Laughter in the Middle Ages and Early Modern Times

http://www.degruyter.com/view/books/9783110245486/9783110245486.325/9783110245486.325.xml?format=EBOK Fundamentals of Medieval and Early Modern Culture

Edited by Albrecht Classen and Marilyn Sandidge

5

De Gruyter

Bereitgestellt von | De Gruyter / TCS Laughter in the Middle Ages and Early Modern Times

Epistemology of a Fundamental Human Behavior, its Meaning, and Consequences

Edited by Albrecht Classen

De Gruyter

Bereitgestellt von | De Gruyter / TCS ISBN 978-3-11-024547-9 e-ISBN 978-3-11-024548-6 ISSN 1864-3396

Library of Congress Cataloging-in-Publication Data

Laughter in the Middle Ages and early modern times : epistemology of a fundamental human behavior, its meaning, and consequences / edited by Albrecht Classen. p. cm. Ϫ (Fundamentals of medieval and early modern culture ; 5) Includes index. ISBN 978-3-11-024547-9 (alk. paper) 1. Laughter in literature. 2. Humor in literature. 3. Laughter Ϫ History. 4. Humor Ϫ History. 5. Laughter Ϫ Philosophy. 6. Laughter Ϫ Religious aspects. 7. Wit and humor, Medieval. 8. Wit and humor Ϫ History and criticism. I. Classen, Albrecht. PN56.L3L39 2010 8091.93354Ϫdc22 2010011924

Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de.

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Bereitgestellt von | De Gruyter / TCS TableȱofȱContents

AlbrechtȱClassenȱ LaughterȱasȱanȱExpressionȱofȱHumanȱNatureȱinȱthe MiddleȱAgesȱandȱtheȱEarlyȱModernȱPeriod:ȱLiterary,ȱHistorical,ȱ Theological,ȱPhilosophical,ȱandȱPsychologicalȱReflections.ȱ AlsoȱanȱIntroduction...... 1

Chapterȱ1 JudithȱHagen LaughterȱinȱProcopius’sȱWars ...... 141

Chapterȱ2 LivnatȱHoltzmanȱ “DoesȱGodȱReallyȱLaugh?”ȱ–ȱAppropriateȱandȱInappropriate DescriptionsȱofȱGodȱinȱIslamicȱTraditionalistȱTheology ...... 165

Chapterȱ3 DanielȱF.ȱPigg LaughterȱinȱBeowulf:ȱAmbiguity,ȱAmbivalence,ȱand GroupȱIdentityȱFormation ...... 201

Chapterȱ4 MarkȱBurde TheȱParodiaȱsacraȱProblemȱandȱMedievalȱComicȱStudies...... 215

Chapterȱ5 OlgaȱV.ȱTrokhimenko Women’sȱLaughterȱandȱGenderȱPoliticsȱinȱ MedievalȱConductȱDiscourse...... 243

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Chapterȱ6 MadelonȱKöhlerȬBusch PushingȱDecorum:ȱUneasyȱLaughterȱinȱ HeinrichȱvonȱdemȱTürlîn’sȱDiuȱCrône...... 265

Chapterȱ7 ConnieȱL.ȱScarborough LaughterȱandȱtheȱComicȱinȱaȱReligiousȱText:ȱ TheȱExampleȱofȱtheȱCantigasȱdeȱSantaȱMaria ...... 281

Chapterȱ8 JohnȱSewell TheȱSonȱRebelledȱandȱSoȱtheȱFatherȱMadeȱManȱAlone:ȱ RidiculeȱandȱBoundaryȱMaintenanceȱinȱtheȱNizzahonȱVetus ...... 295

Chapterȱ9 BirgitȱWiedl LaughingȱatȱtheȱBeast:ȱTheȱJudensau: AntiȬJewishȱPropagandaȱandȱHumorȱ fromȱtheȱMiddleȱAgesȱtoȱtheȱEarlyȱModernȱPeriod ...... 325

Chapterȱ10 FabianȱAlfie Yesȱ.ȱ.ȱ.ȱbutȱwasȱitȱfunny?ȱCeccoȱAngiolieri,ȱ RusticoȱFilippiȱandȱGiovanniȱBoccaccio...... 365

Chapterȱ11 NicolinoȱApplauso CursesȱandȱLaughterȱinȱMedievalȱItalianȱComicȱPoetry: TheȱEthicsȱofȱHumorȱinȱRusticoȱFilippi’sȱInvectives ...... 383

Chapterȱ12 FeargalȱÓȱBéarra TromdhámhȱGuaire:ȱaȱContextȱforȱLaughter andȱAudienceȱinȱEarlyȱModernȱIreland...... 413

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Chapterȱ13 JeanȱE.ȱJost HumorousȱTransgressionȱinȱtheȱNonȬConformistȱFabliaux: AȱBakhtinianȱAnalysisȱofȱThreeȱComicȱTales ...... 429

Chapterȱ14 GretchenȱMieszkowski ChaucerianȱComedy:ȱTroilusȱandȱCriseyde ...... 457

Chapterȱ15 SarahȱGordon LaughingȱandȱEatingȱinȱtheȱFabliaux...... 481

Chapterȱ16 ChristineȱBousquetȬLabouérie LaughterȱandȱMedievalȱStalls ...... 499

Chapterȱ17 ScottȱL.ȱTaylor Voxȱpopuliȱeȱvoceȱprofessionis:ȱProcessusȱjurisȱjocoȬserius. EsotericȱHumorȱandȱtheȱIncommensurabilityȱofȱLaughter...... 515

Chapterȱ18 JeanȱN.ȱGoodrich “SoȱIȱthoughtȱasȱIȱStood,ȱToȱMirthȱUsȱAmong”: TheȱFunctionȱofȱLaughterȱinȱTheȱSecondȱShepherds’ȱPlay ...... 531

Chapterȱ19 AlbrechtȱClassen LaughingȱinȱLateȬMedievalȱVerseȱ(mæren)ȱandȱ Proseȱ(Schwänke)ȱNarratives:ȱEpistemologicalȱStrategiesȱ andȱHermeneuticȱExplorations...... 547

Chapterȱ20 RosaȱAlvarezȱPerez TheȱWorkingsȱofȱDesire:ȱPanurgeȱandȱtheȱDogs...... 587

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Chapterȱ21 ElizabethȱChesneyȱZegura LaughingȱOutȱLoudȱinȱtheȱHeptaméron:ȱAȱReassessment ofȱMargueriteȱdeȱNavarre’sȱAmbivalentȱHumor ...... 603

Chapterȱ22 LiaȱB.ȱRoss Youȱhadȱtoȱbeȱthere:ȱTheȱElusiveȱHumorȱofȱtheȱSottie ...... 621

Chapterȱ23 KyleȱDiRoberto SacredȱParodyȱinȱRobertȱGreene’sȱGroatsworthȱofȱWitȱ(1592) ...... 651

Chapterȱ24 MarthaȱMoffittȱPeacock TheȱComedyȱofȱtheȱShrew:ȱTheorizingȱHumorȱinȱ EarlyȱModernȱNetherlandishȱArt ...... 667

Chapterȱ25 JessicaȱTvordi TheȱComicȱPersonasȱofȱMilton’sȱProlusion VI:ȱ NegotiatingȱMasculineȱIdentityȱThroughȱSelfȬDirectedȱHumor...... 715

Chapterȱ26 RobertȱJ.ȱAlexander Ridentumȱdicereȱverumȱ(UsingȱLaughterȱtoȱSpeakȱtheȱTruth):ȱ LaughterȱandȱtheȱLanguageȱofȱtheȱEarlyȱModernȱ Clownȱ“Pickelhering”ȱinȱGermanȱLiteratureȱ ofȱtheȱLateȱSeventeenthȱCenturyȱ(1675Ȭ1700) ...... 735

Chapterȱ27 ThomasȱWillard Andreae’sȱludibrium:ȱMenippeanȱSatireȱinȱtheȱChymischeȱHochzeit ...... 767

Chapterȱ28 DianeȱRudall TheȱComicȱPowerȱofȱIllusionȬAllusion:ȱLaughter,ȱLaȱDevineresse, andȱtheȱScandalȱofȱaȱGloriousȱCentury...... 791

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Chapterȱ29 AllisonȱP.ȱCoudert LaughingȱatȱCredulityȱandȱSuperstitionȱinȱtheȱ LongȱEighteenthȱCentury...... 803

ListȱofȱIllustrations ...... 831

Contributors ...... 835

Index ...... 847

Bereitgestellt von | De Gruyter / TCS Bereitgestellt von | De Gruyter / TCS Chapterȱ9

BirgitȱWiedl (InstituteȱforȱJewishȱHistoryȱinȱAustria,ȱSt.ȱPölten)

LaughingȱatȱtheȱBeast:ȱTheȱJudensau: AntiȬJewishȱPropagandaȱandȱHumorȱfromȱtheȱMiddle AgesȱtoȱtheȱEarlyȱModernȱPeriod

Aroundȱ1900,ȱtheȱvisitorsȱofȱaȱfairȱinȱSaxonyȱmightȱhaveȱcomeȱacrossȱaȱtraveling theaterȱthatȱwasȱperformingȱthere,ȱandȱifȱtheyȱstayedȱforȱtheȱafterpiece,ȱtheyȱmight haveȱbeenȱentertainedȱwithȱaȱpuppetȱthatȱisȱnowȱkeptȱatȱtheȱMunicipalȱMuseum inȱ Munich:ȱ aȱ pigȱ that,ȱ wheneverȱ theȱ stringsȱ areȱ pulled,ȱ isȱ turnedȱ intoȱ a Schacherjude,ȱtheȱ‘classical’ȱfigureȱofȱaȱbeardedȱJew,ȱbearingȱallȱtheȱstereotyped facialȱfeaturesȱandȱextendingȱaȱhandȱinȱaȱgestureȱthatȱshouldȱevokeȱtheȱideaȱof haggling,ȱofȱreachingȱoutȱforȱmoney.ȱTheȱswiftȱtransformationsȱfromȱsowȱtoȱJew toȱsow,ȱenabledȱbyȱaȱtiltingȱmechanism,ȱmustȱhaveȱleftȱaȱdeepȱimpressionȱonȱthe spectatorsȱwhoȱsawȱtheȱtwoȱimagesȱblurringȱintoȱoneȱrightȱinȱfrontȱofȱtheirȱeyes.1 Althoughȱ thisȱ deviceȱ isȱ inȱ itsȱ simplicityȱ aȱ farȱ cryȱ fromȱ theȱ complexȱ and sophisticatedȱmedievalȱandȱearlyȱmodernȱJudensauȱiconsȱandȱsharesȱnothingȱbut theȱmostȱbasicȱfeaturesȱwithȱthem,ȱitȱmustȱhaveȱbroughtȱtoȱmindȱtoȱspectatorsȱthe veryȱimageȱofȱtheȱJudensauȱandȱfurtherȱcementedȱaȱconnectionȱthatȱlayȱatȱtheȱbasis ofȱprobablyȱtheȱmostȱsuccessfulȱantiȬJewishȱimageȱinȱtheȱGermanȱspeakingȱrealm: theȱJewȱperȱseȱisȱequalȱtoȱaȱsow,ȱandȱthereforeȱbarely,ȱifȱatȱall,ȱhuman.ȱThereforeȱit isȱabsolutelyȱjustified,ȱevenȱinevitable,ȱtoȱlaughȱatȱhim;ȱheȱdeservesȱnoȱbetter. Theȱ oldestȱ exampleȱ ofȱ aȱ Judensauȱ thatȱ isȱ stillȱ inȱ existence,ȱ althoughȱ badly weathered,ȱisȱdatedȱtoȱaboutȱ1230ȱandȱlocatedȱinȱtheȱCathedralȱofȱBrandenburgȱan

1 StefanȱRohrbacherȱandȱMichaelȱSchmidt,ȱJudenbilder:ȱKulturgeschichteȱantijüdischerȱMythenȱund antisemitischerȱVorurteileȱ(ReinbekȱbeiȱHamburg:ȱRowohlt,ȱ1991),ȱ28–31,ȱwithȱillustration.ȱIȱwould likeȱ toȱ expressȱ myȱ gratitudeȱ toȱ Albrechtȱ Classenȱ andȱ Jeanȱ N.ȱ Goodrichȱ forȱ theirȱ valuable commentsȱandȱcorrectionsȱofȱtheȱwholeȱarticle. Bereitgestellt von | De Gruyter / TCS 326 BirgitȱWiedl derȱ Havelȱ (northeasternȱ Germany,ȱ betweenȱ Magdeburgȱ andȱ Berlin),ȱ whereȱ it formsȱtheȱcapitalȱofȱaȱcolumnȱinȱtheȱcloisterȱofȱtheȱCathedral.ȱWhileȱtheȱmain featuresȱofȱtheȱtypicalȱJudensauȱareȱpresentȱinȱthisȱrelief—theȱsow,ȱtheȱsuckling,ȱand theȱJewishȱhat—itȱdiffersȱfromȱtheȱlaterȱpiecesȱdueȱtoȱtheȱbeastȬhumanȱhybrid characterȱthatȱtheȱsowȱandȱoneȱpigletȱdisplay:ȱbothȱfeatureȱaȱhumanȱheadȱ(withȱthe sowȱwearingȱaȱhatȱthatȱresemblesȱtheȱtypicalȱpointedȱJewishȱhat2)ȱandȱaȱhuman armȱinsteadȱofȱoneȱofȱtheirȱlegs.ȱThisȱcompositionȱisȱthereforeȱreflectingȱtheȱquite commonȱsubjectȱofȱbeastȬhumanȱhybridȱfiguresȱofȱmedievalȱartȱinȱgeneral,3ȱyetȱit isȱnotȱanȱ‘ordinary’ȱhumanȱwhoseȱheadȱisȱplacedȱonȱtheȱanimal’sȱbody,ȱandȱwhose offspringȱisȱsucklingȱherȱteats,ȱbutȱclearlyȱaȱJew.ȱInȱadditionȱtoȱthat,ȱthereȱareȱtwo humanȱfiguresȱflankingȱtheȱsow:ȱaȱwomanȱinȱfrontȱofȱtheȱsowȱseemsȱtoȱbeȱfeeding itȱwhileȱaȱmanȱwearingȱaȱlongȱcoatȱisȱcrouchingȱbehindȱtheȱanimalȱandȱreaching towardȱitsȱbackside,ȱaȱsceneȱatȱleastȱforeshadowingȱtheȱlaterȱcommonȱcomposition ofȱaȱmanȱcaressingȱtheȱsow’sȱanus. Theseȱ twoȱ activitiesȱ ofȱ theȱ Jews,ȱ theȱ sucklingȱ ofȱ theȱ sow’sȱ teatsȱ andȱ the occupationȱwithȱtheȱanimal’sȱhindquarters,ȱturnedȱoutȱtoȱbecomeȱtheȱkeyȱfeatures ofȱ theȱ Judensauȱ thatȱ wereȱ repeatedȱ inȱ almostȱ allȱ ofȱ itsȱ renditions,ȱ evenȱ ifȱ the compositionȱofȱtheȱfiguresȱdifferedȱinȱtheirȱsetup.ȱTheȱotherȱ(stillȱexisting)ȱearlyȬ toȱ midȬthirteenthȬcenturyȱ Judensäueȱ tooȱ varyȱ profoundlyȱ fromȱ whatȱ would eventuallyȱ emergeȱ asȱ theȱ ‘classic’ȱ type.ȱ Theȱ Judensauȱ ofȱ St.ȱ Mary’sȱ atȱ Lemgo (southwestȱofȱHanover)ȱfromȱaroundȱ1310ȱfeaturesȱaȱkneelingȱmanȱwearingȱa Jewishȱhatȱwhoȱisȱembracingȱandȱ(probably)ȱkissingȱaȱsow.ȱInȱtheȱCathedralȱof Xanten,ȱanȱensembleȱconsistingȱofȱaȱsow,ȱaȱJew,ȱandȱaȱlittleȱhybridȱmonsterȱare depictedȱonȱaȱcorbelȱinȱtheȱnorthȱsideȱofȱtheȱchoir;ȱtheȱJew,ȱrecognizableȱasȱsuch withȱhisȱJewishȱhat,ȱsideȬlocksȱandȱchinȬbeard,ȱisȱhalfȬkneeling,ȱhisȱheadȱturned towardȱtheȱbeholder,ȱwhileȱtheȱsowȱisȱbitingȱintoȱtheȱpointedȱendȱofȱhisȱhat.ȱThe

2 Theȱquestionȱwhetherȱtheȱpointedȱhatȱwasȱanȱexclusivelyȱderogatoryȱsign,ȱasȱsuggestedȱbyȱRuth Mellinkoff,ȱOutcasts:ȱSignsȱofȱOthernessȱinȱNorthernȱEuropeanȱArtȱofȱtheȱLaterȱMiddleȱAges,ȱvol.ȱ1:ȱText. CaliforniaȱStudiesȱinȱtheȱHistoryȱofȱArt,ȱ32ȱ(Berkeley,ȱLosȱAngeles,ȱandȱOxford:ȱUniversityȱof CaliforniaȱPress,ȱ1993),ȱ91–94,ȱorȱwhetherȱitȱwasȱ(originally)ȱpartȱofȱtheȱJewishȱcostume,ȱisȱstill ongoing,ȱseeȱrecentlyȱSaraȱLipton,ȱImagesȱofȱIntolerance:ȱtheȱRepresentationȱofȱJewsȱandȱJudaismȱinȱthe Bibleȱmoraliséeȱ(Berkeley,ȱLosȱAngeles,ȱandȱLondon:ȱCaliforniaȱUniversityȱPress,ȱ1999),ȱ15–19; DebraȱHiggsȱStrickland,ȱSaracens,ȱDemons,ȱ&ȱJews:ȱMakingȱMonstersȱinȱMedievalȱArtȱ(Princeton: PrincetonȱUniversityȱPress,ȱ2003),ȱ105–07;ȱMichaelȱToch,ȱDieȱJudenȱimȱmittelalterlichenȱReich.ȱSecond ed.ȱEnzyklopädieȱdeutscherȱGeschichte,ȱ44ȱ(1998;ȱMunich:ȱOldenbourg,ȱ2003),ȱ37–38;ȱJacqueline E.ȱJung,ȱ“TheȱPassion,ȱtheȱJews,ȱandȱtheȱCrisisȱofȱtheȱIndividualȱonȱtheȱNaumburgȱWestȱChoir Screen,”ȱBeyondȱtheȱYellowȱBadge:ȱAntiȬJudaismȱandȱAntisemitismȱinȱMedievalȱandȱEarlyȱModernȱVisual Culture,ȱed.ȱMitchellȱB.ȱMerbackȱ(Leiden:ȱBrill,ȱ2007),ȱ145–77;ȱhereȱ150–52;ȱandȱZivaȱAmishaiȬ Maisels,ȱ“Demonizationȱofȱtheȱ‘Other’ȱinȱtheȱVisualȱArts,”ȱDemonizingȱtheȱOther:ȱAntisemitism, Racism,ȱ&ȱXenophobia,ȱed.ȱRobertȱS.ȱWistrichȱ(1999;ȱLondon:ȱRoutledge,ȱ2003);ȱ44–72;ȱhereȱ56. 3 JoyceȱE.ȱSalisbury,ȱTheȱBeastȱWithin:ȱAnimalsȱinȱtheȱMiddleȱAgesȱ(NewȱYorkȱandȱLondon:ȱRoutledge, 1994),ȱ137–66. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 327 tinyȱmonster,ȱinterpretableȱasȱaȱJew4ȱwithȱsideȬlocksȱandȱaȱhatȱandȱnothingȱbutȱa trefoilȱleafȱcoveringȱitsȱbuttocks,ȱsucklesȱtheȱsow’sȱteats.ȱTheȱsowȬkissingȱJewȱinȱthe naveȱofȱMaryȱMagdalene’sȱchurchȱinȱEberswaldeȱ(northeastȱofȱBerlin),ȱandȱtheȱJew whoȱisȱpushingȱawayȱoneȱofȱtheȱpigletsȱthatȱareȱsucklingȱaȱsow’sȱteatsȱinȱaȱchurch inȱBadȱWimpfenȱ(northȱofȱStuttgart)ȱareȱfurtherȱexamplesȱofȱtheȱvariationsȱofȱyet oneȱandȱtheȱsameȱtopic.5 OneȱofȱtheȱmainȱquestionsȱremainsȱwhyȱtheȱJudensauȱdevelopedȱprimarilyȱinȱthe Germanȱ speakingȱ regions.ȱ Isaiahȱ Shacharȱ seesȱ differentȱ readingsȱ andȱ interȬ pretationȱofȱBiblicalȱtexts,ȱanȱaligningȱofȱtheȱswineȱwithȱtheȱJewsȱinȱHrabanus Maurus’ȱDeȱuniverso,ȱatȱtheȱoriginȱofȱtheȱdevelopment,ȱcontrastingȱtheȱGerman traditionȱwithȱtheȱEnglishȱthatȱisȱremarkablyȱvoidȱofȱtheȱJewȬsowȱmotif,ȱinȱspiteȱof theȱ quiteȱ numerousȱ examplesȱ ofȱ sows,ȱ oftenȱ withȱ sucklingȱ piglets,ȱ inȱ English churchesȱandȱmonasteriesȱasȱwellȱasȱinȱmanuscriptsȱofȱbestiaries.ȱBothȱtraditions shareȱtheȱideaȱofȱtheȱfilthinessȱofȱtheȱswine,6ȱutilizingȱtheȱanimalȱtoȱsymbolize impurity,ȱthusȱalsoȱservingȱasȱaȱsymbolȱforȱheretics,ȱandȱtheȱvicesȱofȱluxuriaȱand gula,7ȱyetȱtheȱsowȬwithȬpigletsȱseemsȱtoȱbeȱaȱdistinctiveȱfeatureȱofȱtheȱEnglish manuscriptȱillustration.ȱRecently,ȱIsraelȱYuvalȱhasȱlaunchedȱtheȱappealingȱtheory

4 Isaiahȱ Shachar,ȱ Theȱ Judensau:ȱ Aȱ Medievalȱ AntiȬJewishȱ Motifȱ andȱ Itsȱ History.ȱ Warburgȱ Institute Surveys,ȱ 5ȱ (London:ȱ Warburgȱ Institute,ȱ 1974),ȱ 17:ȱ pigletȬJew,ȱ whileȱ Heinzȱ Schreckenberg, ChristlicheȱAdversusȬJudaeosȬBilder:ȱDasȱAlteȱundȱNeueȱTestamentȱimȱSpiegelȱderȱchristlichenȱKunst. EuropäischeȱHochschulschriften.ȱSeriesȱXXIII:ȱTheologie,ȱ650ȱ(Frankfurtȱa.ȱM.,ȱBerlin,ȱBern,ȱetȱal.: PeterȱLang,ȱ1999),ȱ189,ȱinterpretsȱitȱasȱaȱlittleȱmonkey.ȱOnȱmonkeys/apesȱasȱaȱsignifierȱofȱevil,ȱsee MarikoȱMiyazaki,ȱ“MisericordȱOwlsȱandȱMedievalȱAntiȬSemitism,”ȱTheȱMarkȱofȱtheȱBeast:ȱThe MedievalȱBestiaryȱinȱArt,ȱLife,ȱandȱLiterature,ȱed.ȱDebraȱHassig.ȱGarlandȱreferenceȱlibraryȱofȱthe humanities,ȱ2076;ȱGarlandȱmedievalȱcasebooks,ȱ22.ȱ(NewȱYorkȱandȱLondon:ȱGarland,ȱ1999),ȱ23–52; hereȱ33–34,ȱwhoȱestablishesȱaȱspecificȱconnectionȱbetweenȱowlsȱandȱapes.ȱSeeȱalsoȱtheȱcontribution toȱthisȱvolumeȱbyȱChristineȱBousquetȬLabouérie.ȱ 5 Shachar,ȱJudensau,ȱ16–19,ȱpl.ȱ7–12.ȱRecently,ȱtheȱsculptureȱinȱBadȱWimpfenȱ(gargoyle)ȱhasȱbeen replacedȱbyȱaȱreplicaȱwhileȱtheȱoriginalȱhasȱbeenȱmovedȱtoȱtheȱmunicipalȱmuseum. 6 AlexandraȱCuffel,ȱGenderingȱDisgustȱinȱMedievalȱReligiousȱPolemicȱ(NotreȱDame:ȱUniversityȱof NotreȱDameȱPress,ȱ2006),ȱ40–45,ȱexploresȱtheȱclassicalȱandȱlateȱantiqueȱrootsȱofȱtheȱimage(s)ȱboth theȱJewishȱandȱChristianȱMiddleȱAgesȱhadȱofȱtheȱpig. 7 Shachar,ȱ Judensau,ȱ 5;ȱ seeȱ alsoȱ Wilfriedȱ Schouwink,ȱ Derȱ wildeȱ Eberȱ inȱ Gottesȱ Weinberg:ȱ Zur DarstellungȱdesȱSchweinsȱinȱLiteraturȱundȱKunstȱdesȱMittelaltersȱ(Sigmaringen:ȱThorbecke,ȱ1985), 83–85.ȱForȱtheȱconnectionȱofȱJewsȱwithȱgula/luxuriaȬusury,ȱseeȱWinfriedȱFrey,ȱ“Derȱ‘Wucherjude’ alsȱKarikaturȱchristlicherȱPraxis,”ȱDasȱMittelalter:ȱPerspektivenȱmediävistischerȱForschung,ȱvol.ȱ10, partȱ2:ȱProduktiveȱKulturkonflikte,ȱed.ȱFelicitasȱSchmiederȱ(Berlin:ȱAkademieȬVerlag,ȱ2005):ȱ126–35; hereȱ128;ȱJohannesȱHeil,ȱ“DasȱGeldȱundȱdasȱGoldȱdesȱKalbes:ȱMomenteȱderȱExodusdeutung zwischenȱPatristikȱundȱNeuzeit,”ȱShylock?ȱZinsverbotȱundȱGeldverleihȱinȱjüdischerȱundȱchristlicher Tradition,ȱed.ȱid.ȱandȱBerndȱWackerȱ(Munich:ȱWilhelmȱFinkȱVerlag,ȱ1997),ȱ35–58.ȱSeeȱalsoȱthe summaryȱbyȱJohannesȱFried,ȱ“ZinsȱalsȱWucher:ȱZuȱdenȱgesellschaftlichenȱRahmenbedingungen derȱPredigtȱgegenȱdenȱWucherzins,”ȱIntroductionȱtoȱtheȱnewlyȱrevisedȱGermanȱeditionȱofȱJacques LeGoff,ȱWucherzinsȱundȱHöllenqual:ȱÖkonomieȱundȱReligionȱimȱMittelalter,ȱtrans.ȱfromȱtheȱFrenchȱby MatthiasȱRübȱ(1986;ȱStuttgart:ȱKlettȬCotta,ȱ2008),ȱ134–74. Bereitgestellt von | De Gruyter / TCS 328 BirgitȱWiedl thatȱtheȱJudensauȱmotifȱderivedȱfromȱtheȱvilificationȱofȱtheȱMessianicȱdonkey,ȱthat itȱis,ȱinȱfact,ȱitsȱsatiricȱopposite.8ȱ Theȱearlyȱtypes,ȱasȱmuchȱasȱtheyȱdifferȱfromȱwhatȱisȱtoȱbecomeȱtheȱ‘classical’ Judensau,ȱ neverthelessȱ giveȱ notȱ onlyȱ evidenceȱ ofȱ theȱ quiteȱ wideȬranging distributionȱofȱtheȱgeneralȱimageȱofȱsowȬwithȬJewȱbutȱshareȱcharacteristicȱtraits thatȱ makeȱ themȱ predecessorsȱ ofȱ theȱ laterȱ derogatoryȱ image.ȱ Beȱ itȱ theȱ deȬ humanizingȱofȱtheȱJewȱbyȱusingȱtheȱhybridȱformsȱinȱtheȱBrandenburgȱandȱXanten examples,ȱtheȱsowȬkissingȱJewȱofȱEberswaldeȱwithȱitsȱallusionȱtoȱtheȱsodomitic proclivitiesȱofȱtheȱsexuallyȱdeviantȱJew,9ȱitsȱemphasisȱisȱonȱtheȱJews’ȱbeastly,ȱnonȬ humanȱdescent,ȱsimilarȱtoȱotherȱbeastȬJewȱhybridsȱlikeȱtheȱoneȱthatȱadornsȱthe corbelȱofȱaȱcolumnȱinȱtheȱcloistersȱofȱtheȱCarmeliteȱmonasteryȱinȱBambergȱ(see figureȱ 1).ȱ Theȱ oldestȱ depictionȱ thatȱ showsȱ allȱ theȱ mainȱ featuresȱ whichȱ inȱ the centuriesȱtoȱcomeȱwouldȱaddȱupȱtoȱtheȱ‘classical’ȱimageȱofȱtheȱJudensauȱisȱprobably theȱ oneȱ atȱ theȱ Cathedralȱ ofȱ Magdeburgȱ fromȱ theȱ lastȱ thirdȱ ofȱ theȱ thirteenth century,ȱaȱcarvedȱfriezeȱonȱtheȱwallȱofȱtheȱ(former)ȱatrium,ȱthusȱvisibleȱtoȱallȱupon enteringȱ theȱ church.ȱ Theȱ friezeȱ isȱ badlyȱ damagedȱ today,ȱ yetȱ theȱ main characteristicsȱ areȱ clearlyȱ discernible:ȱ onȱ twoȱ sidesȱ ofȱ aȱ corbel,ȱ aȱ hugeȱ sowȱ is depictedȱwithȱitsȱheadȱreachingȱaroundȱtheȱcorner,ȱandȱaȱJewȱwearingȱaȱlongȱfrockȬ coat,ȱaȱconicalȱhat,ȱlongȱhairȱandȱbeardȱisȱstandingȱbehindȱherȱwhileȱaȱsecondȱJew, similarlyȱattired,ȱisȱkneelingȱbeneathȱtheȱsow,ȱholdingȱandȱsucklingȱoneȱofȱher teats.ȱDueȱtoȱtheȱdamage,ȱweȱcannotȱdetermineȱfullyȱwhetherȱtheȱJewȱstanding behindȱtheȱsowȱisȱreachingȱtowardȱherȱanusȱsinceȱhisȱarmsȱhaveȱbrokenȱoff;ȱalso theȱheadsȱofȱtheȱtwoȱpiglets,ȱoneȱsittingȱunderȱtheȱsow’sȱbelly,ȱtheȱotherȱstanding beneathȱherȱhead,ȱareȱmissing.ȱOnȱtheȱotherȱsideȱofȱtheȱcorbel,ȱinȱfrontȱofȱtheȱsow, aȱwomanȱisȱpickingȱanȱacornȱfromȱaȱtreeȱwhileȱholdingȱaȱbowl,ȱbehindȱher,ȱaȱJew isȱdepictedȱholdingȱanȱopenȱscroll.10 NoneȱofȱtheȱthirteenthȬcenturyȱJudensäueȱstandsȱalone.ȱInȱBrandenburgȱanȱder HavelȱandȱXanten,ȱtheȱJudensauȱimagesȱareȱcontrastedȱwithȱbattleȱscenesȱbetween representationsȱofȱevil.ȱInȱBrandenburg,ȱdragonsȱareȱfightingȱknightsȱorȱmangling theirȱ alreadyȱ deadȱ bodies,ȱ whileȱ atȱ Xanten,ȱ theȱ encounterȱ ofȱ theȱ evilȱ forces —fightingȱdragonsȱonȱtheȱoneȱandȱtheȱJudensauȱonȱtheȱotherȱcorbel—isȱcontrasted byȱtheȱholyȱsceneȱthatȱisȱgoingȱonȱabove,ȱinȱtheȱsceneȱtheȱsculpturesȱstandingȱon theȱ twoȱ corbelsȱ represent:ȱ theȱ Visitationȱ scene,ȱ theȱ meetingȱ ofȱ Maryȱ and

8 IsraelȱJacobȱYuval,ȱTwoȱNationsȱinȱYourȱWomb:ȱPerceptionsȱofȱJewsȱandȱChristiansȱinȱLateȱAntiquity andȱtheȱMiddleȱAges,ȱtrans.ȱfromȱtheȱHebrewȱbyȱBarbaraȱHarshavȱandȱJonathanȱChipmanȱ(2000; Berkeley,ȱLosȱAngeles,ȱandȱLondon:ȱUniversityȱofȱCaliforniaȱPress,ȱ2006),ȱ127–29. 9 TheȱideaȱofȱtheȱsexuallyȱinsatiableȱJewȱhasȱalreadyȱbeenȱintroducedȱbyȱantiqueȱwriters,ȱincluding Tacitus,ȱseeȱJanȱNicolaasȱSevenster,ȱTheȱRootsȱofȱPaganȱAntiȬSemitismȱinȱtheȱAncientȱWorldȱ(Leiden: Brill,ȱ1975),ȱ142. 10 Shachar,ȱJudensau,ȱ19–20,ȱpl.ȱ13–14. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 329

Elizabeth.11ȱTheȱJudensauȱatȱMagdeburgȱisȱpartȱofȱanȱelaborateȱcycleȱthatȱIsaiah ShacharȱinterpretsȱasȱaȱseriesȱofȱvicesȱthatȱareȱportrayedȱbyȱusageȱofȱhumanȬanimal pairings:ȱaȱnakedȱgirl,ȱwithȱaȱramȱandȱapesȱasȱtheȱallegorizationȱofȱluxuriaȱwhereas theȱsowȱandȱtheȱJewsȱareȱrepresentingȱgula,ȱgluttony.ȱTwelfthȬcenturyȱbestiaries giveȱaȱhintȱasȱtoȱwhatȱtheȱsowȱstandsȱforȱinȱmedievalȱiconographicalȱcontext:12ȱa representationȱofȱslackȱpenitents,ȱofȱsinnersȱwhoȱreturnȱtoȱtheirȱsin,ȱreflectingȱthe wordsȱofȱSt.ȱPeterȱthatȱ“theȱdogȱisȱturnedȱtoȱhisȱownȱvomitȱagain;ȱandȱtheȱsowȱthat wasȱwashedȱtoȱherȱwallowingȱinȱtheȱmire”ȱ(2ȱPeterȱ2:22),ȱwhichȱisȱconsideredȱan evenȱgreaterȱsinȱthanȱjustȱsinningȱonce,ȱbecauseȱitȱmeansȱdespisingȱtheȱforgiveness thatȱwasȱgrantedȱtoȱtheȱsinnerȱdueȱtoȱhis,ȱorȱher,ȱrepentance.ȱThisȱpassageȱalso establishedȱtheȱequationȱofȱJewsȱwithȱbothȱswineȱandȱdogsȱbyȱChristianȱpolemics, particularlyȱfromȱtheȱeleventhȱcenturyȱonwards;13ȱaȱmoreȱwidespreadȱadaptation wasȱtriggeredȱbyȱtheȱallusionȱinȱtheȱDecretumȱGratianiȱthat,ȱreferringȱtoȱtheȱcouncil ofȱAgdeȱfromȱ506ȱC.E.,ȱdeclaredȱthatȱJewsȱwhoȱconsideredȱbaptismȱshouldȱremain catechumensȱforȱeightȱmonthsȱsinceȱtheyȱ“tendȱtoȱreturnȱtoȱtheirȱvomitȱbecauseȱof theirȱperfidy.”14ȱTheȱswine,ȱanȱanimalȱalreadyȱlinkedȱtoȱleprosyȱandȱskinȱdiseases byȱauthorsȱlikeȱPlutarch15ȱandȱfurtherȱstigmatizedȱbyȱtheȱBibleȱasȱstandingȱfor unclean,ȱsinfulȱpeople,ȱnegligentȱpenitentsȱandȱhereticsȱasȱwellȱasȱbeingȱassociated withȱluxuryȱandȱgluttony,ȱthereforeȱwasȱtheȱ‘ideal’ȱbeastȱtoȱbeȱconnectedȱwith Jews:ȱitȱwasȱtheȱJewsȱthatȱoftenȱservedȱasȱrepresentativesȱofȱunwantedȱChristian behavior,ȱ pairingsȱ ofȱ Jewsȱ andȱ hereticsȱ hadȱ become,ȱ accordingȱ toȱ Lipton,

11 Shachar,ȱJudensau,ȱ17. 12 SarahȱPhillips,ȱ“Theȱpigȱinȱmedievalȱiconography,”ȱPigsȱandȱHumans:ȱ10.000ȱYearsȱofȱInteraction, ed.ȱUmbertoȱAlbarella,ȱKeithȱDobney,ȱAntonȱErvynck,ȱandȱPeterȱRowleyȬConwyȱ(Oxford:ȱOxford UniversityȱPress,ȱ2007),ȱ373–87;ȱhereȱ374–76. 13 WinfriedȱFrey,ȱ“‘WltȱGottȱmanȱhingȱsieȱwieȱdieȱHund’.ȱVergleicheȱvonȱJudenȱmitȱHundenȱin deutschenȱ Textenȱ desȱ Mittelaltersȱ undȱ derȱ frühenȱ Neuzeit,”ȱ Dasȱ Mittelalter:ȱ Perspektiven mediävistischerȱForschung,ȱvol.ȱ12,ȱpartȱ2:ȱTierȱundȱReligion,ȱed.ȱThomasȱHoneggerȱandȱW.ȱGünther Rohrȱ(Berlin:ȱAkademieȬVerlag,ȱ2007),ȱ119–34;ȱhereȱ121;ȱseeȱalsoȱKennethȱStow,ȱJewishȱDogs:ȱAn ImageȱandȱItsȱInterpreters.ȱContinuityȱinȱtheȱCatholicȬJewishȱEncounter.ȱStanfordȱStudiesȱinȱJewish HistoryȱandȱCultureȱ(Stanford:ȱStanfordȱUniversityȱPress,ȱ2006),ȱandȱIvanȱG.ȱMarcus,ȱ“Imagesȱof theȱJewsȱinȱtheȱExemplaȱofȱCaesariusȱofȱHeisterbach,”ȱFromȱWitnessȱtoȱWitchcraft:ȱJewsȱandȱJudaism inȱ Medievalȱ Christianȱ Thought,ȱ ed.ȱ Jeremyȱ Cohen.ȱ Wolfenbüttelerȱ Mittelalterȱ Studien,ȱ vol.ȱ 11 (Wiesbaden:ȱHarrassowitzȱVerlag,ȱ1996),ȱ247–55;ȱhereȱ250–51,ȱwhoȱpointsȱoutȱthatȱtheȱdogȱimage isȱusedȱbyȱChristiansȱandȱJewsȱalike.ȱ 14 Heinzȱ Schreckenberg,ȱ Dieȱ christlichenȱ AdversusȬJudaeosȬTexteȱ (11.–13.ȱ Jahrhundert):ȱ Mitȱ einer IkonographieȱdesȱJudenthemasȱbisȱzumȱ4.ȱLaterankonzil.ȱEuropäischeȱHochschulschriften.ȱSec.ȱed. ReiheȱXXIII:ȱTheologie,ȱ335ȱ(1988;ȱFrankfurtȱa.ȱM.,ȱBern,ȱNewȱYork,ȱetȱal.:ȱPeterȱLang,ȱ1991),ȱ151. Frey,ȱ“VergleicheȱvonȱJudenȱmitȱHunden,”ȱ122,ȱpointsȱoutȱthatȱthisȱliteraryȱimageȱwasȱalsoȱused asȱanȱargumentȱforȱtheȱ(financial)ȱsupportȱofȱnewlyȱbaptisedȱChristiansȱlestȱtheyȱareȱforcedȱto returnȱtoȱtheirȱoldȱreligionȱlikeȱaȱdogȱtoȱitsȱvomit. 15 Sevenster,ȱTheȱRootsȱofȱPaganȱAntiȬSemitism,ȱ137–38. Bereitgestellt von | De Gruyter / TCS 330 BirgitȱWiedl commonplaceȱbyȱtheȱthirteenthȱcentury.16ȱJewsȱwereȱcloselyȱconnectedȱwithȱthe sinsȱofȱgreedȱandȱexcessiveȱluxury,ȱandȱthereȱisȱbutȱlittleȱdoubtȱthatȱChristians wereȱawareȱofȱtheȱJewishȱritualȱregulationsȱthatȱmarkedȱtheȱswineȱasȱunclean, addingȱyetȱanotherȱlayerȱofȱinsultȱtoȱtheȱequation.17 Yetȱ asȱ muchȱ asȱ theseȱ interpretationsȱ fitȱ withȱ theȱ medievalȱ usageȱ ofȱ animal symbolism,ȱitȱis,ȱhowever,ȱcrucial,ȱasȱAlexandraȱCuffelȱhasȱpointedȱout,ȱtoȱseekȱfor otherȱanimalsȱorȱiconographyȱinȱtheȱsurroundingsȱofȱtheȱJudensauȱimageȱthatȱmay notȱbeȱpartȱofȱtheȱcyclesȱofȱvicesȱbutȱprovideȱanȱadditionalȱconnectionȱtoȱJews,ȱthus allowingȱantiȬJewishȱpolemicsȱtoȱappearȱrepeatedlyȱinȱmanyȱchurchesȱofȱmedieval Christiandom,ȱevenȱifȱtheseȱareȱnotȱplacedȱinȱtheȱforeground.18ȱAsȱmuchȱasȱtreating anyȱ artisticȱ denigrationȱ ofȱ Jewsȱ asȱ primarily,ȱ evenȱ exclusively,ȱ antiȬJewish propagandaȱwouldȱreduceȱtheȱcomplexityȱofȱmedievalȱmetaphoricalȱandȱpictoral language,19ȱminimizingȱtheȱatȱleastȱmockingȱeffectȱtheseȱdepictionsȱpresentedȱat theȱexpenseȱofȱtheȱJewsȱwouldȱamountȱtoȱignoringȱcrucialȱaspects.ȱAnimalsȱwhich, inȱ theirȱ ownȱ surroundings,ȱ representedȱ primarilyȱ otherȱ sinsȱ orȱ vices,ȱ likeȱ the (similarlyȱnotȱkosher)ȱrabbitȱthatȱstandsȱforȱsexualȱpromiscuityȱandȱhomosexuality, theȱowlȱandȱitsȱrepresentationȱofȱdarkness,20ȱorȱtheȱgoatȱwithȱitsȱstrongȱconnection

16 Lipton,ȱImagesȱofȱIntolerance,ȱ21–29,ȱ83–111,ȱparticularlyȱ83.ȱForȱanȱintriguingȱinsightȱintoȱthe connectionȱofȱhereticsȱandȱlaughter,ȱseeȱThomasȱScharff,ȱ“LachenȱüberȱdieȱKetzer.ȱReligiöse DevianzȱundȱGelächterȱimȱHochmittelalter,”ȱLachgemeinschaften:ȱKulturelleȱInszenierungenȱund sozialeȱWirkungenȱimȱMittelalterȱundȱinȱderȱFrühenȱNeuzeit,ȱed.ȱid.ȱTrendsȱinȱMedievalȱPhilology,ȱ4 (BerlinȱandȱNewȱYork:ȱWalterȱdeȱGruyter,ȱ2005),ȱ17–31. 17 TheȱpigȱasȱaȱderogatoryȱimageȱwasȱneitherȱreducedȱtoȱJewsȱnorȱusedȱexclusivelyȱbyȱChristians. BothȱChristiansȱandȱJewsȱequatedȱMuslimsȱtoȱpigs,ȱseeȱCuffel,ȱGenderingȱDisgust,ȱ76ȱandȱ134,ȱwith theȱexampleȱofȱtheȱNizzahonȱYashan,ȱseeȱalsoȱIsraelȱJacobȱYuval,ȱ“‘Theyȱtellȱlies:ȱyouȱateȱtheȱman’: JewishȱReactionsȱtoȱRitualȱMurderȱAccusations,”ȱReligiousȱViolenceȱbetweenȱChristiansȱandȱJews: MedievalȱRoots,ȱModernȱPerspectives,ȱed.ȱAnnaȱSapirȱAbulafiaȱ(Basingstoke:ȱPalgrave,ȱ2002),ȱ86–106, particularlyȱ91–94;ȱMartinȱPrzybilski,ȱ“ZweiȱBeispieleȱantichristlicherȱPolemikȱinȱSpätantikeȱund Mittelalter:ȱtol’dotȱjeschuȱundȱnizzachonȱjaschan”ȱJudenȱundȱChristenȱinȱMittelalterȱundȱFrühneuzeit, ed.ȱEvelineȱBruggerȱandȱBirgitȱWiedlȱ(Innsbruck,ȱVienna,ȱandȱBolzano:ȱStudienVerlag,ȱ2007), 253–68,ȱparticularlyȱ260–64,ȱandȱtheȱcontributionȱofȱJohnȱSewellȱinȱthisȱvolume.ȱFurthermore, thereȱareȱotherȱhumiliatingȱritualsȱthatȱincludeȱJewsȱandȱswine,ȱlikeȱtheȱinfamousȱoathȬtakingȱon aȱswine’sȱskinȱ(actuallyȱwithȱfewȱ‘realȬlife’ȱexamples),ȱwhereasȱelderȱceremonialsȱfeatureȱaȱgoat’s skinȱ(twelfthȱcentury,ȱonlyȱoneȱreference),ȱseeȱaȱsummaryȱofȱtheȱdiscussionȱbyȱGundulaȱGrebner, “HaltungenȱzumȱJudeneid:ȱTexteȱundȱKontexteȱderȱFrankfurterȱEidesformelnȱimȱ14.ȱundȱ15. Jahrhundert,”ȱ“...IhrerȱBürgerȱFreiheit”:ȱFrankfurtȱamȱMainȱimȱMittelalter.ȱBeiträgeȱzurȱErinnerungȱan dieȱFrankfurterȱMediaevistinȱElsbetȱOrth,ȱed.ȱHeribertȱMüller.ȱVeröffentlichungenȱderȱFrankfurter HistorischenȱKommission,ȱ22ȱ(Frankfurtȱa.ȱM.:ȱWaldemarȱKramer,ȱ2004),ȱ141–73. 18 Cuffel,ȱGenderingȱDisgust,ȱ229–31. 19 DebraȱHassig,ȱ“TheȱIconographyȱofȱRejection:ȱJewsȱandȱOtherȱMonstrousȱRaces,”ȱImageȱandȱBelief: StudiesȱinȱCelebrationȱofȱtheȱEighteenthȱAnniversaryȱofȱtheȱIndexȱofȱChristianȱArt,ȱed.ȱColumȱHourihane (Princeton:ȱPrincetonȱUniversityȱPress,ȱ1999),ȱ25–46,ȱaȱperceptionȱcriticized,ȱe.g.,ȱbyȱJung,ȱ“The Passion,ȱtheȱJews,ȱandȱtheȱCrisisȱofȱtheȱIndividual,”ȱ164,ȱwhoȱunfortunatelyȱmixesȱupȱDebra HassigȱandȱDebraȱHiggsȱStrickland. 20 HiggsȱStrickland,ȱSaracens,ȱDemons,ȱ&ȱJews,ȱ137. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 331 withȱtheȱdevil,ȱneverthelessȱcouldȱformȱaȱsecond,ȱmoreȱlooseȱcycleȱthatȱwasȱbased onȱtheȱ‘lowestȱcommonȱfactor’:ȱtheȱJews.ȱJewsȱsucklingȱaȱlamb’sȱtail,21ȱheretics kissingȱ aȱ cat’sȱ anus:22ȱ applyingȱ theirȱ mouths—siteȱ ofȱ theȱ ingestionȱ ofȱ the immaculateȱHostȱbyȱgoodȱCatholics—toȱfilthyȱanimalȱorifices23ȱnotȱonlyȱaroused disgustȱagainstȱtheȱoffenders,ȱbeȱtheyȱJewsȱorȱother,ȱandȱdrewȱderogatoryȱsmirks, butȱevokedȱfurtherȱassociation.ȱMoney,ȱfilthȱandȱevenȱobscenity,ȱcomeȱtoȱmind, thusȱprovidingȱanotherȱlinkȱtoȱtheȱJews;ȱwhatȱSaraȱLiptonȱhasȱdemonstratedȱso convincinglyȱforȱtheȱlinkageȱofȱcatȬhereticsȬJewsȱisȱevenȱmoreȱapplicableȱtoȱthe iconographicalȱpatternsȱsurroundingȱtheȱswine:ȱrelatedȱyetȱhithertoȱunconnected imagesȱwereȱstrungȱtogetherȱtoȱformȱaȱnewȱwhole.24 TheȱmanifoldȱattitudesȱofȱtheȱMiddleȱAgesȱtowardȱanimalsȱcannotȱbeȱdiscussed hereȱbecauseȱitȱwasȱsoȱmanifoldȱandȱcouldȱevenȱincludeȱfriendshipȱandȱlove25;ȱyet itȱisȱcrucialȱtoȱanȱexaminationȱofȱtheȱJudensauȱtoȱconsiderȱatȱleastȱaȱfewȱpoints.ȱIn contrastȱtoȱtheȱclearȱseparationȱbetweenȱhumanȱbeingȱandȱbeastȱthatȱwasȱupheld duringȱtheȱearlyȱMiddleȱAges,ȱtheȱinsultȱconsistingȱmoreȱinȱtheȱequationȱwithȱthe irrationalȱbeast,26ȱtheȱgapȱstartedȱtoȱcloseȱfromȱtheȱtwelfthȱcenturyȱonwardsȱwhen animalsȱ becameȱ moreȱ andȱ moreȱ humanizedȱ whileȱ simultaneously,ȱ theȱ ‘beast within’ȱwasȱbeingȱrecognizedȱinȱtheȱhumanȱbeings.27ȱAnimalsȱwereȱbeingȱheld responsibleȱforȱtheirȱactionsȱandȱtrialsȱagainstȱthem,ȱthoughȱremainingȱaȱrarity, wereȱ heldȱ particularlyȱ againstȱ swine,28ȱ whileȱ punishmentȱ throughȱ (selfȬ) humiliationȱbyȱequatingȱtheȱdelinquentȱwithȱanȱanimalȱspansȱfromȱtheȱMiddle Ages29ȱ throughoutȱ theȱ Earlyȱ Modernȱ Period.30ȱ Animalsȱ figureȱ prominentlyȱ in

21 HiggsȱStrickland,ȱSaracens,ȱDemons,ȱ&ȱJews,ȱ120. 22 Lipton,ȱImagesȱofȱIntolerance,ȱ88. 23 Lipton,ȱImagesȱofȱIntolerance,ȱ90. 24 Lipton,ȱImagesȱofȱIntolerance,ȱ90. 25 TiereȱalsȱFreundeȱimȱMittelalter:ȱEineȱAnthologie.ȱEingeleitet,ȱausgewählt,ȱübersetztȱundȱkommentiert vonȱ Gabrielaȱ Kompatscherȱ zusammenȱ mitȱ Albrechtȱ Classenȱ undȱ Peterȱ Dinzelbacher (Badenweiler:ȱWissenschaftlicherȱVerlag,ȱ2010). 26 Cuffel,ȱ Genderingȱ Disgust,ȱ whoȱ focussesȱ onȱ theȱ connectionȱ ofȱ theȱ irrationalȱ andȱ theȱ female. Abulafia,ȱ“ChristiansȱandȱJewsȱinȱtheȱHighȱMiddleȱAges,”ȱ23;ȱDebraȱHiggsȱStrickland,ȱ“TheȱJews, Leviticus,ȱandȱtheȱUncleanȱinȱMedievalȱEnglishȱBestiaries,”ȱBeyondȱtheȱYellowȱBadge,ȱ203–32;ȱhere 227–28ȱ(onȱPeterȱtheȱVenerableȱandȱAlanȱofȱLille). 27 Salisbury,ȱTheȱBeastȱWithin;ȱPeterȱDinzelbacher,ȱDasȱfremdeȱMittelalter:ȱGottesurteilȱundȱTierprozess (Essen:ȱMagnusȱVerlag,ȱ2006),ȱ139.ȱFurthermore,ȱanimalȱbehaviorȱwasȱdescribedȱtoȱconveyȱmoral lessonsȱandȱpointȱoutȱdesiredȱChristianȱbehavior,ȱseeȱHiggsȱStrickland,ȱ“TheȱJews,ȱLeviticus,ȱand theȱUnclean,”ȱ203. 28 Dinzelbacher,ȱDasȱfremdeȱMittelalter,ȱ110–11ȱandȱ113.ȱTheȱsystemȱofȱtrialȱandȱpunishmentȱworked theȱotherȱwayȱround,ȱtoo:ȱe.g.,ȱaccordingȱtoȱBurgundianȱlaw,ȱaȱfalconȱthatȱhadȱbeenȱstolenȱhadȱthe rightȱtoȱpickȱsixȱouncesȱofȱfleshȱoutȱofȱhisȱthief’sȱbody,ȱid.,ȱ143. 29 FamousȱisȱtheȱsceneȱofȱElȱCid’sȱreconciliationȱwithȱKingȱAlfonsoȱwhereȱhe,ȱinȱanȱactȱofȱselfȬ humiliation,ȱactsȱlikeȱcattle:ȱ“Forthwithȱtoȱearthȱheȱbendsȱhimȱonȱtheȱhandȱandȱonȱtheȱknee.ȱAnd theȱgrassȱofȱtheȱmeadowȱwithȱhisȱveryȱteethȱheȱrent.”ȱQuotedȱafterȱtheȱonlineȱversionȱofȱTheȱLay ofȱtheȱCid,ȱtranslatedȱbyȱR.ȱSeldenȱRoseȱandȱLeonardȱBaconȱ(Berkeley:ȱUniversityȱofȱCalifornia Bereitgestellt von | De Gruyter / TCS 332 BirgitȱWiedl medievalȱiconography,ȱbothȱasȱ‘themselves’ȱandȱasȱrepresentationȱofȱoneȱorȱmore characteristics,ȱtraits,ȱorȱgroupsȱofȱpeople.ȱWhileȱsomeȱbeastsȱareȱassignedȱan exclusivelyȱpositiveȱimage,ȱlikeȱtheȱpantherȱorȱtheȱphoenix,31ȱothers,ȱlikeȱtheȱdog,32 areȱofȱdiverseȱinterpretation,ȱaccordingȱtoȱtheȱcontextȱtheyȱareȱusedȱin.ȱAllegories ofȱJewsȱandȱanimalsȱareȱmanifold,ȱandȱitȱdoesȱnotȱcomeȱasȱaȱsurpriseȱthatȱthose linkedȱwithȱtheȱJews,ȱtheȱsowȱbeingȱbutȱoneȱamongȱthem,ȱareȱinȱtheȱrarestȱofȱcases providedȱwithȱaȱpositiveȱinterpretation.ȱInstead,ȱtheyȱareȱregularlyȱassociatedȱwith uncleannessȱandȱirrationalȱandȱbestialȱnature.33ȱTheȱaforementionedȱrabbit,ȱor hare,ȱ withȱ itsȱ connotationȱ ofȱ sexualȱ deviance,ȱ isȱ huntedȱ toȱ deathȱ byȱ dogs,ȱ as ChristiansȱwillȱeventuallyȱovercomeȱtheȱJews.ȱTheȱowlȱwithȱitsȱpreferenceȱfor darknessȱ overȱ lightȱ isȱ equatedȱ withȱ theȱ Jews’ȱ obstinateȱ refusalȱ ofȱ theȱ lightȱ of Christ,34ȱandȱisȱattackedȱbyȱsmallerȱbirds,ȱlikeȱrighteousȱChristiansȱwouldȱrebel againstȱ theȱ wickedȱ Jewȱ whileȱ theȱ owlȬJewȱ remainsȱ stoic,ȱ perseveringȱ inȱ his wrongs.35ȱ Lestȱ theȱ spectatorȱ missȱ theȱ connection,ȱ aȱ moreȱ visibleȱ insultȱ was sometimesȱaddedȱbyȱgivingȱdepictionsȱofȱowls’ȱ‘Jewishȱfeatures’ȱbyȱturningȱits beakȱ intoȱ theȱ likenessȱ ofȱ aȱ hookedȱ nose.36ȱ Obduracyȱ againstȱ theȱ truthȱ ofȱ the Christianȱfaithȱhadȱbeen,ȱandȱwouldȱremain,ȱoneȱofȱtheȱcentralȱreproachesȱagainst theȱJewsȱthroughoutȱtheȱMiddleȱAges,ȱutilizedȱalreadyȱinȱtheȱvernacularȱsermons

Press,ȱ1919),ȱhttp://omacl.org/Cid/ȱ(lastȱaccessedȱonȱJan.ȱ30,ȱ2010).ȱTheȱequationȱhumanȬanimalȱas aȱ ritualȱ ofȱ humiliationȱ isȱ pointedȱ outȱ byȱ Dinzelbacher,ȱ “Menschȱ undȱ Tierȱ inȱ derȱ Geschichte Europas:ȱMittelalter,”ȱMenschȱundȱTierȱinȱderȱGeschichteȱEuropas,ȱed.ȱid.ȱKrönersȱTaschenausgabe, 34ȱ(Stuttgart:ȱAlfredȱKrönerȱVerlag,ȱ2000),ȱ181–292;ȱhereȱ198. 30 BiancaȱFrohne,ȱ“Narren,ȱTiereȱundȱgrewlicheȱFiguren:ȱZurȱInszenierungȱkomischerȱKörperlichkeit imȱKontextȱvonȱBloßstellung,ȱSpottȱundȱSchandeȱvomȱ13.ȱbisȱzumȱ16.ȱJahrhundert,”ȱGlaubensstreit undȱGelächter:ȱReformationȱundȱLachkulturȱimȱMittelalterȱundȱinȱderȱFrühenȱNeuzeit,ȱed.ȱChristoph AuffarthȱandȱSonjaȱKerth.ȱReligionenȱinȱderȱpluralenȱWelt,ȱ6ȱ(Berlin:ȱLitȱVerlag,ȱ2008),ȱ19–54;ȱhere 42–43,ȱgivesȱtheȱexampleȱofȱwhatȱisȱknownȱasȱSchandsteineȱ(literallyȱ‘stonesȱofȱdisgrace’),ȱstones inȱtheȱshapeȱofȱanimalsȱthatȱwereȱconsideredȱdisgustingȱorȱinfamous,ȱlikeȱdogsȱorȱtoads,ȱthatȱhad toȱbeȱcarriedȱaroundȱbyȱtheȱperpetratorȱasȱaȱformȱofȱpublicȱpunishment. 31 DebraȱHassig,ȱMedievalȱBestiaries:ȱText,ȱImage,ȱIdeologyȱ(Cambridge,ȱNewȱYork,ȱandȱMelbourne: CambridgeȱUniversityȱPress,ȱ1995),ȱ156–66ȱ(panther),ȱ72–83ȱ(phoenix);ȱseeȱalsoȱRomyȱGünthart, “DerȱPhönix:ȱVomȱChristussymbolȱzumȱFirmenlogo,”ȱDämonen,ȱMonster,ȱFabelwesen,ȱed.ȱUlrich Müllerȱ andȱ Wernerȱ Wunderlich.ȱ Mittelalterȱ Mythen,ȱ 2ȱ (St.ȱ Gallen,ȱ UVK.ȱ Fachverlagȱ für WissenschaftȱundȱStudium,ȱ1999),ȱ467–83. 32 PeterȱDinzelbacher,ȱ“MenschȱundȱTier,”ȱ220.ȱSeeȱbelowȱforȱtheȱusageȱofȱdogsȱwithȱregardȱtoȱJews. 33 HiggsȱStrickland,ȱ“TheȱJews,ȱLeviticus,ȱandȱtheȱUnclean,”ȱ227. 34 Miyazaki,ȱ“MisericordȱOwlsȱandȱMedievalȱAntiȬSemitism,”ȱ27–28;ȱHiggsȱStrickland,ȱSaracens, Demons,ȱ&ȱJews,ȱ137;ȱHassig,ȱMedievalȱBestiaries,ȱ97–98. 35 Miyazaki,ȱ“MisericordȱOwlsȱandȱMedievalȱAntiȬSemitism,”ȱ33. 36 Miyazaki,ȱ“MisericordȱOwlsȱandȱMedievalȱAntiȬSemitism,”ȱ28–29;ȱHiggsȱStrickland,ȱSaracens, Demons,ȱ &ȱ Jews,ȱ 77–78,ȱ whoȱ givesȱ evidenceȱ ofȱ theȱ hookedȱ noseȱ beingȱ aȱ generalȱ signifierȱ of ‘evilness’,ȱe.g.,ȱusedȱinȱimagesȱofȱ(nonȬJewish)ȱexecutionersȱorȱtorturersȱofȱsaints,ȱseeȱalsoȱAmishaiȬ Maisels,ȱ“Demonizationȱofȱtheȱ‘Other’ȱinȱtheȱVisualȱArts,”ȱ53–54,ȱwithȱtheȱexampleȱofȱanȱEnglish manuscriptȱwhereȱinȱtheȱbetrayalȱofȱChrist,ȱtheȱRomansȱareȱdepictedȱasȱblackȱ(i.e.,ȱMuslims)ȱwith hookedȱnosesȱandȱJewishȱhats. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 333 ofȱtheȱearlyȱMiddleȱAges,37ȱanȱobduracy,ȱalmostȱdefiance,ȱthatȱwasȱallȱtheȱworse becauseȱitȱwasȱdoneȱdeliberately;ȱandȱthusȱChristiansȱfeltȱaȱcertainȱrightȱtoȱmock theȱJewsȱsinceȱtheirȱobduracyȱprovokedȱit.38ȱ Theȱravenousȱhyena,ȱchangingȱitsȱsexȱatȱwill39ȱandȱdevouringȱcorpses,40ȱisȱas muchȱaȱsymbolȱofȱtheȱunclean,ȱidolatrousȱJewȱasȱtheȱmythicalȱmanticoreȱofȱtheȱmid thirteenthȬcenturyȱSalisburyȱbestiaryȱwithȱitsȱpointedȱPhrygianȱhat,ȱlongȱbeardȱand grotesqueȱprofile41;ȱtheirȱmonstrosity,ȱsoȱpointedlyȱnonȬhuman,ȱisȱevenȱheightened byȱtheȱdeedsȱtheyȱcommit.ȱTheȱmanticoreȬJewȱhybridȱhasȱtheȱremainsȱofȱaȱhuman legȱ betweenȱ hisȱ jaws,ȱ theȱ hyenaȱ feedsȱ onȱ humanȱ corpses:ȱ anȱ allusionȱ toȱ both cannibalismȱ associatedȱ withȱ monstersȱ andȱ barbarians,ȱ andȱ ritualȱ murder accusationsȱ againstȱ Jews,42ȱ theȱ bloodȱ libelsȱ thatȱ hadȱ startedȱ offȱ inȱ Englandȱ in 114443—aȱquiteȱ‘sophisticated’ȱreferenceȱthatȱlaterȱwouldȱbeȱstrippedȱofȱallȱpossible ambiguityȱ andȱ beȱ hammeredȱ home:ȱ possiblyȱ inȱ theȱ earlyȱ fourteenthȬcentury Cologneȱ Judensau,44ȱ andȱ mostȱ definitely,ȱ andȱ blatantlyȱ so,ȱ inȱ theȱ Judensauȱ of

37 GunnarȱMikosch,ȱ“NichtsȱalsȱDiskurse:ȱJudenȱinȱdenȱfrühenȱmittelhochdeutschenȱPredigtenȱdes 12.ȱundȱ13.ȱJahrhunderts,”ȱHistorischeȱDiskursanalysen:ȱGenealogie,ȱTheorie,ȱAnwendungen,ȱed.ȱFranz X.ȱEderȱ(Wiesbaden:ȱVerlagȱfürȱSozialwissenschaften,ȱ2006),ȱ253–69;ȱhereȱ260–61. 38 JohannesȱHeil,ȱ‘Gottesfeinde’—’Menschenfeinde’:ȱDieȱVorstellungȱvonȱjüdischerȱWeltverschwörungȱ(13. bisȱ16.ȱJahrhundert).ȱAntisemitismus:ȱGeschichteȱundȱStruktur,ȱ3ȱ(Essen:ȱKlartextȱVerlag,ȱ2006),ȱ170; Lipton,ȱImagesȱofȱIntolerance,ȱ70–72,ȱonȱtheȱ‘visualȱpresentation’ȱofȱthisȱreproach. 39 Theȱideaȱthatȱhyenasȱcouldȱchangeȱtheirȱsexȱ(notȱonlyȱaȱEuropeanȬcenteredȱmyth)ȱgoesȱbackȱtoȱthe factȱthatȱtheȱgenitaliaȱofȱtheȱfemaleȱareȱprotruding,ȱthusȱresemblingȱaȱpenis.ȱAlreadyȱAristotleȱhad spokenȱagainstȱthatȱassumption,ȱasȱtheȱUCȱBerkeleyȱhyenaȱspecialist,ȱStephenȱE.ȱGlickman,ȱhas pointedȱoutȱinȱhisȱsummingȱupȱofȱtheȱ‘badȱreputation’ȱhistoryȱofȱtheȱhyena,ȱ“TheȱSpottedȱHyena fromȱAristotleȱtoȱtheȱLionȱKing:ȱReputationȱisȱEverything—InȱtheȱCompanyȱofȱAnimals”ȱSocial Researchȱ1995.3,ȱtextȱonlineȱatȱ(lastȱaccessedȱonȱJan.ȱ30,ȱ2010): http://findarticles.com/p/articles/mi_m2267/is_n3_v62/ai_17909878/?tag=content;col1. 40 Hassig,ȱMedievalȱBestiaries,ȱ145–55,ȱ174;ȱid.,ȱ“SexȱinȱtheȱBestiaries,”ȱTheȱMarkȱofȱtheȱBeast,ȱ71–98, hereȱ74–75;ȱHiggsȱStrickland,ȱSaracens,ȱDemons,ȱ&ȱJews,ȱ147–48,ȱ153–54;ȱid.,ȱ“TheȱJews,ȱLeviticus, andȱtheȱUnclean,”ȱ209–11. 41 HiggsȱStrickland,ȱSaracens,ȱDemons,ȱ&ȱJews,ȱ136,ȱfigureȱ60ȱandȱpl.ȱ3;ȱPamelaȱGravestock,ȱ“Did ImaginaryȱAnimalsȱExist?,”ȱTheȱMarkȱofȱtheȱBeast,ȱ119–40;ȱhereȱ121. 42 ClaudineȱFabreȬVassas,ȱTheȱSingularȱBeast:ȱJews,ȱChristians,ȱ&ȱtheȱPig,ȱtrans.ȱfromȱtheȱFrenchȱby CarolȱVolk.ȱSec.ȱed.ȱEuropeanȱPerspectivesȱ(1994;ȱNewȱYork:ȱColumbiaȱUniversityȱPress,ȱ1999), 136–37,ȱdrawsȱtheȱdaringȱyetȱutterlyȱcompellingȱparallelȱbetweenȱChristianȱpigȱbreedingȱ&ȱraising andȱallȱtheȱritualsȱthatȱgoȱwithȱit,ȱporkȱconsumptionȱandȱtheȱ‘slaughtering’ȱofȱChristianȱchildren byȱJewsȱ(seeȱbelow). 43 HiggsȱStrickland,ȱSaracens,ȱDemons,ȱ&ȱJews,ȱ136;ȱAnnaȱSapirȱAbulafia,ȱ“ChristiansȱandȱJewsȱinȱthe HighȱMiddleȱAges:ȱChristianȱViewsȱofȱJews,”ȱJewsȱofȱEurope,ȱ19–28;ȱhereȱ26–27.ȱThereȱisȱaȱlegion ofȱrelevantȱresearchȱonȱWilliamȱofȱNorwich,ȱsee,ȱforȱinstance,ȱFriedrichȱLotter,ȱ“Innocensȱvirgo etȱmartyr:ȱThomasȱvonȱMonmouthȱundȱdieȱVerbreitungȱderȱRitualmordlegendeȱimȱHochmitȬ telalter,”ȱDieȱLegendeȱvomȱRitualmord:ȱZurȱGeschichteȱderȱBlutbeschuldigungȱgegenȱJuden,ȱed.ȱRainer Erbȱ(Berlin:ȱMetropol,ȱ1993),ȱ25–72,ȱandȱtheȱgeneralȱdiscussionȱbyȱAnthonyȱBale,ȱTheȱJewȱinȱthe MedievalȱBook:ȱEnglishȱAntisemitismsȱ1350–1500ȱ(CambridgeȱandȱNewȱYork:ȱCambridgeȱUniversity Press,ȱ2006),ȱ105–44ȱ(withȱtheȱexampleȱofȱRobertȱofȱBuryȱStȱEdmunds). 44 Shachar,ȱJudensau,ȱ24–25. Bereitgestellt von | De Gruyter / TCS 334 BirgitȱWiedl

FrankfurtȱthatȱwasȱlinkedȱtoȱtheȱallegedȱmurderȱofȱSimonȱofȱTrent,ȱleavingȱno placeȱ forȱ doubtsȱ aboutȱ theȱ Jews’ȱ viciousness.ȱ Withȱ theȱ newȱ emphasisȱ on transubstantiationȱandȱtheȱEucharistȱemergingȱasȱaȱsacrament,ȱtheȱaccusationsȱof hostȱdesecrationȱandȱbloodȱlibelsȱareȱmirroredȱinȱtheȱdepictionȱandȱpresentation ofȱJewsȱinȱmanyȱregards:ȱapartȱfromȱallusiveȱmotifsȱlikeȱJewsȱholdingȱknivesȱor havingȱbloodstainsȱonȱtheirȱclothes,ȱscenesȱofȱJewsȱabducting,ȱtormenting,ȱand slaughteringȱaȱChristianȱchildȱveryȱquicklyȱbecameȱaȱpopularȱsubjectȱforȱpaintings and,ȱparticularly,ȱprints,ȱintensifyingȱandȱchannellingȱtheȱantiȬJewishȱsentiments thatȱculminatedȱinȱtheȱabovementionedȱcombinationȱofȱaȱJudensauȱandȱtheȱblood libelȱofȱSimonȱofȱTrent.45ȱ Equallyȱviciousȱisȱtheȱscorpionȱwhoȱsurfacesȱparticularlyȱasȱtheȱheraldicȱanimal onȱbanners,ȱpennants,ȱshields,ȱandȱarmorsȱofȱJewsȱappearingȱinȱpassionȱplaysȱand passionȱscenesȱinȱtheȱvisualȱrepresentations;ȱsometimes,ȱtheȱallegoricalȱfigureȱof SynagogaȱaccompanyingȱaȱgroupȱofȱJewsȱisȱalsoȱportrayedȱcarryingȱaȱscorpion banner.46ȱScorpions,ȱinȱChristianȱtheologicalȱtradition,ȱareȱnotȱonlyȱmalevolentȱbut deceitful:ȱtheyȱareȱpeacefulȱinȱappearance,ȱfriendlyȱonȱtheȱsurface,ȱyetȱwoeȱbetide anyoneȱwhoȱtouchesȱthem,ȱtheyȱwillȱstingȱwithȱtheirȱvenomousȱbarbȱwhichȱthey hadȱsoȱtreacherouslyȱkeptȱhiddenȱfromȱview—likeȱtheȱJews,ȱwhoȱappearȱasȱifȱthey meantȱnoȱharmȱyetȱseekȱtoȱpoisonȱChristiansȱwithȱtheirȱfalseȱteachings.ȱEvenȱas lateȱ asȱ 1563,ȱ inȱ theȱ infamousȱ broadsheetȱ Derȱ Judenȱ zukünfftigerȱ Messiasȱ that contributedȱinȱaȱmajorȱfashionȱtoȱtheȱdisseminationȱofȱtheȱJudensauȱimageȱthat formedȱtheȱcenterȱofȱtheȱwoodcut,47ȱaȱfireȬbreathingȱscorpionȱisȱhoveringȱaboveȱthe processionȱofȱJewsȱwhoȱareȱledȱtoȱHellȱbyȱtwoȱdevils.

45 Lipton,ȱ“Imagesȱandȱtheirȱuses,”ȱ279–80.ȱToȱbeȱreleasedȱsoonȱisȱtheȱnewȱbookȱbyȱSaraȱLipton,ȱDark Mirror:ȱ Jews,ȱ Vision,ȱ andȱ Witnessȱ inȱ Medievalȱ Christianȱ Artȱ (Newȱ York:ȱ Metropolitanȱ Books, forthcoming).ȱSeeȱPetraȱSchöner,ȱJudenbilderȱimȱdeutschenȱEinblattdruckȱderȱRenaissance:ȱEinȱBeitrag zurȱImagologie.ȱSaeculaȱSpiritaliaȱ42ȱ(BadenȬBaden:ȱValentinȱKoerner,ȱ2002),ȱ111–62,ȱwithȱaȱvery criticalȱreviewȱbyȱFalkȱEisermann,ȱAschkenas:ȱZeitschriftȱfürȱGeschichteȱundȱKulturȱderȱJudenȱ13.1 (2003):ȱ270–72.ȱForȱtheȱliteraryȱdevelopment,ȱseeȱMiriȱRubin,ȱGentileȱTales:ȱTheȱNarrativeȱAssault onȱLateȱMedievalȱJews.ȱTheȱMiddleȱAgesȱSeriesȱ(1999;ȱPhiladelphia:ȱUniversityȱofȱPennsylvania Press,ȱ2004),ȱwithȱaȱreferenceȱtoȱbroadsheets,ȱ173–80.ȱ 46 Schouwink,ȱDerȱwildeȱEber,ȱ82–83,ȱHerbertȱJochum,ȱ“EcclesiaȱundȱSynagoga.ȱAlterȱundȱNeuer BundȱinȱderȱchristlichenȱKunst,”ȱDerȱungekündigteȱBund?ȱAntwortenȱdesȱNeuenȱTestaments,ȱed. HubertȱFrankemölle.ȱQuaestionesȱDisputatae,ȱ172ȱ(Freiburg,ȱBasel,ȱandȱVienna:ȱHerder,ȱ1998), 248–76;ȱhereȱ258;ȱHiggsȱStrickland,ȱSaracens,ȱDemons,ȱ&ȱJews,ȱ176–77,ȱfig.ȱ85ȱandȱpl.ȱ12:ȱinȱthe backgroundȱofȱaȱlateȱfifteenthȬcenturyȱpassionȱsceneȱfromȱCologne,ȱJewsȱareȱbearingȱbannersȱwith theȱemblemsȱofȱtheȱdragonȱandȱtheȱscorpion.ȱ 47 Shachar,ȱJudensau,ȱ55–56ȱandȱpl.ȱ46,ȱinterpretsȱitȱasȱaȱrenditionȱofȱtheȱFrankfurtȱJudensauȱwhichȱhas beenȱarguedȱagainstȱbyȱGundulaȱGrebner,ȱ“DieȱJudensaudarstellungȱamȱFrankfurterȱBrückentor alsȱSchandbild.ȱFunktionenȱderȱBekleidungȱvonȱJudenȱimȱBild,”ȱKopfȬȱundȱandereȱTücher,ȱed.ȱGisela EngelȱandȱSusanneȱScholz.ȱSalecinaȬBeiträgeȱzurȱGesellschaftsȬȱundȱKulturkritik,ȱ6ȱ(Berlin:ȱtrafo verlag,ȱ2005),ȱ87–102;ȱhereȱ90. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 335

Asȱseriousȱasȱtheȱcontext,ȱandȱprimaryȱintent,ȱofȱtheseȱbeastȱallegoriesȱmayȱbe,48 humorȱifȱoftenȱutilizedȱtoȱaddȱaȱfurtherȱquality.ȱTheȱcorbelsȱinȱtheȱchoirȱofȱthe XantenȱCathedralȱmightȱportrayȱtheȱevilȱcounterpartȱtoȱtheȱholyȱVisitationȱscene theyȱsupportȱyetȱmightȱhaveȱdrawnȱtheȱattentionȱofȱbypassersȱmainlyȱdueȱtoȱtheir drôlerieȬlikeȱappearance,ȱasȱmightȱtheȱalmostȱcaricatureȬlikeȱfacesȱofȱtheȱowlsȱorȱthe bizarreȱprofileȱofȱtheȱmanticore,ȱwhileȱgargoyles,ȱwhicheverȱshapeȱtheyȱmayȱtake on,ȱhad,ȱinȱadditionȱtoȱinducingȱfearȱandȱintimidation,ȱaȱdefiniteȱcomicalȱaspect perȱse.49ȱFurthermore,ȱtopsyȬturvynessȱisȱaȱkeyȱfeatureȱofȱtheȱmedievalȱchoiceȱof animalsȱrepresentingȱJews:50ȱtheȱowlȱthatȱfliesȱbackwardsȱandȱatȱnight,ȱtheȱhyena andȱ theȱ rabbitȱ whoȱ canȱ changeȱ theirȱ sex,ȱ theȱ hybridȱ manticoreȱ andȱ theȱ manȬ nursingȱpig:ȱanimalsȱwhoȱactȱcontraryȱtoȱnature,ȱlikeȱtheȱJewsȱactȱcontraryȱtoȱthe realȱfaith,ȱaȱtrulyȱabhorrentȱthing—andȱyetȱtheȱcomicalȱelementȱofȱaȱtopsyȬturvy worldȱisȱpresent,51ȱresoundingȱinȱtheȱinscriptionȱattachedȱtoȱtheȱfifteenthȬcentury JudensauȱinȱtheȱchoirȱofȱtheȱCathedralȱofȱFreisingȱthatȱ‘setsȱitȱright’ȱagain:ȱ“Soȱwahr dieȱMausȱdieȱKatzȱnitȱfrisst,ȱwirdȱderȱJudȱkeinȱwahrerȱChrist”ȱ(asȱmuchȱasȱthe mouseȱdoesȱnotȱeatȱtheȱcat,ȱtheȱJewȱwon’tȱbecomeȱaȱtrueȱChristian).52 AlthoughȱmentioningȱthatȱantiȬJewishȱpolemics,ȱinȱwhicheverȱform,ȱexistedȱin regionsȱwithoutȱJewishȱsettlementsȱisȱalmostȱtantamountȱtoȱaȱcommonplaceȱby now,ȱitȱisȱneverthelessȱimportantȱtoȱstateȱthatȱevidenceȱofȱaȱconnectionȱbetweenȱthe creationȱofȱaȱJudensauȱinȱeitherȱofȱtheȱaforementionedȱcitiesȱandȱactualȱviolence

48 Lipton,ȱImagesȱofȱIntolerance,ȱ43–44,ȱaddsȱravenȱandȱfrog/toadȱtoȱtheȱlist,ȱwhichȱappearȱinȱFrench manuscripts,ȱseeȱalsoȱMaryȱE.ȱRobbins,ȱ“TheȱTruculentȱToadȱinȱtheȱMiddleȱAges,”ȱAnimalsȱinȱthe MiddleȱAges:ȱAȱBookȱofȱEssays,ȱed.ȱNonaȱC.ȱFlores.ȱGarlandȱMedievalȱCasebooks,ȱ13ȱ(NewȱYorkȱand London:ȱGarland,ȱ1996),ȱ25–48. 49 ForȱaȱdetailedȱstudyȱofȱgrotesqueȱJewishȱfeaturesȱcontrastedȱwithȱnobleȱChristianȱfaces,ȱseeȱJung, “TheȱPassion,ȱtheȱJews,ȱandȱtheȱCrisisȱofȱtheȱIndividual,”ȱ154–56,ȱandȱthroughoutȱtheȱarticle.ȱSee furtherȱ Janettaȱ Reboldȱ Benton,ȱ “Gargoyles:ȱ Animalȱ Imageryȱ andȱ Artisticȱ Individualityȱ in MedievalȱArt,”ȱAnimalsȱinȱtheȱMiddleȱAges,ȱ147–65,ȱparticularlyȱ158–59;ȱead.,ȱHolyȱTerrors:ȱGargoyles onȱMedievalȱBuildingsȱ(NewȱYork:ȱAbbevilleȱPress,ȱ1997);ȱAlbrechtȱClassen,ȱ“Gargoylesȱ—WasserȬ speier:ȱ Phantasieprodukteȱ desȱ Mittelaltersȱ undȱ derȱ Moderne,”ȱ (hereȱ 127ȱ andȱ 130)ȱ andȱ Peter Dinzelbacher,ȱ “Monsterȱ undȱ Dämonenȱ amȱ Kirchenbau,”ȱ bothȱ Dämonen,ȱ Monster,ȱ Fabelwesen, 127–33ȱandȱ103–26,ȱrespectively.ȱDinzelbacher,ȱ111,ȱcitesȱtheȱdoyenȱofȱGermanȱartȱhistory,ȱGeorg Dehio,ȱwhoȱcomplainsȱaboutȱacademicsȱtakingȱtheȱgrotesqueȱmonstersȱatȱmedievalȱchurches seriouslyȱinsteadȱofȱinterpretingȱthemȱasȱtheȱexpressionȱofȱ‘insignificantȱhumor.’ȱ 50 OnȱtheȱtopsyȬturvyȱworldȱasȱaȱplaceȱofȱinverseȱrelationshipsȱofȱanimalsȱandȱhumans,ȱseeȱJanetta ReboldȱBenton,ȱMedievalȱMischief:ȱWitȱandȱHumourȱinȱtheȱArtȱofȱtheȱMiddleȱAgesȱ(Stroud:ȱSutton Publishing,ȱ2004),ȱ69. 51 TheȱdiscussionȱonȱtheȱcomicalȱaspectsȱofȱtheȱtopsyȬturvyȱworldȱandȱitsȱinstrumentalizationȱare manifold.ȱWithȱaȱfocusȱonȱtheȱGermanȬspeakingȱareas,ȱseeȱMichaelȱKupfer,ȱZurȱSemiotikȱder Inversion:ȱVerkehrteȱWeltȱundȱLachkulturȱimȱ16.ȱJahrhundertȱ(Berlin:ȱVerlagȱfürȱWissenschaftȱund Bildung,ȱ1993);ȱKomischeȱGegenwelten:ȱLachenȱundȱLiteraturȱinȱMittelalterȱundȱFrüherȱNeuzeit,ȱed. WernerȱRöckeȱandȱHelgaȱNeumannȱ(Paderborn,ȱMunich,ȱandȱVienna:ȱFerdinandȱSchöningh, 1999). 52 Shachar,ȱJudensau,ȱ33. Bereitgestellt von | De Gruyter / TCS 336 BirgitȱWiedl againstȱJews,ȱorȱevenȱtheirȱphysicalȱpresence,ȱisȱscarce.53ȱJewishȱsettlementȱtook placeȱ eitherȱ later,ȱ notȱ beforeȱ theȱ earlyȱ fourteenthȱ centuryȱ (Brandenburg,ȱ Bad Wimpfen)ȱorȱnoȱevidenceȱofȱaȱmedievalȱJewishȱpopulationȱcanȱbeȱtracedȱatȱall (Lemgo).ȱAsȱforȱXantenȱandȱMagdeburg,ȱcitiesȱthatȱnotȱonlyȱshareȱtheȱexistenceȱof aȱlargeȱmedievalȱJewishȱpopulationȱbutȱalsoȱaȱhistoryȱofȱviolenceȱagainstȱtheir Jews,ȱanyȱtemporalȱcorrelationȱwithȱtheȱexistenceȱofȱaȱJudensauȱisȱunprovableȱat best.ȱTheȱJewsȱofȱXantenȱwereȱslaughteredȱduringȱtheȱfirstȱcrusade;54ȱwhereas Magdeburg,ȱtheȱtownȱthatȱhadȱseenȱitsȱarchbishopȱAlbrechtȱIIȱkissȱtheȱTorahȱofȱthe JewsȱwhoȱgreetedȱhimȱalongȱwithȱotherȱcitizensȱuponȱhisȱarrivalȱfromȱRomeȱin 1207,55ȱ persecutedȱ itsȱ Jewsȱ severalȱ timesȱ throughoutȱ theȱ thirteenthȱ andȱ early fourteenthȱcentury.ȱYetȱtheȱlinkȱbetweenȱanȱantiȬJewishȱriotȱinȱ1266/1267ȱandȱthe datingȱ ofȱ theȱ Madgeburgȱ Judensauȱ hasȱ beenȱ questioned,ȱ andȱ provedȱ highly unlikely,ȱbyȱShachar.56ȱIt,ȱhowever,ȱalsoȱsignifiesȱthatȱwhoeverȱcommissionedȱthe creationȱofȱaȱJudensauȱfeltȱcertainȱthatȱtheȱimageryȱwouldȱbeȱunderstood,ȱevenȱif theȱspectatorsȱhadȱneverȱonceȱinȱtheirȱlivesȱcomeȱacrossȱaȱrealȱJew.ȱ Whyȱtheȱswine,ȱthen?ȱTheȱgeneralȱimportanceȱofȱimagesȱforȱtheȱinhabitantsȱof medievalȱEuropeȱcannotȱbeȱunderestimated:ȱBernhardȱBlumenkranzȱcalledȱthe wallsȱ ofȱ medievalȱ churchesȱ ‘hugeȱ pictureȱ books’,57ȱ whileȱ otherȱ scholarsȱ have pointedȱoutȱtheȱimpactȱsermonsȱhadȱonȱtheȱilliterateȱmasses,ȱwhichȱtoughtȱthem howȱtoȱreadȱtheȱpaintingsȱandȱsculpturesȱtheyȱcameȱacrossȱinȬȱandȱoutsideȱthe church:ȱ‘aȱpicture,’ȱasȱ(allegedly)ȱPopeȱGregoryȱtheȱGreatȱputȱitȱinȱaȱletter,ȱ‘isȱlike aȱ lessonȱ forȱ theȱ people.’58ȱ Nevertheless,ȱ manuscriptsȱ remainedȱ exclusiveȱ toȱ a

53 EdithȱWenzelȱhasȱstatedȱtheȱsameȱforȱFrankfurtȱandȱAlsfeldȱasȱtheȱplaceȱofȱlateȱmedievalȱpassionȬ plays,ȱwhereȱtheȱJewishȱpopulationȱhasȱbeenȱoverestimated,ȱ“DoȱwordenȱdieȱJuddenȱalleȱgeschant”: RolleȱundȱFunktionȱderȱJudenȱinȱspätmittelalterlichenȱSpielen.ȱForschungenȱzurȱGeschichteȱderȱälteren deutschenȱLiteratur,ȱ14ȱ(München:ȱFink,ȱ1992),ȱ12–13;ȱforȱNaumburgȱseeȱJung,ȱ“TheȱPassion,ȱthe Jews,ȱandȱtheȱCrisisȱofȱtheȱIndividual,”ȱ173–74. 54 Hebräischeȱ Berichteȱ überȱ dieȱ Judenverfolgungȱ währendȱ desȱ Erstenȱ Kreuzzugs,ȱ ed.ȱ Eva Haverkamp.ȱ Monumentaȱ Germaniaeȱ Historica,ȱ Hebräischeȱ Texteȱ ausȱ demȱ mittelalterlichen Deutschland,ȱ 1ȱ (Hanover:ȱ Hahnscheȱ Buchhandlung,ȱ 2005),ȱ 432–43ȱ (Hebrewȱ andȱ German translation). 55 Oswaldȱ HolderȬEggerȱ (Ed.),ȱ “Cronicaȱ Reinhardsbrunnensis”ȱ Monumentaȱ Germaniaeȱ Historica, Scriptoresȱ30,ȱpartȱ1ȱ(rpt.ȱ1896;ȱStuttgart:ȱAntonȱHiersemannȱVerlag,ȱ1976),ȱ490–656;ȱhereȱ571, onlineȱatȱwww.dmgh.deȱ(lastȱaccessedȱonȱJan.ȱ30,ȱ2010).ȱJewishȱsettlementȱinȱMadgeburgȱdates backȱ intoȱ theȱ twelfthȱ century,ȱ seeȱ Alfredȱ Haverkamp,ȱ “Jewsȱ andȱ Urbanȱ Life:ȱ Bondsȱ and Relationships,”ȱTheȱJewsȱofȱEuropeȱinȱtheȱMiddleȱAgesȱ(TenthȱtoȱFifteenthȱCenturies).ȱProceedingsȱof theȱInternationalȱSymposiumȱheldȱatȱSpeyer,ȱ20–25ȱOctoberȱ2002,ȱed.ȱChristophȱCluse.ȱCultural EncountersȱinȱLateȱAntiquityȱandȱtheȱMiddleȱAges,ȱ4ȱ(Turnhout:ȱBrepols,ȱ2004),ȱ55–70;ȱhereȱ63. 56 Shachar,ȱJudensau,ȱ19. 57 Bernhardȱ Blumenkranz,ȱ Judenȱ undȱ Judentumȱ inȱ derȱ mittelalterlichenȱ Kunstȱ (Stuttgart:ȱ W. Kohlhammer,ȱ1965),ȱ9. 58 SeeȱforȱaȱrecentȱsummaryȱofȱtheȱextensiveȱdiscussionȱtheȱhighlyȱinstructiveȱarticleȱbyȱSaraȱLipton, “ImagesȱandȱTheirȱUses,”ȱTheȱCambridgeȱHistoryȱofȱChristianity,ȱ4:ȱChristianityȱinȱWesternȱEuropeȱc. 1100–c.ȱ 1500,ȱ ed.ȱ Miriȱ Rubinȱ andȱ Walterȱ Simonsȱ (Cambridgeȱ andȱ Newȱ York:ȱ Cambridge Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 337 minorityȱofȱtheȱpopulation59;ȱtheȱdecipheringȱofȱviceȱcyclesȱrequestedȱeitherȱa certainȱlevelȱofȱeducationȱorȱconstantȱreȬhearingȱaboutȱit,60ȱandȱtoȱfullyȱappreciate theirȱ variousȱ allegationsȱ requiredȱ aȱ profoundȱ religiousȱ knowledgeȱ thatȱ went beyondȱyearsȱofȱexposureȱtoȱsermons,ȱhoweverȱexplanatory,ȱandȱhavingȱbeenȱread Biblicalȱandȱliturgicalȱtexts.61ȱEvenȱmoreȱso,ȱtoȱreallyȱandȱfullyȱunderstandȱthe vilenessȱ andȱ malignanceȱ ofȱ aȱ scorpionȱ orȱ theȱ obduracyȱ ofȱ anȱ owl,ȱ itȱ was indispensableȱ toȱ haveȱ undergoneȱ aȱ certainȱ education.62ȱ Therefore,ȱ itȱ doesȱ not surpriseȱthatȱtheȱequationsȱofȱJewsȱwithȱbeastsȱthatȱprevailed,ȱandȱmovedȱoutȱof theirȱ sophisticatedȱ context,ȱ wereȱ thoseȱ withȱ animalsȱ thatȱ wereȱ ‘accessible’ȱ in everydayȱcontactȱandȱthereforeȱunderstandableȱtoȱtheȱpopulace.ȱJewsȱsentenced toȱdeathȱbyȱhangingȱwereȱaccompaniedȱbyȱtwoȱdogsȱthatȱwereȱhangedȱonȱeither sideȱofȱtheȱJew;63ȱJewsȱwereȱridingȱgoatsȱorȱwereȱaccompaniedȱbyȱthese,ȱlikeȱthe SynagogaȱstatueȱatȱErfurtȱthatȱholdsȱaȱgoat’sȱhead.ȱWhereasȱmedievalȱartȱwasȱmore toȱbringȱtoȱlifeȱalreadyȱexistingȱteachingȱandȱnotȱtoȱteachȱnewȱthings,64ȱpeople wouldȱneedȱnoȱadditionalȱexplanation,ȱgivenȱbeforeȱorȱafterȱcontemplatingȱthe image,ȱtoȱunderstandȱtheȱfilthinessȱofȱaȱswine.ȱEvenȱifȱtheȱuneducatedȱspectators missedȱtheȱlinkȱofȱJews–swine–devil,ȱtheyȱwouldȱunderstandȱtheȱveryȱmundane associationȱofȱJewsȱwithȱfilth,ȱstench,ȱandȱuncleanness.ȱPigsȱwereȱlinkedȱwith excrementȱandȱwrongȱbeliefȱalreadyȱinȱearlyȱChristianȱsymbolismȱ(whichȱthey

UniversityȱPress,ȱ2009),ȱ254–82,ȱquoteȱ254.ȱUnfortunately,ȱȱIȱdidȱnotȱhaveȱtheȱpossibilityȱtoȱlook atȱtheȱlatestȱarticleȱbyȱAlfredȱMesserli.ȱEditor’sȱnote:ȱAlfredȱMesserli,ȱ“Intermedialität,”ȱStimmen, TexteȱundȱBilderȱzwischenȱMittelalterȱundȱFrüherȱNeuzeit,ȱed.ȱLuisaȱRubiniȱMesserliȱandȱAlexander Schwarz.ȱTausch.ȱTextanalyseȱinȱUniversitätȱundȱSchule,ȱ17ȱ(Bern,ȱBerlin,ȱetȱal.:ȱPeterȱLang,ȱ2009), 75–109.ȱDrawingȱonȱpreviousȱscholarship,ȱespeciallyȱbyȱRudolfȱSchendaȱ(1987),ȱheȱemphasizes, 94–97,ȱthatȱ1.ȱmostȱofȱtheȱtrulyȱvaluableȱimagesȱorȱpicturesȱwereȱkeptȱoutȱofȱviewȱbyȱtheȱpublic anyway,ȱsuchȱasȱinȱtheȱcaseȱofȱbookȱillustrationsȱandȱminiatures,ȱandȱthatȱ2.ȱmostȱordinaryȱpeople lackedȱinȱtheȱ“perceptualȱskills”ȱevenȱtoȱunderstand,ȱorȱtoȱreadȱwhatȱtheyȱsaw.ȱIronically,ȱthis probablyȱappliesȱveryȱmuchȱstillȱtoȱourȱworldȱtoday. 59 Lipton,ȱ“Imagesȱandȱtheirȱuses,”ȱ262. 60 Lipton,ȱ“Imagesȱandȱtheirȱuses,”ȱ264,ȱcitesȱtheȱstoryȱaboutȱDukeȱGodfreyȱofȱBouillon,ȱwho,ȱeven afterȱlisteningȱtoȱtheȱsermon,ȱdemandedȱexplanationsȱofȱeveryȱsingleȱimageȱandȱpictureȱinȱa church. 61 AnnetteȱWeber,ȱ“GlaubeȱundȱWissen—EcclesiaȱetȱSynagoga,”ȱWissenspopularisierung:ȱKonzepteȱder WissensverbreitungȱimȱWandel,ȱed.ȱCarstenȱKretschmann.ȱWissenskulturȱundȱgesellschaftlicher Wandel,ȱ4ȱ(Berlin:ȱAkademieȱVerlag,ȱ2003),ȱ89–126;ȱhereȱ94,ȱstatesȱtheȱsameȱfürȱEcclesia/Synagoga pairings. 62 Stillȱbasicȱonȱtheȱquestionȱwhetherȱmedievalȱ ‘picturesȱspeakȱforȱthemselves’ȱisȱLawrenceȱG. Duggan,ȱ“WasȱArtȱReallyȱtheȱ“BookȱofȱtheȱIlliterate”?,”ȱWordȱandȱImage,ȱ5.3ȱ(1989),ȱ227–51.ȱSeeȱalso Lipton,ȱ“ImagesȱandȱTheirȱUses,”ȱandȱMesserli,ȱ“Intermedialität.” 63 RonnieȱPoȬChiaȱHsia,ȱTheȱMythȱofȱRitualȱMurder:ȱJewsȱandȱMagicȱinȱReformationȱGermanyȱ(New HavenȱandȱLondon:ȱYaleȱUniversityȱPress,ȱ1988),ȱ26ȱandȱ28ȱwithȱfigureȱ3;ȱFrey,ȱ“Vergleicheȱvon JudenȱmitȱHunden,”ȱ129–33. 64 Lipton,ȱ“ImagesȱandȱtheirȱUses,”ȱ264. Bereitgestellt von | De Gruyter / TCS 338 BirgitȱWiedl sharedȱ withȱ Pagansȱ andȱ Jews),65ȱ whileȱ theȱ foetorȱ iudaicusȱ derivedȱ fromȱ a punishmentȱforȱtheȱkillingȱofȱChrist—andȱtheȱJudensauȱbroughtȱtheseȱtwoȱelements together:ȱtheȱpigsȱandȱtheirȱexcrement,ȱandȱtheȱJewsȱwhoȱfeedȱonȱthem.ȱYetȱtheȱpig asȱaȱsymbolȱforȱfilthȱandȱdirtȱwasȱtoȱaȱgreatȱextentȱselfȬexplanatory:ȱitȱwasȱvisible andȱsmellȬableȱforȱtheȱmajorityȱofȱpeopleȱonȱaȱdailyȱbasis.ȱAndȱhoweverȱoften Christiansȱwouldȱconsumeȱpork—ȱtheȱsowȱremainedȱtheȱonlyȱmammalȱtheȱmilk ofȱwhichȱwasȱnotȱputȱtoȱuse—ȱandȱevenȱifȱtheyȱwereȱnotȱawareȱofȱtheȱantique theoryȱthatȱtheȱmereȱtastingȱofȱaȱsow’sȱmilkȱwouldȱresultȱinȱcontractingȱrashes, evenȱ leprosy,66ȱ theyȱ wouldȱ perhapsȱ smileȱ aboutȱ theȱ factȱ thatȱ theȱ Jews,ȱ who abstainedȱ fromȱ eatingȱ pork,ȱ wouldȱ feedȱ onȱ theȱ veryȱ partȱ thatȱ wasȱ notȱ fitȱ for consumption. Inȱtheȱcourseȱofȱtheȱfourteenthȱcentury,ȱtheȱJudensauȱtookȱonȱaȱmoreȱandȱmore unifiedȱappearanceȱthatȱinȱitsȱmainȱtraitsȱresembledȱtheȱMagdeburgȱfrieze:ȱapart fromȱ aȱ fewȱ examplesȱ (Cologne,ȱ Colmar),ȱ theȱ ‘standard’ȱ Judensauȱ wasȱ nowȱ a standingȱsowȱthatȱwasȱheldȱbyȱorȱtouchedȱatȱtheȱheadȱbyȱaȱJewȱstandingȱinȱfront ofȱit.ȱOneȱorȱmoreȱusuallyȱsmallerȱJewsȱwereȱkneelingȱbelowȱitsȱbellyȱandȱsuckling itsȱteatsȱwhileȱanotherȱJewȱwasȱbusyȱfondlingȱtheȱanimal’sȱhindquarters.67ȱItȱwas, however,ȱaȱdepictionȱstillȱexclusivelyȱutilisedȱbyȱtheȱchurch:ȱsculpturesȱofȱthe JudensauȱremainedȱonȱtheȱinȬȱorȱoutsideȱofȱchurchesȱorȱmonasteries,ȱandȱaboutȱhalf ofȱtheȱfourteenthȬcenturyȱJudensauȱsculpturesȱformȱaȱpartȱofȱaȱcycleȱofȱvices,68ȱwith theirȱrepresentationȱofȱgulaȱremainingȱtheȱkeyȱ(ifȱnotȱonly)ȱfunction.ȱHowever,ȱthe

65 Cuffel,ȱGenderingȱDisgust,ȱ67. 66 Claudiusȱ Aelianus,ȱ Deȱ naturaȱ animaliumȱ X.16,ȱ newestȱ edition:ȱ Claudiusȱ Aelianus,ȱ Deȱ natura animalium,ȱed.ȱManuelaȱGarcíaȱValdés,ȱLuisȱAlfonsoȱLleraȱFueyo,ȱandȱLucíaȱRodríguezȬNoriega Guillén.ȱBibliothecaȱscriptorumȱGraecorumȱetȱRomanorumȱTeubneriana,ȱ2006ȱ(Berlin:ȱdeȱGruyter, 2009),ȱtheȱlinkageȱpointedȱoutȱbyȱFabreȬVassas,ȱTheȱSingularȱBeast,ȱ108.ȱTheȱfearȱofȱcontacting leprosyȱasȱaȱreasonȱforȱtheȱJews’ȱabhorrenceȱofȱporkȱhadȱbeenȱtheȱpunȱofȱseveralȱjokesȱinȱGreek andȱRomanȱantiqueȱliterature,ȱseeȱSevenster,ȱTheȱRootsȱofȱPaganȱantiȬSemitism,ȱ135–39. 67 Seeȱ Shachar,ȱ Judensau,ȱ pl.ȱ 18ȱ (Metz,ȱ Regensburg),ȱ 19–21ȱ (Uppsala),ȱ 23ȱ (Gniezno),ȱ 25bȱ andȱ c (Nordhausen),ȱ26–27ȱ(Wittenberg).ȱOtherȱJudensauȱstatuesȱhaveȱbeenȱdocumentedȱforȱAhrweiler (ca.ȱ 1295,ȱ gargoyleȱ atȱ Stȱ Laurent’sȱ church),ȱ Bacherachȱ (ca.ȱ 1290,ȱ Werner’sȱ chapel,ȱ gargoyle), Bambergȱ (Cathedral),ȱ Baselȱ (ca.ȱ 1432,ȱ destroyed),ȱ Bayreuthȱ (parishȱ church),ȱ Bützowȱ (midȬ fourteenthȱcentury,ȱabbeyȱchurch),ȱCalbeȱ(gargoyleȱatȱSt.ȱStephen’sȱchurch),ȱNurembergȱ(ca.1370, eastȱchoirȱofȱSt.ȱSebald’sȱchurch)ȱandȱZerbstȱ(twoȱexamples:ȱStȱNicolas’ȱchurch,ȱca.ȱ1447;ȱcarved woodenȱ beamȱ fromȱ aȱ residentialȱ houseȱ atȱ theȱ marketȱ place,ȱ nowȱ municipalȱ museum),ȱ see HermannȱRusam,ȱJudensauȬDarstellungenȱinȱderȱplastischenȱKunstȱBayerns:ȱeinȱZeugnisȱchristlicher Judenfeindschaft.ȱBegegnungen,ȱ90,ȱSonderheftȱ(Hanover:ȱEvangelischȬLutherischerȱZentralverein fürȱ Begegnungȱ vonȱ Christenȱ undȱ Juden,ȱ 2007)ȱ andȱ theȱ illustratedȱ bookȱ byȱ Reginaȱ E.ȱ G. Schymiczek,ȱHöllenbrutȱundȱHimmelswächter:ȱMittelalterlicheȱWasserspeierȱanȱKirchenȱundȱKathedralen (Regensburg:ȱSchnellȱ&ȱSteiner,ȱ2006).ȱTheȱoftenȱlistedȱgateȱatȱRemagenȱshowsȱaȱsowȱandȱpiglets thatȱ is,ȱ despiteȱ theȱ similaritiesȱ inȱ theȱ structure,ȱ withoutȱ anyȱ referenceȱ toȱ Jews,ȱ seeȱ Shachar, Judensau,ȱ12ȱandȱpl.ȱ2ȱandȱ3a. 68 Shachar,ȱJudensau,ȱ31–32. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 339 additionalȱaspect(s)ȱthatȱwasȱalreadyȱpresentȱinȱtheȱearliestȱsculpturesȱwasȱdrifting moreȱandȱmoreȱintoȱtheȱfocus:ȱwithȱtheȱJewsȱtakingȱupȱmoreȱandȱmoreȱspace, becomingȱmoreȱprominentȱforegroundȱplayers,ȱtheyȱwereȱbeingȱmoreȱandȱmore condemnedȱsolelyȱforȱbeingȱJewsȱthanȱforȱbeingȱsinnersȱstickingȱtoȱtheirȱvices. Evenȱifȱweȱwillȱhaveȱtoȱsetȱtheȱ‘explicitȱabusiveȱintention’ȱaȱlotȱearlierȱthanȱShachar, inȱfactȱwithȱtheȱfirstȱappearanceȱofȱtheȱJudensau,ȱitȱisȱquiteȱobviousȱthatȱaȱshiftȱin theȱcentralȱmeaningȱofȱtheȱmotifȱoccured.ȱ Firstȱ andȱ foremost,ȱ theȱ Judensauȱ movesȱ fromȱ insideȱ toȱ theȱ outsideȱ ofȱ the churches.ȱWithȱtheȱexceptionȱofȱtheȱJudensauȱgargoyleȱofȱBadȱWimpfen,ȱwhichȱis placedȱ aboutȱ eightȱ metresȱ aboveȱ ground,69ȱ theȱ thirteenthȬcenturyȱ Judensäue remainedȱonȱtheȱinside:ȱtheȱatriumȱofȱtheȱrespectiveȱchurchesȱinȱMagdeburgȱand Lemgo,ȱtheȱnaveȱinȱEberswalde,ȱandȱtheȱchoirȱandȱtheȱcloistersȱofȱXantenȱand Brandenburg,ȱ respectively.ȱ Theseȱ sculpturesȱ andȱ friezesȱ were,ȱ unlikeȱ their successors,ȱvisibleȱonlyȱbyȱtheȱvisitorsȱofȱtheȱchurch,ȱsomeȱtoȱanȱevenȱmoreȱlimited groupȱofȱpeople,ȱthoseȱwithȱlimitedȱaccess,ȱe.g.,ȱtoȱtheȱcloistersȱofȱtheȱBrandenburg Cathedral.ȱ Howeverȱ much,ȱ though,ȱ theseȱ Judensäueȱ mightȱ haveȱ educated, disgusted,ȱandȱamusedȱChristianȱchurchgoers,ȱthereȱwasȱonlyȱaȱscantȱchanceȱthat theyȱwereȱeverȱseenȱbyȱJews,70ȱandȱevenȱso,ȱtheirȱpositioningȱinsideȱchurchesȱgives evidenceȱthatȱJewsȱwereȱnotȱtheȱtargetȱaudience.ȱTheyȱwereȱnotȱintendedȱasȱjokes, andȱevenȱifȱtheyȱevokeȱaȱsmileȱfromȱaȱpassingȬbyȱmonkȱorȱvisitor,ȱtheirȱunderlying meaningȱisȱdeadȱserious:ȱaȱwarningȱforȱtheȱChristiansȱnotȱtoȱbecomeȱaȱsinner, whichȱwasȱillustratedȱbyȱaȱseriesȱofȱdepictionsȱtheȱJewsȱwereȱmerelyȱaȱpartȱof. TheȱJudensäueȱ(pl.)ȱthatȱfollowȱtheseȱearlyȱexamplesȱareȱplacedȱquiteȱdifferently withinȱtheȱecclesiasticalȱandȱurbanȱspace.ȱAlthoughȱsomeȱremainȱprivyȱtoȱtheȱeyes ofȱaȱfew,ȱlikeȱtheȱcarvedȱreliefsȱinȱtheȱchoirȱstallsȱofȱtheȱCathedralsȱofȱNordhausen andȱCologne,ȱtheȱlatterȱofȱwhich,ȱinȱadditionȱtoȱtheȱsowȬfeedingȱandȱ–suckling, featuresȱaȱquiteȱlikelyȱallusionȱtoȱtheȱWernerȱofȱOberweselȱlegend,71ȱorȱtheȱcapitals inȱGnieznoȱ(Poland)ȱandȱMetzȱ(France)ȱthatȱareȱstillȱinȱtheȱinsideȱofȱtheȱchurches. TheȱmajorityȱofȱtheȱJudensäueȱofȱtheȱfollowingȱcenturies,ȱhowever,ȱwereȱvisible fromȱtheȱoutside:ȱgargoyles,ȱlikeȱonȱtheȱStȱMartin’sȱMinsterȱofȱColmarȱ(France, southȱ ofȱ Strasbourg)ȱ orȱ theȱ Stȱ Mary’sȱ churchȱ ofȱ Heiligenstadtȱ (southȬeastȱ of Göttingen),ȱorȱreliefȱsculpturesȱlikeȱtwoȱofȱtheȱmostȱprominentȱexamples,ȱthoseȱof theȱCathedralȱofȱRegensburgȱ(Ratisbon,ȱseeȱfigureȱ2)ȱandȱtheȱparishȱchurchȱat Wittenbergȱ(seeȱfigureȱ3).ȱAlthoughȱtheyȱareȱplacedȱupȱhighȱ(sevenȱandȱeight

69 Shachar,ȱJudensau,ȱ12–13. 70 WhileȱthereȱisȱdefiniteȱevidenceȱofȱChristiansȱshowingȱnoȱqualmsȱtoȱenterȱaȱsynagogue,ȱ the questionȱwhetherȱJewsȱhadȱ(andȱwanted)ȱaccessȱtoȱchurchesȱisȱmuchȱdebated,ȱseeȱlatelyȱMartha Keil,ȱ“OrteȱderȱjüdischenȱÖffentlichkeit:ȱJudenviertel,ȱSynagoge,ȱFriedhof,”ȱEinȱThemaȱ–ȱzwei Perspektiven,ȱ170–86. 71 Shachar,ȱJudensau,ȱ24–25;ȱRohrbacherȱandȱSchmidt,ȱJudenbilder,ȱ310–11. Bereitgestellt von | De Gruyter / TCS 340 BirgitȱWiedl metersȱrespectively),ȱtheyȱareȱinȱplainȱviewȱofȱanyȱpasserȬbyȱwhoȱnoȱlongerȱhad toȱenterȱtheȱchurchȱtoȱexperienceȱaȱshudderȱofȱdisgustȱandȱshareȱaȱgoodȱlaughȱat theȱbizarreȱsightȱofȱhumansȱorȱhalfȬhumansȱsucklingȱtheȱteatsȱofȱaȱswine.ȱShachar identifiesȱtheȱRegensburgȱsculptureȱasȱpartȱofȱaȱcycleȱofȱvirtuesȱandȱvices—there areȱsculpturesȱofȱotherȱanimalsȱnextȱtoȱandȱaboveȱtheȱbuttressȱthatȱcarriesȱthe Judensau—butȱheȱisȱdefinitelyȱaȱtadȱtooȱgentleȱwhenȱheȱdoubtsȱanyȱintentionȱas antiȬJewishȱmockery.72ȱ Howeverȱ muchȱ theȱ cityȱ ofȱ Regensburg,ȱ whereȱ oneȱ ofȱ theȱ largestȱ Jewish communitiesȱ withinȱ theȱ realmsȱ ofȱ theȱ Holyȱ Romanȱ Empireȱ wasȱ allowedȱ to flourish,ȱtendedȱtoȱbeȱprotectiveȱofȱtheirȱJewsȱandȱevenȱactivelyȱshieldedȱthem fromȱtheȱRindfleischȱriotsȱinȱ1298ȱandȱtheȱpersecutionsȱaccompanyingȱtheȱBlack Deathȱinȱ1349/50,73ȱthereȱisȱnoȱdenyingȱtheȱatȱleastȱadditional,ȱifȱnotȱalreadyȱbasic purposeȱ ofȱ deridingȱ theȱ Jewsȱ byȱ useȱ ofȱ aȱ metaphoricalȱ languageȱ evenȱ the inhabitantsȱofȱaȱ‘JewȬfriendly’ȱcityȱasȱRegensburgȱwouldȱunderstandȱimmediately; evenȱmoreȱsoȱsinceȱtheȱmainȱJewishȱlivingȱquartersȱwereȱlocatedȱinȱclosestȱvicinity ofȱtheȱCathedral,ȱtheȱJudensauȱthereforeȱbeingȱwithinȱimmediateȱsightȱofȱthoseȱit wasȱmocking.74ȱ Theȱ caseȱ isȱ differentȱ inȱ Wittenberg:75ȱ perhapsȱ theȱ mostȱ wellȬknownȱ ofȱ the Judensauȱ sculpturesȱ dueȱ toȱ Martinȱ Luther’sȱ referenceȱ toȱ itȱ inȱ hisȱ Vomȱ Schem Hamphorasȱ undȱ vomȱ Geschlechtȱ Christiȱ andȱ theȱ inscriptionȱ subsequentlyȱ placed aboveȱtheȱsculpture,ȱitȱwasȱhoweverȱquiteȱsingularȱalreadyȱinȱitsȱtimeȱofȱorigin. Notȱonlyȱisȱthereȱnoȱevidenceȱofȱitȱbeingȱpartȱofȱaȱlargerȱmotifȱorȱcycle,ȱbutȱitȱtakes upȱtheȱtopicȱofȱoneȱofȱtheȱJewsȱfondlingȱtheȱsow’sȱhindquartersȱinȱaȱveryȱdistinctly obsceneȱway.ȱHadȱtheȱpreviousȱexecutionȱofȱthisȱmotifȱconsistedȱinȱJewsȱmerely touchingȱtheȱsow’sȱhindquartersȱorȱtail,ȱtheȱJewȱofȱWittenbergȱgrabsȱtheȱsow’s behindȱwithȱbothȱhands,ȱwithȱoneȱhandȱliftingȱtheȱanimal’sȱrightȱhindȬleg,ȱwithȱthe otherȱliftingȱorȱholdingȱitsȱtail.ȱHisȱheadȱisȱtiltedȱtoȱtheȱside,ȱandȱthereȱcanȱbeȱno mistakingȱasȱtoȱwhereȱhisȱgazeȱisȱdirected:ȱrightȱatȱtheȱsow’sȱanus.ȱWhereasȱearlier Judensäueȱ serveȱ multipleȱ purposes—representationȱ ofȱ vices,ȱ warningȱ toȱ the

72 Shachar,ȱJudensau,ȱ26–27. 73 GermaniaȱJudaica,ȱvol.ȱII:ȱVonȱ1238ȱbisȱzurȱMitteȱdesȱ14.ȱJahrhunderts,ȱpartȱ2:ȱMaastrichtȱ–ȱZwolle,ȱed. ZwiȱAvneriȱ(Tübingen:ȱJ.ȱC.ȱB.ȱMohr,ȱ1968),ȱ679–80;ȱJonathanȱElukin,ȱLivingȱTogether,ȱLivingȱApart: RethinkingȱJewishȬChristianȱRelationsȱinȱtheȱMiddleȱAges.ȱJews,ȱChristians,ȱandȱMuslimsȱfromȱthe AncientȱtoȱtheȱModernȱWorldȱ(PrincetonȱandȱOxford:ȱPrincetonȱUniversityȱPress,ȱ2007),ȱ106–09. 74 Forȱtheȱlocationȱofȱtheȱ‘Jewishȱquarter’,ȱseeȱGermaniaȱJudaica,ȱvol.ȱI:ȱVonȱdenȱältestenȱZeitenȱbisȱ1238, ed.ȱIsmarȱElbogen,ȱAronȱFreimann,ȱandȱHaimȱTykocinskiȱ(Tübingen:ȱJ.ȱC.ȱB.ȱMohr,ȱ1963),ȱ287–88, andȱwithȱsomeȱcorrectionsȱGermaniaȱJudaicaȱII/2,ȱ686,ȱandȱMarkusȱWenninger,ȱ“Grenzenȱinȱder Stadt?ȱ Zurȱ Lageȱ undȱ Abgrenzungȱ mittelalterlicherȱ deutscherȱ Judenviertel,”ȱ Grenzenȱ und Grenzüberschreitungen:ȱKulturelleȱBeziehungenȱzwischenȱJudenȱundȱChristenȱimȱMittelalter,ȱed.ȱEdith Wenzel.ȱPartȱofȱAschkenas:ȱZeitschriftȱfürȱGeschichteȱundȱKulturȱderȱJudenȱ14.1ȱ(2004):ȱ9–29;ȱhereȱ19.ȱ 75 Shachar,ȱJudensau,ȱ30–31,ȱ43–51ȱ(onȱtheȱlaterȱhistoryȱofȱtheȱWittenbergȱJudensau),ȱpl.ȱ26–27. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 341

Christians,ȱjibingȱatȱJews—theȱ‘new’ȱonesȱshowȱaȱsingleȱintention,ȱandȱthatȱisȱto insultȱtheȱJewsȱonȱasȱmanyȱlevelsȱasȱpossible.ȱ Withȱrespectȱtoȱtheȱcomicalȱfactor,ȱthisȱmoveȱofȱtheȱJudensauȱfromȱtheȱinsideȱto theȱoutsideȱcannotȱbeȱunderestimatedȱinȱitsȱimpact.ȱTheȱrecognitionȱofȱlaughing, orȱratherȱtheȱdifferentȱformsȱlaughterȱcanȱtakeȱon,ȱasȱaȱwayȱofȱsocialȱinteraction goesȱbackȱaȱlongȱway,76ȱwhileȱtheȱideaȱofȱtheȱimminentȱimportanceȱofȱ(ritualsȱof) laughterȱforȱtheȱconstitution,ȱconsolidation,ȱandȱcommunicationȱofȱcommunities hasȱbeenȱunderrepresented,77ȱatȱleastȱinȱaȱhistoricalȱcontext.ȱWernerȱRöckeȱand HansȱRudolfȱVeltenȱhaveȱinȱtheirȱanthologyȱtranslatedȱtheȱconceptȱofȱ‘laughing communities’ȱ (Lachgemeinschaften)ȱ intoȱ theȱ historicalȱ perspective,ȱ stressingȱ its importanceȱforȱtheȱconstitutionȱofȱcommunitiesȱandȱtheirȱselfȬdefinition.ȱInȱthe contextȱofȱtheseȱlaughingȱcommunities,78ȱitȱbecomesȱobviousȱthatȱtheȱrelocationȱof theȱJudensauȱhadȱmultipleȱeffectsȱonȱbothȱtheȱlaughersȱandȱthoseȱlaughedȱat.ȱBy translatingȱitȱfromȱtheȱecclesiasticalȱintoȱtheȱlayȱsphereȱandȱmovingȱitȱdownȱfrom itsȱ formerȱ heightsȱ toȱ theȱ (almost)ȱ eyeȱ levelȱ ofȱ theȱ commoners,ȱ theȱ laughing communityȱincreasedȱrapidlyȱinȱnumber.ȱInȱadditionȱtoȱthat,ȱtheȱlaughterȱtookȱon aȱnewȱqualityȱsinceȱtheȱJewsȱwereȱexcludedȱfromȱthisȱcommunityȱinȱaȱcompletely differentȱway.79ȱInȱcontrastȱtoȱbefore,ȱwhenȱtheyȱwereȱexcludedȱfromȱaȱjokeȱthat wasȱtoldȱatȱaȱplaceȱwhereȱtheyȱhadȱnoȱorȱatȱbestȱonlyȱveryȱrestrictedȱaccessȱto,ȱthey wereȱnowȱshutȱoutȱfromȱitȱinȱpublic,ȱmaybeȱevenȱinȱtheirȱpresence,ȱunderȱtheȱeyes ofȱthoseȱwhoȱwere,ȱatȱthatȱveryȱmoment,ȱhavingȱfunȱatȱtheirȱexpense.ȱAlthough thisȱpracticeȱofȱcombiningȱtwoȱactions—excludingȱaȱspecificȱgroupȱfromȱtheȱ‘inȬ group’ȱofȱlaughersȱandȱsimultaneouslyȱexposingȱthemȱasȱtheȱtargetedȱlaughing stocksȱinȱtheirȱpresence—wasȱquiteȱcommonlyȱusedȱbothȱinȱpictoralȱartȱandȱon stageȱagainstȱseveralȱgroupsȱorȱindividuals,ȱe.g.,ȱwomen,ȱbeggars,ȱorȱevenȱthe authority,ȱtheȱJewsȱremainedȱaȱprimeȱtarget.80ȱTheȱfurtherȱdevelopmentȱofȱthe

76 ForȱaȱrecentȱsumȬupȱofȱtheȱdevelopmentȱofȱtheoriesȱonȱlaughter,ȱseeȱWernerȱRöckeȱandȱHans RudolfȱVelten,ȱ“Einleitung,”ȱLachgemeinschaften:ȱKulturelleȱInszenierungenȱundȱsozialeȱWirkungen imȱMittelalterȱundȱinȱderȱFrühenȱNeuzeit,ȱed.ȱWernerȱRöckeȱandȱHansȱRudolfȱVelten.ȱTrendsȱin MedievalȱPhilologyȱ4ȱ(BerlinȱandȱNewȱYork:ȱdeȱGruyter,ȱ2005),ȱix–xxxi;ȱhereȱxi–xxiv. 77 Gerdȱ Althoff,ȱ “Vomȱ Lächelnȱ zumȱ Verlachen,”ȱ Lachgemeinschaften,ȱ 3–16;ȱ hereȱ 4.ȱ Ofȱ extreme importanceȱforȱtheȱrecognitionȱofȱlaughterȱasȱaȱsocialȱprocessȱisȱMaryȱDouglas’sȱanthropological essayȱ“TheȱSocialȱControlȱofȱCognition:ȱSomeȱFactorsȱinȱJokeȱPperception,”ȱfirstȱpublishedȱinȱ1970, latestȱreprintȱinȱImplicitȱMeanings:ȱSelectedȱEssaysȱinȱAnthropology.ȱSec.ȱed.ȱCollectedȱworksȱofȱMary Douglas,ȱ5ȱ(NewȱYorkȱandȱLondon:ȱRoutledgeȱ&ȱKeganȱPaul,ȱ1975),ȱ146–64.ȱSeeȱalsoȱAlbrecht Classen’sȱcommentȱinȱtheȱIntroductionȱtoȱtheȱpresentȱvolume. 78 Forȱaȱdefinitionȱofȱtheȱtermȱ‘Lachgemeinschaften,’ȱseeȱRöckeȱandȱVelten,ȱ“Einleitung,”ȱix–xxxi. 79 Unfortunately,ȱIȱdidȱnotȱhaveȱtheȱpossibilityȱtoȱlookȱintoȱtheȱbasicȱworkȱofȱEugèneȱDupreel,ȱwho hasȱdistinguishedȱinȱhisȱsociologicalȱessayȱLeȱproblèmeȱsociologicqueȱduȱrireȱbetweenȱ‘including’ȱand ‘excluding’ȱlaughterȱ(rireȱd’acceuilȱvs.ȱrireȱd’exclusion,ȱquotedȱafterȱRöckeȱandȱVelten,ȱ“Einleitung,” xiii),ȱyetȱhisȱdistinctionȱrequiresȱfurtherȱsubdivisions. 80 Christophȱ Auffarth,ȱ “Alleȱ Tageȱ Karneval?ȱ Reformation,ȱ Provokationȱ undȱ Grobianismus,” GlaubensstreitȱundȱGelächter,ȱ79–105;ȱhereȱ87. Bereitgestellt von | De Gruyter / TCS 342 BirgitȱWiedl

Judensauȱ givesȱ ampleȱ evidenceȱ toȱ this.ȱ Standingȱ alone,ȱ outsideȱ anyȱ context, moralisingȱorȱotherwise,ȱtheȱJudensauȱisȱnoȱlongerȱanȱallegoryȱofȱsinnersȱinȱthe ‘shape’ȱofȱJewsȱbutȱaȱdepictionȱofȱJews.ȱFurthermore,ȱtheȱtendencyȱtoȱanȱemphasis ofȱtheȱobsceneȱisȱincreasingȱandȱtranslatedȱintoȱotherȱmeansȱofȱdisseminationȱthat takeȱupȱtheȱtopic. Oneȱofȱtheȱmostȱimportantȱshiftsȱthatȱcharacterizesȱtheȱdevelopmentȱofȱtheȱmotif duringȱtheȱfifteenthȱandȱsixteenthȱcenturiesȱisȱaȱfurtherȱexpansionȱofȱnotȱonlyȱthe audienceȱbutȱalsoȱtheȱ‘owners’ȱofȱJudensauȱsculptures.ȱHadȱtheȱmoveȱfromȱthe insideȱtoȱtheȱoutsideȱofȱchurchesȱandȱmonasteriesȱalreadyȱbroughtȱnewȱqualities andȱ aspects—whileȱ reducingȱ others—theȱ Judensauȱ becomesȱ moreȱ andȱ more personalizedȱinȱtheȱcourseȱofȱtheȱEarlyȱModernȱPeriod.ȱSecularȱauthorities,ȱbutȱalso nonȬofficialȱ parties,ȱ evenȱ individuals,ȱ beginȱ toȱ takeȱ holdȱ ofȱ theȱ possibilityȱ to acquireȱtheirȱown,ȱpersonalȱJudensau.ȱTheȱtownȱofficialsȱofȱSalzburgȱ(Austria)ȱpaid theȱconsiderableȱsumȱofȱsixȱflorinsȱtoȱtheȱknownȱsculptorȱHansȱValkenauerȱandȱthe painterȱHeinrichȱumbȱdenȱJudenȱundȱsawȱratturmȱ(‘forȱtheȱJewsȱandȱsowȱ[onȱthe] towerȱofȱtheȱtownȱhall’,ȱseeȱfigureȱ4)ȱinȱ1487,81ȱtheȱgateȱofȱtheȱcastleȱatȱCadolzburg (westȱofȱNuremberg)ȱasȱwellȱasȱ(presumably)ȱaȱgateȱinȱtheȱtownȱofȱAschersleben (southȱofȱMadgeburg)ȱsportedȱaȱJudensau.82ȱReliefsȱwithȱsowsȱsucklingȱJewsȱappear onȱ privateȱ houses,ȱ likeȱ aȱ pharmacyȱ inȱ Bavaria’sȱ Kelheimȱ (southwestȱ of Regensburg),ȱorȱinȱSpaltȱ(southȱofȱNuremberg)83ȱandȱWienerȱNeustadt,ȱ(Austria, southȱofȱVienna)84—everyoneȱcouldȱhaveȱtheirȱownȱJudensau,ȱatȱleastȱthoseȱwho couldȱaffordȱit,ȱcouldȱbringȱitȱintoȱtheirȱownȱhomeȱandȱenjoyȱtheȱjokeȱinȱprivate. Theyȱcouldȱpresentȱtheȱjokeȱtoȱothersȱandȱshareȱaȱlaughȱwithȱthem.ȱTheȱonceȱrather sophisticatedȱ(yetȱnoȱlessȱcruel)ȱwitticism,ȱunderstandableȱinȱitsȱentiretyȱtoȱonlyȱa fewȱlearnedȱscholars,ȱhadȱliterallyȱmovedȱdownȱfromȱchurchȱspiresȱandȱoutȱof cloistersȱandȱhadȱturnedȱintoȱaȱbroadȱjokeȱthatȱwasȱaccessibleȱtoȱeveryoneȱwho happenedȱtoȱpassȱby.ȱTheȱJudensauȱhadȱnowȱentirelyȱmovedȱfromȱtheȱecclesiastical toȱtheȱlayȱsphere;ȱnotȱonlyȱcouldȱitȱbeȱseenȱbutȱalsoȱownedȱbyȱlayȱpeople.ȱThisȱalso

81 Archivȱ derȱ Stadtȱ Salzburgȱ (Municipalȱ Archivesȱ ofȱ Salzburg),ȱ BUȱ 264,ȱ Raitbuchȱ Hans Glavenberger,ȱentryȱtoȱ1487.ȱElevenȱyearsȱlater,ȱtheȱJewsȱofȱSalzburgȱwereȱexpulsed,ȱseeȱMarkus Wenninger,ȱ“ZurȱGeschichteȱderȱJudenȱinȱSalzburg,”ȱGeschichteȱSalzburgsȱStadtȱundȱLand,ȱI.2: Mittelalter,ȱed.ȱHeinzȱDopschȱundȱHansȱSpatzeneggerȱ(Salzburg:ȱAntonȱPustet,ȱ1983),ȱ747–56,ȱhere 755–56. 82 Shachar,ȱJudensau,ȱ37–38,ȱwhoȱisȱhoweverȱdoubtfulȱofȱtheȱAscherlebenȱexampleȱsinceȱtheȱonly referenceȱisȱtoȱaȱgateȱcalledȱSautorȱ(‘sow’sȱgate’). 83 ThereȱisȱaȱsecondȱJudensauȱtoȱbeȱfoundȱinȱSpalt,ȱatȱtheȱparishȱchurchȱStȱWenceslasȱofȱTheilenberg, todayȱanȱurbanȱdistrictȱofȱSpalt. 84 Shachar,ȱJudensau,ȱ38–40;ȱEvelineȱBrugger,ȱ“VonȱderȱAnsiedlungȱbisȱzurȱVertreibungȱ–ȱJudenȱin ÖsterreichȱimȱMittelalter,”ȱGeschichteȱderȱJudenȱinȱÖsterreich,ȱed.ȱead.,ȱChristophȱLind,ȱAlbert Lichtblau,ȱandȱBarbaraȱStaudinger.ȱÖsterreichischeȱGeschichte,ȱ15ȱ(Vienna:ȱUeberreuter,ȱ2006), 123–228;ȱhereȱ176ȱ(illustrationȱofȱtheȱWienerȱNeustädterȱJudensau). Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 343 meantȱthatȱJewsȱnowȱcouldȱnotȱonlyȱseeȱtheȱJudensau,ȱbutȱknewȱpreciselyȱwho meantȱthemȱtoȱseeȱit,ȱaddingȱaȱpersonalȱlayerȱtoȱtheȱmultipleȱlevelsȱofȱinsult.ȱ Amongȱ these—thoughȱ notȱ aȱ sculptureȱ butȱ aȱ painting—isȱ theȱ Judensauȱ of Frankfurt,ȱalongȱwithȱtheȱWittenbergȱexampleȱtheȱmostȱinfluentalȱandȱwidespread depiction.85ȱPlacedȱinȱtheȱpublicȱpassageȱofȱtheȱAlteȱBrückenturm,ȱtheȱbusyȱpassage acrossȱtheȱriverȱMain,ȱandȱoriginallyȱsetȱnextȱtoȱaȱcrucifixion,ȱitȱintroducedȱinȱall clarityȱwhatȱtheȱJudensauȱofȱtheȱchoirȱstallȱinȱCologneȱhadȱmerelyȱhintedȱat:ȱAbove theȱJudensau,ȱaȱmaleȱchildȱwasȱdepicted,ȱhisȱnakedȱbodyȱcoveredȱinȱwoundsȱwhile aȱdescriptionȱexplainedȱtoȱtheȱpasserȬbysȱthatȱthisȱwas,ȱinȱfact,ȱtheȱfamousȱchildȬ martyrȱ Simonȱ ofȱ Trentȱ whoȱ hadȱ beenȱ allegedlyȱ murderedȱ byȱ Jewsȱ inȱ 1475, triggeringȱaȱproductionȱofȱbroadsheetsȱthatȱaidedȱinȱspreadingȱtheȱ‘facts’ȱinȱa ‘propagandaȱcampaignȱuniqueȱtoȱtheȱlateȱmiddleȱages’.86ȱCombinedȱwithȱaȱdisplay ofȱ hithertoȱ unsurpassedȱ obscenity,ȱ theȱ effectȱ theȱ Frankfurtȱ renditionȱ ofȱ the Judensauȱhadȱmustȱhaveȱbeenȱoverwhelming,ȱevokingȱaȱplethoraȱofȱfeelingsȱand sentimentsȱthatȱspannedȱfromȱabhorrenceȱandȱloathingȱtoȱdisgustȱandȱfear,ȱand, noȱdoubt,ȱlaughterȱofȱallȱkinds.ȱMoreȱthanȱitsȱpredecessors,87ȱtheȱFrankfurtȱJudensau isȱ blatantly,ȱ evenȱ agressivelyȱ obscene,ȱ addingȱ andȱ reȬarrangingȱ elementsȱ that derivedȱnotȱonlyȱfromȱtheȱotherȱsculpturedȱJudensäueȱbutȱshowedȱclearȱinfluence ofȱtheȱperhapsȱmostȱcrucialȱmeansȱinȱtheȱfurtherȱdisseminationȱofȱtheȱmotif,ȱthe woodcutȱpamphletsȱthatȱhadȱappearedȱinȱtheȱfirstȱhalfȱofȱtheȱfifteenthȱcenturyȱ(see figureȱ5).88ȱTheȱsimilaritiesȱareȱstriking:ȱapartȱfromȱtheȱsucklingȱJews,ȱthereȱisȱa

85 Shachar,ȱJudensau,ȱ43–51ȱ(laterȱhistoryȱofȱtheȱWittenbergȱJudensau),ȱ52–61ȱ(laterȱhistoryȱofȱthe FrankfurtȱJudensau). 86 ChristineȱMaginȱandȱFalkȱEisermann,ȱ“‘Ettwasȱzuȱsagenȱvonȱdenȱiuden’.ȱThemenȱundȱFormen antijüdischerȱ Einblattdruckeȱ imȱ spätenȱ 15.ȱ Jahrhundert,”ȱ Frömmigkeit—Theologie—FrömmigȬ keitstheologie:ȱ Contributionsȱ toȱ Europeanȱ Churchȱ History.ȱ Festschriftȱ fürȱ Berndtȱ Hammȱ zumȱ 60. Geburtstag,ȱed.ȱGudrunȱLitz,ȱHeidrunȱMunzertȱandȱRolandȱLiebenberg.ȱStudiesȱinȱtheȱHistoryȱof ChristianȱTraditions,ȱ124ȱ(LeidenȱandȱBoston:ȱBrill,ȱ2005),ȱ173–193;ȱhereȱ180.ȱSeeȱtheȱseminalȱstudy byȱ Wolfgangȱ Treue,ȱ Derȱ Trienterȱ Judenprozeß:ȱ Voraussetzungen—Abläufe—Auswirkungen (1475–1588).ȱForschungenȱzurȱGeschichteȱderȱJuden,ȱAbteilungȱA:ȱAbhandlungen,ȱ4ȱ(Hanover: HahnscheȱBuchhandlung,ȱ1996),ȱwhoȱprovidesȱevidenceȱforȱtheȱfactȱthatȱnoȱincidentȱhadȱuntilȱthen provokedȱsuchȱaȱnumberȱofȱprintingsȱtoȱcirculateȱ(521).ȱForȱaȱuseȱofȱtheȱdogȬimageȱinȱtheȱcourse ofȱtheȱaccusationȱofȱtheȱmurderȱofȱSimonȱofȱTrent,ȱseeȱStow,ȱJewishȱDogs,ȱ6. 87 TheȱdatingȱofȱtheȱFrankfurtȱJudensauȱisȱstillȱdebated:ȱShachar,ȱJudensau,ȱ36–37,ȱsuggestsȱaȱdate betweenȱ1475ȱandȱ1507,ȱTreue,ȱJudenprozeß,ȱ452–56,ȱpostponesȱitȱtoȱtheȱmidȬsixteenthȱcentury, whileȱGrebner,ȱ“DieȱJudensaudarstellungȱamȱFrankfurterȱBrückentorȱalsȱSchandbild,”ȱ90,ȱpleads inȱfavourȱofȱaȱtimeȱofȱ originȱ duringȱtheȱreignȱofȱEmperorȱMaximilianȱIȱ(whoȱhadȱaȱdistinct preferenceȱforȱtheȱcultȱofȱSimonȱofȱTrent,ȱseeȱRonnieȱPoȬChiaȱHsia,ȱTrentȱ1475:ȱStoriesȱofȱaȱRitual MurderȱTrial.ȱSec.ȱed.ȱ(NewȱHaven:ȱYaleȱUniversityȱPress,ȱ1996),ȱ129,ȱTreue,ȱJudenprozeß,ȱ473–74). 88 Forȱ theȱ earlyȱ woodcuts,ȱ seeȱ Shachar,ȱ Judensau,ȱ 34–35;ȱ Mellinkoff,ȱ Outcasts,ȱ 108;ȱ Maginȱ and Eisermann,ȱ“‘Ettwasȱzuȱsagenȱvonȱdenȱiuden”;ȱKurtȱErichȱSchöndorf,ȱ‘JudenhaßȱundȱToleranzȱim SpiegelȱvonȱFlugschriftenȱundȱEinblattdruckenȱdesȱ16.ȱJahrhunderts,’ȱHaß,ȱVerfolgungȱundȱToleranz: BeiträgeȱzumȱSchicksalȱderȱJudenȱvonȱderȱReformationȱbisȱinȱdieȱGegenwart,ȱed.ȱThomasȱSirgesȱandȱid. OsloerȱBeiträgeȱzurȱGermanistik,ȱ24ȱ(Frankfurtȱa.ȱM.,ȱBerlin,ȱBern,ȱetȱal.:ȱPeterȱLang,ȱ2000),ȱ11–46, Bereitgestellt von | De Gruyter / TCS 344 BirgitȱWiedl

Jew,ȱinȱsomeȱreproductionsȱidentifiedȱasȱtheȱMessiah,89ȱridingȱbackwardsȱwhile liftingȱtheȱsow’sȱtail,ȱanotherȱoneȱisȱkneelingȱbehindȱtheȱsow,ȱwithȱtheȱanimal’s excrementȱgushingȱintoȱhisȱeagerlyȱopenedȱmouthȱwhileȱinȱsomeȱrenditions,ȱthe sowȱtooȱisȱdevouringȱaȱpileȱofȱexcrement.ȱThisȱparticularlyȱdisgustingȱmotifȱofȱthe Jewsȱnotȱonlyȱsucklingȱtheȱsow’sȱmilkȱbutȱdevouringȱitsȱexcrement,ȱhadȱbeen introducedȱbyȱtheȱwoodcuts,ȱitsȱonlyȱpossibleȱforerunnerȱbeingȱtheȱJudensauȱatȱthe eastȱchoirȱofȱStȱSebald’’sȱchurchȱinȱNurembergȱ(ca.ȱ1380,ȱseeȱfigureȱ6),ȱwhereȱaȱJew isȱcollectingȱtheȱsow’sȱexcrementȱinȱaȱbowl.ȱFaecesȱwere,ȱbyȱbothȱscholarlyȱand popularȱbelief,ȱtheȱfoodȱofȱtheȱdevil,90ȱthusȱestablishing,ȱorȱratherȱcementing,ȱthe demonizationȱofȱtheȱJewsȱthatȱwasȱfurtherȱenhancedȱbyȱtheȱappearanceȱofȱtheȱgoat inȱtheȱbackground.ȱTheȱwoodcuts,ȱdistributedȱviaȱtheȱnewȱ‘massȱmedia’ȱofȱleaflets andȱbroadsheetsȱthatȱliterallyȱfloodedȱtheȱHolyȱRomanȱEmpireȱinȱtheȱReformation period,91ȱ areȱ theȱ singleȱ antiȬJewishȱ joke,ȱ oftenȱ accompanyiedȱ byȱ variousȱ texts whichȱfurtherȱemphasizeȱtheȱjokesȱthatȱwereȱmadeȱatȱtheȱJews’ȱexpense:ȱatȱthe bottomȱofȱtheȱearliestȱofȱitsȱrenditions,92ȱitȱisȱexplainedȱthatȱ‘thisȱisȱwhyȱweȱdoȱnot eatȱroastȱpork,ȱandȱthusȱweȱareȱlustfulȱandȱourȱbreathȱstinks’ȱ(umbȱdazȱwirȱnitȱessen swininȱbrotten,ȱdarumbȱsindȱwirȱgelȱundȱstincktȱuntzȱderȱoten).ȱOneȱofȱtheȱJewsȱis encouragingȱtheȱJewȱridingȱonȱtheȱsow’sȱbackȱtoȱsuckȱitsȱtailȱsoȱasȱtoȱuncoverȱher rectum,ȱwhileȱanotherȱoneȱisȱcallingȱtheȱsowȱ‘ourȱmother’:ȱampleȱinsinuationsȱat theȱdesireȱofȱtheȱJewsȱtoȱconsumeȱporkȱandȱtoȱinteractȱsexuallyȱwithȱwhatȱisȱboth aȱfilthyȱanimalȱandȱtheirȱmother. WhileȱtheȱWittenbergȱJudensauȱdevelopedȱmoreȱintoȱaȱtheologicalȱemblemȱdue toȱtheȱworksȱofȱLutherȱandȱFabriciusȱandȱtheirȱdiscussionȱofȱtheȱShemȱHamphoras,93 theȱwholeȱimageȱofȱtheȱFrankfurtȱJudensauȱisȱtheȱepitomeȱofȱtopsyȬturvynessȱthat cateredȱtoȱtheȱ(even)ȱbroaderȱmasses:ȱridingȱwithȱyourȱbackȱtoȱtheȱheadȱofȱthe

whoȱclassifiesȱtwelveȱdifferent,ȱifȱoverlapping,ȱmotifsȱthatȱwereȱpresentedȱonȱbroadsheetsȱ(27–33). SeeȱalsoȱWinfriedȱFreyȱandȱAndreaȱFrölich,ȱDasȱJudenbildȱinȱdenȱFlugschriftenȱdesȱ16.ȱJahrhunderts (Nordhausen:ȱBautzȬVerlag,ȱ2008,ȱCD). 89 Yuval,ȱTwoȱNationsȱinȱYourȱWomb,ȱ174–75. 90 PoȬChiaȱHsia,ȱTheȱMythȱofȱRitualȱMurder,ȱ213–14,ȱwhoȱpointsȱoutȱLuther’sȱwritingsȱaboutȱfaeces andȱdemonicȱpollutionȱasȱwellȱasȱpopularȱstoriesȱsuchȱasȱTillȱEulenspiegel,ȱwhereȱJewsȱareȱtricked intoȱbuyingȱaȱpeasant’sȱfaecesȱasȱaȱrareȱmedicament,ȱthusȱexposingȱbothȱtheȱJews’ȱstupidnessȱand theirȱcravingȱforȱ‘wrong’ȱfoodȱtoȱridicule. 91 Schöndorf,ȱ “Judenhaßȱ undȱ Toleranz,”ȱ 27.ȱ Theȱ literatureȱ onȱ theȱ usageȱ ofȱ broadsheetsȱ and pamphletsȱduringȱtheȱReformationȱcan,ȱifȱonlyȱforȱaȱlackȱofȱspace,ȱnotȱbeȱdiscussedȱhere.ȱWithȱa referenceȱtoȱtheȱJews,ȱseeȱapartȱfromȱtheȱotherwiseȱquotedȱRainerȱWohlfeil,ȱ“DieȱJudenȱinȱder zeitgenössischenȱbildlichenȱDarstellung,”ȱReuchlinȱundȱdieȱJuden,ȱed.ȱArnoȱHerzigȱandȱJuliusȱH. Schoeps.ȱPforzheimerȱReuchlinschriften,ȱ3ȱ(Sigmaringen:ȱThorbecke,ȱ1993),ȱ21–36. 92 Shachar,ȱJudensau,ȱ34–35,ȱpl.ȱ30.ȱSeeȱasȱaȱrepresentativeȱofȱtheȱinnumerableȱreproductionsȱofȱthis perhapsȱmostȱfamousȱwoodcutȱtheȱrenditionsȱbyȱHeinzȱSchreckenberg,ȱDieȱJudenȱinȱderȱKunst Europas:ȱEinȱhistorischerȱBildatlasȱ(1996;ȱGöttingen:ȱVandenhoeckȱ&ȱRuprecht,ȱ2002),ȱ345,ȱand Wenzel,ȱ“DoȱwordenȱdieȱJuddenȱalleȱgeschant”,ȱ300,ȱfig.ȱ7.ȱ 93 Shachar,ȱJudensau,ȱ43–51. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 345 mount,ȱaȱmaleȱdevilȱwhoȱsportsȱbreasts,ȱaȱfemaleȱswineȱwithȱaȱboar’sȱfangs,ȱfaeces asȱedibleȱfood,ȱadultsȱsucklingȱlikeȱinfants—allȱthisȱcontributesȱtoȱtheȱgeneral compositionȱ ofȱ theȱ imageȱ whichȱ featuresȱ inversionȱ asȱ aȱ keyȱ element.ȱ Yetȱ the clothesȱtheȱJewsȱareȱdressedȱinȱremainȱrealistic,ȱeverydayȱclothesȱanyȱJewȱ(and nonȬJewȱalike)ȱofȱthisȱtimeȱmightȱbeȱseenȱwearingȱonȱtheȱstreet,ȱandȱthusȱestablish aȱlinkȱtoȱnormalcyȱandȱreality,ȱenablingȱtheȱspectatorȱtoȱdrawȱaȱparallelȱtoȱ‘realȬlife’ Jews,ȱevenȱtheirȱJewishȱneighboursȱtheyȱwouldȱencounterȱduringȱtheirȱeveryȬday contact.94ȱFurthermore,ȱtheȱcontrastȱbetweenȱtheȱtwoȱscenes—theȱ“martyrdom”ȱof SimonȱofȱTrentȱandȱtheȱJudensau—emphasizesȱtheȱtwoȱantagonists,ȱtheȱ(absolute) Pureȱandȱtheȱ(equallyȱabsolute)ȱImpure,ȱwherebyȱtheȱswineȱaddsȱanotherȱdetailȱof defamation:ȱinȱtheȱparticularȱsphereȱofȱtheirȱlivesȱwhereȱtheȱJewsȱplaceȱtheȱhighest valueȱonȱpurityȱ(inȱChristianȱobservation),ȱtheyȱareȱdepictedȱasȱultimatelyȱimpure. Theyȱserveȱasȱanȱabstractȱmodelȱofȱallȱthatȱisȱhorrendousȱandȱrotten,ȱandȱyetȱthey areȱreal;ȱandȱthus,ȱanyȱinsults,ȱhoweverȱviolentȱandȱvile,ȱandȱallȱpainfulȱmockery wereȱlegitimizedȱbyȱtheȱmostȱhorribleȱcrimeȱtheȱJewsȱwereȱaccusedȱofȱhaving committed,ȱtheȱmurderingȱofȱthe—almostȱsaintly—youngȱchildȱSimon.95ȱ TheȱFrankfurtȱJudensauȱsoonȱbecameȱtheȱmostȱpopularȱtypeȱofȱJudensauȱtoȱbe usedȱforȱleafletsȱandȱbroadsheetsȱupȱuntilȱtheȱnineteenthȱcenturyȱ(seeȱfigureȱ7), supplantingȱtheȱearlierȱones.ȱInȱitsȱvariousȱrenditions,ȱitȱstoodȱeitherȱaloneȱorȱwith otherȱinsultingȱdepictions,ȱorȱitȱaccompanied,ȱaccentuated,ȱorȱliterallyȱillustrated catchphrases,ȱpoems,ȱorȱevenȱlongerȱtexts,ȱwithȱtheȱphraseȱsauffȱduȱdieȱmilchȱfrißȱdu denȱdreck,ȱdasȱistȱdochȱeuerȱbestesȱgeschleckȱ(‘youȱguzzleȱdownȱtheȱmilkȱandȱyou devourȱtheȱfilth,ȱthisȱisȱafterȱallȱyourȱfavoriteȱdish’)ȱbeingȱtheȱmostȱpopularȱone. Pigsȱandȱdisgusting,ȱmurderousȱJewsȱareȱeverywhere:ȱinȱtheȱearlyȱseventeethȬ centuryȱbroadsheetȱDerȱJudenȱSynagogȱ(‘TheȱJews’ȱSynagogue),96ȱtheȱsynagogue itselfȱ isȱ aȱ pigsty:ȱ pigsȱ peepȱ outȱ ofȱ everyȱ possibleȱ windowȱ whileȱ Jewsȱ devote themselvesȱtoȱeitherȱcriminalȱactivitiesȱorȱstudyingȱtheirȱfalseȱandȱtreacherous books.ȱSurroundedȱbyȱotherȱderogatoryȱsymbolsȱofȱJudaismȱlikeȱtheȱGoldenȱCalf, theȱFrankfurtȱJudensauȱmakesȱupȱtheȱcenter,ȱformingȱtheȱepitomeȱofȱevil,ȱfilth,ȱand perversion.ȱClaudineȱFabreȬVassasȱhasȱpointedȱoutȱtheȱomnipresenceȱofȱtheȱpig notȱonlyȱinȱJudensauȱwoodcuts—suchȱasȱtheȱbadgesȱofȱtheȱJewsȱslaughteringȱSimon ofȱTrentȱinȱaȱlateȱfifteenthȬcenturyȱItalianȱengravingȱthatȱhaveȱlittleȱpigsȱinȱtheir centers—playingȱonȱtheȱimageȱofȱtheȱJewȱasȱtheȱcannibalȱbutcherȱwhoȱperforms onȱaȱhumanȱbeingȱwhatȱtheȱChristiansȱcarryȱoutȱaroundȱEaster,ȱafterȱaȱperiodȱof abstinanceȱfromȱeatingȱporkȱduringȱLent:ȱtheȱslaughteringȱofȱtheȱpigletsȱtheyȱhad

94 TheȱaspectȱofȱinversionȱhasȱbeenȱpointedȱoutȱbyȱGundulaȱGrebnerȱinȱherȱhighlyȱinstructiveȱarticle, “DieȱJudensaudarstellungȱamȱFrankfurterȱBrückentorȱalsȱSchandbild,”ȱ93. 95 Grebner,ȱ“DieȱJudensaudarstellungȱamȱFrankfurterȱBrückentorȱalsȱSchandbild,”ȱ93–94. 96 Shachar,ȱJudensau,ȱ57–58,ȱpl.ȱ49. Bereitgestellt von | De Gruyter / TCS 346 BirgitȱWiedl bredȱandȱraisedȱatȱtheirȱhomes,97ȱspanning,ȱifȱweȱwantȱtoȱfollowȱherȱsuggestion, theȱbridgeȱallȱtheȱwayȱbackȱtoȱtheȱcannibalisticȱhyenasȱandȱtheȱmanticoreȱofȱthe Salisburyȱbestiary.98ȱ BothȱtheȱbroadsheetsȱandȱJudensauȱsculpturesȱofȱtheȱEarlyȱModernȱPeriodȱbring toȱlightȱallȱtheȱantiȬJewishȱelementsȱthatȱhadȱbeenȱpartially,ȱifȱneverȱcompletely, veiledȱbyȱlayersȱofȱmetaphoricalȱmeaningsȱduringȱtheȱMiddleȱAges.ȱYetȱalthough thereȱisȱscarcelyȱanyȱotherȱintentionȱthanȱantiȬJewishȱpropaganda,ȱtheȱearlyȱmodern Judensäueȱneverthelessȱconsistȱofȱseveralȱcomponentsȱthatȱcaterȱtoȱdifferentȱstimuli: theȱJewsȱareȱmarkedȱasȱbelongingȱtoȱtheȱsow,ȱasȱaȱdifferent,ȱandȱlesserȱformȱof being,ȱasȱoffspringsȱofȱaȱbeastȱtoȱwhomȱtheyȱturnȱwhenȱinȱneedȱofȱnourishment; theyȱareȱconnectedȱwithȱobscenityȱandȱareȱbrandedȱasȱborderingȱonȱtheȱsodomitic, sportingȱshadyȱsexualȱproclivities.ȱThus,ȱtheȱJudensauȱstressesȱtheȱ‘alienȱquality’ȱof theȱJewsȱthatȱallowsȱtheȱChristianȱhostilityȱtowardȱJewsȱtoȱpersistȱbeyondȱthe MiddleȱAges;ȱitȱhasȱcontributedȱinȱtransferringȱtheȱprimarilyȱreligiousȱpolemics andȱantagonismȱtoȱaȱbroaderȱlevel,ȱhelpingȱfixȱtheȱstereotypedȱimageȱinȱvarious culturalȱlevelsȱasȱverbalȱabuse,ȱjokes,ȱproverbs,ȱandȱfirmlyȱestablishingȱtheȱdistinct notionȱthatȱJewsȱsimplyȱwereȱ‘anotherȱcategoryȱofȱbeings’,ȱaȱnonȬhumanȱlifeȬform. Atȱtheȱendȱofȱtheȱfifteenthȱcentury,ȱtheȱJudensauȱalsoȱmadeȱitȱonȱstage,ȱaddingȱyet anotherȱlayerȱofȱmockeryȱandȱcrudeȱhumour,ȱexploitingȱanotherȱmeansȱofȱdrawing laughterȱatȱtheȱexpenseȱofȱtheȱJews.99ȱ HansȱFolz,100ȱwhoȱhadȱaȱconsiderableȱknowledgeȱofȱtalmudicȱscripture,101ȱaccuses theȱJewsȱinȱhisȱdieȱaltȱundȱneuȱeeȱ(“theȱoldȱandȱtheȱnewȱmarriage”)ȱverbatimȱof beingȱ“stepȬchildrenȱofȱsheȬmonkeys,ȱjennies,ȱandȱpigs”ȱwhileȱaȱrepentantȱJew, shockedȱbyȱtheȱextentȱofȱhisȱownȱblindness,ȱsumsȱupȱallȱtheȱ“misdeeds”ȱofȱhis faith:ȱ theirȱ descentȱ fromȱ beasts,ȱ theȱ envyȱ andȱ hatredȱ theyȱ bearȱ againstȱ all Christians,ȱtheirȱidlenessȱandȱgluttony,ȱandȱtheȱeventualȱresultȱofȱtheseȱcharacter

97 FabreȬVassas,ȱTheȱSingularȱBeast,ȱ130–36,ȱfig.ȱ12–14.ȱHersȱisȱdefinitivelyȱaȱcompellingȱstudy—the historianȱmayȱcritisizeȱthatȱsomeȱofȱtheȱconclusionsȱareȱbasedȱonȱevidenceȱandȱsourceȱmaterialȱtoo differentȱinȱtimeȱandȱregion,ȱandȱthatȱsheȱfallsȱforȱsomeȱ‘medieval’ȱmythsȱthatȱare,ȱinȱfact,ȱproducts ofȱmuchȱlaterȱtimes,ȱyetȱoneȱcannotȱhelpȱbutȱacknowledgeȱtheȱpowerȱofȱtheȱsheerȱamountȱof symbolsȱandȱmetaphorsȱsheȱunveils. 98 Theȱ connectionȱ ritualȱ murderȬcannibalismȱ wasȱ alsoȱ suggestedȱ byȱ Georgȱ R.ȱ Schoubek,ȱ “Zur Tradierungȱ undȱ Diffusionȱ einerȱ europäischenȱ Aberglaubensvorstellung,”ȱ Dieȱ Legendeȱ vom Ritualmord,ȱ 17–24;ȱ hereȱ 17–18,ȱ whoȱ pointsȱ outȱ thatȱ theȱ accusationȱ ofȱ ritualȱ murderȱ andȱ its associationȱwithȱcannibalismȱcanȱbeȱfoundȱinȱmanyȱsocietiesȱandȱreligiousȱcommunitiesȱasȱa derogatoryȱincriminationȱofȱotherȱreligiousȱgroups. 99 StillȱbasicȱisȱWenzel,ȱ“DoȱwordenȱdieȱJuddenȱalleȱgeschant”. 100 SeeȱrecentlyȱChristineȱMagin,ȱ“HansȱFolzȱundȱdieȱJuden,”ȱEinblattdruckeȱdesȱ15.ȱundȱfrühenȱ16. Jahrhunderts:ȱ Probleme,ȱ Perspektiven,ȱ Fallstudien,ȱ ed.ȱ Volkerȱ Honemann,ȱ Sabineȱ Griese,ȱ Falk Eisermann,ȱandȱMarcusȱOstermannȱ(Tübingen:ȱNiemeyer,ȱ2000),ȱ371–95;ȱandȱWinfriedȱFrey,ȱ“The IntimateȱOther:ȱHansȱFolz’ȱDialogueȱbetweenȱ“ChristianȱandȱJew,”“ȱMeetingȱtheȱForeignȱinȱthe MiddleȱAges,ȱed.ȱAlbrechtȱClassenȱ(NewȱYorkȱandȱLondon:ȱRoutledge,ȱ2002),ȱ249–67. 101 Wenzel,ȱ“DoȱwordenȱdieȱJuddenȱalleȱgeschant,”ȱ193–217. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 347 traits:ȱusury.102ȱInȱhisȱlaterȱandȱmostȱaggressivelyȱantiȬJewishȱSpilȱvomȱHerzogȱvon Burgundȱ(“PlayȱofȱtheȱDukeȱofȱBurgundy”),ȱFolzȱevenȱextendsȱtheȱcatalogueȱof Jewishȱmisdeeds,ȱhavingȱtheȱAntichrist,ȱtheȱfraudulentȱJewishȱMessiah,ȱreelȱoffȱall theȱ crimesȱ “common”ȱ toȱ Jews,ȱ fromȱ rapaciousȱ usuryȱ toȱ ritualȱ murdersȱ and murdersȱcommittedȱbyȱJewishȱphysicians.ȱAsȱinȱDieȱaltȱundȱneuȱee,ȱtheȱeffectȱis intensifiedȱbyȱmeansȱofȱtheȱselfȬaccusationȱofȱtheȱJews.ȱInȱtheȱfinalȱsceneȱofȱtheȱSpil, theȱChristianȱcharactersȱcallȱforȱtheȱexecutionȱofȱtheȱJews,ȱoutdoingȱeachȱotherȱin sadisticȱandȱhumiliatingȱvisionsȱofȱtorture,ȱandȱtheȱclimaxȱisȱreachedȱwhenȱaȱsow isȱbroughtȱontoȱtheȱstageȱandȱtheȱJewsȱareȱforcedȱbyȱthreatsȱtoȱlieȱdownȱbelowȱthe sow103—theȱsculpturesȱandȱpaintingsȱwereȱbroughtȱtoȱlife,ȱprovidingȱaȱhilariously funnyȱsceneȱamidstȱtheȱmostȱcruelȱfantasies.ȱViciousȱhumourȱandȱfunnyȱcruelty, bothȱ‘signatureȱfeatures’ȱofȱnotȱonlyȱlateȬmedievalȱhumorȱwereȱunited,ȱwithȱsome obscenityȱasȱaȱtoppingȱtoȱtheȱdeliciouslyȱvenomousȱmix.

Theȱ knowledgeȱ amongȱ Christiansȱ ofȱ theȱ Jewishȱ dietaryȱ laws,ȱ particularly concerningȱtheȱconsumptionȱofȱpork,ȱcannotȱbeȱdoubted,ȱandȱtheȱassociationȱwith theȱ animalȱ theȱ Jewsȱ mostȱ keptȱ awayȱ from,ȱ evenȱ abhorred,ȱ wasȱ alreadyȱ inȱ its beginningsȱdecidedlyȱantiȬJewish,ȱdespiteȱtheȱcontemporaryȱuseȱofȱtheȱpigȱasȱan insultȱforȱChristiansȱinȱJewishȱpolemicsȱwhichȱtheȱChristiansȱwereȱprobablyȱaware of.ȱ Uncleanȱ animals,ȱ withȱ theȱ inclusionȱ ofȱ pigs,ȱ frequentlyȱ functionedȱ as metaphorsȱforȱenemiesȱinȱJewishȱtradition:ȱinȱtheȱLeviticusȱRabbah,ȱwrittenȱinȱfifthȬ orȱsixthȬcenturyȱPalestine,ȱtheȱpigȱsymbolisedȱRome,ȱalongȱwithȱotherȱunclean animalsȱthatȱrepresentedȱBabylonȱ(camel),ȱMediaȱ(badger),ȱandȱGreeceȱ(hare)104; bothȱimpureȱonesȱ(meaningȱChristians)ȱandȱswineȱ‘layȱinȱwaitȱforȱJewishȱblood’ inȱaȱpoemȱreflectingȱtheȱhorrendousȱpersecutionsȱduringȱtheȱfirstȱcrusade.105ȱThe usageȱofȱpigsȱinȱJewishȱtextsȱwasȱhoweverȱnotȱlimitedȱtoȱnonȬJews—apartȱfrom PagansȱandȱChristians,ȱalsoȱ‘bad’ȱJewsȱwereȱlinkedȱtoȱpigs,106ȱaȱquiteȱsimilarȱusage toȱ theȱ Christianȱ traditionȱ ofȱ equatingȱ Jews,ȱ pigs,ȱ andȱ ‘bad’ȱ Christians.ȱ An acquaintanceȱofȱbothȱChristiansȱandȱJewsȱwithȱtheȱimagesȱusedȱbyȱtheȱrespective otherȱcanȱbeȱsafelyȱassumed,ȱandȱisȱsometimesȱputȱtoȱuseȱtoȱsecretlyȱmockȱthe

102 Wenzel,ȱ“SynagogaȱundȱEcclesia,”ȱ76. 103 Wenzel,ȱ“DoȱwordenȱdieȱJuddenȱalleȱgeschant,”ȱ252–54;ȱeadem,ȱ“SynagogaȱundȱEcclesia,”ȱ80–81;ȱPoȬ ChiaȱHsia,ȱTheȱMythȱofȱRitualȱMurder,ȱ63–64,ȱwithȱtheȱconncetionȱtoȱtheȱhostȱdesecrationsȱof DeggendorfȱandȱPassauȱthatȱappearȱinȱmanyȱofȱFolz’sȱplaysȱandȱpoems. 104 HiggsȱStrickland,ȱ“TheȱJews,ȱLeviticus,ȱandȱtheȱUnclean,”ȱ218ȱandȱ226–28ȱwithȱaȱmoreȱthan convincingȱlinkageȱtoȱtheȱJudensau;ȱCuffel,ȱGenderingȱDisgust,ȱ52–53. 105 Cuffel,ȱGenderingȱDisgust,ȱ144. 106 Cuffel,ȱGenderingȱDisgust,ȱ43–45. Bereitgestellt von | De Gruyter / TCS 348 BirgitȱWiedl adversary,107ȱbutȱitȱisȱcrucialȱtoȱstressȱthatȱalthoughȱtheseȱinsultsȱmightȱhaveȱbeen drawnȱ‘fromȱaȱcommonȱsetȱofȱsymbols,’ȱtheyȱdidȱnotȱcarryȱtheȱsameȱmeaningȱto eitherȱofȱtheȱgroups.108ȱ Yetȱ howeverȱ obviousȱ theȱ mockingȱ intentionȱ ofȱ equatingȱ Jewsȱ withȱ their ‘negativeȱ counterpart’ȱ inȱ medievalȱ artȱ mayȱ haveȱ been,ȱ theȱ reductionȱ toȱ and focussingȱonȱtheȱderogatoryȱpurposeȱfromȱtheȱlateȱfourteenthȱcenturyȱonwards gaveȱriseȱtoȱother,ȱmoreȱdistinctȱwaysȱofȱpresentingȱtheȱinsult.ȱNotȱonlyȱwereȱthe Jewsȱdepictedȱasȱoffspringȱofȱtheȱsowȱandȱthereforeȱbeingȱfedȱbyȱit,ȱtheirȱ‘realȬlife abstinence’ȱfromȱeatingȱitsȱmeatȱwasȱexploitedȱtoȱsupplementȱtheȱinsultȱwithȱa further,ȱvirtuallyȱinverseȱlayer:ȱalthoughȱtheȱJewsȱ‘officially’ȱclaimȱthatȱtheyȱdoȱnot eatȱporkȱtheyȱinȱfactȱsecretlyȱlustȱforȱit.ȱParticularlyȱinȱJudensauȱbroadsheets,ȱwhere explanatoryȱcaptionsȱcommentȱonȱtheȱongoingȱscene,ȱtheȱJewsȱareȱexposedȱto mockeryȱalsoȱbecauseȱtheyȱlustȱforȱwhatȱtheyȱmayȱnotȱhave:ȱbutȱinstinctȬdriven beingsȱasȱtheyȱare,ȱtheyȱareȱeventuallyȱunableȱtoȱsuppressȱtheirȱgreed,ȱanȱideaȱthat isȱreflectedȱinȱtheȱabovementionedȱcaptionȱofȱtheȱFrankfurtȱJudensauȱthatȱrefersȱto theȱ‘favoriteȱdish’ȱofȱtheȱJews. InȱtheȱtranslationȱofȱtheȱJudensauȱonȱtheȱstagesȱofȱtheȱfifteenthȬcenturyȱtheater, thisȱmotifȱisȱexpressedȱverbatim:ȱHansȱFolz,ȱinȱhisȱDerȱJudenȱundȱderȱChristenȱstreit vorȱkaiserȱConstantinus,ȱaȱmockȬversionȱofȱtheȱearlierȱdisputationsȱofȱEcclesiaȱand Synagoga,109ȱultimatelyȱstatesȱthatȱitȱwasn’tȱforȱtheȱtheologicalȱargumentsȱofȱthe ChristianȱthatȱtheȱJewsȱsawȱreasonȱandȱaskedȱforȱbaptismȱbutȱforȱtheirȱirrepressible cravingȱforȱporkȱsausages—yet,ȱasȱsoonȱasȱtheȱJewsȱwillȱeatȱthem,ȱtheyȱwillȱ“turn intoȱdifferentȱkindsȱofȱsausages”,ȱindicatingȱthatȱeverythingȱtheȱJewsȱtouchȱturns intoȱsomethingȱfoul.110ȱTheȱlaughterȱtheseȱscenesȱevokedȱwas,ȱasȱEdithȱWenzelȱhas

107 Theȱquiteȱcommonȱimageȱofȱdogsȱ(Christians)ȱhuntingȱafterȱrabbitsȱ(Jews)ȱwasȱturnedȱupside downȱinȱanȱilluminationȱofȱtheȱfamousȱKaufmannȱHaggadahȱ(Spain,ȱfourtheenthȱcentury,ȱnow Ms.ȱAȱ422ȱofȱtheȱKaufmannȱCollectionȱinȱtheȱLibraryȱofȱtheȱHungarianȱAcademyȱofȱScience, Budapest),ȱ whereȱ rabbitsȱ areȱ puttingȱ aȱ dogȱ toȱ flight,ȱ seeȱ Alexanderȱ (Sándor)ȱ Scheiber,ȱ The KaufmannȱHaggadah.ȱPublicationsȱofȱtheȱOrientalȱLibraryȱofȱtheȱHungarianȱAcademyȱofȱSciences, 1ȱ (Budapest:ȱ Publishingȱ Houseȱ ofȱ theȱ Hungarianȱ Academyȱ ofȱ Sciences,ȱ 1957),ȱ 55,ȱ seeȱ also GabrielleȱSedȬRajna,ȱTheȱKaufmannȱHaggadahȱ(Budapest:ȱKulturalȱInternational,ȱ1990). 108 Cuffel,ȱGenderingȱDisgust,ȱ15ȱ(withȱtheȱinclusionȱofȱMuslims);ȱseeȱalsoȱLipton,ȱImagesȱofȱIntolerance, 141ȱ(‘similarityȱofȱtheȱformȱinȱnoȱwayȱentailsȱtheȱidentityȱofȱmeaning’). 109 AnotherȱofȱFolz’ȱdialoguesȱbetweenȱaȱChristianȱandȱaȱJewȱhasȱbeenȱexaminedȱbyȱFrey,ȱ“The IntimateȱOther.” 110 WinfriedȱFrey,ȱ“AntijüdischeȱTendenzenȱinȱeinemȱFastnachtspielȱdesȱHansȱFolz.ȱEinigeȱAspekte zumȱUnterrichtsthemaȱ‘Antisemitismus’,”ȱWirkendesȱWortȱ32.1ȱ(1982):ȱ1–19;ȱhereȱ13–14;ȱWenzel, “SynagogaȱundȱEcclesia,”ȱ72–73.ȱItȱmightȱseemȱquiteȱaȱstretchȱbutȱoneȱcannotȱhelpȱbeingȱreminded ofȱtheȱnumerousȱmarketȱregulationsȱthatȱforbadeȱJewsȱtouchingȱmeatȱthatȱwasȱlaidȱoutȱforȱsale, seeȱe.g.,ȱforȱFranceȱLipton,ȱImagesȱofȱIntolerance,ȱ68–69,ȱforȱAragonȱDavidȱNirenberg,ȱCommunities ofȱViolence:ȱPersecutionȱofȱMinoritiesȱinȱtheȱMiddleȱAgesȱ(Princeton:ȱPrincetonȱUniversityȱPress,ȱ1996), 169–72,ȱforȱAustriaȱBirgitȱWiedl,ȱ“JewsȱandȱtheȱCity.ȱParametersȱofȱJewishȱUrbanȱLifeȱinȱLate MedievalȱAustria,”ȱUrbanȱSpaceȱinȱtheȱMiddleȱAgesȱandȱtheȱEarlyȱModernȱAge,ȱed.ȱAlbrechtȱClassen. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 349 pointedȱout,ȱspringingȱratherȱfromȱrelishingȱinȱhumiliatingȱtheȱenemyȱthanȱfrom havingȱ prevailedȱ inȱ aȱ battleȱ ofȱ wits,ȱ whileȱ combiningȱ itȱ withȱ theȱ delightȱ in scatologicalȱhumourȱsoȱtypicalȱofȱtheȱFastnachtsspieleȱ(ShrovetideȱPlays).111ȱ Jewsȱ lustingȱ after,ȱ eating,ȱ orȱ atȱ leastȱ tryingȱ toȱ eatȱ porkȱ remainedȱ aȱ central elementȱofȱantiȬJewishȱandȱantiȬSemiticȱpropaganda;ȱinȱtheȱGermanȬspeakingȱarea, theȱimageȱprevailedȱinȱprint,ȱliterature,ȱandȱeveryȬdayȱlanguage,ȱtheȱtermȱJudensau developingȱintoȱoneȱofȱtheȱmostȱcommonȱverbalȱinsultsȱtowardȱJews.112ȱYetȱthe impactȱ ofȱ theȱ Judensau,ȱ or,ȱ ratherȱ JewȬwithȬsowȱ image,ȱ wentȱ farȱ beyondȱ its geographicalȱ scope.ȱ Englishȱ caricaturesȱ ofȱ theȱ lateȱ eighteenthȱ andȱ nineteenth centuriesȱthematiseȱtheȱattemptedȱemancipationȱandȱassimilationȱofȱtheȱEnglish Jewsȱbyȱusageȱofȱthisȱveryȱimage:ȱinȱdemonstratingȱtheirȱemancipation,ȱJewsȱstart toȱeatȱpork,ȱpointedlyȱenjoyingȱit,ȱbutȱ‘getȱitȱwrong’ȱbyȱeatingȱtheȱwrongȱpartsȱor tryingȱtoȱeatȱitȱalive—reflectingȱyetȱagainȱtheȱassociationȱwithȱcannibalism—or kissing,ȱinȱtheirȱenthusiasm,ȱtheȱstillȱlivingȱswineȱandȱthusȱrepeatingȱtheȱoldȱmotif withȱtheȱconnectionȱofȱobscenity,ȱsexualȱdeviances,ȱandȱsodomiticȱtendencies.ȱTo furtherȱstressȱtheirȱalienness,ȱtheȱJewsȱofȱaȱnineteenthȬcenturyȱcaricatureȱspeak withȱaȱheavyȱGermanȱaccentȱwhileȱbystandersȱlaughȱatȱtheȱobviousȱvainnessȱof theirȱattemptsȱatȱbeingȱnaturalized.113ȱ TheȱnineteenthȬcenturyȱEnglishȱcaricatureȱhasȱatȱitsȱbottomȱwhatȱhadȱdeveloped intoȱaȱmainȱtargetȱofȱmockeryȱduringȱtheȱlateȱMiddleȱAgesȱandȱtheȱearlyȱmodern period:ȱaȱcaptionȱofȱ(oftenȱfake)ȱHebrewȱthatȱaccompaniedȱJudensauȱwoodcuts114 orȱwasȱshownȱtoȱtheȱaudienceȱduringȱpassionȱplaysȱ(alsoȱinȱcontrastȱtoȱtheȱRoman INRI).115ȱTheȱJews’ȱlanguageȱwasȱridiculed,ȱpresentedȱasȱsomeȱsortȱofȱgibberishȱno rationalȱhumanȱwouldȱwantȱtoȱspeak;ȱatȱtheȱsameȱtime,ȱtheȱ‘ominous’ȱqualityȱof theirȱlanguageȱwasȱpointedȱout,ȱhintingȱatȱaȱclandestineȱandȱmostȱlikelyȱhostile communicationȱthatȱwasȱtakingȱplaceȱbetweenȱtheȱJews,ȱbothȱlocalȱandȱforeign.116

Fundamentalsȱ ofȱ Medievalȱ andȱ Earlyȱ Modernȱ Culture,ȱ 4ȱ (Berlinȱ andȱ Newȱ York:ȱ Walterȱ de Gruyter,ȱ2009),ȱ273–308;ȱhereȱ297–99ȱandȱead.,ȱ“CodifyingȱJews:ȱJewsȱinȱAustrianȱTownȱCharters ofȱtheȱThirteenthȱandȱFourteenthȱCenturies,”ȱTheȱConstructedȱJew:ȱJewsȱandȱJudaismȱthroughȱMedieval ChristianȱEyes,ȱed.ȱMerrallȱL.ȱPriceȱandȱKristineȱT.ȱUtterbackȱ(Turnhout:ȱBrepols,ȱforthcomingȱin 2010).ȱ 111 Wenzel,ȱ“SynagogaȱundȱEcclesia,”ȱ73. 112 Itȱisȱaȱsadȱfactȱthatȱupȱuntilȱtoday,ȱtheȱequationȱofȱJewsȱwithȱswineȱisȱaȱcommonȱmeansȱofȱantiȬ SemiticȱpropagandaȱlaunchedȱbyȱrightȬwingȱcircles,ȱtheȱexampleȱofȱaȱpigȱwithȱaȱpaintedȬonȱStar ofȱDavidȱandȱtheȱnameȱofȱIgnatzȱBubisȱonȱitsȱbackȱthatȱwasȱherdedȱacrossȱAlexanderplatz,ȱBerlin, inȱ1998ȱbyȱaȱgroupȱofȱneoȬNazisȱ(BerlinerȱZeitung,ȱ9ȱNovember,ȱ1998),ȱmayȱserveȱasȱoneȱamong, unfortunately,ȱallȱtooȱmanyȱexamples.ȱSeeȱalsoȱBilderȱderȱJudenfeindschaft.ȱAntisemitismus,ȱVorurteile undȱMythen,ȱed.ȱJuliusȱH.ȱSchoepsȱandȱJoachimȱSchlörȱ(Augsburg:ȱBechtermünz,ȱ1999). 113 Shachar,ȱJudensau,ȱfig.ȱ58a,ȱ59abȱandȱ60ab. 114 Shachar,ȱJudensau,ȱ34. 115 Heil,ȱ‘Gottesfeinde’—’Menschenfeinde’,ȱ173–74. 116 Heil,ȱ‘Gottesfeinde’—’Menschenfeinde’,ȱ174.ȱSeeȱalsoȱMellinkoff,ȱOutcasts,ȱ63ȱ(onȱtheȱconnection JewsȬsorcery),ȱ95–110. Bereitgestellt von | De Gruyter / TCS 350 BirgitȱWiedl

Ecclesiasticalȱart,ȱneverȱreluctantȱtoȱuseȱgenuineȱHebrewȱlettering,ȱseizedȱonȱthis trend,ȱperhapsȱtheȱmostȱfamousȱexampleȱbeingȱtheȱsixteenthȬcenturyȱaltarpieceȱof StȱAnthony’sȱchurchȱatȱIsenheim,ȱpaintedȱbyȱMathiasȱGrünewaldȱandȱnowȱon displayȱatȱtheȱUnterlindenȱMuseumȱinȱColmar,117ȱthatȱfeaturesȱaȱchamberȱpotȱwith aȱ‘Hebrew’ȱinscription,ȱmockingȱtheȱlanguageȱandȱonceȱagainȱstressingȱtheȱlinking ofȱJewsȱwithȱexcrement.118ȱ Despiteȱ theȱ ongoingȱ reductionȱ ofȱ theȱ imageryȱ toȱ theȱ merelyȱ insulting,ȱ itȱ is obviousȱthatȱtheȱconnectionȱJews–pigs–gulaȱwasȱneitherȱforgottenȱnorȱreducedȱto depictionsȱ ofȱ theȱ Judensau.ȱ Theȱ connotationȱ withȱ usury,ȱ whichȱ theȱ medieval depictionsȱ hadȱ partiallyȱ expressedȱ moreȱ subtly,ȱ wasȱ establishedȱ firmlyȱ inȱ the courseȱofȱtheȱseventeenthȱcentury:ȱaȱmoneyȱpouchȱthatȱisȱdanglingȱoffȱtheȱbeltȱof theȱ Jewȱ kneelingȱ behindȱ theȱ sowȱ wasȱ addedȱ toȱ someȱ ofȱ theȱ renditionsȱ ofȱ the FrankfurtȱJudensau,ȱmakingȱsureȱthatȱnoȱoneȱmissedȱtheȱconnection.119ȱHansȱFolz’ Dieȱ altȱ undȱ neuȱ ee,ȱ toȱ nameȱ butȱ oneȱ literaryȱ example,ȱ unmasksȱ theȱ Jewsȱ as embodimentȱofȱgulaȱandȱluxuriaȱatȱtheȱend,120ȱwhileȱaspectsȱofȱtheȱmetaphorical languageȱofȱHieronymusȱBoschȱ(whoȱcan,ȱthough,ȱnotȱbeȱaccusedȱofȱusingȱsimple imagery)ȱshowȱthatȱalsoȱlateȱfifteenthȬcenturyȱartistsȱwouldȱstillȱputȱthisȱimagery toȱgoodȱandȱeffectiveȱuse.ȱAlthoughȱnoȱJewsȱareȱpresentȱinȱpersonȱinȱtheȱtwo paintingsȱthatȱmakeȱupȱtheȱleftȱwingȱofȱtheȱreconstructedȱ‘NewȱTriptych’ȱ(Shipȱof FoolsȱandȱGula)ȱandȱcoverȱseveralȱmoreȱorȱlessȱdeadlyȱsins,ȱfromȱdrinkingȱand unchasteȱloveȱtoȱselfishnessȱandȱsloth,ȱnotȱonlyȱtheȱexemplifiedȱvicesȱareȱthose mostȱconventionallyȱassociatedȱwithȱJews,ȱbutȱthereȱareȱaȱnumberȱofȱsymbolsȱthat pointȱtowardȱtheȱJews.ȱMostȱinterestingȱinȱtheȱpresentȱcontextȱisȱtheȱpig’sȱtrotter inȱtheȱheraldicȱstandardȱofȱtheȱtentȱthatȱhousesȱtheȱtwoȱunchasteȱlovers:ȱnotȱonly doȱpigs’ȱtrottersȱ‘alwaysȱcropȱupȱinȱBosch’sȱworkȱwhereverȱgluttonyȱorȱimpending povertyȱareȱconcerned’,ȱtheȱassociationȱofȱpigsȱandȱJewsȱdefinitelyȱexceedsȱthe mereȱconnotationȱwithȱtheȱdepictedȱvice(s).121

Inȱ theȱ courseȱ ofȱ theȱ earlyȱ modernȱ period,ȱ particularlyȱ enhancedȱ duringȱ the Reformation,ȱwithȱCatholicsȱandȱProtestantsȱofȱvariousȱpersuasionsȱattackingȱeach

117 Reinerȱ Marquard,ȱ Mathiasȱ Grünewaldȱ undȱ derȱ Isenheimerȱ Altar.ȱ Erläuterungen—ErwäȬ gungen—Deutungen.ȱMitȱeinemȱGeleitwortȱvonȱPantxikaȱBéguerie,ȱMuséeȱd’ȱUnterlindenȱ(Colmar andȱStuttgart:ȱCalwerȱ1996). 118 Mellinkoff,ȱTheȱDevilȱatȱIsenheim,ȱ61,ȱwithȱlinkageȱtoȱtheȱJudensauȱ65–68,ȱandȱfigureȱ36,ȱandȱseveral mentionsȱ ofȱ theȱ topicȱ inȱ Outcasts;ȱ Mentgen,ȱ Judenȱ imȱ Elsass,ȱ 453.ȱ Seeȱ alsoȱ Lipton,ȱ Imagesȱ of Intolerance,ȱ36,ȱonȱtheȱconnectionȱfilth/excrement—money;ȱonȱtheȱusageȱofȱHebrewȱinȱwoodcuts, seeȱSchöner,ȱJudenbilder,ȱ259–62. 119 Shachar,ȱ Judensau,ȱ pl.ȱ 41aȱ andȱ 41c,ȱ pointedȱ outȱ byȱ Grebner,ȱ “Dieȱ Judensaudarstellungȱ am FrankfurterȱBrückentorȱalsȱSchandbild,”ȱ92.ȱSeeȱalsoȱHiggsȱStrickland,ȱSaracens,ȱDemons,ȱ&ȱJews, 140–43,ȱonȱtheȱmedievalȱmotif,ȱwithȱfurtherȱliterature. 120 Wenzel,ȱ“DoȱwordenȱdieȱJuddenȱalleȱgeschant”,ȱ217. 121 Hartau,ȱ“BoschȱandȱtheȱJews,”ȱ33–35,ȱfig.ȱ1ȱandȱ2. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 351 otherȱ byȱ useȱ ofȱ argumentsȱ borrowedȱ fromȱ theȱ antiȬJewishȱ arsenal,122ȱ andȱ the rapidlyȱincreasingȱuseȱofȱprintȱmedia,ȱotherȱdefamatoryȱantiȬJewishȱimagesȱevolve alongȱwithȱandȱinȱinteractionȱwithȱtheȱJudensauȱwhileȱtheȱJudensauȱmanagesȱtoȱnot onlyȱintrudeȱintoȱtheȱlayȱsphereȱbutȱtoȱeventuallyȱadvanceȱintoȱtheȱinsideȱofȱthe Christians’ȱhouses.ȱObjectsȱofȱtheȱdailyȱroutine,ȱlikeȱplayingȱcards,123ȱfeaturedȱthe imageȱofȱtheȱJudensau,ȱallowingȱitȱtoȱbecomeȱanȱintegralȱpartȱofȱeverydayȱlife—and, presumably,ȱofȱdailyȱjokes.ȱOtherȱmotifs,ȱlikeȱtheȱdepictionȱofȱoneȱorȱmoreȱpersons ridingȱwithȱtheirȱbackȱturnedȱtoȱtheȱheadȱofȱtheirȱmount,ȱwereȱadaptedȱbyȱandȱat theȱsameȱtimeȱinfluencedȱbyȱtheȱJudensauȱcomplex.ȱTheȱSaurittȱ(‘sowȬride’,ȱalso Eselsritt,ȱassȬride,ȱrarelyȱwithȱdogsȱorȱhorses)ȱisȱtheȱtypicalȱfeatureȱofȱaȱtypeȱof pamphletȱthatȱisȱknownȱasȱSchandbildȱorȱSchmähbriefȱ(‘defamatoryȱpicture/letter’) thatȱevolvesȱintoȱaȱcentralȱmeansȱofȱpunishmentȱinȱtheȱcontextȱofȱtheȱEhrenstrafen (shameȱ sanction)ȱ andȱ isȱ utilisedȱ byȱ groupsȱ andȱ individualsȱ ofȱ variousȱ social standingȱandȱintention.124ȱGenerally,ȱtheseȱdefamatoryȱpicturesȱshowȱtheȱperson(s) theyȱareȱdirectedȱagainstȱasȱridingȱbackwards;ȱifȱgroupsȱofȱpeopleȱareȱdepicted, theyȱmightȱalsoȱengageȱinȱtheȱ‘typical’ȱhabitȱofȱoccupyingȱthemselvesȱwithȱthe animal’sȱ behind,ȱ shovingȱ sealsȱ orȱ moneyȱ pouchesȱ intoȱ itsȱ hindquarters,ȱ or devouringȱitsȱexcrement.125ȱAsȱanȱillustrationȱtoȱLuther’sȱpamphletȱofȱ1545,ȱAgainst theȱRomanȱPapacyȱfoundedȱbyȱtheȱdevilȱwithȱitsȱvituperationsȱofȱPaulȱIII,126ȱtheȱpope himselfȱwasȱshownȱridingȱtheȱbackȱofȱaȱsow—aȱwoodcutȱthatȱstandsȱinȱaȱtradition ofȱdefamatoryȱimagesȱagainstȱtheȱpopeȱ(Papstspottbilder)ȱthatȱshowedȱtheȱpope (ClementȱIV)ȱinȱfullȱregaliaȱwhoȱisȱwieldingȱaȱsword,ȱaboutȱtoȱbeheadȱtheȱHoly RomanȱEmperorȱ(ConradȱIII,ȱTheȱPope’sȱThreat),ȱorȱbeingȱhimselfȱhangedȱfromȱthe gallowsȱalongȱwithȱhisȱ‘satanic’ȱcardinalsȱwhileȱdemonsȱtakeȱtheirȱsouls;127ȱimages quiteȱunrelatedȱtoȱanyȱJewishȱaspects.ȱOnȱtheȱotherȱhand,ȱtheȱmergerȱofȱhuman andȱbeastȱintoȱanȱequallyȱhorridȱandȱhilarious,ȱevenȱpathetic,ȱcreatureȱwasȱan essentialȱ elementȱ ofȱ bothȱ politicalȱ andȱ religiousȱ polemics.ȱ Creaturesȱ likeȱ the

122 Onȱtheȱcomplexȱ‘relationship’ȱofȱlaughterȱandȱreligionȱinȱtheȱcontextȱofȱtheȱreformation,ȱsee Auffarth,ȱ“AlleȱTageȱKarneval?,”ȱwhoȱaddressesȱtheȱissueȱofȱlaughterȱasȱaȱlongȬexistentȱtoolȱin religiousȱpracticeȱandȱritual,ȱ82–85.ȱSeeȱalsoȱAmishaiȬMaisels,ȱ“Demonizationȱofȱtheȱ‘Other’ȱinȱthe VisualȱArts,”ȱ54,ȱonȱtheȱrepertoireȱofȱdemonȬlikeȱfeaturesȱ(horns,ȱclaws,ȱtails,ȱflames,ȱmonstrous facialȱand/orȱbodilyȱfeatures)ȱandȱitsȱ(almostȱworldȬwide)ȱusageȱupȱuntilȱtheȱtwentyȬfirstȱcentury. 123 RohrbacherȱandȱSchmidt,ȱJudenbilder,ȱ162ȱ(illustration). 124 MatthiasȱLentz,ȱKonflikt,ȱEhre,ȱOrdnung:ȱUntersuchungenȱzuȱdenȱSchmähbriefenȱundȱSchandbildernȱdes spätenȱ Mittelaltersȱ undȱ derȱ frühenȱ Neuzeitȱ (ca.ȱ 1350ȱ bisȱ 1600).ȱ Mitȱ einemȱ illustriertenȱ Katalogȱ der Überlieferung.ȱVeröffentlichungenȱderȱHistorischenȱKommissionȱfürȱNiedersachsenȱundȱBremen, 217ȱ(Hanover:ȱHahnscheȱBuchhandlung,ȱ2004),ȱwho,ȱunfortunately,ȱdoesȱnotȱaddressȱtheȱparallels inȱtheȱmetaphoricalȱimageȱbetweenȱtheȱSchmähbriefeȱandȱtheȱJudensau. 125 Lentz,ȱKonflikt,ȱEhre,ȱOrdnung,ȱ357–58. 126 Kurtȱ Stadtwald,ȱ Romanȱ Popesȱ andȱ Germanȱ Patriots:ȱ Antipapalismȱ inȱ theȱ Politicsȱ ofȱ theȱ German HumanistȱMovementȱfromȱGregorȱHeimburgȱtoȱMartinȱLutherȱ(Geneva:ȱLibrairieȱDrozȱS.A.,ȱ1996),ȱ26. 127 Stadtwald,ȱRomanȱPopesȱandȱGermanȱPatriots,ȱ199–205. Bereitgestellt von | De Gruyter / TCS 352 BirgitȱWiedl

Papsteselȱ (‘PopeȬdonkey’)ȱ andȱ theȱ Mönchskalbȱ (‘monkȬcalf’),ȱ twoȱ ‘onlyȱ recently discoveredȱhorridȱmonsters’ȱwhoseȱexistenceȱandȱappearanceȱwasȱbroughtȱtoȱthe attentionȱofȱaȱwiderȱaudienceȱbyȱbroadsheets,ȱprovokedȱbothȱhorrorȱandȱlaughter, wherebyȱ theseȱ emotionalȱ reactionsȱ wereȱ notȱ mutuallyȱ exclusiveȱ butȱ couldȱ be experiencedȱsimultaneously.128ȱYetȱthereȱisȱaȱdifferenceȱtoȱbeȱdetectedȱbetweenȱthe humanȬbeastȱhybrids,ȱhoweverȱcommonlyȱused,129ȱandȱtheȱsowȬriding:ȱlikeȱthe Schmähbriefe,ȱtheȱsowȬridingȱpopeȱnotȱonlyȱtranslatedȱanȱalreadyȱwellȬestablished imageȱintoȱaȱnewȱsettingȱthatȱonlyȱ“worked”ȱbecauseȱpeopleȱwereȱalreadyȱsocially conditionedȱtoȱreactȱproperlyȱtoȱtheȱprimaryȱstimulus,130ȱbutȱplayedȱwithȱanȱimage thatȱwouldȱatȱleastȱwithȱaȱpartȱofȱtheȱaudienceȱevokeȱother,ȱandȱdefinitelyȱnonȬ papal,ȱassociations:ȱunlikeȱtheȱbeastȬhumanȱhybrids,ȱtheȱsowȬwithȬhumanȱimage wasȱquiteȱfirmlyȱlinkedȱtoȱoneȱspecificȱgroup—theȱJews. Fromȱtheȱsixteenthȱcenturyȱonwards,ȱwithȱtheȱmanyȱvariationsȱofȱtheȱJudensau spreadȱbyȱuseȱofȱprintedȱmatters,ȱtheȱJudensauȱwasȱoftenȱnoȱlongerȱstandingȱalone butȱbeingȱsurroundedȱbyȱother,ȱequallyȱderogatoryȱsymbols.ȱWhileȱtheȱFrankfurt Judensauȱisȱinȱmanyȱofȱitsȱrenditionsȱaccompaniedȱbyȱaȱwomanȱleadingȱtheȱsymbol ofȱtheȱdevilȱparȱexcellence,ȱaȱheȬgoat,131ȱtheȱviciouslyȱantiȬJewishȱtextȱofȱtheȱleaflet Derȱ Judenȱ Erbarkeitȱ (“Onȱ theȱ Jews’ȱ respectability”,ȱ 1571)ȱ wasȱ illustratedȱ byȱ a woodcutȱonȱtheȱfrontȱcoverȱthatȱshowsȱthreeȱgrotesque,ȱbarelyȱhumanȬshaped figures:ȱtwoȱcreaturesȱfeaturingȱdevilishȱsymbolsȱlikeȱhoovesȱandȱtalons,ȱhornsȱand antlers,ȱlongȱsnoutsȱandȱpointedȱears.ȱTheirȱcloaks,ȱhowever,ȱbearȱaȱcircleȬshaped emblemȱthatȱisȱeasilyȱrecognisableȱasȱtheȱinfamousȱyellowȱbadgeȱthatȱhadȱbecome widelyȱacceptedȱasȱaȱderogativeȱdistinctiveȱfeatureȱforȱJewishnessȱthroughout

128 PhilippȱMelanchtonȱandȱMartinȱLutherȱemphasizedȱinȱtheirȱaccompanyingȱexplanationȱofȱLucas CranachȱtheȱElder’sȱwoodcutsȱtheȱbeastlinessȱofȱtheseȱcreaturesȱandȱtheȱthreatȱtheyȱ(andȱwhatȱthey allegoricallyȱrepresented)ȱposed,ȱthusȱtriggeringȱorȱatȱlastȱfuellingȱaȱmoreȱfearfulȱreaction;ȱBianca Frohneȱ hasȱ howeverȱ rightlyȱ pointedȱ outȱ thatȱ bothȱ theȱ intentionȱ ofȱ theȱ broadsheetȱ andȱ the reaction(s)ȱitȱprovokedȱencompassedȱmoreȱthanȱfearfulȱandȱdisgustedȱemotions,ȱandȱemphasizes theȱsatirical,ȱgrotesque,ȱandȱcomicalȱcharacterȱofȱtheseȱhybridȱcreaturesȱ,ȱseeȱFrohne,ȱ“Narren, TiereȱundȱgrewlicheȱFiguren,”ȱ19–22ȱandȱ47–49,ȱandȱfig.ȱ1ȱandȱ2. 129 Forȱtheȱ‘master’ȱofȱtheseȱhumanȬbeastȬdemonȱhybridsȱandȱtheirȱequallyȱterrifyingȱandȱridiculing purpose,ȱ Hieronymusȱ Bosch,ȱ seeȱ latelyȱ andȱ withȱ regardȱ toȱ thisȱ aspectȱ Guidoȱ Boulboullé, “GroteskeȱAngst.ȱDieȱHöllenphantasienȱdesȱHieronymusȱBosch,”ȱGlaubensstreitȱundȱGelächter, 55–78,ȱparticularlyȱ67–68.ȱSeeȱalsoȱAmishaiȬMaisels,ȱ“Demonizationȱofȱtheȱ‘Other’ȱinȱtheȱVisual Arts,”ȱ54,ȱonȱtheȱdepictionȱofȱMuslimsȱwithȱtheȱheadsȱofȱanimals. 130 Heil,ȱ ‘Gottesfeinde’—’Menschenfeinde’,ȱ 151;ȱ onȱ theȱ similaritiesȱ ofȱ Catholicȱ reproachesȱ against heretics,ȱwitches,ȱandȱJews;ȱonȱthe—muchȱdiscussed—linkageȱofȱJewsȱandȱheretics,ȱseeȱLipton, ImagesȱofȱIntolerance,ȱchapterȱ4ȱ(83–111). 131 SeeȱPoȬChiaȱHsia,ȱTheȱMythȱofȱRitualȱMurder,ȱ213–15,ȱwithȱfigureȱ14ȱ(renditionȱofȱtheȱFrankfurt Judensau),ȱonȱtheȱdemonizationȱofȱJewsȱbyȱuseȱofȱJudensauȱandȱgoat. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 353

Europe,132ȱ complementingȱ andȱ partiallyȱ replacingȱ theȱ Jewishȱ hat.ȱ Theȱ third creatureȱtoȱtheirȱright,ȱwithȱtheȱsameȱsmallerȱhoovesȱandȱtalons,ȱisȱridingȱonȱthe backȱofȱaȱsowȱandȱplayingȱsomeȱsortȱofȱbagpipeȱwhileȱtheȱsowȱisȱdevouringȱaȱpile ofȱexcrement.133ȱWhereasȱtheȱsowȱremainsȱprimarilyȱconnotatedȱwithȱtheȱJews,ȱthe onlyȱ‘rival’ȱtoȱtheȱswine,ȱtheȱheȬgoatȱwithȱitsȱequallyȱstrongȱconnectionȱwithȱdirt andȱ filth,ȱ andȱ theȱ evenȱ strongerȱ allusionsȱ ofȱ theȱ devil,ȱ servesȱ evenȱ more comprehensiveȱpurposes,ȱasaȱfrequentȱcompanionȱofȱwitchesȱandȱsorcerers,ȱto nameȱbutȱoneȱexample.ȱTheȱilluminationȱhoweverȱinȱtheȱthirteenthȬcenturyȱBible moraliséeȱthatȱ showsȱJewsȱkissingȱaȱheȬgoat’sȱanus134ȱandȱtheȱfifteenthȬcentury capitalȱinȱaȱFlemishȱchurchȱthatȱfeaturesȱaȱJewȱonȱtheȱbackȱofȱaȱheȬgoat135ȱmightȱbe centuriesȱapartȱandȱwereȱmeantȱforȱaudiencesȱratherȱdifferentȱinȱnumberȱand status,ȱyetȱtheȱimageryȱisȱsimilarȱinȱitsȱintent.ȱTheȱSynagogaȱstatueȱatȱErfurtȱholds aȱgoatȬhead,ȱgoatsȱappearȱasȱmountsȱofȱSynagoga,ȱandȱduringȱtheȱEarlyȱModern Period,ȱ theȱ goatȱ withȱ itsȱ lasciviousȱ characterȱ andȱ incessantȱ sexualȱ desire,ȱ its stubbornnessȱ andȱ itsȱ hornsȱ becameȱ almostȱ asȱ popularȱ andȱ widespreadȱ asȱ the Judensauȱwhenȱitȱappearedȱonȱvariousȱdefamatoryȱpamphlets.136ȱLikeȱtheȱJudensau ofȱthisȱtime,ȱitȱcombinedȱimagesȱderivingȱfromȱtheȱantiȬJewishȱarsenalȱwithȱimages thatȱwereȱgenerallyȱusedȱinȱaȱdefamatoryȱcontext:ȱgoatȬriders,ȱinȱparticularȱthe EllenritterȱorȱEllenreiterȱ(literallyȱcubitȬknightȱorȱcubitȬrider),ȱaȱtailorȱridingȱaȱheȬ

132 EarlierȱinȱWesternȱEurope:ȱInȱbothȱAshkenzaicȱEnglandȱandȱSephardicȱSpain,ȱyellowȱwasȱaȱ“sign” ofȱJewsȱasȱearlyȱasȱtheȱearlyȱ13thȱcentury;ȱinȱ1269ȱandȱ1274,ȱtheȱkingsȱofȱFranceȱandȱEngland respectivelyȱdecreedȱthatȱJewsȱhadȱtoȱwearȱaȱyellowȱbadgeȱonȱtheirȱclothingȱ(Blumenkranz,ȱJuden undȱJudentum,ȱ23–24,ȱfig.ȱ14ȱandȱ15ȱthatȱshowȱexamplesȱfromȱearlyȱ14thȱcenturyȱFlorenceȱand France,ȱrespectively),ȱwhileȱinȱtheȱrealmȱofȱtheȱHolyȱRomanȱEmpire,ȱtheȱbadgeȱwasn’tȱgenerally implementedȱasȱaȱsignȱbeforeȱtheȱ15thȱcenturyȱ(firstȱmentionȱisȱ1294ȱinȱErfurt,ȱwhereȱtheȱJewish communityȱobtainedȱtheȱpermissionȱtoȱnotȱwearȱtheȱbadgeȱwhichȱhadȱofficiallyȱbeenȱimplemented twoȱyearsȱearlier,ȱGermaniaȱJudaicaȱI,ȱ216). 133 WinfriedȱFreyȱhasȱpointedȱoutȱthatȱinȱtheȱcopyȱofȱthisȱleafletȱthatȱisȱkeptȱinȱtheȱBavarianȱState LibraryȱinȱMunichȱ(BayerischeȱStaatsbibliothekȱMünchen),ȱthere’sȱanotherȱdefamatoryȱtextȱadded toȱtheȱpamphletȱlistingȱ(again)ȱantiȬJewishȱresentmentsȱwhich,ȱamongȱothers,ȱexpressȱtheȱauthor’s wishȱthatȱtheȱJewsȱ‘mayȱbeȱhangedȱlikeȱdogs’.ȱFrey,ȱ“VergleicheȱvonȱJudenȱmitȱHunden,”ȱ131. 134 Theȱ manuscriptȱ wasȱ madeȱ inȱ theȱ 1220sȱ forȱ theȱ kingȱ ofȱ France;ȱ theȱ contextȱ inȱ whichȱ the illuminationȱisȱplaced—theȱworshipȱofȱtheȱgoldenȱcalfȱwhichȱisȱalsoȱillustratedȱinȱtheȱroundel above,ȱtheȱJewȱholdingȱtheȱgoatȱcarriesȱaȱmoneybag—firmlyȱestablishesȱtheȱconnectionȱavariceȬ worshipȱofȱtheȱdevilȬJews;ȱmanyȱofȱtheȱimagesȱreferȱinȱsomeȱwayȱtoȱmoneylending.ȱAnother roundelȱinȱtheȱcodexȱshowsȱaȱJewȱkissingȱtheȱanusȱofȱaȱcat;ȱLipton,ȱImagesȱofȱIntolerance,ȱ1ȱ(dating), 42–43,ȱwithȱfig.ȱ26,ȱ49,ȱwithȱfig.ȱ32,ȱ50–51. 135 JosuahȱTrachtenberg,ȱTheȱDevilȱandȱtheȱJews:ȱTheȱMedievalȱConceptȱofȱtheȱJewȱandȱItsȱRelationȱto ModernȱAntisemitismȱ(1943;ȱNewȱYork:ȱJewishȱPublicationȱSociety,ȱ2001),ȱ45. 136 Hassig,ȱ“SexȱinȱtheȱBestiaries,”ȱ72. Bereitgestellt von | De Gruyter / TCS 354 BirgitȱWiedl goat,137ȱwereȱanȱimageȱthatȱwasȱoftenȱusedȱinȱaȱmockingȱcontextȱupȱuntilȱthe nineteenthȱcenturyȱinȱbothȱvisualȱartȱandȱliterature.138ȱ InȱtheȱcontextȱofȱantiȬJewishȱmockeryȱandȱdefamation,ȱtheȱgoadȬridingȱtakesȱon aȱ particularȱ developmentȱ thatȱ featuresȱ strikingȱ parallelsȱ toȱ theȱ Judensau:ȱ The “traditional”ȱ medievalȱ pairingȱ ofȱ theȱ allegoricalȱ embodimentsȱ ofȱ Ecclesiaȱ and Synagoga,139ȱadorningȱasȱsculpturesȱmanyȱaȱRomanesqueȱandȱGothicȱchurchȱinȱthe shapeȱofȱtwoȱbeautifulȱfemaleȱfigures140ȱandȱdiscussingȱtheirȱrespectiveȱpostulates inȱ variousȱ dialogues,ȱ developedȱ intoȱ aȱ derogatoryȱ imageȱ ofȱ aȱ barelyȱ human SynagogaȱridingȱaȱheȬgoatȱandȱanȱopenȱdisputeȱthatȱnotȱonlyȱendedȱinȱfavourȱof EcclesiaȱbutȱwithȱaȱcrushingȱdefeatȱofȱSynagoga,ȱoftenȱaccompaniedȱbyȱviolent insults.ȱ Whereasȱ theȱ dialoguesȱ wereȱ likeȱ theȱ earlyȱ Judensauȱ statuesȱ andȱ the bestiariesȱ limitedȱ toȱ aȱ specificȱ groupȱ ofȱ readers/viewersȱ bothȱ inȱ regardȱ toȱ the accessibilityȱofȱtheȱobjectsȱandȱtoȱtheȱlevelȱofȱeducationȱofȱtheȱ‘consumers,’141ȱboth theȱvituperationsȱthatȱbecameȱaȱtypicalȱpartȱofȱpreludesȱtoȱpassionȱplays142ȱandȱthe imaginaryȱthatȱdevelopedȱmoreȱandȱmoreȱintoȱaȱbroadȱjokeȱwereȱmeantȱforȱa broaderȱpublic.ȱ

137 RohrbacherȱandȱSchmidt,ȱJudenbilder,ȱ161. 138 Inȱ oneȱ ofȱ theȱ storiesȱ thatȱ theȱ nineteenthȱ centuryȱ constructedȱ aroundȱ theȱ historicalȱ figureȱ of Appolloniusȱ vonȱ Gailingen,ȱ aȱ fourteenthȬcenturyȱ “robberȬknight”ȱ inȱ Franconia,ȱ heȱ callsȱ the wealthyȱmerchantsȱofȱaȱtownȱ“Käsewürmer,ȱEllenreiterȱundȱPfeffersäcke”ȱ(cheeseȬworms,ȱcubitȬriders, andȱpepperȬbags). 139 SeeȱtheȱoverviewȱbyȱWolfgangȱGreisenegger,ȱ“EcclesiaȱundȱSynagoge”ȱLexikonȱderȱchristlichen Ikonographie,ȱvol.ȱ1ȱ(rpt.ȱ1968;ȱFreiburg:ȱHerder,ȱ1994),ȱcol.ȱ569–78,ȱandȱJochum,ȱ“Ecclesiaȱund Synagoga,”ȱ248–51. 140 Thereȱhasȱbeenȱmuchȱdiscussionȱaboutȱtheȱbroadȱvarietyȱofȱmeaningsȱtheseȱstatuesȱconveyedȱto theȱcontemporaries,ȱwithȱnewerȱworksȱstressingȱtheȱintrinsicȱstageȬcharacterȱofȱtheseȱstatuesȱthat wouldȱcauseȱanȱentireȱsceneȱtoȱreelȱoffȱinȱtheȱmindsȱofȱtheȱspectators,ȱimpressivelyȱ“reȬenacted” byȱHelgaȱSciurie,ȱ“EcclesiaȱundȱSynagogeȱanȱdenȱDomenȱzuȱStraßburg,ȱBamberg,ȱMagdeburgȱund Erfurt.ȱ Körpersprachlicheȱ Wandlungenȱ imȱ gestalterischenȱ Kontext,”ȱ Wienerȱ Jahrbuchȱ für KunstgeschichteȱXLVI/XLVII:ȱBeiträgeȱzurȱmittelalterlichenȱKunst,ȱvol.ȱ2ȱ(1993/94):ȱ679–88,ȱ871–74 (illustrations);ȱhereȱ684–85,ȱonȱtheȱbasisȱofȱtheȱstatuesȱofȱErfurtȱandȱStrasbourg,ȱseeȱalsoȱWeber, “GlaubeȱundȱWissen,”ȱandȱElizabethȱMonroe,ȱ“‘FairȱandȱFriendly,ȱSweetȱandȱBeautiful’:ȱHopes forȱJewishȱConversionȱinȱSynagoga’sȱSongȱofȱSongsȱImagery,”ȱBeyondȱtheȱYellowȱBadge,ȱ33–61,ȱfor aȱmoreȱpositiveȱimageȱofȱSynagoga. 141 Weber,ȱ“GlaubeȱundȱWissen,”ȱ94ȱ(education),ȱ96ȱ(accessibility). 142 EdithȱWenzel,ȱ“SynagogaȱundȱEcclesia—ZumȱAntijudaismusȱimȱdeutschsprachigenȱSpielȱdes spätenȱMittelalters,”ȱInternationalesȱArchivȱfürȱSozialgeschichteȱderȱdeutschenȱLiteraturȱ12ȱ(1987): 57–81;ȱhereȱ66–69. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 355

TheȱfourteenthȬcenturyȱcarvings143ȱatȱtheȱchoirȱstallȱofȱtheȱcathedralȱofȱErfurt showsȱaȱquiteȱuntypicalȱJudensau,ȱaȱmixtureȱofȱJudensauȱandȱSynagogaȱinȱfact,ȱthat isȱpartȱaȱ“Battleȱofȱfaiths”ȱinȱwhichȱEcclesiaȱisȱjoustingȱinȱquiteȱchivalricȱaȱmanner againstȱSynagoga.144ȱTheȱcarvingsȱshowȱtheȱmomentȱofȱdefeat;ȱEcclesiaȱisȱaboutȱto driveȱ theȱ tipȱ ofȱ herȱ lanceȱ intoȱ Synagoga’sȱ throatȱ whileȱ Synagogaȱ isȱ rendered defenceless.ȱNotȱonlyȱdoesȱsheȱhaveȱneitherȱshieldȱnorȱweaponȱtoȱprotectȱherself with,ȱsheȱisȱclearlyȱmarkedȱinferiorȱbecauseȱofȱherȱmount—andȱhereȱisȱwhereȱthe ridiculousȱelementȱisȱtiedȱin:ȱwhileȱEcclesiaȱisȱridingȱaȱhorseȱinȱknightlyȱfashion, Synagogaȱhasȱtoȱmakeȱdoȱwithȱaȱsow.145ȱItȱmightȱwellȱbeȱthatȱtheȱ(exaggeratedly) largeȱteatsȱofȱtheȱsowȱremindedȱspectatorsȱofȱotherȱ“pairings”ȱofȱJewsȱwithȱsows theyȱhadȱcomeȱacross,ȱthusȱderidingȱtheȱJewsȱnotȱonlyȱinȱanȱallegoricalȱsense,ȱas endingȱupȱonȱtheȱlosingȱsideȱofȱtheȱbattleȱofȱfaiths,ȱbutȱasȱthoseȱwhoȱdrinkȱaȱbeast’s milk,ȱobviouslyȱbeingȱonlyȱhalfȬhumansȱthemselves.ȱ TheȱquiteȱfrequentȱinclusionȱofȱtheȱSynagogaȱsculptureȱintoȱtheȱrowȱofȱtheȱFoolish VirginsȱmightȱhaveȱeludedȱinȱitsȱdeeperȱtheologicalȱmeaningsȱtheȱaverageȱbyȬgoer, yetȱtheyȱwouldȱneverthelessȱgrinȱatȱtheȱFoolishȱVirgins,ȱwithȱtheirȱoftenȱgrotesque grimacing,ȱandȱthuslyȱatȱSynagogaȱwhoȱstandsȱinȱtheirȱline,ȱmarkedȱasȱfoolish, lackingȱprudence,ȱandȱthereforeȱbeing,ȱwithȱnoȱoneȱtoȱblameȱbutȱherself.146ȱWith theȱemergenceȱofȱwhatȱisȱreferredȱtoȱasȱLebendesȱKreuzȱ(‘LivingȱCross’),147ȱaȱtypeȱof depictionȱtoȱbeȱfoundȱalmostȱexclusivelyȱinȱbookȱilluminationsȱandȱwallȱpaintings fromȱ theȱ fifteenthȱ centuryȱ onwardsȱ inȱ Centralȱ Europe,ȱ Synagogaȱ takesȱ onȱ a completelyȱdifferentȱshape:ȱblindfoldedȱasȱusual,ȱyetȱnoȱlongerȱbearingȱherself regallyȱbutȱwithȱattributesȱthatȱareȱmeantȱtoȱevokeȱbothȱlaughterȱandȱdisgustȱinȱthe spectators:ȱsheȱisȱridingȱanȱassȱorȱ(lessȱoften)ȱaȱgoat,ȱthatȱisȱinȱsomeȱcasesȱalready

143 Theȱdatingȱofȱearlyȱ15thȱcenturyȱ(thuslyȱShachar,ȱJudensau,ȱpl.ȱ28)ȱhasȱbeenȱcorrectedȱbyȱmeansȱof dendrochronologicalȱexaminationȱcarriedȱoutȱinȱ2002ȱthatȱplacedȱtheȱfellingȱofȱtheȱtreesȱusedȱfor theȱstallsȱinȱtheȱyearsȱ1329ȱandȱ1364/65,ȱtheȱtimeȱofȱtheȱsecondȱexpansionȱofȱtheȱchoir,ȱseeȱRainer MüllerȱandȱThomasȱNitz,ȱForschungenȱzumȱDomȱErfurt.ȱDasȱChorgestühlȱdesȱErfurterȱDomes,ȱ2ȱvols. ArbeitsheftȱdesȱThüringischenȱVereinsȱfürȱDenkmalpflege,ȱN.F.ȱ20.1ȱ(2003;ȱAltenburg:ȱVerlag Reinhold,ȱ2005). 144 TheȱCathedralȱalsoȱhostsȱaȱ“classical”ȱpairingȱofȱEcclesia/Synagogaȱstatuesȱatȱtheȱjambȱofȱtheȱmain entranceȱportalȱinȱtheȱcontextȱofȱtheȱTenȱVirgins. 145 Illustration:ȱShachar,ȱJudensau,ȱpl.ȱ28. 146 Scurie,ȱ“EcclesiaȱundȱSynagoge,”ȱ683. 147 Oldȱ butȱ stillȱ essentialȱ isȱ Robertȱ L.ȱ Füglister,ȱ Dasȱ Lebendeȱ Kreuz.ȱ IkonographischȬikonologische UntersuchungȱderȱHerkunftȱundȱEntwicklungȱeinerȱspätmittelalterlichenȱBildideeȱundȱihrerȱVerwurzelung imȱWortȱ(Einsiedeln,ȱZurich,ȱandȱCologne:ȱBenzingerȱVerlag,ȱ1964).ȱMostȱofȱtheȱimagesȱshareȱa quiteȱhomogenousȱsetup:ȱInȱtheȱcenter,ȱthereȱisȱGolgatha,ȱwithȱChristȱonȱtheȱcross,ȱandȱaboveȱthe joist,ȱGodȱhimselfȱappears—inȱvariousȱshapes—withȱaȱblessingȱgestus.ȱTypicalȱareȱtheȱtwoȱfemale figuresȱthatȱapproachȱtheȱcross—toȱtheȱleft,ȱthereȱisȱEcclesiaȱwithȱherȱcrown,ȱridingȱaȱtetramorph thatȱsymbolizesȱtheȱfourȱEvangelists,ȱsheȱcarriesȱtheȱchaliceȱtoȱcollectȱChrist’sȱbloodȱandȱtheȱlance withȱHisȱsymbol.ȱToȱtheȱrightȱisȱtheȱaboveȱdescribedȱSynagoga,ȱwhoȱisȱsometimesȱpairedȱwithȱEve whileȱMaryȱstandsȱatȱEcclesia’sȱside. Bereitgestellt von | De Gruyter / TCS 356 BirgitȱWiedl dying,ȱsheȱnotȱonlyȱholdsȱonȱtoȱaȱbrokenȱlanceȱbutȱcarriesȱaȱgoat’sȱheadȱwithȱher. Itȱisȱquiteȱevidentȱthatȱherȱownȱpostureȱasȱwellȱasȱtheȱsituationȱsheȱisȱinȱisȱdesigned notȱonlyȱtoȱdegradeȱbutȱdecry,ȱbutȱtheȱmostȱstriking—andȱtelling—differenceȱisȱthe swordȱthatȱcomesȱthrustingȱdownȱfromȱtheȱjoist:ȱtheȱoldȱstatuesȱofȱStrasbourgȱand BambergȱmightȱhaveȱshownȱaȱSynagogaȱthatȱhadȱbeenȱdefeated,ȱthatȱwasȱblindȱand submissivelyȱloweringȱherȱhead,ȱyetȱaȱSynagogaȱthatȱwasȱstillȱalive,ȱwhereasȱinȱthe Livingȱ Crossȱ theȱ distinctiveȱ featureȱ isȱ thatȱ sheȱ isȱ beingȱ killed,ȱ piercedȱ byȱ the sword.148ȱLikeȱtheȱJudensau,ȱtheȱSynagogaȱinȱtheȱcontextȱofȱtheȱLivingȱCrossȱisȱa figureȱthatȱisȱtoȱbeȱlaughedȱat—moreȱonȱtheȱpathetic,ȱevenȱdeplorableȱsideȱthanȱthe Judensau,ȱyetȱtheȱmethaphoricalȱlanguageȱshowsȱmanyȱparallels:ȱtheȱusageȱofȱfilthy animals—swine,ȱgoat,ȱass—andȱtheȱcloseȱconnectionȱthatȱisȱestablishedȱbetween theȱSynagoga/Jewsȱandȱthoseȱsoiledȱcreatures,ȱtheȱridingȱwithȱone’sȱbackȱtoȱthe animal’sȱ headȱ (althoughȱ seldomlyȱ usedȱ inȱ theȱ Livingȱ Cross),ȱ andȱ theȱ general exclusionȱfromȱtheȱhumanȱworld. TheȱquestionȱremainsȱhowȱtoȱdealȱwithȱtheȱremainingȱJudensäueȱthatȱareȱstill presentȱinȬȱandȱoutsideȱmedievalȱandȱearlyȱmodernȱbuildings.ȱSomeȱhaveȱbeen removedȱinȱearlierȱtimes,ȱlikeȱtheȱoneȱatȱtheȱTownȱHallȱofȱSalzburgȱwhichȱwas takenȱdownȱbyȱcommandȱofȱtheȱArchbishopȱinȱ1785,ȱorȱhaveȱweatheredȱaway,ȱlike theȱbarelyȱrecognisableȱsculptureȱatȱtheȱparishȱchurchȱofȱBayreuth.ȱSomeȱhave beenȱremovedȱ‘byȱaccident,’ȱlikeȱtheȱFrankfurtȱJudensauȱthatȱwas,ȱdespiteȱtheȱpleas ofȱtheȱJewishȱcommunityȱofȱFrankfurtȱfromȱasȱearlyȱasȱ1609ȱonwards,149ȱtornȱdown alongȱwithȱtheȱBrückenturmȱinȱ1801,ȱalbeitȱsurvivingȱinȱitsȱmanifoldȱversionsȱon broadsheetsȱandȱpamphlets.ȱ Duringȱtheȱlastȱdecades,ȱsomeȱhaveȱbeenȱtakenȱdown,ȱlikeȱtheȱonesȱinȱWiener NeustadtȱandȱBadȱWimpfenȱthatȱareȱnowȱonȱdisplayȱinȱtheȱrespectiveȱmunicipal museums.ȱUpȱuntilȱtoday,ȱthough,ȱmanyȱsculpturesȱstillȱareȱwhereȱtheyȱhadȱbeen placedȱcenturiesȱago,ȱinȱplainȱsight.ȱAtȱsomeȱplaces,ȱplaquesȱhaveȱbeenȱattached toȱ orȱ inȱ closeȱ vicinityȱ ofȱ theȱ respectiveȱ Judensau,ȱ explainingȱ theȱ meaningȱ and historicalȱcontextȱofȱtheȱsculpture,ȱalbeitȱinȱvaryingȱdegreesȱofȱdistancing:ȱwhile theȱ Wittenbergȱ (mountedȱ 1988)ȱ andȱ Bayreuthȱ (2005)ȱ pointȱ toȱ guiltȱ and responsibilityȱofȱtheȱchurch,ȱtheȱplaqueȱatȱRegensburgȱ(2005)ȱmerelyȱspeaksȱofȱ‘a documentȱthatȱisȱtoȱbeȱseenȱinȱtheȱcontextȱofȱitsȱtime,ȱandȱwillȱseemȱstrangeȱtoȱus today.’ȱInȱNuremberg,ȱforȱinstance,ȱaȱrecentȱcommentȱonȱtheȱchurch’sȱwebsite (www.sebalduskirche.de,ȱ2005)ȱandȱaȱflyerȱthatȱisȱbeingȱdistributedȱinsideȱthe

148 Aȱparticularlyȱimpressiveȱexampleȱ(altoughȱnotȱtheȱonlyȱone)ȱisȱtheȱMinsterȱofȱFreiburgȱthatȱhas bothȱaȱpairingȱofȱEcclesiaȱandȱSynagogaȱsculpturesȱandȱ(asȱstainedȬglassȱwindows)ȱaȱLivingȱCross, fromȱtheȱthirteenthȱandȱsixteenthȱcenturies,ȱrespectively,ȱseeȱHeikeȱMittmann,ȱDieȱGlasfensterȱdes FreiburgerȱMünsters.ȱGroßerȱKunstführerȱSchnellȱ&ȱSteiner,ȱ219ȱ(Regensburg:ȱSchnellȱ&ȱSteiner, 2005). 149 PoȬChiaȱHsia,ȱTheȱMythȱofȱRitualȱMurder,ȱ210–11. Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 357 churchȱ bearȱ bothȱ explanationȱ andȱ apology;ȱ andȱ artistsȱ likeȱ Wolframȱ Kastner (www.christlicheȬsauerei.de)ȱhaveȱalertedȱbothȱauthoritiesȱandȱgeneralȱpublicȱto theȱproblem,ȱdrawingȱbothȱpositiveȱandȱnegativeȱreactions,ȱandȱevenȱtheȱGerman PigȱMuseumȱ(www.deutschesȬschweinemuseum.de)ȱhasȱdevotedȱaȱsmallȱpartȱof itsȱ2004ȱexhibitionȱtoȱtheȱJudensau.ȱ Manyȱ sculptures,ȱ however,ȱ stillȱ remainȱ uncommented,ȱ continuingȱ toȱ stand amidstȱ otherȱ testamentsȱ ofȱ medievalȱ humor,ȱ yetȱ bothȱ theirȱ existenceȱ andȱ the negligent,ȱevenȱindifferentȱhandlingȱofȱthatȱfactȱareȱindeedȱnoȱmatterȱtoȱlaugh about.

Bereitgestellt von | De Gruyter / TCS 358 BirgitȱWiedl

Figureȱ1:ȱBamberg,ȱcloisterȱofȱtheȱCarmeliteȱmonastery:ȱcorbelȱwithȱaȱJewȬbeast hybrid,ȱfourteenthȱcenturyȱ(photo:ȱ@BirgitȱWiedl)

Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 359

Figureȱ2:ȱRegensburgȱCathedral,ȱsculptureȱofȱaȱJudensauȱonȱaȱbuttressȱonȱthe southȱwallȱofȱtheȱCathedral,ȱaroundȱ1330ȱ(fromȱwikipedia.de,ȱpublicȱdomain)

Bereitgestellt von | De Gruyter / TCS 360 BirgitȱWiedl

Figureȱ3:ȱBroadsheetȱshowingȱtheȱWittenbergȱJudensau,ȱWolfgangȱMeissnerȱ 1596.ȱTheȱrenditionȱfeaturesȱtheȱcommonȱadditionȱofȱaȱsecond,ȱsmallerȱJudensau toȱtheȱleft,ȱwhileȱtheȱsucklingȱJewsȱhaveȱbadgesȱonȱtheirȱbacksȱ(from wikipedia.de,ȱpublicȱdomain)

Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 361

Figureȱ4:ȱEntryȱtoȱtheȱaccountȱbookȱofȱtheȱSalzburgȱMayorȱHansȱGlavenberger, 1487,ȱbillingȱtheȱcostsȱforȱtheȱJudensauȱonȱtheȱtowerȱofȱtheȱtownȱhallȱ(Municipal ArchivesȱofȱSalzburg,ȱBUȱ264)

Bereitgestellt von | De Gruyter / TCS 362 BirgitȱWiedl

Figureȱ5:ȱJudensau.ȱWoodcut,ȱGermany,ȱfromȱaȱfifteenthȬcenturyȱblockȱ(first printedȱinȱ1472)ȱ(fromȱwikipedia.de,ȱpublicȱdomain)

Bereitgestellt von | De Gruyter / TCS LaughingȱatȱtheȱBeast:ȱTheȱJudensau 363

Figureȱ6:ȱNuremberg,ȱStȱSebaldus,ȱsculptureȱofȱaȱJudensauȱonȱaȱbuttressȱatȱthe eastȱchoir,ȱaroundȱ1380ȱ(BildarchivȱHansȬChristophȱDittscheid)

Bereitgestellt von | De Gruyter / TCS 364 BirgitȱWiedl

Figureȱ7:ȱEighteenthȬcenturyȱbroadsheetȱshowingȱtheȱFrankfurtȱJudensau,ȱwith theȱtypicalȱadditionsȱofȱSimonȱofȱTrentȱaboveȱtheȱJudensau,ȱandȱaȱwomanȱwithȱa heȬgoat,ȱaȱhornedȱdevil,ȱandȱtheȱOldȱBridgeȱTowerȱasȱbackground.ȱTheȱline aboveȱtheȱJudensauȱreads:ȱ“AuȱweyhȱRabbȱAnschȱauȱauȱmauschiȱauȱweyhȱau au”ȱandȱisȱinȱmanyȱrenditionsȱfollowedȱbyȱtheȱ‘invitation’ȱtoȱ‘guzzleȱdownȱthe milkȱandȱdevourȱtheȱfilth’ȱ(fromȱwikipedia.de,ȱpublicȱdomain)

Bereitgestellt von | De Gruyter / TCS