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Structures of Mentality; VII: Structures of Settlement and the Economy. The Laws of Topodemographic Distribution. Trades and Professions Pt. Structures of Culture and Society. The Problem of Sociocultural Identity: Education and the Rabbinical Ideal. Jewish Culture Hebraists, and the Role of the Kabbalah. Colors, Tastes, and Odors. The Days of Life. Death as the Mirror of Life. Notes Description based upon print version of record. Includes bibliographical references and index.

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Gli Ebrai in Italia nell'epoca del Rinascimento. Gli Ebrei in Italia nell'epoca del Rinascimento.

Hidden Treasure: The Intellectual Life of Medieval Ashkenazi Jews

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La Trobe University Library. AC What can you tell us about the iconography and significance of this most unusual painting?

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RS While its full significance is yet to be understood, it is a remarkable and unexpected vestige of Jewish culture and life in Sixteenth Century Italy. This Portrait of a Man is striking not only for its considerable pictorial quality, but also for its rare iconography. The subject is a bearded man of about thirty, elegantly, if severely dressed in a black doublet, over which he wears a high-collared black cloak. His dress is complemented by a matching berretto as he sits before a table on which rests a stone tablet, carved on top with volute borders, and inscribed with Hebrew lettering.

While Hebrew inscriptions, usually diminutively placed, may appear in Italian Fifteenth and Sixteenth century religious paintings, the prominent presence of one in a secular portrait is unusual, if not unique. RS The content of the inscription itself makes the portrait all the more extraordinary. RS It has been remarked that the subject of the portrait rests his right hand near the last word of the inscription, with two elegant fingers placed above the last two letters of the word Emet Truth.

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Those two characters— Mem and Tav — together form the word Met , Death. It is difficult to know whether this arrangement of the hand has any import other than aesthetic. But if there is some kind of coded meaning, it might suggest that the present work is a commemorative portrait of one who has died young, an idea underscored by the memorializing associations of a stone tablet. Militating against such a hypothesis is the enlivened manner of the subject, who engages with the viewer with an almost questioning expression.

RS The painting, which is not signed, has been convincingly attributed to the Cremonese artist Antonio Campi on stylistic grounds. Campi trained under his older brother Giulio, with whom he shared a studio and collaborated on several projects before the two formally ended their partnership in and commenced independent careers. In the following years he worked on various commissions both in Milano and Cremona, including several for the powerful Archbishop of Milano, St.

However, the focus of his activity remained Milan and his native Cremona, where he died in As well as being a painter, Antonio was known as an architect, sculptor, and writer.

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Of great interest to us are the large foldout maps of Cremona that appear on page 81 and Drawn by Antonio, they were engraved by David de Laude David da Lodi and present the earliest known prints made by a Jewish engraver in Italy. Gli Ebrei a Cremona, Giovanni Magnoli ed.

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  • Carlo Bonetti Gli ebrei a Cremona Cremona ; repr. Ruderman , University of Pennsylvania Follow. This is a major work by one of the most creative and original historians of medieval and early modern Jewish history. Based on his extensive scholarship on Italian Jewry over the past twenty years, published primarily in Hebrew and Italian, it brings to the English reader a bold but mature synthesis of a significant epoch in Jewish and western history. Eschewing extensive annotation, the book, while hardly a popular survey, has a quality made more accessible to a wide readership by the elegantly simple and supple prose of the English translator Anthony Oldcorn, which captures Bonfil's original insights and observations concerning Italian Jewish culture and the Renaissance.