Beruflich Dokumente
Kultur Dokumente
President
Noemi Di Segni
An Exhibition by
The National Museum
of Italian Judaism
and the Shoah
Brand Design
Teikna Design
Claudia Neri
with Elisa Stagnoli
The image of the Renaissance in scholarship has changed remarkably over the last
generations. The seminal works of the late nineteenth and early twentieth centuries cast it
as the precocious precursor of the rational, disenchanted outlook associated with moder-
nity. From the mid-century, however, scholars increasingly turned their attention to the
magical and mystical pursuits of the leading exponents and architects of the Renaissance,
pursuits that were no less dear to them than their concomitant commitments to the ad-
vancement of Humanism—and that were often profoundly intertwined with them. Thus,
for example, Pico della Mirandola’s 1486 De hominis dignitate, the “manifesto of the Re-
naissance,” was revealed in Brian Copenhaver’s well-known study to be deeply indebted to
the kabbalistic sources that Pico passionately studied (Copenhaver 2002). Pico’s kabbalistic
oeuvre has been systematically examined by Giulio Busi, who has also published critical
editions of the Latin translations prepared for him by Flavius Mithridates. Of particular
relevance to the current essay is the edition and commentary of the so-called “Great Parch-
ment” (The Great Parchment 2004). Just as key Christian figures of the Renaissance took
great interest in the Kabbalah, often studying privately with their local rabbis or engaging
the services of Jews who had converted to Christianity to assist with the gathering, trans-
lation, and study of this esoteric lore, many Italian Jews quite naturally identified with
the project of the Renaissance writ large. The “Renaissance style” literary productions of
Italian rabbis—which continued well into the seventeenth century, long after the historical
period is generally considered to have come to an end—has been extensively treated by so-
cial, intellectual, and art historians too numerous to mention. Like their counterparts spe-
cializing in Christian Renaissance culture, these scholars of Jewish culture first focused on
“secular” expressions of this sensibility before embracing a more complex picture in which
“rationalism” and Kabbalah were no longer cast as being in opposition to one another, but
indeed frequently concurrent.
If the historical picture of the “Hebrew-speaking Renaissance” is now richly drawn,
having attended to most fields of Jewish creativity, there remains at least one genre that has
only recently received scholarly attention: that known as ilanot. Ilanot, the plural form of
the Hebrew word ilan (tree), is a genre borne of the wedding of schema and medium. In its
classical form, it is an arboreal diagram inscribed on a parchment sheet. By the sixteenth
century, Guillaume Postel and Moses Cordovero articulated such a generic conception of
these artifacts, but literary evidence reveals that this designation had already been in use
for generations. If the generic term ilanot was a metonym for such a map of God on parch-
ment by sometime in the fifteenth century, its arrival displaced an earlier metonym for
these artifacts: yeriot (singular yeriah), meaning (parchment) sheet (Chajes 2019).
Kabbalistic Trees (Ilanot) in Italy: Visualizing the Hierarchy of the Heavens 171
Kabbalistic Trees (Ilanot) in Italy: Visualizing the Hierarchy of the Heavens 173
Kabbalistic Trees (Ilanot) in Italy: Visualizing the Hierarchy of the Heavens 175
Kabbalistic Trees (Ilanot) in Italy: Visualizing the Hierarchy of the Heavens 177
In the mid-sixteenth century, R. Moses Cordovero, whose name bespeaks his family’s Ibe-
rian origins and whose magnum opus, Pardes Rimmonim, both preserved and codified
kabbalistic opinions in a manner recalling the halakhic oeuvre of his Safedian neighbor R.
Joseph Karo, decided unequivocally in its favor. Cordovero refers to the overall schema as
segolta, segol, segol: the names of particular paratextual symbols used in the cantillation and
vocalization of the Torah that resemble deltas and nablas. The mnemonic had been coined
by the kabbalist R. Judah H · ayyat, a refugee of the 1492 Spanish expulsion, in his Minhat
Yehudah, a work he composed in large measure to assert the authority of Iberian traditions
in his new home, Italy. It seems that among Italian kabbalists, there was a certain preference
for a different configuration of the uppermost sefirot, one in which they were centered one
atop the other. Why? Because the spatial implications of right and left could not possibly
apply to such sublime recesses of divinity—something of a philosophical concern, in keep-
ing with the general character of so much Italian kabbalistic speculation. This tower-like
configuration may be seen in many Italian codices of the period, with examples including
the Iggeret hamudot of R. Elijah Hayyim of Genazzano from the late Quattrocento (Bib-
liothèque nationale de France, Paris, MS hébr. 857, fol. 9r, an Italian manuscript dated
1526. On this work, see Lelli 2002 and fig. 4 above), in the sefirotic diagrams included in
Seder ha-ilan (Order of the Tree), an anonymous Italian work that may be compared to the
emblem books of the period that feature symbolic images and accompanying explanations
(e.g. in Vatican Library, Vatican City, MS Vat. ebr. 441, fols. 110r–117v, an Italian manu-
script dated to the early sixteenth century (see fig. 5). Dr. Eliezer Baumgarten and I are
nearing completion of a critical edition of this work, to be published in the Vatican’s Studi e
testi series). Of particular interest is the arboreal diagram displaying this configuration that
also includes decorative botanical elaboration, something rarely found in kabbalistic trea-
Kabbalistic Trees (Ilanot) in Italy: Visualizing the Hierarchy of the Heavens 181
I am delighted to have so important a Tree of Kabbalah here in Florence, brought from Lippia-
no at my request. I am having it copied on vellum with great diligence, so it will not be inferior
to the original in any way but even better. I hope that this Tree will please Your Most Illustrious
Excellency and that we will be able to enjoy it together.
The Tree was cultural capital: to possess it was literally to possess an all-encompass-
ing picture of the cosmos in an age during which the distinction between a picture and the
thing depicted, the sign and its referent, was often elided. It would have been presumed to
be a powerful talisman as well, the divine structures it represented not being merely sym-
bols but figures of divine reality itself.
Extracted from the schemata within and around which they are inscribed are texts
that add up to over 30,000 words. A careful study of these texts is only now taking place.
Indeed, the brief entry in no. 829 of the Margoliouth Catalogue (Margoliouth 1909–15)
and the poetic lines in Giulio Busi’s pioneering monograph are the only descriptions of the
Tree ever published (Busi 2005, pp. 387–88). Hand-written notes in the archives of Ger-
shom Scholem reveal that the legendary scholar had inspected the exemplars in the British
Library and the Bodleian at the University of Oxford. Scholem wrote that they contain an
“unknown gigantic text” (unbekannter Riesentext) and copied the colophon of MS Or. 6465
from the British Library in London (the note is found in file 92.4 of the Scholem archives,
held by the National Library of Israel in Jerusalem). In this colophon—the only one found
to date on a witness in this manuscript family—the itinerant Polish kabbalist David Dar-
shan takes credit for having drafted the copy while in Modena in 1556.
Until all of the texts have been transcribed and sourced, we must be circumspect in
our characterization of its authorial voice, but still, the Tree seems anything but the work
of a neutral compiler. Its selections and the connective tissue that binds them reveal an
author/editor who chose, introduced, adapted, and integrated a wide range of material—
kabbalistic and scientific, philosophical and magical. In his world, these terms were fluid,
complementary, and overlapping if not homologous. Initial surveying reveals an integra-
tive, synthetic, even encyclopedic work, with selections drawn from the corpus of kabbalis-
My research on this topic is supported by the Israel Science Foundation (Grant 1568/18).
Kabbalistic Trees (Ilanot) in Italy: Visualizing the Hierarchy of the Heavens 183
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