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Deportation of the Jews of Rome

On September 25th, 1943, the chief of the police of the German occupation, Herbert Kappler, summoned the president of the Jewish community of Rome, Ugo Foà, and the president of the Union of Italian Jewish Communities, Dante Almansi, ordering them to come up with 110 pounds (50 kilograms of pure gold within 36 hours, no exception. If the community was unable to meet those demands, 200 members from the community were to be deported immediately.

On September 28, when it came to saving a Jewish life, a human life, every Roman Jew, together with non-Jewish Romans, desperately searched for, collected, and delivered the gold to the Germans. The following day, a German military unit went to the Community offices and seized the files with the list of all the contributors.

On October 8, the Germans raided the Community Library, as well as the Library of the Rabbinical College, and looted volumes of inestimable value. It is sad to learn that the majority of Roman Jews didn’t realize the risk they ran by remaining in the city. Even if they had been more aware they did not have the means of finding refuge elsewhere.

The first Italian round-up of Jews included the entire city of Rome, a raid that took place in the early morning hours of the 16th of October, 1943. Small teams of German police went to all the addresses of Jewish families, and a note in Italian was given to the head of the family with instructions for immediate deportation. The note indicated that the families had only 20 minutes to pack a suitcase, and abandon their houses, locking the doors behind them. Everyone then had to get into the military trucks which then gradually began to fill up.

The round-up of the Jews of Rome was concluded in the late morning. 1,022 persons, including one Catholic woman, Carolina Milani who had decided not to abandon the old Jewish woman for whom she was caring, were all arrested and taken to the Military College, where they would await their deportation. What is less known is that a high percentage of these persons was constituted only of women and children, due to the rumors in the preceding days of the possible arrests of adult males to be sent to work camps. It is for this reason, as many males had fled or were hiding, that the majority of the Jews of Rome who were seized and placed in Rome’s Military College, not far from the Vatican, were the elderly along with women and children.

The 1,022 Jews were imprisoned for two days. Then, on the morning of October 18, the victims were loaded onto trucks and taken to the Tiburtina station, and from there deported on a freight train to Poland –to the Complex of concentration camps, the work camps, and the extermination camps of Auschwitz-Birkenau.

Of the Roman Jews taken away on October 16, only sixteen returned: fifteen men and only one woman. In the following months, in Rome, another 700-800 people were captured, mostly due to tipoffs by Italian collaborators.

The Jewish Museum of Rome

In the Jewish Museum of Rome, one woman survivor, Settimia Spizzichino, out of the 16 who survived shares her testimony in a video segment of:  “A Star on the Tiber“, narrating the history in both Italian and English located in Room six: From Emancipation to Today.

In addition, this room exhibits precious documentation, photographs. and objects narrating the sad period of the Jewish Community during the racial laws of 1938, followed by the deportation period with testimonies and video footage. 

The Jewish Museum of Rome is proud to provide Holocaust educational tours. This educational effort focuses on ensuring that participants are equipped with relevant knowledge, skills, and competencies. Special consideration is given in particular to the many non-Jewish grade school through high school children who visit. Learning first-hand with museum educators empowers these participants with an authentic educational experience and understanding of anti-Semitism during the Nazi occupation. The aim is for all visitors to learn to value the importance of human rights and to resist the stereotypes and most importantly misconceptions—which could lead to discrimination and violence against Jews or other diverse groups.

Brenda Lee Bohen

Brenda is a Latina and a proud Veteran of the United States Army Reserves. She holds dual citizenship in both the United States and Italy. She is a trained historic preservationist who tirelessly advocates the scholarship and history of the Jews of Rome. She has her certification in Jewish leadership and continues advanced studies at the Spertus Institute for Jewish Learning and Leadership. Brenda is also a licensed and accredited tour guide at the Jewish Museum of Rome and the Vatican Museums.

Read more blogs from Brenda: Jewish Rome, 3 Literary Treasures of The Jewish Museum of Rome

Sources

Jewish Museum of Rome

Room Six: From emancipation to today

https://museoebraico.roma.it/en/

The Italians of the Jewish Race: The anti-Semitic Laws of 1938 and the Jews of Rome (Palombi Editore, 2018)

Treasures Of The Jewish Museum Of Rome: Guide To The Museum And Its Collections, by Daniela Di Castro. Araldo De Luca Editore, Rome 2010; reprinted 2016

 

 

The largest Jewish-themed fresco painting in the entire world, over 10,000 square feet is Michelangelo’s ceiling in the Sistine Chapel. The first two Torah sections of the book of Genesis–event by event. There is not one single image from Christian tradition.

The Sistine Chapel

The Sistine Chapel was designed to be a copy of the holy Jewish Temple in Jerusalem built by King Solomon.

According to the prophet Samuel, the exact measurements of the Heichel, the long, rectangular back section of the first holy Temple completed by King Solomon and his architect, King Hiram of Tyre, in 930 B.C.E., are 134.28 feet long by 43.99 feet wide by 67.91 feet high. And these are the exact dimensions used for the construction of the Sistine Chapel.

It is even less known by most visitors to the Sistine Chapel that, in keeping with the intent to simulate the sacred site existing in ancient Jerusalem, the sanctuary was built on two levels. The Western half, containing the altar and the private area for the Pope and his court, is about six inches higher than the Eastern half, originally intended for the common laymen (people). This elevated section corresponds to the farthest recesses of the original holy Temple – the Kodesh Kodoshim, the Holy of Holies – where only the high priest could enter, only once a year, on Yom Kippur, the Day of Atonement.

To show exactly where the Porochet, the curtain separating the two, would have been in the Temple of Jerusalem, a grand partition grill of white marble was commissioned, with seven marble flames on top, to correspond to the holy menorah in the Jewish sanctuary in biblical times.

Sailko, CC BY 3.0 <https://creativecommons.org/licenses/by/3.0>, via Wikimedia Commons

There are seven Hebrew prophets and five sibyls (originating from the Greek work Sibylla, which means prophetess, but originally derives from the earlier Babylonian/Aramaic sabba-il, an ancient one of God) surrounding the nine scenes from the Torah, gazing down upon us from the inner sanctum of King Solomon’s Temple, now reproduced and reified as the Sistine Chapel.

A brief overview of the Seven Prophets from the “The Sistine Secrets“(Harper Collins 2008). 

The prophets give evidence that Christianity developed from Judaism. More importantly, they demonstrate how the artist Michelangelo di Lodovico Buonarroti Simoni, better known as Michelangelo (1475-1564), had great knowledge and respect for Jewish tradition. The selection of the specific seven prophets is another multilayered way of viewing the universe, as alluded to in the Talmud and the Kabbala. The number seven has symbolic significance, such as the seven days of creation. However, in the Kabbala, not only the material universe but also Reality itself was brought into being during these seven days.

Yet, another significance to the number seven is its connection with the seven lights of the seven-branched candelabra (menorah) was inside the Holy Temple of Jerusalem. Michelangelo specifically chose the following prophets that represent the Seven Middot (seven characteristics of the seven s’firot or spheres on the Kabbalistic Tree of Life. The Seven Middot are also considered to be seven spiritual steps to bring us closer to God.

Zechariah represents the attribute of Malchut – empire, kingdom. His name means “God has remembered” and his mission emphasizes all the empires in the material world that sought to wipe out the Jewish religion. God remembered and redeemed the Jewish people, as illustrated in all four corner panel frescoes.

Joel represents the attribute of Yesod — foundation. His name means “God is God“. It is the foundation of spirituality and religion, and the basic link between heaven and earth

Isaiah represents the attribute of Hod — glory, splendor. His name means that “God is my salvation.” He warned of the terrible defeats and sufferings that the Jews would have to endure, but also encouraged them to hold on to their faith and to keep one’s word to God, no matter what.

Ezekiel represents the attribute of Netzach — victory, eternity. His name means “God is my strength.” He told the suffering Jews that perseverance would win back Jerusalem and build the Third Holy Temple there.

Daniel represents the attribute of Tiferet — beauty. His name means “God has judged”. This is the central s’firah of the Seven Middot and of the Tree of Life. The prophet Daniel represents balance, the unifying and harmonizing of future redemption to both Jews and Christians.

Jeremiah represents the attribute of G’vurah – strength, power. His name means “God has exalted me”. He was the harshest orator of all the prophets., candigly pointing out all the corruption he found in the priesthood, as well as in national leaders.

Jonah represents the attribute of Chessed – mercy, compassion, loving-kindness. His name means “God will answer”. Jonah is given the command to preach repentance to the corrupt pagan city of Nineveh against his own wishes. The very last words of his book are from God, telling Jonah why it was important to have mercy on this vast city and its people, regardless of they were gentile or Jewish.

Moreover, the prophets were charged with telling the Jews the Who (God) was giving the orders, Why God was doing it, the How, When, Where, and Why was telling them to achieve these goals, even if the people did not understand. The prophets were the mouthpiece of God, and this is what Michelangelo depicted as the Sistine ceiling.

The Five Sibyls

Sibyls are not the same as Jewish prophets. A sibyl, or oracle, will respond only to a question asked of her, whereas a prophet/prophetess is a messenger (mouthpiece) for God, speaking, blessing, cursing, and predicting the future — without human influence. The location of each of the five sibyls in the ceiling is of great significance and helps us understand the four corner spandrels (fan-shaped panels) in the chapel’s corners representing the four major exiles of the Jews according to the book of Daniel: Egypt, Babylon, Persia, and Greece. Michelangelo brilliantly juxtaposed each sibyl nearest the exile it represents.

The Delphic Sibyl represents Greece’s dominance; she is next to the Judith-and-Holofernes corner panel, which deals with the Hanukkah story in the book of Maccabees, recalling the freedom of the Jewish people from Hellenistic (Greek) dominance.

The Libyan Sibyl represents Egypt, is next to the corner panel of Moses’s copper serpent saving the Jews who had been redeemed from Egypt.

The Persian Sibyl is next to the corner panel dealing with the story of Esther, who saves the Jews of Persia from the genocidal Haman.

The Erythraen Sibyl, middle Eastern sibyl, is next to the corner panel which depicts the Jewish hero David defeating Goliath, the Philistine Giant.

During the lifetime of Michelangelo, the Jews were under the control of the Church. Therefore, the Cumaean Sibyl represents Rome.

Scenes from the Torah

The nine Torah scenes are undoubtedly the most famous part of the entire Sistine Chapel. Here are a few fascinating examples from The Sistine Secrets that discuss in great depth Michelangelo and his Sistine Chapel.

1) The forbidden fruit in the Garden of Eden is an apple, in Christianity. However, according to the Talmud, it is a fig. In the middle of the Pope’s ceiling, Michelangelo paints a fig tree.

2) Jonah is swallowed by a whale. However, in the Jewish original and in Midrash, is it a giant fish called Leviathan. Michelangelo depicts a giant fish, not a whale.

3) Noah’s ark is a giant boat. However, in the Talmud and Midrash, it is a giant floating box. Michelangelo’s version of the ark is the only one in the Renaissance where it is a giant floating box.

4) Eve is made out of Adam’s rib. However, according to the Talmud and Midrash, she is made from his side. Michelangelo depicts Eve emerging from Adam’s side, not from his rib.

5) According to the Midrash, the serpent in the Garden of Eden had arms and legs.

Michelangelo, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons

The Kabbala of the Universal Last Judgement

The Last Judgement represents the end of the world and the eternal judgment of God of the saved and the damned. However, Michelangelo depicts the same balance of the universe that he concealed in his ceiling. According to the Kabbala, there is a central point in the universe — the ladder of Jacob. The passage can be found in Genesis 28:12, Jacob dreams of the divine ladder, by which the angels descend to earth and ascend to heaven. Therefore, this is the link between heaven and earth, humanity and angels, and the material and spiritual worlds.

While every visitor who views the Universal Last Judgement in the Sistine Chapel assumes that Jesus is the center of the fresco painting will be surprised to learn that the true center is just below Jesus, where Saint Lawrence is depicted with his iron grill. A closer look will disclose that the martyr’s iron grill has no legs and it resembles a ladder more than a grill. It is Jacob’s ladder and the bottom rung of the ladder is the exact center of the largest fresco in the world which one will see the dynamic motion of the fresco revolves perfectly around the angle of the ladder. Thus, Michelangelo embedded the central teaching of Jewish mysticism in one of the most famous Catholic masterpieces of all time.

The Story of Moses

The South (left) wall tell the story of Moses from right to left, in Hebrew order:

Moses meets an angel; The Circumcision of the Second Born Child and Moses bids farewell to his father-in-law before setting out for Egypt. ( Pietro Perugino, 1466-1523 and Bernardino di Betto, known as Pinturicchio, 1454-1513).

Seven episodes from the life of Moses – Moses kills an Egyptian and escapes to the land of Midian. Drives away the shepherds who are preventing the daughters of Jethro from drawing water. On Mount, Horeb Moses removes his sandals and receives his Mission from the burning bush and leads the Children of Israel from Egypt. (Sandro Botticelli, 1445-1510)

The Crossing from the Sea of Reeds ( The Crossing of the Red Sea, Cosimo Rosselli, 1439-1507). Moses led the people into a new wilderness.

The Punishment of Korah, Dathan. and Abiram. Korah, Dathan, and Abiram deny the authority of Moses and Joshua, Korah is consumed by fire, Dathan and Abiram are swallowed up by the earth. (Sandro Botticelli, 1445-1510)

The Testament and Death of Moses -five episodes; in the foreground, Moses reads the testament and gives the Staff of command to Joshua. In the background an angel shows Canaan to Moses, Moses descends the mountain and prepares for death. Mourned by his family, he falls asleep on the ground. (Luca Signorelli, 1441-1523).

In Conclusion

The Torah (Jewish Bible) and the Old Testament are not the same things. The Old Testament is a Church-ordained re-editing of the original order of the Torah (Jewish Bible); it realigns the books of the major and minor prophets, and the Holy writings, to heighten the impression that the Hebrew Scriptures seem to be anticipating the coming of Christ. In addition, there are even many differences between the Catholic and Protestant versions of the Bible.

 

Brenda Lee Bohen

Brenda is a Latina and a proud Veteran of the United States Army Reserves. She holds dual citizenship in both the United States and Italy. She is a trained historic preservationist who tirelessly advocates the scholarship and history of the Jews of Rome. She has her certification in Jewish leadership and continues advanced studies at the Spertus Institute for Jewish Learning and Leadership. Brenda is also a licensed and accredited tour guide at the Jewish Museum of Rome and the Vatican Museums.

See more Blogs from Brenda: Jewish Rome, 3 Literary Treasures of the Jewish Museum of Rome

Sources 

Rabbi Benjamin Blech and Roy Doliner “The Sistine Secrets”(Harper Collins 2008).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

There’s something unique about the way authors of the Jewish community of Rome can take readers behind the parochet (curtain) of how their stories are told. Italian authors bring the same vigor and adroitness to the narratives of their cultural heritage. They turn the Jewish origins of their accounts into something educational, leading readers to view the telling of their unique history. 

Whether you’re looking for a visit, or simply seeking a greater understanding of Rome’s Jewish heritage culture, there’s plenty to learn from these fascinating literary works.

Treasures Of The Jewish Museum Of Rome: Guide To The Museum And Its Collections (2016)

This is the first illustrated guide to the collection of the Jewish Museum of Rome. The objects photographed belong to the Museum’s magnificent collections. The catalog also describes how its content concerns a series of itineraries reflecting the museum exhibition, depicting the history of the Jewish community from its origins to modern times. The book is divided into themes explaining the basic cultural and religious aspects of Judaism and the rituals used in Rome. The book itself is a new step towards enhancing the cultural heritage of the Jewish community of Rome.

Antique Roman Mappot: The Precious Textile Archive of the Jewish Museum of Rome (2017)

This catalogue illustrates the artistic historical heritage of ancient mappot collections from the Jewish community of Rome. In the community’s museum, one of the most important collections of Jewish ceremonial textile artifacts in the world is preserved. The various mappot are the large wimples that wrap around the Pentateuch (Torah) scroll. They can be seen in the display cases and in the cabinet drawers arranged in the Textile Preservation room in the museum. Included in this marvelous collection are parochot, me’ilim, wimples, and tikkun tevah,  all of which were donated over four centuries, from the end of the 1500s to the end of the 1800s, to synagogues, by families forced to live in the Roman Ghetto.

Antique Roman Ketubot: The Marriage Contracts of the Jewish Community of Rome (2018)

This catalogue narrates the history of a collection of an interesting authentic Jewish Roman tradition, the artistically drafted and elegant marriage contracts ketubot. A close examination of these documents highlights connections among Jewish juridical traditions, general marriage customs, and the specificities of the Roman community. These specifics are explained by the meticulous studies accompanying the photographic documentation. The Jewish Museum of Rome houses and exhibits a rich collection of marriage contracts, ketubot, of the Roman Jewish community.

Upon request, scholars are permitted to examine the intricate fabrics textiles and the actual ketubot, which are extremely important for their aesthetic historical value. In addition, since so much of the content of these artifacts is predicated upon Roman Jewish religion, customs, and traditions, the museum offers private guided visits with museum educators. The didactic visits are designed to provide an in-depth historical overview,  as well as an understanding of the Jews of Rome fostered by a member of the community.

Brenda Lee Bohen

Brenda is a Latina and a proud Veteran of the United States Army Reserves. She holds dual citizenship in both the United States and Italy. She is a trained historic preservationist who tirelessly advocates the scholarship and history of the Jews of Rome. She has her certification in Jewish leadership and continues advanced studies at the Spertus Institute for Jewish Learning and Leadership. Brenda is also a licensed and accredited tour guide at the Jewish Museum of Rome and the Vatican Museums.

Read more blogs from Brenda: Jewish Rome

Sources

https://museoebraico.roma.it/en/

Treasures Of The Jewish Museum Of Rome: Guide To The Museum And Its Collections, by Daniela Di Castro. Araldo De Luca Editore, Rome 2010; reprinted 2016

 

Antique Roman Mappot: The Precious Textile Archive of the Jewish Museum of Rome, edited by Doretta Davanzo Poli, Olga Melasecchi, Amedeo Spagnoletto. Campisano Editore, Rome, 2017

 

Antique Roman Ketubot: The Marriage Contracts of the Jewish Community of Rome, edited by Olga Melasecchi, Amedeo Spagnoletto. Campisano Editore, Rome, 2018

 

 

 

 

Jewish Rome and the Torah

Torah can be studied “up close and personal” via art, architecture, sculpture, and mosaic in Rome and throughout Italy. Since everyone has a different history and a different way of looking at the world, no two persons, even if they are the same age, family, religion, or socio-economic background, have identical perceptions. Everyone has her or his own דבר אחר ( another perspective/interpretation/opinion).

Rome is an open museum, magically designed to celebrate, share and explore wisdom, art, and scholarship.  It is an intertwining of the ancient biblical past, present, and future.

In this diverse and complex world in which we live, we must understand that people learn in many different ways.

There is no right or wrong answer in interpreting artworks or passages from the Torah.  What is relevant is that we are all engaged in her/his דבר אחר  (another perspective/interpretation/opinion) which is a learning experience to understand that there are various literary and visual interpretations (inspirations) of just one or two mediums that the artist creates.

Art and the Torah

We also learn from the interpretations by the artists of his/her contemporary society at the time and we build from that–be it literary or even through the medium of paint, marble, bronze, fresco, or mosaic that the artist creates in his/her artworks.

For example, when we examine the captivating figures from the Torah this helps us gain a full understanding of the scriptures. Just as Michelangelo and Bernini did over 500 years ago.

Michelangelo made Florence the city of David, Rome the city of Moses, and the Vatican the city of the Seven Hebrew Prophets looking down upon us from the inner sanctum of King Solomon’s Temple, known as the Sistine Chapel.

Bernini re-created the columns in bronze modeled after those in Solomon’s temple and the Keruvim from the Holy Ark. While His David captures the revelatory moment from I Samuel 17:49.

When we as an audience interpret works of art from the ancient or recent past, medieval, renaissance, baroque, up to modernity, and post-modern we open up the worlds of meaning and experience for ourselves and for those who listen, hear, read or see our interpretations. It is through various interpretations of scripture and art and through their fascinating, insightful, intellectual, and emotional worlds of the visual contemporary world of the artists of their time, showing us how ‘any audience’ interprets Hebrew scriptures that is different from a Christian perspective.

Jewish Rome

Rome has some of the best museums, art galleries, architecture, archaeological sites, villas, catacombs, churches, synagogues, wineries, olive groves, piazzas, and fountains in the world. It is impossible to see everything in a single visit. However, with a Jewish tour guide who can navigate through these famous landmarks and sites. One can see the best of everything from a Jewish perspective.

Interpreting artworks and reading passages from the Torah is successful and many good things occur.  Viewers are engaged in thinking and talking about the artwork at hand, as its aesthetics applies to their personal interests. And it is through examining these fascinating artworks that we can take a moment to reflect, appreciate, and most importantly respect one another and there can be many different responses to the same artwork, as opposed to the biases constraining artworks of the recent past. Thus, a Jewish audience can leave with meanings relevant to their own lives. Hence, scripture and art, architecture, sculpture, and mosaic in Rome are really much more contemporary than people think—it’s a דבר אחר (another perspective/interpretation/opinion).

Brenda Lee Bohen

Brenda is a Latina and a proud Veteran of the United States Army Reserves. She holds dual citizenship in both the United States and Italy. She is a trained historic preservationist who tirelessly advocates the scholarship and history of the Jews of Rome. She has her certification in Jewish leadership and continues advanced studies at the Spertus Institute for Jewish Learning and Leadership. Brenda is also a licensed and accredited tour guide at the Jewish Museum of Rome and the Vatican Museums.

Read more blogs from Brenda: 3 Literary Treasures of The Jewish Museum of Rome, Astonishing Jewish Tour of the Sistine Chapel