hitherto unpublished work by the artist Arthur Szyk (1894–1951), an ark for the Torah which he designed for the Forest Hills Jewish Center of Queens, New York, and which was dedicated in 1949. The Torah Ark is the central focus of all synagogue worship. Szyk’s ark is unique in its multiplicity of symbols and texts, which was at odds with the modernist idiom of post-World War II synagogue architecture. This research, which also brings previously unpublished material, analyzes the possible sources for the work and its distinctive message, which is exceptional in the world of modern contemporary Jewish art.

Keywords: Arthur Szyk; synagogue; Jewish art; tribes; freedom; Ben-Zion Bokser

1. Introduction In the last few years, interest in the art of Arthur Szyk has taken a dramatic turn. From an artist who was popular in the 1940s, blacklisted in the early 1950s, and often associated with kitsch and a reactionary art style in the late 20th century (Mendelsohn 2010, p. 324), Szyk has been the subject of several monographs1 and exhibits2 in the last two decades. A huge collection of his work, amassed by a private collector, was recently donated to the Magnes Collection of Jewish Art and Life in Berkeley. Known as The Taube Family Arthur Szyk Collection, it contains hundreds of works, many of them unpublished, including sketches for book illustrations, posters, and caricatures. Interestingly enough, one of Szyk’s most unique creations, a Torah Ark (Figure1) he designed for the Forest Hills Jewish Center of Queens, NY, has never been studied. The ark is an unusual combination of traditional symbols with new elements, and this article discusses its history and unique iconography.

1 See (Ansell 2004) and a scholarly reevaluation of his famous Haggadah, (Sherwin and Ungar 2008). 2 To mention a few in the last twenty years: Arthur Szyk: Artist for Freedom at the Library of Congress, 9 December 1999–6 May 2000. https://www.loc.gov/exhibits/szyk/, accessed on 8 December 2019; The Art and Politics of Arthur Szyk, United States Holocaust Memorial Museum, 10 April 2002–14 October 2002; https://www.ushmm.org/exhibition/szyk/, accessed on 8 December 2019; and the exhibit at the New York Historical Society, 15 September 2017–21 January 2018; https://www. nyhistory.org/exhibitions/arthur-szyk-soldier-art, accessed on 8 December 2019.

Arts 2020, 9, 60; doi:10.3390/arts9020060 www.mdpi.com/journal/arts Arts 2020, 9, 60 2 of 18

Arts 2020, 9, x FOR PEER REVIEW 2 of 19

Figure 1. TorahTorah Ark and bimah, Forest Hills Jewish Center, 1949 (photographed 2017 byby thethe author).author).

2. The Artist The artist Arthur Szyk Szyk (1894–1951) (1894–1951) was was born born and and raised raised in in Lodz, Lodz, Poland. Poland. Szyk Szyk studied studied art art in inCracow Cracow and and Paris Paris and traveled and traveled to Palestine to Palestine in 1914 in (Luckert 1914 ( Luckert2002, p. ,9; p. Ansell 9; Ansell 2004, p.2004 20) ,and p. Morocco 20) and Moroccoin 1925 (ibid., in 1925 p. 44). (ibid., Szyk p. is 44). best Szykknown is for best his known oft‐reproduced for his oft-reproduced Haggadah.3 The Haggadah. Szyks, who3 The had Szyks, been wholiving had in Paris, been livingmoved in to Paris, London moved in 1937, to London to work in on 1937, the topublication work on the of the publication Haggadah. of theIn the Haggadah. end, the InHaggadah, the end, thewhich Haggadah, was printed which on wasparchment, printed was on parchment, dedicated to was King dedicated George tothe King VI (Ansell George 2004, the VIp. (97;Ansell Cohen 2004 1946/1947,, p. 97; Cohen p. 73), 1946 and/1947 published, p. 73), with and an published introduction with by an Cecil introduction Roth. At by the Cecil same Roth. time, At Szyk the samewas also time, drawing Szyk was anti also‐fascist drawing cartoons anti-fascist for the cartoons British for Press. the British The outbreak Press. The of outbreakthe war ofmade the warthe madecomplete the completepublication publication of the Haggadah of the Haggadah difficult, so difficult, the peripatetic so the peripatetic Szyks moved Szyks to moved Canada to Canadain 1940, inwhere 1940, they where stayed they for stayed six months. for six4 months.At the end4 At of the 1940, end the of Szyks 1940, themoved Szyks to movedthe New to York the New City area, York Citywhere area, Szyk where immediately Szyk immediately immersed himself immersed in both himself the inpolitical both the and political artistic andscene artistic of the sceneUS. He of had the US.several He hadhigh several‐profile high-profile public exhibitions public exhibitionsof his work of(Ansell his work 2004, (Ansell p. 121) 2004 and, p.continued 121) and his continued anti‐fascist his anti-fascistactivity in art, activity mainly in art, through mainly caricature. through caricature. He published He publisheda book of ahis book caricatures of his caricatures in 1941, and in 1941, his andcaricatures his caricatures also appeared also appeared in a wide in avariety wide variety of American of American publications, publications, mercilessly mercilessly lampooning lampooning both boththe Nazis the Nazis and andthe Japanese. the Japanese. By 1942, By 1942, his hisname name had had already already appeared appeared on on the the cover cover of of TheThe American Hebrew asas one one of of the the notable notable American American Jews Jews of of 1941, 1941, along along with with Eddie Eddie Cantor, Cantor, Rabbi Rabbi David David de Sola de Pool,Sola LouisPool, Louis Finkelstein, Finkelstein, and Israel and Goldstein, Israel Goldstein, to name ato few name others. a few5 In others. 1942, the5 In Haggadah 1942, the wasHaggadah exhibited was at theexhibited Jewish at Theological the Jewish Seminary.Theological6 Seminary.6

3. The Forest Hills Project Szyk likely got involved with the project in Forest Hills through one of its prominent members, 7 Herman JaJaffe.ﬀe.7 In fact, a copy of the original Haggadah, signed by both Szyk and Cecil Roth, with a

3 The HaggadahHaggadah was was published published in 1940in 1940 in England in England (Roth (Roth1969, p.1969, 50). p. According 50). According to the Jewishto the TheologicalJewish Theological Seminary announcementSeminary announcement (Alfred Werner (Alfred collection, Werner M.E. Grenander collection, Department M.E. Grenander of Special Collections Department & Archives of Special University Collections at Albany, & SUNYArchives archive), University some 240 at copies Albany, were SUNY printed, archive), of which 115some were 240 in thecopies United were States. printed, The Haggadah of which was 115 printed were multiple in the times in both Israel and the United States. A recent facsimile was reissued, with translation and commentary by Byron L. SherwinUnited withStates. Irvin The Ungar, Haggadah in 2011 ( Szykwas 2011printed). multiple times in both Israel and the United States. A recent 4 Theyfacsimile lived was in London reissued, from 1937with until translation 1940 (Ansell and 2004 commentary, pp. 117–19). by Byron L. Sherwin with Irvin Ungar, in 2011 5 Cover(Szyk of2011).The American Hebrew “For Better Understanding between Christians and Jews”, 16 January 1942. 6 4 TheThey Haggadah lived in wasLondon put on from display 1937 at until the Jewish 1940 Theological(Ansell 2004, Seminary pp. 117–19). in the spring of 1942, as mentioned in the Flatbush Jewish Center Bulletin of the same year, undated (Alfred Werner collection, M.E. Grenander Department of Special Collections 5 &Cover Archives of The University American at Hebrew Albany, “For SUNY Better archive). Understanding This exhibit between does not Christians appear in the and list Jews”, that appears 16 January at the 1942. end of 6 (TheUngar Haggadah 2017a). was put on display at the Jewish Theological Seminary in the spring of 1942, as mentioned in 7 Irvinthe Flatbush Ungar in Jewish discussion, Center December Bulletin 2018. of the Jaﬀ samee was year, an art undated printer who (Alfred lived Werner in Forest collection, Hills, so it M.E. is not Grenander surprising that he would have known Szyk. https://www.nytimes.com/1971/05/08/archives/herman-jaﬀe-77-printed-art-stamps.html, Department of Special Collections & Archives University at Albany, SUNY archive). This exhibit does not appear in the list that appears at the end of (Ungar 2017a). 7 Irvin Ungar in discussion, December 2018. Jaffe was an art printer who lived in Forest Hills, so it is not surprising that he would have known Szyk. https://www.nytimes.com/1971/05/08/archives/herman‐jaffe‐77‐

ArtsArts 20202020,, 99,, 60x FOR PEER REVIEW 3 of 1819 dedication to the Jaffes, is in the collection of the synagogue (Figure 2). In May 1943, Szyk’s Haggadah dedication to the Jaffes, is in the collection of the synagogue (Figure2). In May 1943, Szyk’s Haggadah was exhibited at the National Conference for Palestine. One of the speakers was the prominent was exhibited at the National Conference for Palestine. One of the speakers was the prominent American Reform Rabbi Abba Hillel Silver (Ansell 2004, p. 129). Szyk was a Zionist, interestingly American Reform Rabbi Abba Hillel Silver (Ansell 2004, p. 129). Szyk was a Zionist, interestingly enough, of the Revisionist persuasion (ibid., p. 39). In 1946, Silver commissioned Szyk to design enough, of the Revisionist persuasion (ibid., p. 39). In 1946, Silver commissioned Szyk to design stained‐glass windows for the Temple Tifereth Israel, his synagogue in Cleveland, in memory of stained-glass windows for the Temple Tifereth Israel, his synagogue in Cleveland, in memory of congregants who died fighting in World War II. Szyk depicted three Biblical Heroes: Gideon, Samson, congregants who died fighting in World War II. Szyk depicted three Biblical Heroes: Gideon, Samson, and Judah Maccabee, in their memory (ibid., p. 195).8 By that time, Szyk was already in touch with and Judah Maccabee, in their memory (ibid., p. 195).8 By that time, Szyk was already in touch with the Forest Hills congregation—his Haggadah was exhibited there in March 1945, and subsequently, the Forest Hills congregation—his Haggadah was exhibited there in March 1945, and subsequently, various works of his appeared in the synagogue newsletter.9 During this period, the charismatic various works of his appeared in the synagogue newsletter.9 During this period, the charismatic Conservative rabbi of Forest Hills, Ben Zion Bokser (1907–1984) (Carmin 1955, pp. 631–32), was Conservative rabbi of Forest Hills, Ben Zion Bokser (1907–1984) (Carmin 1955, pp. 631–32), was serving serving as a military chaplain at Camp Myles Standish in Taunton, Massachusetts, a jumping‐off as a military chaplain at Camp Myles Standish in Taunton, Massachusetts, a jumping-off point for point for troops fighting in Europe,10 and from February 1944, the congregation was being led by a troops fighting in Europe,10 and from February 1944, the congregation was being led by a student student rabbi at the Jewish Theological Seminary, Jacob Pressman (1919–2015) (Pressman 2001, p. 21). rabbi at the Jewish Theological Seminary, Jacob Pressman (1919–2015) (Pressman 2001, p. 21). At the At the war’s end, the synagogue’s board, no doubt in conjunction with the rabbi, started a campaign war’s end, the synagogue’s board, no doubt in conjunction with the rabbi, started a campaign for a for a new larger building to house the postwar booming Jewish community. In September 1945, there new larger building to house the postwar booming Jewish community. In September 1945, there were were 615 families that were members of the community, and their old building no longer met their 615 families that were members of the community, and their old building no longer met their needs. needs.

Figure 2. Dedication of the Haggadah by Szyk to the JaJaffes.ﬀes.

The synagogue that was built, designed by Joseph Furman, has an exterior of crab orchard orchard stone, brick facing, and limestone trim.1111 Original drawings for the plan of the ark are still in the collection

printed‐art‐stamps.html, accessed on 22 December 2019; in this obituary, it is mentioned that he printed accessedstamps for on 22Liberia, December and 2019; Szyk in seems this obituary, to have it isdesigned mentioned them that (Ungar he printed 2017a, stamps p. 215, for Liberia, plate 176). and Szyk seems to have 8 designedThe Temple them was (Ungar converted 2017a, p. into 215, an plate arts 176). center in 2010, since the community has a new home. https:// 8 Thewww.clevelandjewishnews Temple was converted into an.com/archives/the arts center in 2010, since‐temple the community‐unlocks has‐key a new‐to‐ home.the‐past/article_5d9fc945 https://www.clevelandjewishnews.com‐9f21‐5a76‐ / archives854b‐a5af426a89ed.html,/the-temple-unlocks-key-to-the-past accessed on 6/article_5d9fc945-9f21-5a76-854b-a5af426a89ed.html December 2019. , accessed on 6 December 2019. 9 Forest Hills Home News, March 1945, vol. 1, no. 4, 2, JTA, Bokser archives box 15/3. 9 10 CorrespondenceForest Hills Home Ben News Zion, March Bokser 1945, Rabbinical vol. 1, Papers, no. 4, The2, JTA, Library Bokser of the archives Jewish box Theological 15/3. Seminary, New York, NY, 10 ARC.1000.026,Correspondence (Box Ben 15) Zion (Bernstein Bokser 1945 Rabbinical, p. 180); Bokser Papers, was The inducted Library in of 1944 the and Jewish released Theological in 1946. AllSeminary, of his service New wasYork, stateside. NY, ARC.1000.026, (Box 15) (Bernstein 1945, p. 180); Bokser was inducted in 1944 and released in 1946. 11 MentionedAll of his service brieﬂy by was Wischnitzer stateside.(1955 , p. 165). The synagogue, designed on “very plain lines”, dispensed with the ﬂexible plan which was coming into its own at that time, and “[i]t was felt, before long, however, that the prayer hall needed 11 spiritualMentioned content, briefly color, by emotional Wischnitzer stimulation”. (1955, p. 165). The synagogue, designed on “very plain lines”, dispensed with the flexible plan which was coming into its own at that time, and “[i]t was felt, before long, however, that the prayer hall needed spiritual content, color, emotional stimulation”.

Arts 2020, 9, 60 4 of 18 Arts 2020, 9, x FOR PEER REVIEW 4 of 19 Arts 2020, 9, x FOR PEER REVIEW 4 of 19 of the synagogue: a drawing for the sides of the ark (Figure3), a drawing of the doors (Figure4), of the synagogue: a drawing for the sides of the ark (Figure 3), a drawing of the doors (Figure 4), a aof drawing the synagogue: of the Ner a drawing Tamid (Figurefor the 5sides), a drawing of the ark of (Figure the menorot, 3), a drawing (Figure 6of), the and doors a drawing (Figure for 4), a a drawing of the Ner Tamid (Figure 5), a drawing of the menorot, (Figure 6), and a drawing for a parochetdrawing orof athe valence Ner Tamid by Szyk (Figure that was 5), never a drawing executed of the (Figure menorot,7).The (Figure cornerstone 6), and was a set drawing in 1947 for and a parochet or a valence by Szyk that was never executed (Figure 7).The cornerstone was set in 1947 and dedicatedparochet or on a valence Sept 18, by 1949, Szyk in that the was presence never ofexecuted local dignitaries, (Figure 7).The including cornerstone the mayor was set of in New 1947 York, and dedicated on Sept 18, 1949, in the presence of local dignitaries, including the mayor of New York, Thomasdedicated O’Dwyer. on Sept The18, 1949, dedication in the even presence made of it local to the dignitaries,Herald Tribune including, one of the the mayor important of New New York, York Thomas O’Dwyer. The dedication even made it to the Herald Tribune, one of the important New York Thomas O’Dwyer. The dedication12 even made it to the Herald Tribune, one of the important New York newspapers of the time. 12 newspapers of the time.12

Figure 3. Arthur Szyk, ink sketch for the sides of the ark, 1949. Figure 3. Arthur Szyk, ink sketch for the sides of the ark, 1949.

Figure 4. Arthur Szyk, ink sketch for the ark doors, 1949. Figure 4. Arthur Szyk, ink sketch for the ark doors, 1949.

12 “New Forest Hills Synagogue and Jewish Center Is Opened: Dedicatory Service in New Synagogue in Forest Hills”, New York Herald Tribune (1926–1962), 19 September 1949, p. 17.

12 “New Forest Hills Synagogue and Jewish Center Is Opened: Dedicatory Service in New Synagogue in Forest 12 “New Forest Hills Synagogue and Jewish Center Is Opened: Dedicatory Service in New Synagogue in Forest Hills”, New York Herald Tribune (1926–1962), 19 September 1949, p. 17. Hills”, New York Herald Tribune (1926–1962), 19 September 1949, p. 17.

Arts 2020, 9, 60 5 of 18

Arts 2020, 9, x FOR PEER REVIEW 5 of 19 Arts 2020, 9, x FOR PEER REVIEW 5 of 19 Arts 2020, 9, x FOR PEER REVIEW 5 of 19

Figure 5. Arthur Szyk, ink sketch for the Ner Tamid, 1949. FigureFigure 5. 5.Arthur Arthur Szyk, Szyk, ink sketch for for the the Ner Ner Tamid, Tamid, 1949. 1949. Figure 5. Arthur Szyk, ink sketch for the Ner Tamid, 1949.

Figure 6. Arthur Szyk, ink sketch for the Menorah, 1949. Figure 6. Arthur Szyk, ink sketch for the Menorah, 1949. FigureFigure 6. 6.Arthur Arthur Szyk, Szyk, inkink sketch for for the the Menorah, Menorah, 1949. 1949.

Figure 7. Arthur Szyk, ink sketch for the “Parochuth [sic]”, 1949. Figure 7. Arthur Szyk, ink sketch for the “Parochuth [sic]”, 1949. FigureFigure 7. 7.Arthur Arthur Szyk, Szyk, ink ink sketchsketch for the the “Parochuth “Parochuth [sic]”, [sic]”, 1949. 1949.

Arts 2020 9 ArtsArts 20202020,,, 99,,, x 60x FORFOR PEERPEER REVIEWREVIEW 66 ofof 1919 18

4.4. TheThe ArkArk 4. The Ark TheThe arkark standsstands closeclose toto 99 mm highhigh1313 andand isis mademade fromfrom castcast andand paintedpainted plaster,plaster, withwith thethe exceptionexception The ark stands close to 9 m high13 and is made from cast and painted plaster, with the exception of ofof thethe innerinner grill,grill, menorot,menorot, (measuring(measuring 1.21.2 mm highhigh andand 11 mm wide)wide) (Figure(Figure 8)8) andand thethe arkark doors,doors, whichwhich the inner grill, menorot, (measuring 1.2 m high and 1 m wide) (Figure8) and the ark doors, which are areare castcast bronze.bronze.1414 TheThe grillgrill waswas leftleft openopen becausebecause behindbehind itit satsat thethe choir.choir. WhileWhile thethe shapeshape isis cast bronze.14 The grill was left open because behind it sat the choir. While the shape is symmetrical, symmetrical,symmetrical, thethe rightright andand leftleft sidessides areare notnot identical.identical. TheThe entireentire façadefaçade ofof thethe arkark isis filledfilled withwith the right and left sides are not identical. The entire façade of the ark is filled with decoration—flowers, decoration—flowers,decoration—flowers, acornacorn designs,designs, acanthusacanthus leaves,leaves, scrolls,scrolls, andand vines.vines. ItIt isis possiblepossible toto dividedivide thethe arkark acorn designs, acanthus leaves, scrolls, and vines. It is possible to divide the ark into three main parts: on intointo threethree mainmain parts:parts: onon eacheach side,side, aa paisleypaisley‐‐shapedshaped area,area, borderedbordered byby texttext thatthat containscontains threethree each side, a paisley-shaped area, bordered by text that contains three elements relating to Jewish holidays elementselements relatingrelating toto JewishJewish holidaysholidays oror practice;practice; thethe bronzebronze arkark doorsdoors withwith thethe symbolssymbols ofof thethe tribes;tribes; or practice; the bronze ark doors with the symbols of the tribes; and the upper area, surmounted by a andand thethe upperupper area,area, surmountedsurmounted byby aa crowncrown andand alsoalso borderedbordered withwith aa text.text. TheThe arkark shouldshould bebe crown and also bordered with a text. The ark should be interpreted from right to left, as that is the order interpretedinterpreted fromfrom rightright toto left,left, asas thatthat isis thethe orderorder ofof thethe versesverses thatthat appearappear onon itsits flanks,flanks, andand ofof course,course, of the verses that appear on its flanks, and of course, the way the Hebrew language is read. thethe wayway thethe HebrewHebrew languagelanguage isis read.read.

FigureFigure 8.8. Menorah,Menorah,Menorah, ForestForest HillsHills JewishJewish Center.Center.

OnOn thethe rightright sideside (Figure(Figure 99a)9a)a) isis aa scale,scale,scale, aboveabove whichwhich isis aa shofar,shofar, andand aboveabove that,that, a a TorahTorah scroll,scroll, 15 symbolizing,symbolizing, respectively,respectively, the the Day Day of of Atonement, Atonement, thethe NewNew Year,Year, andand Simchat Simchat Torah. Torah.1515 AA bird bird facing facing outward,outward, above above which which is is a a palmette, palmette, completes completes thatthat partpart ofof thethe ark.ark. TheThe text text around around these these elements elements reads reads as as follows, follows, startingstarting atat thethe levellevel ofof thethe scale:scale: ַַתּוֹרתּוֹרתת הה’’ ְְתּתּ ִִממ ָָימימהה ְְממ ִִשׁשׁ ַַיביבתת ָנָנ ֶפֶפשׁשׁ ֵﬠֵﬠדוּתדוּת ְיְי ָהוָהוהה ֶנֶנ ֱאֱא ָָממ ָנָנהה ַַממ ְְחח ִִכּכּ ַַימימתת ֶפֶּפּ ִִתתיי.. ִִפּפּ ֵֵקּוּדקּוּדיי הה’’ ְיְי ָָשׁשִִׁרריםים ְְממ ַַשׂשׂ ְְמּמּ ֵֵחחיי ֵלֵלבב ִִממ ְְצצַוַותת TheThe lawlaw ofof thethe LORDLORD isis perfect,perfect, restoringrestoring thethe soul;soul; thethe testimonytestimony ofof thethe LORDLORD isis sure,sure, The law of the LORD is perfect, restoring the soul; the testimony of the LORD is sure, making makingmaking wisewise thethe simple.simple. TheThe preceptsprecepts ofof thethe LORDLORD areare right,right, rejoicingrejoicing thethe heart…heart… wise the simple. The precepts of the LORD are right, rejoicing the heart ... TheThe secondsecond halfhalf ofof verseverse 99 continuescontinues onon thethe leftleft side,side, followedfollowed byby verseverse 10.10. TheseThese textstexts surroundsurround thethe followingfollowingThe second motifsmotifs half (Figure(Figure of verse 9b):9b): a 9a continuestwotwo‐‐branchedbranched on the candlestick,candlestick, left side, followed withwith twotwo by challotchallot verse 10.andand These aa kiddushkiddush texts surroundgobletgoblet inin frontfrontthe following ofof them;them; motifs thethe scrollscroll (Figure casecase9 ofofb): aa a Megillah;Megillah; two-branched and,and, aboveabove candlestick, that,that, anan with oiloil twolamplamp challot forfor Hanukkah.Hanukkah. and a kiddush TheThe texttext goblet startsstarts in atatfront thethe of levellevel them; ofof thethethe scroll candlestickscandlesticks case of aandand Megillah; worksworks and,upward,upward, above aroundaround that, an thethe oil birdbird lamp atopatop for Hanukkah.thethe HanukkahHanukkah The lamp,lamp, text starts andand curlscurlsat the downdown level of thethe the outerouter candlesticks leftleft sideside of andof thethe works ark.ark. upward, around the bird atop the Hanukkah lamp, and curls down the outer left side of the ark.

13 30 feet tall, according to Israelowitz(1992, p. 129). 13 1314 30The30 feetfeet Forest tall,tall, Hills accordingaccording Jewish Center toto IsraelowitzIsraelowitz 1931–1981, 1981, (1992,(1992, unpaged, p.p. 129).129). in the collection of the synagogue. 141415 TheFromThe ForestForest an explication HillsHills JewishJewish of theCenterCenter ark 1931–1981 in1931–1981 Bokser’s,, papers 1981,1981, unpaged,unpaged, at the Jewish inin thethe Theological collectioncollection Seminary, ofof thethe synagogue.synagogue. “An Interpretation of Our Ark,” 1515 FromBenFrom Zion anan Bokserexplicationexplication Rabbinical ofof thethe Papers, arkark inin The Bokser’sBokser’s Library paperspapers of the Jewish atat thethe Theological JewishJewish TheologicalTheological Seminary, New Seminary,Seminary, York, NY, “An“An ARC.1000.026, InterpretationInterpretation (Box of 17,of Folder 5). OurOur Ark,”Ark,” BenBen ZionZion BokserBokser RabbinicalRabbinical Papers,Papers, TheThe LibraryLibrary ofof thethe JewishJewish TheologicalTheological Seminary,Seminary, NewNew York,York, NY,NY, ARC.1000.026,ARC.1000.026, (Box(Box 17,17, FolderFolder 5).5).

Arts 2020, 9, 60 7 of 18 Arts 2020, 9, x FOR PEER REVIEW 7 of 19

Arts 2020, 9, x FOR PEER REVIEW 7 of 19 of 19 7 ה’ ָבּ ָרה ְמ ִא ַירת ֵﬠ ָינ ִים. ִי ְר ַאת ה’ ְט ָהוֹרה ֶעוֹמ ֶדת ָל ַﬠד ִמ ְשׁ ְפּ ֵטי ה’ ֱא ֶמת ָצ ְדקוּ ַי ְח ָדּו Arts 2020, 9, x FOR PEER REVIEW eyes. The fear of the LORD is ה’ the ָבּ ָרה ְמ ִא ַירת ֵﬠ ָינ ִיםenlightening. ִי ְר ַאת ,pureה ’ isְט ָהוֹרה LORDֶעוֹמ ֶדת theָל ַﬠדof ִמ ְשׁ ְפּ ֵטי ה’ ֱא ֶמת ָצ ְדcommandmentקוּ ַי ְח ָדּוT]he] הis ’ ָבּ ָרה ְמ ִאLORD ַירת theֵ ﬠ ָינ ִיof ם. ִי ְר ַאfear ת ה’ The ְט ָהוֹרה .eyes ֶעוֹמ ֶדthe ת ָל ַﬠד ִמ ְשׁ ְפּ ֵטי ה’ enlighteningֱ א ֶמת ָצ ְד,pure קוּ ַיis ְח ָדּוT]he commandment of the LORD] clean, enduring forever; the ordinances of the LORD are true, they are righteous altogether. [T]he commandment of the LORDclean, is enduringpure, enlightening forever; the the ordinances eyes. The offear the of LORD the LORD are true, is they are righteous altogether. [T]he commandment16 of the LORD is pure, enlightening the eyes. The fear of the LORD is clean, enduring forever; the ordinances(Psalms 19,of the pp. LORD 9–10) are true, they are righteous altogether. (Psalmsclean, enduring 19, pp. 9–10)forever;16 the ordinances of the LORD are true, they are righteous altogether. 16 (Psalms 19, pp. 9–10) (Psalms 19, pp. 9–10)16

(a) (b)

(a) Figure(a) 9. The(b) right (a) and left (b) sides of the (ark.b) Figure 9. The right (a) and left (b) sides of the ark. Below the central doorsFigure are two 9. Theheraldic right ( animalsa) and left facing (b) sides each of other, the ark. reminiscent of the kid of the Passover hymn, Had Gadya (Sabar 2008a, pp. 148–49; see Figure 14 below). In the center rectangular Below the central doors are twoBelow heraldic the animals central doorsfacing areeach two other, heraldic reminiscent animals of facing the kid each of theother, reminiscent of the kid of the panel above the doors is a representation of the breast plate worn by the High Priest at the Temple Passover hymn, Had Gadya (SabarPassover 2008a, hymn,hymn, pp. 148–49;Had Had Gadya Gadya see Figure( Sabar(Sabar 142008a 2008a, below)., pp. pp. 148–49).In 148–49; the center In see the Figurerectangular center 14 rectangular below). In panel the center above rectangular the doors is services in Jerusalem. Above them (Figure 10), centered over the door, again reading from right to panel above the doors is a representationapanel representation above of the the ofdoors breast the breast is plate a representation plate worn worn by the by ofHigh the the High Priestbreast Priest atplate the at the wornTemple Temple by the services High Priest in Jerusalem. at the Temple Above for Pesach (Passover)17 "פ" left, are a lulav and etrog; a round seder plate, topped by the Hebrew letter services in Jerusalem. Above themthemservices (Figure (Figure in Jerusalem. 10), 10), centered centered Above over over them the door, (Figure againagain 10), reading reading centered from from over right right the to door,to left, areagain a lulav readingand etrogfrom; aright round to and flanked by four goblets; and the two tablets of the Ten Commandments1717 surrounded by fruit. flanked for Pesach by four (Passover) goblets;17 "פ" topped for PesachPesach by the (Passover)(Passover) Hebrew letter and” "פ"“ ,left, are a lulav and etrog; a roundsederleft, seder are plate, plate,a lulav topped topped and etrog by by; the thea round HebrewHebrew seder letter plate These are symbols of the three pilgrimage festivals according to their order in the Jewish year: Sukkot and flanked by four goblets; andand the theflanked two two tablets tabletsby four of of goblets;the the Ten Ten and Commandments the two tablets surrounded of the Ten by Commandments fruit.fruit. These are surrounded symbols of theby threefruit. (Tabernacles), which occurs immediately after the Jewish New Year, in the month of Tishrei; Pesach These are symbols of the three pilgrimagepilgrimageThese are symbols festivals festivals of according according the three to pilgrimage to their their order order festivals in in the the Jewish according Jewish year: year: to Sukkot theirSukkot order(Tabernacles), in the Jewish which year: occursSukkot (Passover) in the month of Nisan; and Shavuot (the holiday of the First Fruits and the Giving of the (Tabernacles), which occurs immediatelyimmediately(Tabernacles), after after which the the Jewish occurs Jewish New immediately New Year, Year, in the in after the month the month Jewish of Tishrei; of Tishrei;New Pesach Year,Pesach in the(Passover) month of in Tishrei; the month Pesach of Law) in the month of Sivan. Above them, a rampant stag on the left and a rampant lion on the right (Passover) in the month of NisanNisan;(Passover); and and Shavuot inShavuot the (the month(the holiday holiday of Nisan of the of; and theFirst FirstShavuot Fruits Fruits and(the and theholiday the Giving Giving of theof the of First the Fruits Law) inand the the month Giving of Sivan.of the face inward, to what appears to be a pinecone. At the base of the pinecone is a Star of David. Above Law) in the month of Sivan. AboveAboveLaw) them, in them, the a monthrampant a rampant of stagSivan. stag on Above on the the left leftthem, and and aa rampant arampant rampant lionstag lion on on on the the the right left right and face a rampant inward, lion to what on the appears right them are the two Tablets of the Law, with the first letters of each of the Ten Commandments in face inward, to what appears totoface be be a inward, apinecone. pinecone. to whatAt At the theappears base base of to ofthe be the pinecone a pinecone pinecone. is a is AtStar a Starthe of base ofDavid. David. of theAbove Abovepinecone them is a are Star the of twoDavid. Tablets Above of Hebrew (Figure 11), reading from right to left. At the very top is an elaborate Torah crown. At the them are the two Tablets of thethethem Law, Law, are with with the thetwo the first first Tablets lettersletters of ofofthe each each Law, of of thewith the Ten Tenthe Commandments firstCommandments letters of each in Hebrewin of the (FigureTen Commandments 11), reading from in base of this crown are colored gems (glass), and above them are two rampant griffins. Bells hang from Hebrew (Figure 11), reading fromrightHebrew right to left. (Figureto left. At the At11), verythe reading very top istop from an is elaborate rightan elaborate to left. Torah AtTorah crown. the crown.very At top the At is base the an ofelaborate this crown Torah are crown. colored At gems the both sides of the crown. The crown is topped with a small knop. The verse that extends from the right base of this crown are colored gems(glass),base (glass), of andthis crown aboveand above themare colored them are two are gems two rampant (glass),rampant gri andffi griffins.ns. above Bells Bells them hang hang are from two from both rampant sides of griffins. the crown. Bells Thehang crown from upper border of the ark to the central motif of the crown and tablets reads as follows: both sides of the crown. The crownisboth topped is sides topped withof thewith a crown. small a small knop. The knop. crown The The verseis verse topped that that with extends extends a small from from knop. the the The rightright verse upper that border extends of from the ark the to right the upper border of the ark to the centralcentralupper motifborder motif of of of the the the crown crown ark to and andthe tabletscentral tablets reads motif reads as of as follows:the follows: crown and tablets reads as follows:

16 The texts are not vocalized, with the important exception of two words, as we shall see later. 17 This element also appears in the Haggadah. See (Sabar 2008a, pp. 54–55). 16 The texts are not vocalized, with the important exception of two words, as we shall see later. 17 This element also appears in the Haggadah. See (Sabar 2008a, pp. 54–55). 16 The texts are not vocalized, with16 theThe important texts are exception not vocalized, of two with words, the importantas we shall exception see later. of two words, as we shall see later. 17 This element also appears in the17 Haggadah.This element See also(Sabar appears 2008a, in pp. the 54–55). Haggadah. See (Sabar 2008a, pp. 54–55).

Arts 2020, 9, 60 8 of 18 ArtsArtsArts 2020 20202020, ,,9 99, ,,x xx FOR FORFOR PEER PEERPEER REVIEW REVIEWREVIEW 888 of ofof 19 1919 Arts 2020, 9, x FOR PEER REVIEW 8 of 19

ְ וְו ַהַה ֻלּ ֻלּ ֹחֹחתת ַמַמ ֲﬠ ֲﬠ ֵשֵׂשׂהה ֱאֱא ִהִהיםים ֵהֵה ָמָּמּהה ְ וְו ַהַהִ ִמּמְּכְכָתָּתּבב ִ ִממְכְכַתַּתּבב ֱאֱא ִהִהיםים הוּאהוּא ָחָחרוּתרוּת ַﬠַﬠלל ְְו ַַה ֻֻלּ ֹֹחת ַַמ ֲֲﬠ ֵֵשׂה ֱֱא ִִהים ֵֵה ָָמּה ְְו ַַה ִִמּ ְְכ ָָתּב ִִמ ְְכ ַַתּב ֱֱא ִִהים הוּא ָָחרוּת ַַﬠל TheThe verseverseThe verse thenthen continuescontinues then continues downdown down thethe leftleft the side:side: left side: The verse then continues down the left side: ַהַה ֻלּ ֻלּ ֹחֹחתת,, ַאַאלל ִ ִתּתְּקְקָ ָרראא ָחָחרוּתרוּת ֶאֶא ָלּ ָלּאא ֵחֵחרוּתרוּת ַַה ֻֻלּ ֹֹחת, ַַאל ִִתּ ְְק ָָרא ָָחרוּת ֶֶא ָָלּא ֵֵחרוּת ItItIt appearsappears appears thatthat that thethe the entireentire entire verseverse verse isis is aa a commentarycommentary commentary fromfrom from thethe the EthicsEthics Ethics ofof of thethe the FathersFathers Fathers (6:2)(6:2) (6:2) toto to ExodusExodus Exodus It appears that the entire verse is a commentary from the Ethics of the Fathers (6:2) to Exodus 32:16:32:16:32:16: “And“And “And thethe the tabletstablets tablets werewere were thethe the workwork work ofof of God,God, God, andand and thethe the writingwriting writing waswas was thethe the writingwriting writing ofof of God,God, God, gravengraven graven uponupon upon 32:16: “And the tablets were the work of God, and the writing was the writing of God, graven upon thethethe tablets”.tablets”. tablets”. TheThe The texttext text ofof of EthicsEthics Ethics ofof of thethe the FathersFathers Fathers continuescontinues continues thus:thus: thus: “Read“Read “Read notnot not harutharutharut [engraved][engraved][engraved] butbut but herutherutherut the tablets”. The text of Ethics of the Fathers continues thus: “Read not harut [engraved] but herut [freedom][freedom][freedom] forfor for nonenone none cancan can bebe be consideredconsidered considered freefree free exceptexcept except thosethose those whowho who occupyoccupy occupy themselvesthemselves themselves withwith with thethe the studystudy study ofof of thethe the [freedom] for none can be considered free except those who occupy themselves with the study of the Torah”.Torah”.Torah”. This ThisThis rabbinic rabbinicrabbinic play playplay on onon words wordswords is isis caused causedcaused by byby a aa change changechange in inin the thethe vocalization vocalization vocalization of ofof the thethe words, words,words, with withwith a aa Torah”. This rabbinic play on words is caused by a change18 in the vocalization of the words, with a kamatzkamatzkamatz underunderunder thethe the firstfirst ﬁrst hethethet,, , andand and aa a tzeretzeretzere underunder thethe second.second. 181818 kamatz under the first het, and a tzere under the second.18

FigureFigure 10.10. CentralCentral sectionsection overover thethe ark,ark, includingincluding partpart ofof thethe 3939 “jewels”.“jewels”. Figure 10. CentralCentral section over the ark, including part of the 39 “jewels”.

FigureFigureFigure 11. 11.11. The TheThe upper upperupper part partpart of ofof the thethe ark. ark.ark. Figure 11. The upper part of the ark. 5.5. TheThe IconographyIconography ofof thethe ArkArk 5. The The Iconography Iconography of the Ark ThisThis arkark isis aa fascinatingfascinating mixmix ofof traditionaltraditional andand innovativeinnovative elements.elements. SzykSzyk incorporatedincorporated manymany This ark is aa fascinatingfascinating mixmix ofof traditionaltraditional andand innovativeinnovative elements.elements. Szyk incorporated many wellwell‐‐knownknown elementselements ofof prewarprewar EuropeanEuropean synagoguesynagogue decoration.decoration. TheThe crowncrown atopatop thethe ark,ark, thethe well-knownwell‐known elementselements of of prewar prewar European European synagogue synagogue decoration. decoration. The crownThe crown atop theatop ark, the the ark, griﬃ thens, griffins,griffins, andand thethe heraldicheraldic animalsanimals areare allall elementselements knownknown fromfrom thethe TorahTorah arksarks ofof prewarprewar EuropeanEuropean griffins,and the heraldicand the animalsheraldic are animals all elements are all knownelements from known the Torah from arks the Torah of prewar arks European of prewar synagogues. European synagogues.synagogues. OneOne ofof thethe upperupper textstexts aroundaround thethe innerinner cartouchecartouche (Figure(Figure 10)10) isis anan excerptexcerpt fromfrom aa wellwell‐‐ synagogues. One of the upper texts around the inner cartouche (Figure 10) is an excerpt from a well‐ knownknown verseverse fromfrom EthicsEthics ofof thethe FathersFathers ((PirkeiPirkei AvotAvot)) 5:20,5:20, andand unlikeunlike thethe otherother verses,verses, startsstarts onon thethe known verse from Ethics of the Fathers (Pirkei Avot) 5:20, and unlike the other verses, starts on the left.left.left. left.18 The vowels appear on the verse on the ark to make the distinction—there is no vocalization in the other Hebrew verses on the ark.

181818 TheThe vowelsvowels appearappear onon thethe verseverse onon thethe arkark toto makemake thethe distinction—theredistinction—there isis nono vocalizationvocalization inin thethe otherother 18 The vowels appear on the verse on the ark to make the distinction—there is no vocalization in the other HebrewHebrew versesverses onon thethe ark.ark. Hebrew verses on the ark.

Arts 2020, 9, 60 9 of 18

One of the upper texts around the inner cartouche (Figure 10) is an excerpt from a well-known verse Artsfrom 2020 Ethics, 9, x FOR of the PEER Fathers REVIEW (Pirkei Avot) 5:20, and unlike the other verses, starts on the left. 9 of 19

הוי ..., רץ כצבי, וגבור כארי לעשות רצון אביך שבשמים [Judah ben (son of) Taima said] be [bold as a leopard, light as an eagle], swift as a deer, and strong[Judah as ben a lion (son to of) do Taimathe will said] of your be [bold Father as in a Heaven. leopard, light as an eagle], swift as a deer, and strong as a lion to do the will of your Father in Heaven. This verse (abbreviated because only the deer and the lion are depicted), of course, surrounds theThis deer verse and (abbreviated the lion. Many because of these only traditional the deer and motifs the from lion are Eastern depicted), European of course, arks have surrounds been recently the deer beenand thereproduced lion. Many and of researched these traditional in detail. motifs19 from Eastern European arks have been recently been reproducedHow Szyk and was researched exposed in to detail. these 19traditional elements is not clear. While many of these elements are commonHow Szyk in Eastern was exposed European to these synagogues, traditional there elements was no is such not synagogue clear. While in many Lodz ofwhile these Szyk elements lived there.are common The Jewish in Eastern community European of Lodz synagogues, only really there began was no to such flourish synagogue in the in19th Lodz century, while Szykand there lived werethere. no The carved Jewish wooden community arks there. of Lodz Perhaps only it reallywas Szyk’s began later to flourish contact with in the the 19th Jewish century, community and there of Lvovwere nothat carved influenced wooden him, arks since, there. at one Perhaps point, it he was planned Szyk’s laterto dedicate contact the with Haggadah the Jewish to communitythem.20 At aroundof Lvov the that time influenced Szyk was him, painting since, the at oneworks point, for the he Haggadah, planned to which dedicate were the all Haggadah done between to them. 193420 andAt around 1936 (Ungar the time 2008, Szyk p. was 209), painting21 the Jewish the works community for the Haggadah, of Lvov built which a werenew synagogue, all done between the Tsori 1934 Giladand 1936 Synagogue, (Ungar 2008 and, had p. 209), its walls21 the richly Jewish painted. community22 Among of Lvov the built painted a new elements synagogue, are griffins the Tsori holding Gilad aSynagogue, crown, also and used had by its Szyk. walls Griffins richly painted. appeared22 Amongon many the of painted the carved elements wooden are griTorahffins arks holding from a Europe.crown, also23 used by Szyk. Griffins appeared on many of the carved wooden Torah arks from Europe.23

6.6. The The Unique Unique Iconography Iconography of of Szyk Szyk SeveralSeveral elements elements in in this this ark ark are are specific specific creations creations of of Szyk’s. Szyk’s. Some Some are are based based on on traditional traditional motifs motifs thatthat have have been been adjusted adjusted by by Szyk Szyk to tofit fithis his scheme. scheme. It is It also is alsoclear clear that, that,in the in design the design of this of ark, this Szyk ark, drewSzyk heavily drew heavily on his on previous his previous works, works, particularly particularly the Haggadah. the Haggadah. Szyk had Szyk already had already made use made of many use of 24 traditionalmany traditional motifs motifsin the Haggadah in the Haggadah of 1940, of24 1940,and he andincorporated he incorporated them into them the into design the designof the ark. of the A 25 fewark. examples A few examples include include the griffins the gri andffi nsheraldic and heraldic lions (Sabar lions 2008a, (Sabar pp.2008a 50–51);, pp.25 50–51); the twothe animals two animals below thebelow symbols the symbols of the tribes of the on tribes the on ark the doors; ark doors; and the and design the design of the of menorot the menorot on theon bimah the bimah in frontin front of the of 26 arkthe (Figure ark (Figure 8) already8) already appeared appeared in the in theHaggadah. Haggadah.26 TheThe symbols symbols used used for for the the holidays, holidays, such such as as the the seder seder plate plate and and the the Torah Torah scroll, scroll, are are Szyk’s Szyk’s innovationsinnovations and and modernizations modernizations of of earlier earlier themes, themes, which which in in the the past past would would sometimes sometimes appear appear on on ark ark 27 curtainscurtains27 ratherrather than than on on the the ark ark themselves. themselves. OneOne original element isis thethe 3939 “jewels” “jewels” around around the the upper upper frame frame of of the the ark ark doors doors that that stand stand for for the 28 the39 books39 books of the of the Hebrew Hebrew Bible. Bible.As28 As mentioned mentioned above, above, on eitheron either side side of the of the ark ark doors, doors, and and above above the theholiday holiday motifs, motifs, are twoare two birds, birds, each each facing facing outward. outward. The The ambience ambience of the of postwar the postwar era, andera, theand hope the hopethat World that World War II War would II bewould the last be war,the last no doubtwar, no influenced doubt influenced the choice the of these choice two of birds, these whichtwo birds, were

19 The motif of the crown is discussed by Yaniv (2017, pp. 104–11), and on arks 2, 4, 5, 6, 7, 9, and 11, in her 19 appendixThe motif ofI; all the four crown animals is discussed mentioned by Yaniv in(2017 Ethics, pp. of 104–11), the Fathers and on 5:20 arks appear 2, 4, 5, on 6, 7,the 9, andTorah 11, ark in her from appendix Kepno, I; 1816–1817all four animals (Yaniv mentioned 2017, p. in 262; Ethics Yaniv of the 2006, Fathers p. 5:2085, note appear 5). on They the Torah appear ark on from a 17th Kepno, century 1816–1817 ark (fromYaniv Krakow2017, p. 262; in Yaniv 2006, p. 85, note 5). They appear on a 17th century ark from Krakow in the collection of the Heichal Shlomo Museum. thehttp: collection//kng58.org.il of /thesliding-doors Heichal /Shlomo, accessed Museum. on 16 December http://kng58.org.il/sliding 2019. ‐doors/, accessed on 16 December 20 2019.Known in the Polish and Yiddish literature as the “Lemberg” Haggadah because it was originally to be dedicated to a group 20 Knownof Jews in in Lvov the whoPolish were and sponsors Yiddish of Szyk literature (Sabar 2008aas the, p. “Lemberg” 54). He even Haggadah made a contract because with it the was community originally of Lvov to be to publish the Haggadah, see (Ungar 2008, pp. 190, 198–99). dedicated to a group of Jews in Lvov who were sponsors of Szyk (Sabar 2008a, p. 54). He even made a contract 21 Forty of the drawings are dated 1935. All of the watercolor and gouache paintings were done by Szyk on paper (Ungar 2008, p. 209). 22 withThe Bezalel the community Narkiss Index of Lvov of Jewish to publish Art, ID 169143-169144. the Haggadah, see (Ungar 2008, pp. 190, 198–99). 2123 FortyGriffins of holding the drawings the crown are are dated on the 1935. ark from All Druya of the (Yaniv watercolor 2017, pp. and 117–18); gouache they appearpaintings as substitutes were done for by the Szyk cherubim on paperon the (Ungar ark of Yarishiv 2008, p. (ibid., 209). pp. 166–67); Yaniv concludes that “the griffin, an imaginary creature which combines a lion’s 22 Thebody Bezalel with an Narkiss eagle’s head Index and of wings Jewish was Art, a suitable ID 169143 replacement‐169144. [for the cherubim]” (ibid., p. 169). 24 For a complete discussion, see (Sabar 2008a, pp. 33–170). 23 25 GriffinsAlso reproduced holding in the (Ungar crown 2017a are, p. on 58, the fig. ark 25). from Druya (Yaniv 2017, pp. 117–18); they appear as substitutes 26 forReproduced the cherubim in (Sabar on 2008a the ark, p. 61).of Yarishiv (ibid., pp. 166–67); Yaniv concludes that “the griffin, an imaginary 27 creatureFor one such which example, combines see (Nashman a lion’s body Fraiman with 2006 an). eagle’s head and wings was a suitable replacement [for the 28 cherubim]”The Forest Hills (ibid., Jewish p. Center 169). 1931–1981 , unpaged. 24 For a complete discussion, see (Sabar 2008a, pp. 33–170). 25 Also reproduced in (Ungar 2017a, p. 58, fig. 25). 26 Reproduced in (Sabar 2008a, p. 61). 27 For one such example, see (Nashman Fraiman 2006). 28 The Forest Hills Jewish Center 1931–1981, unpaged.

Arts 2020,, 9,, 60x FOR PEER REVIEW 10 of 1819 which were described by Rabbi Bokser as “doves, the symbols of peace”.29 Doves were already used described by Rabbi Bokser as “doves, the symbols of peace”.29 Doves were already used by Szyk in by Szyk in his frontispiece to Volume 10 of the 1943 Universal Jewish Encyclopedia, published belatedly his frontispiece to Volume 10 of the 1943 Universal Jewish Encyclopedia, published belatedly in 1948, in 1948, but there they are more naturalistic in their appearance (Landman 1948, frontispiece).30 but there they are more naturalistic in their appearance (Landman 1948, frontispiece).30 (Figure 12) This (Figure 12) This frontispiece exemplifies Szyk’s attention to detail and his creation of unique symbols. frontispiece exemplifies Szyk’s attention to detail and his creation of unique symbols. Besides doves, Besides doves, he depicts a parrot and a frog, which are not at all typical Jewish motifs! Dedicated to he depicts a parrot and a frog, which are not at all typical Jewish motifs! Dedicated to the “Hallowed the “Hallowed Memory of Europe’s Martyred Jews”, the image was accompanied by the following Memory of Europe’s Martyred Jews”, the image was accompanied by the following text written by text written by Szyk: “It portrays the Jews as defiant and unafraid, marching confidently and Szyk: “It portrays the Jews as defiant and unafraid, marching confidently and dauntlessly into the dauntlessly into the future. In his arms he bears his most precious and eternal possession, the portable future. In his arms he bears his most precious and eternal possession, the portable fatherland, the Torah. fatherland, the Torah. Draped round his shoulders is the mantle of royalty that eclipses the yellow Draped round his shoulders is the mantle of royalty that eclipses the yellow badge he perforce must badge he perforce must wear. In his right hand is the shepherd’s staff of leadership; in his left, the wear. In his right hand is the shepherd’s staff of leadership; in his left, the jester’s bauble betokening his jester’s bauble betokening his unfailing sense of humor in the midst of adversity. Accompanied by unfailing sense of humor in the midst of adversity. Accompanied by the stage of eternity, he serenely the stage of eternity, he serenely goes his way in scorn of the bloated toad of pride, the arrogant parrot goes his way in scorn of the bloated toad of pride, the arrogant parrot of vanity and the hissing serpent of vanity and the hissing serpent of treachery, coiled around the tree of life. Beneath is the Shield of of treachery, coiled around the tree of life. Beneath is the Shield of David, bearing the scales of justice David, bearing the scales of justice and the doves of peace, with its crest of the crown of a good name and the doves of peace, with its crest of the crown of a good name and its supporting lions of Judah. and its supporting lions of Judah. In the background are the brilliant clouds of hope and at the base In the background are the brilliant clouds of hope and at the base are the grapes of fertility that promise are the grapes of fertility that promise a happier future” (ibid.).31 This drawing and accompanying a happier future” (ibid.).31 This drawing and accompanying text illustrate Syzk’s sensitivity to the text illustrate Syzk’s sensitivity to the plight of European Jewry, at the same time showing his plight of European Jewry, at the same time showing his emphasis on detail and symbols, coupled with emphasis on detail and symbols, coupled with a free‐wheeling approach to iconography, which is a free-wheeling approach to iconography, which is also seen in the ark. also seen in the ark.

Figure 12. FrontispieceFrontispiece to Volume 10 of the 1943 Universal Jewish Encyclopedia,, 1948.1948.

29 From an explication of the ark in Bokser’s papers at the Jewish Theological Seminary, “An Interpretation of Our Ark,” Ben Zion Bokser Rabbinical Papers, The Library of the Jewish Theological Seminary, New York, NY, ARC.1000.026, (Box 17, Folder 5). 30 Szyk has more naturalistic doves also in his dedication to King George VI. See (Sabar 2008a, p. 57). 31 Although listed as being copyrighted in 1948, it seems that some of the entries were only updated to 1943; so, for instance, 29 theFrom Warsaw an explication Ghetto uprising of the is ark not mentionedin Bokser’s in papers the entry at for the Warsaw, Jewish nor Theological is the end ofSeminary, World War “An II. Interpretation of Our Ark,” Ben Zion Bokser Rabbinical Papers, The Library of the Jewish Theological Seminary, New York, NY, ARC.1000.026, (Box 17, Folder 5). 30 Szyk has more naturalistic doves also in his dedication to King George VI. See (Sabar 2008a, p. 57). 31 Although listed as being copyrighted in 1948, it seems that some of the entries were only updated to 1943; so, for instance, the Warsaw Ghetto uprising is not mentioned in the entry for Warsaw, nor is the end of World War II.

Arts 2020, 9, x 60 FOR PEER REVIEW 11 of 19 18

Another original motif of Szyk’s are his tablets of the Ten Commandments (Figure 11), which Another original motif of Szyk’s are his tablets of the Ten Commandments (Figure 11), which are an are an extremely common element in western Torah arks (Sarfatti 1990). 32 Szyk signifies the 32 commandmentsextremely common by elementtheir first in letter western instead Torah of arks by the (Sarfatti first two 1990 words,). Szyk and signifies this motif the already commandments appears inby the their Haggadah first letter (Sabar instead 2008a, of by p. the 131), first as two well words, as in and his thisillustrations motif already for Pathways appears Through in the Haggadah the Bible (Figure(Sabar 2008a 13). , p. 131), as well as in his illustrations for Pathways Through the Bible (Figure 13).

Figure 13. Moses,Moses, Pathways Through the Bible (Cohen(Cohen 1946,1946, facing p. 100).

Perhaps thethe mostmost puzzling puzzling element element of of the the ark ark is Szyk’s is Szyk’s interpretation interpretation of the of symbols the symbols of the twelveof the twelvetribes33 tribes(Figure33 (Figure 14), which 14), adornwhich theadorn doors the ofdoors the arkof the (as ark well (as as well the doors as the of doors the ark of the of a ark smaller of a smallerchapel34 chapel) downstairs.34) downstairs. There has There yet tohas be yet a comprehensive to be a comprehensive article about article the plethoraabout the of plethora depictions, of depictions,varied both varied in iconography both in iconography and arrangement, and arrangement, of the twelve of tribesthe twelve in Jewish tribes art in over Jewish the art centuries. over the35 centuries.Szyk based35 hisSzyk depictions based his partially depictions on Jacob’spartially blessing on Jacob’s to his blessing sons in to Genesis his sons 49 in and Genesis also incorporated 49 and also incorporatedelements from elementsBeMidbar from Rabba BeMidbar(the Midrash) Rabba (the on Numbers Midrash) 2:2on andNumbers Deuteronomy 2:2 and Deuteronomy 33.36 33.36 The symbols on the right side are fairly easy to interpret, as their depictions are based directly on Genesis, chapter 49, Exodus or the Midrash. There are no labels to the symbols.

32 For aa fullfull list list of of articles articles that that discuss discuss the Ten the Commandments, Ten Commandments, in both Jewishin both and Jewish Christian and art, Christian see (Sabar art, 2008b see ,(Sabar p. 394, 2008b,note 70). p. Sabar394, note discusses 70). Sabar the Ten discusses Commandments the Ten inCommandments the synagogue of in Amsterdam the synagogue and in of the Amsterdam work of Rembrandt and in the on workpages 393–402.of Rembrandt on pages 393–402. 33 It is important to note that the use and diﬀusion of the symbolism of the twelve tribes appears already on Italian Ketubbot 33 Itof is the important 17th century, to note as well that as onthe the use walls and of diffusion painted European of the symbolism synagogues of in the the twelve 19th century. tribes For appears a discussion already of theon Italianimagery Ketubbot of the tribes, of seethe ( Sabar17th 1987century,, pp. 181–92;as well Sabar as on 1998 the, pp. walls 308–10) of andpainted notes European there. According synagogues to Sabar( 2003in the, p. 19th 204), century.the earliest For extant a discussion depiction of of the the twelve imagery tribes of in the a Jewish tribes, context see (Sabar has survived 1987, onpp. an 181–92; illuminated Sabar marriage 1998, contractpp. 308–10) from Verona, dated to 1695. and notes there. According to Sabar (2003, p. 204), the earliest extant depiction of the twelve tribes in a Jewish 34 The doors of the “Little Synagogue” ark are carved from wood, The Forest Hills Jewish Center 1931–1981, unpaged. 35 contextMishori( has2019 survived) article is on the an most illuminated recent treatment marriage of the contract tribes in from Israeli Verona, art, but dated it is far to from 1695. complete, and a complete 34 Thediscussion doors of of this the imagery “Little is Synagogue” outside the scope ark of are the carved present from article. wood, The Forest Hills Jewish Center 1931–1981, 36 unpaged.For the Hebrew, see (Shinan 2015, p. 101); for English, see (Slotki 1939, p. 30). 35 Mishory’s (2019) article is the most recent treatment of the tribes in Israeli art, but it is far from complete, and a complete discussion of this imagery is outside the scope of the present article. 36 For the Hebrew, see (Shinan 2015, p. 101); for English, see (Slotki 1939, p. 30).

Arts 2020, 9, 60 12 of 18 Arts 2020, 9, x FOR PEER REVIEW 12 of 19

Figure 14. Detail, ark doors.

StartingThe symbols from on the the upper right right, side theare depictions fairly easy appear to interpret, as follows: as their depictions are based directly on Genesis, chapter 49, Exodus or the Midrash. There are no labels to the symbols. ReuvenStarting isfrom depicted the upper as a ﬂoweringright, the depictions plant (Midrash appear on as Numbers); follows: Simeon as the gate of Shechem (Midrash on Numbers); Reuven is depicted as a flowering plant (Midrash on Numbers); Levi—by the Priestly Breastplate (in Hebrew, Hoshen) (Exodus 28:15–21); Simeon as the gate of Shechem (Midrash on Numbers); Judah by a Rampant Lion (Genesis 49:9); Levi—by the Priestly Breastplate (in Hebrew, Hoshen) (Exodus 28:15–21); Issachar by man in ancient garb, hunched over with basket on back (Genesis 49:15);37 Judah by a Rampant Lion (Genesis 49:9); Zebulun by a Ship (Genesis 49:13). Issachar by man in ancient garb, hunched over with basket on back (Genesis 49:15);37 HavingZebulun said by a that, Ship the (Genesis order is49:13). not clear, because it is not according to the birth order of the sons, theHaving order said of the that, verses the order in the is Bible, not clear, nor the because order it of is the not sons according in Jacob’s to the blessing. birth order of the sons, the orderThe of the depictions verses in on the the Bible, left door nor are the more order challenging, of the sons because in Jacob’s neither blessing. the order nor the iconography of allThe of the depictions symbols areon readilythe left apparent. door are more challenging, because neither the order nor the iconographyStarting of from all theof the upper symbols left, the are following readily apparent. depictions appear: Benjamin—wolfStarting from the (Genesis upper left, 49:27); the 38following depictions appear: Dan,Benjamin—wolf a snake (Genesis (Genesis 49:17); 49:27);38 NaftaliDan, a snake a hind (Genesis (Genesis 49:17); 49:21). Naftali a hind (Genesis 49:21).

37 Sabar(2008a, p. 152, note 109) suggested that Szyk changed the traditional symbolism of Issachar as a donkey, to suit the message of the Haggadah, but the description is in fact based on the literal meaning of the verse (“For he saw a resting-place 37 that it was good, and the land that it was pleasant; and he bowed his shoulder to bear, and became a servant under Sabartask-work”) (2008a, and p. already152, note appears 109) suggested in earlier works that Szyk of Szyk’s changed (). See the also traditional note 46, below. symbolism of Issachar as a donkey, 38 Benjamin’sto suit the symbolmessage looks of the like Haggadah, a horse, but but it may the havedescription been a technical is in fact problem based on of athe misinterpretation literal meaning of of the the drawing verse by(“For Szyk. he saw a resting‐place that it was good, and the land that it was pleasant; and he bowed his shoulder to bear, and became a servant under task‐work”) and already appears in earlier works of Szyk’s (). See also note 44, below. 38 Benjamin’s symbol looks like a horse, but it may have been a technical problem of a misinterpretation of the drawing by Szyk.

Arts 2020, 9, 60 13 of 18 Arts 2020, 9, x FOR PEER REVIEW 13 of 19

The lastThe three last threedepictions depictions are a pyramid are a pyramid with a crown with a on crown top, below on top, that, below a tree, that, and a below tree, and that, below what 39 appearsthat, what to appearsbe a unicorn. to be39 a The unicorn. remainingThe tribes remaining are Gad, tribes Asher, are Gad,and Joseph, Asher, andwho Joseph, is often who represented is often byrepresented his sons, Ephraim by his sons, and Ephraim Manasseh. and Manasseh. The main source of inspiration for Szyk’s tribal depictions is a book illustration by Ephraim Moses Lilien (1874–1925), (1874–1925), who who taught taught for for only only six six months months at at Bezalel Bezalel at at its its founding, founding, but but continued continued to 40 beto bean an important important influence influence for for the the school school until until 1929. 1929.40 AmongAmong one one of of his his many many book book commissions, Lilien illustrated the work of poems by Morris Rosenfeld (1862–1923), Lieder des Ghetto, that was 41 translated from Yiddish intointo German, and published inin 1902. 41 In the book, the images of the twelve tribes frame the poem “Juda” (Figure (Figure 15),15), which which speaks speaks of of the the longing longing for for the the “ “HeimatHeimat”,”, the the homeland. homeland. 42 The tribes are are not not mentioned mentioned specifically specifically in in the the poem poem (Rosenfeld (Rosenfeld 1902, 1902 pp., pp. 63–64). 63–64).42 In aIn review a review of the of bookthe book at the at thetime, time, published published in inthe the AmericanAmerican Hebrew Hebrew, there, there is is no no specific specific reference reference to to that that particular 43 poem or its decoration.43

Figure 15. E.M. Lilien, illustrationillustration forfor thethe poempoem “Juda” “Juda” from from Morris Morris Rosenfeld, Rosenfeld, Lieder Lieder desdes Ghetto,Ghetto, translated by Berthold Feiwel (Berlin: Seeman, 1902), p. 63.

39 Sources for some of this imagery can also be found in Szyk’s other works. The exact same tribal imagery appears in an early 39 workSources for afor Haggadah some of depicting this imagery the Pharaoh’s can also maid be saving found the in baby Szyk’s Moses other from works. the Nile The (Ungar exact 2008 same, p. 178, tribal fig 50), imagery as well appearsin later works, in an such early as work in in thefor plate a Haggadah Israel, from depicting the Visual the History Pharaoh’s of the maid Nations, saving published the baby in 1948. Moses from the Nile 40 (UngarI am grateful 2008, to p. Sergey 178, Kravtsovfig 50), as for well pointing in later this works, out to me. such as in in the plate Israel, from the Visual History of 41 theLilien’s Nations, depiction published of the tribes in 1948. may predate this version, as seen in his design for the cover of the Jewish National Fund Golden Book, ca. 1902 (Mishori 2019, p. 225). Lilien was consistent in his depictions, but Mishory does not analyze specific motifs. 40 ThisI am article grateful is the to mostSergey recent Kravtsov treatment for of pointing the tribes this in Israeli out to art. me. 4142 Lilien’sThe frame depiction was reused of again,the tribes later inmay the predate book, for this other version, poems ( Sephirahas seen, pp.in his 78–79 design and Das for Wunderschi the coverff ,of pp. the 128–129), Jewish withNational no relationship Fund Golden to theBook content., ca. 1902 (Mishory 2019, p. 225). Lilien was consistent in his depictions, but Mishory 43 doesUnsigned not analyze article, “Rosenfeld’s specific motifs. Poetry This in German article Form,is the illustratedmost recent by treatment Lilien”, in theof the American tribes Hebrew in Israeli, vol. art. LXXII, no. 16, 6 March 1903, pp. 530–31, cited by Kabakoff (2003, p. 70). 42 The frame was reused again, later in the book, for other poems (Sephirah, pp. 78–79 and Das Wunderschiff , pp. 128–129), with no relationship to the content. 43 Unsigned article, “Rosenfeld’s Poetry in German Form, illustrated by Lilien”, in the American Hebrew, vol. LXXII, no. 16, 6 March 1903, pp. 530–31, cited by Kabakoff (2003, p. 70).

Arts 2020, 9, x FOR PEER REVIEW 14 of 19 Arts 2020, 9, 60 14 of 18 ArtsSzyk 2020, arranged9, x FOR PEER the REVIEW tribes differently from Lilien. In Lilien’s work, Reuven, the first‐born, appears14 of 19 in the lower left side of the frame, and then the order continues up and to the right. Szyk uses the Szyk arranged the tribes differently from Lilien. In Lilien’s work, Reuven, the first-born, appears in same orderSzyk exactly, arranged but the starts tribes in differentlythe upper right, from Lilien.going down In Lilien’s and thenwork, starting Reuven, again the firstin the‐born, upper appears left the lower left side of the frame, and then the order continues up and to the right. Szyk uses the side.in theThe lower explanation left side for of this the order frame, of andthe tribesthen themay order be tied continues to the biblical up and verses to the from right. Exodus Szyk uses1:1–4, the same order exactly, but starts in the upper right, going down and then starting again in the upper left whichsame describe order exactly, the descent but starts into inEgypt. the upper right, going down and then starting again in the upper left side.side. The The explanation explanation for for this this order order of of the the tribes tribes may may be be tied tied to to the the biblical biblical verses verses from from Exodus Exodus 1:1–4, 1:1–4, ְו ֵא ֶלּה, ְשׁמוֹת ְבּ ֵני ִי ְשׂ ָר ֵאל, ַה ָבּ ִאים, ִמ ְצ ָר ְי ָמה… ְר ֵאוּבן ִשׁ ְמעוֹן, ֵל ִוי ִו ָיהוּדה. ִי ָשּׂ ָשכר ְז ֻבוּלן, ִוּב ְנ ָי ִמן ָדּן ְו ַנ ְפ ָתּ ִלי, ָגּד ְו ָא ֵשׁר whichwhich describe describe the the descent descent into into Egypt. Egypt. ְו ֵא ֶלּLilienה , ְשׁ.ownמוֹת ְבּ ֵניhis ִי ְשׂ ָרon ֵ אל, ַה ָבּ ִאEgypt ים, toִ מ ְצ ָר ְי ָמהcome … ְר ֵאוּבן ִשׁ ְמpreviously עוֹן, ֵל ִויhad ִ וhe ָ יהוּדה. ִי ָשּׂsince ָשכר ְז,list ֻבוּלן, this ִוּב ְנ ָיin ִ מן ָדּן ְו ַנ ְפ ָתּ ִלי, ָגּmentioned ד ְו ָאnotֵשׁ ר Joseph is added Ephraim and Manasseh, who, as the sons of Joseph, would have a portion in the land, at the end of hisJosephJoseph depiction. is is not mentioned mentionedLilien depicts in in this Gadthis list, list,as since a sincepyramid, he he had had Asher previously previously as a tree, come come and to Egypt Manasseh to Egypt on his onand own. his Ephraim Lilienown. Lilien added as a bulladdedEphraim and Ephraim a unicorn, and Manasseh, and respectively. Manasseh, who, Gad’swho, as the as depiction sons the ofsons Joseph, is of based Joseph, would on Genesiswould have have a49:19, portion a portionand in the the inusual land,the depictionland, at the at endthe is ofendof a his tent.of depiction.his44 depiction.The depiction Lilien Lilien depicts of depictsAsher Gad as Gad a as tree as a pyramid, acomes pyramid, from Asher Asher the asmidrash as a tree,a tree, on and andNumbers Manasseh Manasseh 2:2, andas and cited Ephraim Ephraim above. as as a Theabull bulldepictions and and a a unicorn, unicorn, of Manasseh respectively. respectively. and Gad’sGad’sEphraim depictiondepiction show isisa basedbull for on GenesisManasseh 49:19, and and and a the theunicorn usual usual depiction( depictionre’em), 44 interestinglyisis of of a atent. tent. 44enough, TheThe depiction for depiction Ephraim. of Asher of AsherThis as isa as treebased a comes tree on comes Moses’ from fromthe blessings midrash the midrash toon the Numbers ontribes Numbers in2:2, Deuteronomy as cited 2:2, as above. cited 33:17.Theabove. Ifdepictions anything, The depictions accordingof Manasseh of Manassehto the and midrash Ephraim and, EphraimManasseh show show ais bullsymbolized a bullfor forManasseh Manassehby the unicorn,and and a a unicornnot unicorn Ephraim. (re’em) (re’em) , , Theinterestinglyinterestingly biblical re’em, enough, associated forfor Ephraim. Ephraim. by the Thisrabbis This is is basedwith based Manasseh, on on Moses’ Moses’ blessings is blessingsa horned to the toanimal, tribesthe tribes inwhich, Deuteronomy in Deuteronomy when seen 33:17. from33:17.If anything, the Ifside, anything, might according lookaccording to like the amidrash unicornto the ,midrash Manasseh (Bamidbar, Manasseh is Rabba symbolized 2:7). is symbolizedInterestingly, by the unicorn, by in the the not unicorn, German Ephraim. nottranslation The Ephraim. biblical of Thethere’em biblicalBible,, associated based re’em, on by associated thethe rabbisVulgate, by with the re’em Manasseh,rabbis is translated with is Manasseh, a horned as a unicorn, animal, is a horned and which, thisanimal, when most which, seen likely from whenexplains the seen side, Lilien’sfrommight thedepiction. look side, like might45 a Szyk, unicorn look who like (Bamidbar copied a unicorn all Rabba of(Bamidbar the2:7). other Interestingly, Rabba motifs 2:7). in Interestingly,his in own the German style, in without the translation German labeling oftranslation the them, Bible, 45 onlyofbased thedepicted onBible, the onebased Vulgate, of onJoseph’sre’em the Vulgate,is sons—as translated re’em the as aisunicorn. unicorn, translated To and returnas this a unicorn, most to the likely verse,and explains this the most order Lilien’s likely of depiction. the explains text indicatesLilien’sSzyk, who the depiction. importance copied45 all Szyk, of of the the who other mothers, copied motifs allas in isof hisreflected the own other style, in motifs the without order in his of labeling own the symbolsstyle, them, without on only the depictedlabeling ark: Leah’s them, one of sonsonlyJoseph’s appear depicted sons—as on the one right theof ‐ unicorn.Joseph’shand door, Tosons—as returnwhile Rachel’s tothe the unicorn. verse, youngest the To orderreturn son, of Benjamin,to the the text verse, indicates is on the the order the top importance left. of theThey text of areindicatesthe followed mothers, the by importance as the is reflectedfour sons of in theof the the mothers, order handmaidens, of as the is symbols reflected again on in in the the order ark: order of Leah’s importance:of the sons symbols appear the on sons on the the ofark: right-hand Bilhah Leah’s (Rachel’ssonsdoor, appear while handmaiden), Rachel’son the right youngest followed‐hand son,door,by the Benjamin, while sons ofRachel’s Zilpah is on the youngest(the top handmaiden left. son, They Benjamin, are of Leah.) followed is Theon by the last the top medallion four left. sons They of is thereforearethe followed handmaidens, somewhat by the again fourambiguous. in sons order of The ofthe importance: handmaidens,discrepancies the between sonsagain of in Bilhah theorder traditional (Rachel’s of importance: handmaiden),texts and the the sons depiction followed of Bilhah by of (Rachel’sthethe tribes sons ofhandmaiden), as Zilpah they appear (the handmaidenfollowed on the ark by maythe of Leah.)sons be explained of The Zilpah last by(the medallion the handmaiden fact that is therefore Szyk of Leah.)sometimes somewhat The last played ambiguous. medallion fast andisThe thereforeloose discrepancies with somewhat Jewish between iconographical ambiguous. the traditional The and discrepancies textual texts and traditions, the between depiction perhaps the of traditional the due tribes to his as texts theyprodigious and appear the depiction onoutput the ark andofmay itsthe attendant be tribes explained as theypressures. by appear the fact In on thathis the Haggadah, Szyk ark sometimesmay be Szyk explained played depicts fastby the the and story fact loose ofthat withExodus Szyk Jewish sometimes7:10 iconographical in a manner played atfast and varianceandtextual loose with traditions, with the actualJewish perhaps text: iconographical due to his prodigious and textual output traditions, and its perhaps attendant due pressures. to his prodigious In his Haggadah, output andSzyk its depicts attendant the storypressures. of Exodus In his 7:10 Haggadah, in a manner Szyk at depicts variance the with story the of actual Exodus text: 7:10 in a manner at So Moses and Aaron came before Pharaoh and did just as the LORD had commanded: variance with the actual text: AaronSo Moses cast down and Aaron his rod came in the before presence Pharaoh of Pharaoh and did justand as his the courtiers, LORD had and commanded: it turned into Aaron a serpent.Socast Moses down and his rodAaron in the came presence before of Pharaoh Pharaoh and and did his courtiers,just as the and LORD it turned had intocommanded: a serpent. Aaron cast down his rod in the presence of Pharaoh and his courtiers, and it turned into a Instead of Aaron turning his staff into a snake, it is Moses who does so!46 To return to the Insteadserpent. of Aaron turning his staff into a snake, it is Moses who does so!46 To return to the arrangement, arrangement,Lilien’s choice Lilien’s of the choice order of of the the order tribes of as theythe tribes descended as they into descended Egypt speaks into Egypt of the consciousnessspeaks of the of Instead of Aaron turning his staff into a snake, it is Moses who does so!46 To return to the consciousnessliving in the of Diaspora, living in which the Diaspora, would also which apply would to the also poem apply “Juda” to the by poem Morris “Juda” Rosenfeld by Morris that was arrangement, Lilien’s choice of the order of the tribes as they descended into Egypt speaks of the Rosenfeldframed that by these was framed symbols. by Did these Szyk symbols. just copy Did themSzyk just slavishly, copy them or was slavishly, there another or was meaning there another hidden consciousness of living in the Diaspora, which would also apply to the poem “Juda” by Morris meaninghere, particularly hidden here, because particularly he omitted because Manasseh, he omitted and since Manasseh, we know and that since Szyk we commonly know that employed Szyk Rosenfeld that was framed by these symbols. Did Szyk just copy them slavishly, or was there another commonlysymbolism employed in his works? symbolism in his works? meaning hidden here, particularly because he omitted Manasseh, and since we know that Szyk To Toconfuse confuse matters, matters, around around the the same same time, time, on onthe the first first-day‐day issue issue envelope envelope for for two two stamps stamps Szyk Szyk commonly employed symbolism in his works? designeddesigned for for the the nascent nascent State State of of Israel, Israel, he he also also depicted thethe tribes,tribes, whose whose symbols symbols are are the the same same as thoseas To confuse matters, around the same time, on the first‐day issue envelope for two stamps Szyk thoseon theon the ark, ark, but but the the order order here here is di isff erent.different. Moreover, Moreover, Szyk Szyk labeled labeled the treethe tree as Joseph as Joseph (which (which would designed for the nascent State of Israel, he also depicted the tribes, whose symbols are the same as wouldbe congruent be congruent with with Genesis Genesis 49:22: 49:22: “Joseph “Joseph is a is fruitful a fruitful bough bough…”),... ”), but but the the pyramid pyramid as as Asher Asher and those on the ark, but the order here is different. Moreover, Szyk labeled the tree 47as Joseph (which andthe the unicorn unicorn as as Gad, Gad, whichwhich are clearly at odds odds with with all all traditional traditional interpretations. interpretations. 47It wouldIt would also also would be congruent with Genesis 49:22: “Joseph is a fruitful bough…”), but the pyramid as Asher be beinteresting interesting to compare to compare his his imagery imagery with with the the imagery imagery of a of fellow a fellow artist artist from from Lodz, Lodz, Ze’ev Ze’ev Raban, Raban, and the unicorn as Gad, which are clearly at odds with all traditional interpretations.47 It would also

44 beSabar interesting (2008a) suggested to compare that his the imageryusual symbolism with the of imagery the tent for of Gada fellow was replaced artist from with Lodz, the pyramid, Ze’ev Raban,to fit in with the theme of the Haggadah (p. 170, note 109). However, we now see that it was a direct copy from 44 Sabar(2008a) suggested that the usual symbolism of the tent for Gad was replaced with the pyramid, to ﬁt in with the theme 44 Lilien. Sabarof the Haggadah(2008a) suggested (p. 170, note that 109). the However, usual symbolism we now see of that the it tent was for a direct Gad copy was from replaced Lilien. with the pyramid, to fit the Haggadah”,, p. 910). (p. 170, note 109). However, we now see that it was a direct copy from"ראם" “, 45SeeinSee (Brown with (Brown the et et themeal. al. 1951, 1951 of 45 46 46MentionedLilien.Mentioned by by Sabar Sabar ((2008a,2008a, pp. pp. 78–79) 78–79) and and stated stated by Irvin by Ungar Irvin at Ungar his lecture at his “Freedom lecture Illuminated—Understanding “Freedom Illuminated— the .p. Library 910). at the in Jerusalem, National 8 Library November in 2018.Jerusalem, 8 November 2018 ,"ראם",”45Understanding SeeSzyk (Brown Haggadah”, et the al. atSzyk1951, the National Haggadah 47 Reproduced in (Ungar 2017a, p. 215, ﬁg 175), issued 31 August 1950. 47 46Reproduced Mentioned in by (Ungar Sabar 2017a, (2008a, p. pp.215, 78–79) fig 175), and issued stated 31 byAugust Irvin 1950.Ungar at his lecture “Freedom Illuminated— Understanding the Szyk Haggadah”, at the National Library in Jerusalem, 8 November 2018. 47 Reproduced in (Ungar 2017a, p. 215, fig 175), issued 31 August 1950.

Arts 2020, 9, 60 15 of 18 who designed the doors of the Bikur Holim synagogue in 1925. Raban’s imagery has some overlap with Szyk’s, but also has not been completely analyzed. What is significant is that Raban’s order is clearer—the tribes are labeled and arranged by the order of their birth.48 In short, with both Szyk and Rabbi Bokser’s passing, this question of Szyk’s intent in the ark door design remains partially unanswered. Last but not least, one of the remarkably innovative themes of this ark is freedom. This is hardly surprising in the wake of World War II and in light of Szyk’s oeuvre, particularly the Haggadah and his extensive work as a caricaturist during the war, and the fact that Bokser served as a military chaplain during the war. Three main elements convey this theme. As mentioned above, two doves are depicted on the ark. However, the heraldic position and appearance of these doves are more reminiscent of Szyk’s depictions elsewhere of Polish and American eagles.49 Although eagles often appear on European carved arks,50 for Szyk, they also symbolized freedom in the wake of World War II, which would also be congruent with Bokser’s message. In addition, the unique choice of texts around the top of the ark and the accompanying bronze menorot on the bima (the raised platform before the ark), which have the word “herut” (freedom) emblazoned on their bases (Figure8), emphasize the theme of freedom. This echoes the verse that surrounds the entire top of the ark, as mentioned above, which has a play on the words “engraved” and “freedom”. The choice of these texts, which are not traditional, as explained by Bokser in a text found in his archive51 entitled “An Interpretation of Our Ark”, was that the ark “proclaims the rabbinic doctrine of the role of the Ten Commandments in civilization, as the pathway to human freedom”. Szyk’s connection to freedom was more political. On 4 July 1950, a gathering was held in Szyk’s community of New Canaan, Connecticut, to honor the publication of his illustrated Declaration of Independence. The speaker at the event hailed Szyk “as one of the world’s great free men who has dedicated his life and art to the preservation of freedom”.52 Exactly how immersed Rabbis Pressman and Bokser were in the design of the synagogue and, specifically, the Torah ark, is not documented. In general, not all rabbis were involved in the postwar boom of synagogue building in the US (Kampf 1966, p. 51). I have been unable to locate any design requests or specifications in correspondence between Szyk and the two rabbis, or with members of the congregation.53 Interestingly enough, Pressman, in his memoirs, writes that, in his career, he designed three Torah arks. However, it is not clear whether they were all for his community in Los Angeles (Pressman 2001, p. 352).54

48 On the right door are labeled medallions for Reuven, Simeon, and Levi, together with Judah, Issachar, Zebulun, and Dan. On the left door are symbols for Naftali, Gad, Asher, Benjamin, Ephraim, and Menasseh. Mentioned in Shinan editor, Parashat Veyechi, 12, 1/2001, unpaged in Nehardea, Sheets in the weekly Torah Portion of the Hebrew University (Nehardea, Dapei Parashat HaShavua shel HaUniversita Hivrit). 49 Szyk depicted the Polish eagle in his cycle on the Statute of Kalisz, published in 1928, https://www.polin.pl/en/event/the- statute-of-kalisz-the-750th-anniversary-of-the-ﬁrst, accessed on 6 December 2019, and also in the Visual History of Nations Series (New Canaan, 1946), an ambitious project to depict sixty countries. Only nine were every completed. He depicted the American Eagle in 1945 as part of this same series. http://www.loc.gov/exhibits/szyk/szyk-ex.html#obj2, accessed on 6 December 2019. 50 Yaniv(2017) discusses the motif of the eagle in several places: p. 101 and in her discussion of the animal imagery of perek shirah, pp. 112–28. 51 Ben Zion Bokser Rabbinical Papers, The Library of the Jewish Theological Seminary, New York, NY, ARC.1000.026, (Box 17, Folder 5). 52 Cited by (Ungar 2017b, pp. 25–26). 53 Neither at the synagogue nor in Bokser’s archive at the Library of the Jewish Theological Seminary. Pressman does not have an archive at the Jewish Theological Seminary in NYC. Bokser was only decommissioned in April 1946. Pressman moved to Los Angeles in 1948, as an assistant rabbi at Temple Sinai and he served as the congregational rabbi of Temple Beth Am from 1950 until his retirement (Bnai Brith Messenger, 1 October 1948, p. 71; The Jewish Biographical Bureau 1980, p. 380). He was a prominent Jewish leader for the rest of his career, often speaking at political events. https://www.tbala.org/about/our-history, accessed on 16 December 2019. 54 The ark in use, up until the latest renovation, was modeled after the Torah case given to Harry Truman by Chaim Weizmann and designed by Ludwig Wolpert of the Bezalel School. https://www.trumanlibrary.gov/photograph-records/2003-290, accessed on 16 December 2019. In 1966, a wall in memory of the Holocaust was created in the sanctuary at Pressman’s initiative. If anything, this may speak of the inﬂuence of Bokser on Pressman. https://www.haaretz.com/us-news/.premium- l-a-s-mostly-forgotten-holocaust-wall-1.5464671, accessed on 16 December 2019. Arts 2020, 9, 60 16 of 18

The art historian Avram Kampf lamented the fact that “the tragedy of World War II had a surprisingly small influence on the artworks placed on or designed for synagogues” (Kampf 1966, p. 65). Nevertheless, it seems that Rabbi Bokser’s vision and life experience definitely inspired elements of the Forest Hills ark. It is possible that Bokser, who was born in Luboml, in 1907, and came to the US in 1920, had some recollection of the synagogue decoration there.55 According to one account of the synagogue in Luboml, “all along the wall, under the windows, and on the retaining wall of the women’s gallery on the western side were pictures of various scenes—the primeval ox and the Leviathan, musical instruments from the Temple, and the twelve tribes. Only the eastern wall was pure white, without pictures or adornments, and against this background stood the magnificent Holy Ark, with the two traditional lions on either side, as well as engravings of various tree branches”.56 More importantly, in his Kol Nidre message of 1945, reprinted in the synagogue newsletter, Rabbi Bokser stated his overall mission for the new building: “Because we shall build it in these times, I should like to see in it an answer to the dehumanizing forces released by modern technology whose deadly peril has been dramatized in this war. I should like to see in it a fitting memorial to those fallen, whether on the fields of battle or in Europe’s death camps. And I should like to see in it, too, a memorial to those historic synagogues that perished in the flames of Nazi vandalism, but whose spirit lives on, and must find in us a new vindication”.57 In fact, besides all of the details already mentioned, if one looks at the overall form of the ark, it is in some way reminiscent of the shape of many of the carved-wood arks of Eastern Europe that were no more.58 In this way, the community of Forest Hills was singularly prescient at that time in commemorating the lost synagogues of Europe and, by extension, the lost communities.59 There is no doubt that the ark’s design was a synergy between Rabbi Bokser and Szyk’s ideas, and their views complemented each other and came together in the unique design of the ark. The ark was not without its critics. The exterior style of the synagogue was considered contemporary in style,60 but clearly the ark was not designed in a modern idiom. Both Stephen Kayser and others felt that Szyk’s ark was not suitable for its architectural surroundings.61 Szyk passed away in 1951. He had already suffered one heart attack at the beginning of the year, and the second one proved fatal. Was his death hastened by the fact that, at the beginning of the 1950s, his name was published on a list of individuals associated with “un-American” organizations? As a newly minted US citizen, Szyk must have been desolate that he, with his fervor for democracy and freedom, the same fervor that brought him so much fame in the 1940s, was blacklisted.62 It would seem that the reason for this was the program cover he illustrated for an organization that was

55 A short page of his memories, “Our Shtetl”, appears in the English translation of the Luboml Yizkor Book (Libovner Voliner Benevolent Society 1977, p. 114). 56 Other accounts mention depictions of the Holy Temple and the Zodiac (Hetman 1977, pp. 146–47; Kandelshteyn 1977, p. 160). 57 September 1945 issue of The Message, p. 1, Ben Zion Bokser Rabbinical Papers, The Library of the Jewish Theological Seminary, New York, NY, ARC.1000.026, (Box 16, Folder 4). 58 The shape of this Torah Ark does not at all resemble the Torah ark depicted in Szyk’s Haggadah but is more similar to the frontispiece design of the Haggadah. In an album commemorating the 50th anniversary of the synagogue, The Forest Hills Jewish Center 1931–1981 (in the collection of the synagogue–unpaged), the shape was likened to a breastplate. However, it is more likely to be based loosely on the form of European wooden synagogue arks that are wide at the bottom and taper off at the top, often topped with a crown. See, for instance, the Torah Ark of Vyzuonos (Yaniv 2017, p. 235) and of Lukiv (ibid., p. 246). 59 Several more contemporary synagogues have tried to hearken back to the wooden synagogues of Eastern Europe, for instance, the Hampton Synagogue in Westhampton Beach, New York (Gruber 2003, pp. 201–02). 60 However, it was unlike many other synagogues being built at that time, such as the synagogues designed by Erich Mendelsohn and Percival Goodman. For more on Goodman, see (Cohen 1993/1994). Most, but not all of the 50 synagogues he was involved in belonged to the Reform Movement, which, not surprisingly, embraced the modernist visual idiom. At least two of Mendelsohn’s designs were for Conservative congregations, The Park Synagogue of Cleveland Heights and Bnai Amoona of St. Louis (now a center for the arts, https://www.cocastl.org/createourfuture/historic-mendelsohn-building/, accessed on 8 December 2019). 61 Kayser does not mention Szyk or the synagogue by name; he simply hints at them: “For example, at one of our new synagogues, after the rather modern structure was completed, an artist was commissioned to design an Aron Kodesh. The artist’s general inclination is toward renewal of certain picturesque features in Jewish pictorial at and whose thinking is much more in terms of minute details than in monumental structures” (Kayser 1951, p. 16); Schack(1956, p. 156) mentions Szyk by name. 62 Szyk became a United Stated citizen in 1948 (Ansell 2004, p. 227). Arts 2020, 9, 60 17 of 18 connected to the Soviet Union in 1943, when the United States and the Soviet Union had common cause (Ansell 2004, pp. 230–32; Luckert, pp. 107–09).63 The subsequent change in attitude toward the Soviet Union in the postwar United States resulted in Szyk’s name being added to a list of prominent Americans to be investigated for belonging to an organization considered subversive by the Attorney General. Szyk died before he was called to testify (Freudenheim 2017, plates 50, 94). The funeral was, of course, held at the Forest Hill Jewish Center (Ansell 2004, p. 233). As for the ark—once at the center of a thriving Conservative Jewish community, the sanctuary and the Forest Hills Jewish Center building are in the process of being “re-purposed”. The community can no longer aﬀord the upkeep of the large and, by now, old building. As of this writing, original plans to demolish the synagogue have been put on hold.64 In any case, the ark will either be retained or ﬁnd its way to a new home, possibly a museum.65 To conclude, an analysis of Arthur Szyk’s Torah ark reveals his originality, creativity, and richly deserved stature as an innovator in Jewish art, albeit not in a modern idiom. The inevitability of change in contemporary life in general and in the demographics of Jewish communities in particular underscores the vital importance of the documentation of works of Jewish art as a means of sharing the treasures of Jewish cultural heritage with future generations.

Funding: This research received no external funding. Acknowledgments: The author wishes to thank Deborah Gregor, Executive Director, and the Rabbis and the Board of the Forest Hills Jewish Center for their essential help and permission to use the images and material that appear here, and Rabbi Jerry Schwarzbard of the Library of the Jewish Theological Seminary in New York for his assistance. This paper was initially presented at the International Workshop “Framing the Sacred: Shrines in European Architecture”, which was held in June 2018, at Bar Ilan University, thanks to Professor Ilia Rodov. All photographs are by the author and used courtesy of the Forest Hills Jewish Center, unless otherwise specified. Conflicts of Interest: The author declares no conflict of interest.

References

Ansell, Joseph. 2004. Arthur Szyk, Artist, Jew, Pole. Oxford: Littman Library of Jewish Civilization. Bernstein, Philip S. 1945. Jewish Chaplains in World War II. American Jewish Yearbook 47: 180. Brown, Francis, Samuel Rolles Driver, and Charles Augustus Briggs. A Hebrew and English Lexicon of the Old Testament. Oxford: Clarendon Press. Carmin, Itzhak, ed. 1955. World Jewish Register. New York: Monde, pp. 631–32. Cohen, Mortimer J. 1946. Pathways Through the Bible. Philadelphia: The Jewish Publication Society. Cohen, Mortimer J. 1946/1947. Szyk—Illustrator of Jewish Books. Jewish Book Annual V: 70–77. Cohen, Evelyn L. 1993/1994. The Tabernacle in the Wilderness: The “Mishkan” theme in Percival Goodman’s modern American synagogues. Jewish Art 19/20 (1993–1994): 44–55. Freudenheim, Tom. 2017. Arthur Szyk: Immigrant as Quintessential American Patriot. In Arthur Szyk, Soldier in Art. Edited by Irvin Ungar. London: Giles, pp. 83–95. Gruber, Samuel D. 2003. American Synagogues: A Century of Architecture and Jewish Community. New York: Rizzoli. Hetman, Yakov. 1977. The Great Synagogue. In Libovner. New York: Ktav, pp. 145–48. Israelowitz, Oscar. 1992. Synagogues of the United States. Brooklyn: Israelowitz Publishing. Kabakoﬀ, Jacob. 2003. E.M. Lilien as interpreter of Morris Rosenfeld’s Ghetto Poems. Yiddish 13: 65–77. Kampf, Avram. 1966. Contemporary Synagogue Art. Philadelphia: Jewish Publication Society of America. Kandelshteyn, Shimon. 1977. Candid Snapshots of our Town. In Libovner. New York: Ktav, p. 160. Kayser, Stephen. 1951. The Synagogue Interior Today. Conservative Judaism VII: 13–19. Landman, Isaac, ed. 1948. The Universal Jewish Encyclopedia. New York: Universal Jewish Encyclopedia Co., vol. 10.

63 Szyk was to be investigated for activities alongside dignitaries such as Einstein. See (Freudenheim 2017, pp. 93–94). 64 https://patch.com/new-york/foresthills/forest-hills-jewish-centers-redevelopment-put-hold-report, accessed on 10 December 2019. 65 Conversation with the Center’s Executive Director, Deborah Gregor, April 2018. Arts 2020, 9, 60 18 of 18

Libovner Voliner Benevolent Society. 1977. Luboml, the Memorial Book of a Vanished Shtetl. New York: Ktav. Luckert, Steven. The Art and Politics of Arthur Szyk. Washington: United States Holocaust Memorial Museum. Mendelsohn, Ezra. 2010. Arthur Szyk. Artist, Jew, Pole. European Journal of Jewish Studies 4: 324–28. [CrossRef] Mishori, Alec. 2019. The Twelve Tribes of Israel: From Biblical Symbolism to Emblems of a Mythical Promised Land. In Secularizing the Sacred Aspects of Israeli Visual Culture. Brill’s Series in Jewish Studies; Leiden: Brill, vol. 65, pp. 209–43. Nashman Fraiman, Susan. 2006. Joy and Gladness, Happy Festivals for the House of Judah: A unique parochet from Alessandria Della Paglia. Ars Judaica; the Bar-Ilan Journal of Jewish Art 2: 151–62. Pressman, Jacob. 2001. Dear Friends A Prophetic Journey through Great Events of the 20th Century. Hoboken: Ktav. Rosenfeld, Morris. 1902. Lieder des Ghetto. Translated by Berthold Feiwel. Berlin: Seeman. Roth, Cecil. 1969. A Bibliographical Note on the Szyk Haggadah. Studies in Bibliography and Booklore IX: 50. Sabar, Shalom. 1987. The Beginnings and Flourishing of “Ketubbah” Illustrations in Italy. Ph.D. dissertation, UCLA, Los Angeles, CA, USA. unpublished. Sabar, Shalom. 1998. Messianic aspirations and Renaissance urban ideals: The image of Jerusalem in the Venice Haggadah, 1609. In The Real and Ideal Jerusalem in Jewish, Christian and Islamic Art; Studies in Honor of Bezalel Narkiss on the Occasion of His Seventieth Birthday. Special issue of the Journal of Jewish Art, 23/24, 295–321. Edited by Bianca Kühnel. Jerusalem: Hebrew University, Center for Jewish Art. Sabar, Shalom. 2003. The harmony of the cosmos: The image of the ideal Jewish world according to Venetian “kettubah” illuminators. In I beni Culturali Ebraici in Italia; Situazione Attuale, Problemi, Prospettive e Progetti per il Futuro. Edited by Mauro Perani. Ravenna: Longo Editore, pp. 195–215. Sabar, Shalom. 2008a. The Historical and Artistic Context of the Szyk Haggadah. In Freedom Illuminated: Understanding The Szyk Haggadah. Edited by Byron L. Sherwin and Irvin Ungar. Burlingame: Historicana, pp. 33–170. Sabar, Shalom. 2008b. Between Calvinists and Jews: Hebrew script in Rembrandt’s art. In Beyond the Yellow Badge; Anti-Judaism and Antisemitism in Medieval and Early Modern Visual Culture. Edited by Mitchell B. Merback. Leiden: Brill, pp. 371–404. Sarfatti, Gad Ben Ami. 1990. The Tablets of the Law as a Symbol of Judaism. In The Ten Commandments in History and Tradition. Edited by Ben-Zion Segal and Gershon Levi. Jerusalem: Magnes Press, pp. 383–418. Schack, William. 1956. Modern Art in the Synagogue II. Commentary 21: 152–61. Sherwin, Byron L, and Irvin Ungar, eds. 2008. Freedom Illuminated: Understanding The Szyk Haggadah. Burlingame: Historicana. Shinan, Avigdor. 2015. Sefer Ha’Aggada. Compiled by CH.N. Bialik & Y.Ch. Ravnitzky. Edited with a New Commentary by Avigdor Shinan. Or Yehuda: Dvir. (In Hebrew) Judah Slotki, trans. 1939, Midrash Rabba Numbers I. London: Soncino. Szyk, Arthur. 2011. The Haggadah. Translation and Commentary by Byron L. Sherwin with Irvin Ungar. New York: Abrams. Ungar, Irvin. 2008. Telling the Story: A History of the Szyk Haggada. In Freedom Illuminated: Understanding The Szyk Haggadah. Edited by Byron L. Sherwin and Irvin Ungar. Burlingame: Historicana, pp. 121–239. Ungar, Irvin, ed. 2017a. Arthur Szyk—Soldier in Art. Burlingame: Historicana. Ungar, Irvin. 2017b. Behind the Great Art and the Great Messages Stands Arthur Szyk, the Great Man. In Arthur Szyk—Soldier in Art. Edited by Irvin Ungar. Burlingame: Historicana, pp. 11–29. The Jewish Biographical Bureau. 1980. Who’s Who in American Jewry. Los Angeles: Standard. Wischnitzer, Rachel. 1955. Synagogue architecture in the United States. Philadelphia: Jewish Publication Society. Yaniv, Bracha. 2006. Praising the Lord: Discovering a Song of Ascents on Carved Torah Arks in Eastern Europe. Ars Judaica 2: 83–102. Yaniv, Bracha. 2017. The Carved Wooden Torah Arks of Eastern Europe. Oxford: Littman.

© 2020 by the author. Licensee MDPI, Basel, Switzerland. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY) license (http://creativecommons.org/licenses/by/4.0/).