A Reflection on Rabban Gamaliel
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The Graziano Haggadah (MS 9300)
Though we don’t know who made the Graziano Haggadah, it reflects the rich traditions of 14th-century Catalonia (in Western Spain). This Haggadah was made before 1328 and is a mix of elegance and simplicity. Gold-leaf decorations shine on its pages, and silver flashes catch the eye. But the overall design is modest, with only a few richly decorated pages. In fact, the first sections of the book are quite plain.
This Haggadah is small, about the size of a photo frame (25 x 19 cm). If you look closely, you’ll notice wine stains—proof it was well-used during many seders. It’s named after a 17th-century owner, Rabbi Abraham Joseph Solomon Graziano of Modena, who had one of the largest Jewish libraries of his time.
Rabban Gamaliel
Rabban Gamaliel is central to the seder, reminding us to talk about the three key symbols: the paschal lamb, matzah, and maror. Here, he’s shown like a king, sitting on a golden throne with a scepter. He holds a scroll labeled “Pesah,” and his title is written in gold letters. Interestingly, he wears a hat that looks like a bishop’s miter—possibly a nod to Catalonian culture of the time.
Matzah
The matzah illustration is bold and striking. It’s a large circle, glowing with gold and bright colors. This style is unique to Catalonian Haggadot. Unlike simpler Ashkenazic or Italian depictions, these artists went all out. Some say the design borrows from Christian and Islamic art of the period. Inside the matzah image, a sage gazes reverently at a smaller matzah, adding depth to the symbolism.
Maror
The maror is simpler, shown as a radish with a reddish-brown bulb and leafy top. Tiny pinpricks
around the image suggest it was used as a model for another Haggadah—someone who is copying
an image would have used a sharp tool to hold this page in place while tracing over it. This detail
connects our manuscript to a larger tradition of sharing and borrowing in Catalonian Jewish art.
Questions to Consider:
- How do these images of Rabban Gamaliel, matzah, and maror help us connect to the seder?
- Why do you think the artist included elements like the bishop-like hat or the elaborate matzah
design? What do these choices tell us about medieval Jewish life? - The maror page shows signs of reuse. What does this say about how manuscripts were valued and shared in the past?
