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FRIDAY, APRIL 21, 1989
1855-04801
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CaN
OSS' MO
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Rabbenu Moshe
Continued from Page 2
tribes around, that Moses
aimed to found. Nor was it
a republic where the
freedom of the citizen
rested on the servitude of
the helot, and the in-
dividual was sacrificed to
the state.
"It was a commonwealth
based upon the individual
— a commonwealth whose
ideal it was that every man
should sit under his own
vine and fig tree, with none
to vex him or make him
afraid; a commonwealth in
which none should be con-
demned to ceaseless toil; in
which, for even the bond
slave, there should be
hope; in which, for even
the beast of burden, there
should be rest. A com-
monwealth in which in the
absence of deep poverty,
the manly virtues that
spring from personal in-
dependence should
harden into a national
character.
"It is not the protection of
property, but the protec-
tion of humanity, that is the
aim of the Mosaic code. Its
sanctions are not directed
to securing the strong in
heaping up wealth so
much as to preventing the
weak from being crowded
to the wall. At every point
it interposes its barriers to
the selfish greed that, if left
unchecked, will surely dif-
ferentiate men into
landlord and serf,
capitalist and workman,
millionaire and tramp,
ruler and ruled. Its Sab-
bath day and Sabbath year
secure, even to the lowliest,
rest and leisure. With the
blast of the jubilee
trumpets the slave goes
free, the debt that cannot
be paid is cancelled, and a
re-division of the land
secure again to the poorest
his fair share in the boun-
ty of the common Creator.
The reaper must leave
something for the gleaner;
even the ox cannot be
muzzled as he treadeth out
the corn. Everywhere, in
everything the dominant
idea is that of our homely
phrase — 'Live and let live!'
"From the free spirit of
the Mosaic law sprang that
intensity of family life that
amid all dispersions and
persecutions has preserv-
ed the individuality of the
Hebrew race; that love of
independence that under
the most adverse cir-
cumstances has
characterized the Jew; that
burning patriotism that
flamed up in the Mac-
cabees and bared the
breasts of Jewish peasants
to the serried steel of Gre-
cian phalanx and the
resistless onset of Roman
legion; that stubborn
courage that in exile and in
torture held the Jew to his
faith . ."
❑
Moses Art, Horns
Misconceptions
im
oses is the humanly,
universally, all-time
acclaimed by the
leading artists of the cen-
turies. He is perpetuated by
the greatest in the records of
musicology.
On one score he remains
misconceived and
misrepresented. It is in the
portrayal with horns by
Michelangelo and other ar-
tists. It is because in the
4 Hebrew of Scriptures the
glorious word with reference
to him is "Keren," which
means "beam" and also has
an Hebraic "horns" meaning.
The Moses record in art and
music is well accounted for in
both the Encyclopedia
Judaica and Universal
Jewish Encyclopedia and in
most other encyclopedic
works. That record as well as
the "horns" misconception
are outlined in the following
from the Encyclopedia
Judaica:
Together with David,
Jacob, and Samson, Moses
is one of the most popular
Old Testament figures in
art. The medieval church
considered him both a type
of the Messiah and one of
the prophets who foretold
his coming.
In early Christian art un-
til the end of the Carol-
ingian period, Moses was
often represented as a
beardless youth holding a
rod.
Two horns were shown
protruding from his head,
because the Latin (Vulgate)
translation of the Bible us-
ed during the Middle Ages
mistranslated the verb
"sent forth beams" as
"horns" (karan) in Exodus
34:35. There are medieval
sculptures of Moses at
Chartres and elsewhere,
and a Renaissance figure
by Donatello in the Cam-
panilo at Florence.
The most striking ex-
amples are the horned
figure by Claus Sluter
(1406) for the Well of the
Prophets (or Well of Moses)
at Dijon, France, and the
horned statue by
Michelangelo at San Pietro
in Vincoli, Rome. This
work, the most famous por-
trayal of Moses in art, was
originally intended for the
mausoleum of Pope Julius
II. ❑