With this heady exploration of time and space, rumors and silence, colors, tastes, and ideas, Robert Bonfil recreates the richness of Jewish life in Renaissance Italy. He also forces us to rethink conventional interpretations of the period, which feature terms like "assimilation" and "acculturation." Questioning the Italians' presumed capacity for tolerance and civility, he points out that Jews were frequently uprooted and persecuted, and where stable communities did grow up, it was because the hostility of the Christian population had somehow been overcome. After the ghetto was imposed in Venice, Rome, and other Italian cities, Jewish settlement became more concentrated. Bonfil claims that the ghetto experience did more to intensify Jewish self-perception in early modern Europe than the supposed acculturation of the Renaissance. He shows how, paradoxically, ghetto living opened and transformed Jewish culture, hastening secularization and modernization. Bonfil's detailed picture reveals in the Italian Jews a sensitivity and self-awareness that took into account every aspect of the larger society. His inside view of a culture flourishing under stress enables us to understand how identity is perceived through constant interplay—on whatever terms—with the Other.

Dana E. Katz reveals how Italian Renaissance painting became part of a policy of tolerance that deflected violence from the real world onto a symbolic world. While the rulers upheld toleration legislation governing Christian-Jewish relations, they simultaneously supported artistic commissions that perpetuated violence against Jews.

An intimate portrait, based on newly discovered archival sources, of one of the most famous Jewish artists of the Italian Renaissance who, charged with a scandalous crime, renounced his faith and converted to Catholicism. In 1491 the renowned goldsmith Salomone da Sesso converted to Catholicism. Born in the mid-fifteenth century to a Jewish family in Florence, Salomone later settled in Ferrara, where he was regarded as a virtuoso artist whose exquisite jewelry and lavishly engraved swords were prized by Italy’s ruling elite. But rumors circulated about Salomone’s behavior, scandalizing the Jewish community, who turned him over to the civil authorities. Charged with sodomy, Salomone was sentenced to die but agreed to renounce Judaism to save his life. He was baptized, taking the name Ercole “de’ Fedeli” (“One of the Faithful”). With the help of powerful patrons like Duchess Eleonora of Aragon and Duke Ercole d’Este, his namesake, Ercole lived as a practicing Catholic for three more decades. Drawing on newly discovered archival sources, Tamar Herzig traces the dramatic story of his life, half a century before ecclesiastical authorities made Jewish conversion a priority of the Catholic Church. A Convert’s Tale explores the Jewish world in which Salomone was born and raised; the glittering objects he crafted, and their status as courtly hallmarks; and Ercole’s relations with his wealthy patrons. Herzig also examines homosexuality in Renaissance Italy, the response of Jewish communities and Christian authorities to allegations of sexual crimes, and attitudes toward homosexual acts among Christians and Jews. In Salomone/Ercole’s story we see how precarious life was for converts from Judaism, and how contested was the meaning of conversion for both the apostates’ former coreligionists and those tasked with welcoming them to their new faith.

This book represents a sample of the most penetrating Jewish movements.

The rise of printing had major effects on culture and society in the early modern period, and the presence of this new technology—and the relatively rapid embrace of it among early modern Jews—certainly had an effect on many aspects of Jewish culture. One major change that print seems to have brought to the Jewish communities of Christian Europe, particularly in Italy, was greater interaction between Jews and Christians in the production and dissemination of books. Starting in the early sixteenth century, the locus of production for Jewish books in many places in Italy was in Christian-owned print shops, with Jews and Christians collaborating on the editorial and technical processes of book production. As this Jewish-Christian collaboration often took place under conditions of control by Christians (for example, the involvement of Christian typesetters and printers, expurgation and censorship of Hebrew texts, and state control of Hebrew printing), its study opens up an important set of questions about the role that Christians played in shaping Jewish culture. Presenting new research by an international group of scholars, this book represents a step toward a fuller understanding of Jewish book history. Individual essays focus on a range of issues related to the production and dissemination of Hebrew books as well as their audiences. Topics include the activities of scribes and printers, the creation of new types of literature and the transformation of canonical works in the era of print, the external and internal censorship of Hebrew books, and the reading interests of Jews. An introduction summarizes the state of scholarship in the field and offers an overview of the transition from manuscript to print in this period.

This book examines the discriminatory marking of Jews in Renaissance Italy and the impacts this had on the Jewish communities.

Focusing on the figure of the rabbi, this book provides a vivid picture of Italian Jewry during the Renaissance. The author discusses Jewish life of the period (c.1450-1600) in its social, institutional, and cultural aspects, placing them against the backdrop of the wider Catholic environment to give an original interpretation of how Jewish cultural and religious life developed in the Renaissance context. Particular attention is given to changes in the status and functions of the rabbis and to the relations between the rabbinate and the lay leadership. Of special interest is the exploration of the cultural world of the rabbis and the broader issue of intellectual developments at the time. Essentially a translation of Part I of the Hebrew edition, which won wide acclaim for its perspective, Rabbis and Jewish Communities in Renaissance Italy has been carefully adapted for an English-speaking readership. Substantial excerpts from the appendices have been incorporated into the text so that the evidence necessary to support the arguments is easily accessible. relations between members of the Rabbinate and the lay leaders of their communities. This discussion is set within the context of the wider Catholic environment which impinged on Jewish life at many points. Of special interest and importance is a chapter dealing with the cultural world of the rabbis and the broader issue of cultural change and movements in intellectual attitudes during the Renaissance. In this edition the translator has inserted substantial excerpts from the appendices at appropriate points within the text in order to make available to the reader all the evidence necessary to support the arguments presented.

Jews arrived in the Republic of Rome some time in the second or first century B.C.E. They soon formed their own community which absorbed Roman cultural forms but was able to maintain its identity and integrity. For more than twenty centuries, the Italian peninsula has been home to the heirs of this ancient minority community, whose culture is a blend of traditional Jewish content with Roman, then Italian cultural forms. Gardens and Ghettos: The Art of Jewish Life in Italy is the title of an exhibition curated by Vivian B. Mann and Emily Braun for The Jewish Museum, New York (September 1989-January 1990), an exhibition that explores the extraordinarily rich artistic legacy of Italian Jewry. This book, like the exhibition itself, focuses on four time periods: the Empire, the Era of the City States (1300-1550), the Era of the Ghettos (1550-1750), and the period since the Risorgimento. Artifacts and architecture are generously represented along with fine arts. Essays by prominent scholars introduce us to the historical and cultural context of a splendid array of works, from ancient Roman architectural fragments and gold glass to illuminated manuscripts and printed books from the Renaissance, baroque ceremonial textiles and silver, and paintings, graphics, and sculpture of the modern era. The many illustrations illuminate the art and life of a minority community in dynamic tension with dominant society and show the vibrant, ongoing contribution by Jews to the arts of Italy. Jews arrived in the Republic of Rome some time in the second or first century B.C.E. They soon formed their own community which absorbed Roman cultural forms but was able to maintain its identity and integrity. For more than twenty centuries, the Italian peninsula has been home to the heirs of this ancient minority community, whose culture is a blend of traditional Jewish content with Roman, then Italian cultural forms. Gardens and Ghettos: The Art of Jewish Life in Italy is the title of an exhibition curated by Vivian B. Mann and Emily Braun for The Jewish Museum, New York (September 1989-January 1990), an exhibition that explores the extraordinarily rich artistic legacy of Italian Jewry. This book, like the exhibition itself, focuses on four time periods: the Empire, the Era of the City States (1300-1550), the Era of the Ghettos (1550-1750), and the period since the Risorgimento. Artifacts and architecture are generously represented along with fine arts. Essays by prominent scholars introduce us to the historical and cultural context of a splendid array of works, from ancient Roman architectural fragments and gold glass to illuminated manuscripts and printed books from the Renaissance, baroque ceremonial textiles and silver, and paintings, graphics, and sculpture of the modern era. The many illustrations illuminate the art and life of a minority community in dynamic tension with dominant society and show the vibrant, ongoing contribution by Jews to the arts of Italy.

This book significantly revises the conventional view that the Jewish experience in medieval Spain--over the century before the expulsion of 1492--was one of despair, persecution, and decline. Focusing on the town of Morvedre in the kingdom of Valencia, Mark Meyerson shows how and why Morvedre's Jewish community revived and flourished in the wake of the horrible violence of 1391. Drawing on a wide array of archival documentation, including Spanish Inquisition records, he argues that Morvedre saw a Jewish "renaissance." Meyerson shows how the favorable policies of kings and of town government yielded the Jewish community's demographic expansion and prosperity. Of crucial importance were new measures that ceased the oppressive taxation of the Jews and minimized their role as moneylenders. The results included a reversal of the credit relationship between Jews and Christians, a marked amelioration of Christian attitudes toward Jews, and greater economic diversification on the part of Jews. Representing a major contribution to debates over the Inquisition's origins and the expulsion of the Jews, the book also offers the first extended analysis of Jewish-converso relations at the local level, showing that Morvedre's Jews expressed their piety by assisting Valencia's conversos. Comparing Valencia with other regions of Spain and with the city-states of Renaissance Italy, it makes clear why this kingdom and the town of Morvedre were so ripe for a Jewish revival in the fifteenth century.