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The Crescent on the Temple, by Pamela Berger, Boston College

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The Crescent on the Temple, by Pamela Berger, Boston College The Crescent on the Temple, by Pamela Berger, Boston College The Temple of Solomon as described in the Book of Kings was rectangular in plan, as were the subsequent temples of Zerubbabel and Herod. By 135 CE the Herodian structure was completely destroyed, yet over the centuries Jews gathered surreptitiously at the site and wept, especially at the place where bedrock was exposed at the top of the Temple Mount. In the Hebrew Bible, as well as in the Talmud and the Midrash, the Temple had been associated with a rock or a large stone. For example, Isaiah [28:16] writes of a Foundation Stone: “So has the Lord God said: ‘Behold, I have laid as a foundation a stone in Zion, a fortress stone, a costly cornerstone, a foundation well founded.’” That Foundation Stone came to be regarded as having been in the most sacred part of the Temple, the Holy of Holies. According to tradition, the Ark of the Covenant rested upon the Foundation Stone. When the Babylonians conquered Jerusalem in 586 BCE they most likely took away the Ark of the Covenant, for it is no longer mentioned as being there. However, later texts speak about the stone upon which it stood, and that God’s glory reposed upon that stone. An anonymous visitor from Bordeaux reported in 333 CE that when he visited the Temple Mount he saw there a “stone to which the Jews come every year and anoint. They mourn and rend their garments, and then depart.” In the early 400s the Biblical scholar Jerome saw the same kind of ritual on the Temple Mount: Jews groaning over the ruins of their Temple. Jews created a series of stories about that Rock: that the Rock is close to heaven and represents the throne of God; that waters of the flood receded from the Rock, and that it was the pillow under Jacob’s head. Muslims and Jews shared the legend that Abraham bound his son at that Rock, though for Jews the son was Isaac and for Muslims it was Ishmael. And both peoples believed that the Rock was the navel of the world. One apocryphal later account about the site speaks of an old Jew, Ka’b, who accompanied the Muslim caliph Umar when he marched peacefully into Jerusalem in 638. Umar asked to be taken to the place where David prayed and the Bishop of Jerusalem took him to the Temple Mount. Though the Christians had allowed the site to be desecrated by all kinds of dung and refuse, Umar saw it as the place where David had prayed. According to legend, the old Jew, Ka’b, helped the Muslim Caliph find the rock. A fragment from the Cairo Geniza recounts the story: “Taking part were all the Muslims in the city . and participating with them were a group of Jews. Afterwards they were (0.$0$.!3(!$E,/9,3$!3#$!09221-#!)0(%!3#$!-,+/39,0?!K-13$P!,+.!3(!/'$,+! 13\!,+.!K3#$!C,'1&#P!^%,0!8,3/#$.!3#$%!,''!3#$!31%$>!X#$+$E$0!,! 0$%+,+3!8,-!0$E$,'$.:!#$!8(9'.!,-5!3#$!$'.$0-!()!3#$!F$8-!,2(93!3#$! 0(/5a!,+.!(+$!()!3#$!-,7$-!8(9'.!%,05!(93!3#$!2(9+.,01$-!()!3#$!&',/$:! @ 9+31'!13!8,-!9+/(E$0$.>V! !!4?!ObL!3#$!H9-'1%-!#,.!291'3!3#$!_(%$!()!3#$! [(/5!,3!3#,3!-13$>!! J0(%!3#$!$17#3#!/$+390?!(+:!3#$!_(%$!()!3#$![(/5!8,-!0$)$00$.!3(! ,-!3#$!"$%&'$!()!*('(%(+!1+!,!+9%2$0!()!3$G3-:!,+.!1+!+9%$0(9-!8(05-! ()!,03!3#$!_(%$!()!3#$![(/5!-3((.!)(0!3#$!"$%&'$>!!H?!2((5:!Q"#$! C0$-/$+3!(+!3#$!"$%&'$:V! &0$-$+3-!3#1-!,079%$+3:! /131+7!3#$!3$G39,'! 0$)$0$+/$-!,+.!E1-9,'! 1%,7$0?>!I+!3#1-!-#(03!$--,?! IU''!&0$-$+3!,!)$8!$G,%&'$->!!! W!/10/9',0!"$%&'$!1-! Fig. 1. “Q” Initial with the Annunciation to Zechariah. London, The British Library. Harley Gospels 2788, folio 109r. Late 8th century. Copyright: The British Library Board ! .$&1/3$.!,-!3#$!E$+9$!)(0!-$E$0,'!C#01-3('(71/,'!-/$+$->!!"#1-!C,0('1+71,+! %,+9-/01&3!.$&1/3-!3#$!W++9+/1,31(+!3(!<,/#,01,#!()!3#$!1%&$+.1+7! 2103#!()!#1-!-(+:!F(#+!3#$!4,&31-3>!c)17>!@d!!<,/#,01,#!8,-!,!"$%&'$!&01$-3! ,+.!3#$!-/$+$!1-!0$&0$-$+3$.!,-!3,51+7!&',/$!1+!3#$!"$%&'$>!!I+!%$.1$E,'! 3$0%-!3#1-!.(%$.!%,-(+0?!291'.1+7!-3,+.-!)(0!3#$!"$%&'$:!)(0!13!#,-!3#$! -,'1$+3!$'$%$+3-!/#,0,/3$01-31/!()!3#,3!291'.1+7>!"#$!/(90-$-!()!%,-(+0?! /'$,0'?!1+.1/,3$!,!/10/9',0!291'.1+7:!,+.!3#$!012-!()!3#$!.(%$!,0$!$,-1'?! E1-12'$>!!C901(9-'?:!%$.1$E,'!C#01-31,+-!#,.!.$E$'(&$.!3#$!2$'1$)!3#,3!3#$! _(%$!()!3#$![(/5!8,-!3#$!E$0?!-,%$!-309/390$!-3,+.1+7!.901+7!3#$!31%$! ()!F$-9->!!"#9-!,!/10/9',0! "$%&'$!1-!.$&1/3$.!,-!3#$! E$+9$!)(0!-$E$0,'!(3#$0! C#01-3('(71/,'!-/$+$->! Fig. 2. Sacrifice at the Temple/Tabernacle. Octateuch. Constantinople, 1070–1080. Rome, Vatican Library, Gr. 747 folio 125v. Biblioteca Apostolica Vaticana, with all rights reserved# ! !! 4?`,+31+$!,03!'15$81-$!&0(E1.$-!$G,%&'$-!()!,!.(%$.!-309/390$!-$0E1+7! ,-!3#$!"$%&'$:!,-!1+!3#$!,2(E$!%1+1,390$!()!,!-,/01)1/$!%,.$!2?!3#$! &01$-3!W,0(+!,+.!#1-!-(+>!!c)17>!Ld!4$#1+.!3#$!-,/01)1/$:!1+!3#$!9&&$0! 0$71-3$0:!,!#,'($.!W,0(+!&(1+3-!3(!3#$!.(%$.!-309/390$:!8#1/#!1-!%$,+3! 3(!-3,+.!)(0!3#$!"$%&'$:!/(+)',3$.!813#!3#$!",2$0+,/'$!1+!3#$!.$-$03>!I+! 3#$!2(33(%!&,03!()!3#$!1''9-30,31(+!3#$!())$01+7!1-!2$1+7!290+$.>! Fig. 3. Presentation in the Temple. Psalter of Queen Melisende. 1131–1142. London, The British Library, Egerton 1139, folio 3r. ˝ Copyright: The British Library Board# ! !X#$+!/09-,.$0-! $+3$0$.!F$09-,'$%!1+! @Zbb:!3#$?!3((5!(E$0!3#$! _(%$!()!3#$![(/5!,+.! 0$+,%$.!13!Q"$%&'$!()! 3#$!R(0.>V!C(+-$;9$+3'?:! -(%$!()!3#$! C#01-3('(71/,'!$E$+3-! 3#,3!8$0$!1''9-30,3$.!1+!/09-,.$0!%,+9-/01&3-!.$&1/3$.!-/$+$-!()!F$-9-U! '1)$!,-!1)!3#$?!#,.!3,5$+!&',/$!,3!,!/10/9',0!"$%&'$:!,-!1+!3#1-! 0$&0$-$+3,31(+!()!3#$!e0$-$+3,31(+!1+!3#$!"$%&'$!f9-3!,2(E$>!c)17>!Ad! "#$!/10/9',0!.(%$.!Q"$%&'$V!/(9'.!2$!71E$+!,!+$7,31E$!%$,+1+7! ,-!8$''>!!=$0$!(+!3#$!38$')3#g/$+390?!3?%&,+9%!,3!*3>!S1''$-g.9gS,0.!3#$! ! Fig. 4. Synagogue with Crown like the Dome of the Rock. Detail ! of Crucifixion Tympanum. St. Gilles-du-Gard, France. ! South Portal Tympanum, West Facade. 1150–1180. Photo: Scala/Art Resource, NY# ! crucified Jesus is flanked by personifications of Church and Synagogue. Synagogue is being forced down by the spear of the angel. (fig. 4) One of her defining attributes is a crown in the shape of the Dome of the Rock, the structure which, at the time, was still called “Temple of the Lord” by the crusaders. The use of this building as Synagogue’s crown is meant as a denigration. In addition to her being thrust down by the angel, her debasement is further highlighted by the voluptuous breasts that are visible through her garment. In a strange tangle of religious imagery, this Muslim building, which had been consecrated as a church, had, according to the prevailing crusader narrative, also been the Jewish Temple standing at the time of Jesus. It was thus associated with Gospel stories that, for instance, pointed to Jewish greed, like Jesus purging the Temple of the Jewish moneychangers, and Jewish Temple priests handing Jesus over to Pilate… stories that offered up a strong dose of negativity in association with the Temple. It was this negativity that was called upon by the inventor of this extraordinary iconography at St. Gilles-du-Gard, where the domed “Temple” becomes the crown of the defeated Synagogue. Since the Dome of the Rock had been captured by the crusaders from the Muslims, it could symbolize defeated Jewish infidels and defeated Muslims at the same time. "#$!/10/9',0!_(%$!()!3#$![(/5!-3,+.1+7!)(0!3#$!"$%&'$!,'-(! ,&&$,0-!1+!3#$!QH(0,'1`$.!412'$V!()!3#$!@LLZ->!c)17>!Bd!! ! Fig. 5. Solomon praying to the Lord. Upper roundel. “Moralized Bible” c. 1230. Vienna, Oesterreichische Nationalbibliothek, Codex Vindobonensis 2554 fol. 50v. Photo: copyright: Oesterreichische Nationalbibliothek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e0$-$+3,31(+!-/$+$>!Fig. 6 & 6a. Presentation!cJ17>!O!h!O,d in the Temple! and Flight into Egypt. Melchior Broederlam. 1399. Musee des Beaux Arts, Dijon, France. Photo: Francois Tay. Copyright: Musee des Beaux-Arts de Dijon. ! "#$!0139,'! 3,5$-!&',/$!1+!,! &('?7(+,'!-&,/$:!813#!3#$!$G3$01(0!()!3#$!291'.1+7! -#(8+!(+!3#$!'$)3>!!"#1-!$G3$01(0!+(3!(+'?!#,-!3#$! .(%$!,+.!3#$!.09%!81+.(8-:!293!#$0$!3#$!Q"$%&'$V!1+!8#1/#!3#$! C#01-3('(71/,'!$E$+3!3,5$-!&',/$!,/39,''?!#,-!,!/0$-/$+3!(+!3(&>!! !W!.(%$.!-309/390$!-3,+.-!)(0!3#$!"$%&'$!()!*('(%(+!1+!I-',%1/! ,03!,-!8$''>!c)17>!id!!"#1-!$,0'?g)(903$$+3#g/$+390?!1''9-30,31(+!,33,/#$.!3(! ,+!$'$E$+3#g/$+390?!3$G3!.$-/012$-!j$29/#,.+$``,0U-!.$-309/31(+!()!3#$! "$%&'$>!=$0$!8$!-$$!3#$!_(%$!()!3#$![(/5!813#!)10$!',&&1+7!9&!,0(9+.! 13>!"#$!)1+1,'! 2$1+7!&9''$.! .(8+!1-!,! /0$-/$+3!(+!3(&! ()!,+!(E,'!,+.!,! /10/'$>!"#$! 1+-/01&31(+!7(1+7! ,0(9+.!3#$!2,-$! Fig.
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