1927 MEDIEVAL SYNAGOGUES Photos PLANS Judaica KRAUTHEIMER Jewish BOOK Synagogue

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1927 MEDIEVAL SYNAGOGUES Photos PLANS Judaica KRAUTHEIMER Jewish BOOK Synagogue:
$145.00

DESCRIPTION : Here for sale isthe RARE and ORIGINAL richly ILLUSTRATED and PHOTOGRAPHED 1927 Jewish book regarding theMEDIEVAL SYNAGOGUES. The book \"MITTELALTERLICHE SYNAGOGEN\" byRICHARD KRAUTHEIMER is amost thorough DOCUMENTATION and STUDY of the great Synagogues which was made and published in 1927 . First and quite RARE edition of this rare and fascinating work dedicated to the MEDIEVAL SYNAGOGUES. It is profusely illustrated with numerous b/w photographic reproductions of the inside and the outside of the Synagogues, along withmany plans . A TREASURE of NUMEROUS photographs , Illustrations, Architectural plans and facades , Documentation of theSYNAGOGUES and many PHOTOGRAPHED details of architectonic design and artistic treasures . Kindly note that this is the ORIGINAL 1927 book - Notone of the recent reprints whichare being offered every now and then.Original cloth binding. Gilt headings. Spine decorated in GOLD. 9.5\" x 7\".286 chromo pp. Quite well preserved copy. Minor foxing of end leaves.Clean. Tightly bound.Tearsin spine and wear of top and bottom of spine( Please look at scan for actual AS IS images ) Book will be sent inside a protective envelope .

PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : Shipp worldwide via expedited insured trackable registered airmail is $19 .Book will be sent inside a protective envelope . Handling within 3-5 days after payment. Estimated duration 10 days.

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, Throughout the MiddleAges, the synagogue developed as the central identifying institution andphysical building for Jews, replacing the still yearned for but increasinglydistant Jerusalem Temple as the focus of Jewish identity. Equally important,the synagogue became the symbol parexcellance of the Jews and their community for the Christian (orMuslim) majority populations in the countries where Jews were settled. ForChristians, the synagogue was a Jewish church, but much more so, it came tosymbolize in opposition all that the church represented.Though relativelylittle known today, medieval synagogues were not symbolic abstractions to themen and women of the Middle Ages. They were at the very center of theirreligious, social and political lives. These synagogues, which were onceomnipresent across Europe, the Middle East and North Africa are now, however,sparsely preserved, and in most localities their former presence is entirelyforgotten. With the exception of a few buildings that still stand, such as theso-called Rashi Synagogue in Worms, Germany; the Altneushul in Prague; and theformer Great Synagogue and Samuel Abulafia Ha-Levi Synagogues in Toledo,medieval synagogues receive little attention other than from a few dedicatedscholars, except when their long-buried remains are uncovered. Until recently,such discoveries were mostly accidental, but a new generation of researchers isnow seeking out these remains to reveal a hidden past. In the past two decadesmuch more evidence has become available to enhance our knowledge andunderstanding of medieval synagogues. Some of this information isarchaeological, and even more derives from the close study of documentaryevidence – in Hebrew and local languages – by historians such as Yom-Tov Assisin Spain and Ariel Toaff in Italy, to whose work I am indebted.Thisinformation, often collected in the course of other research, can be assembledto present a fairly detailed picture of synagogue architecture, decoration anduse in some places for some periods of the Middle Ages. We know the general andspecific distribution of medieval synagogues, and we have physical evidence forperhaps a few dozen. This paper focuses on evidence from the Mediterranean region,especially from Southern Europe. Until the 15 century, hundreds ofJewish communities populated the Iberian and Italian peninsula, and there wereJewish communities throughout the Balkans. These places had synagogues, andmany had more than one. While still little physical evidence of these buildingsis known (exceptions are Trani and Sermoneta in Italy and Toledo, Cordoba andSegovia in Spain), we can reconstruct much of their appearance and some aspectsof their use and significance.In Spain and Italy there were synagogues of manysizes and plan types. Many were richly decorated. There were communitysynagogues, private synagogues, and synagogue organized by charitablesocieties. The locations of synagogue were well known, but the entrances tomost synagogues were often protected by exterior courtyards, rather than facedirectly onto the public street. Synagogue were usually imbedded into thephysical as well as the social fabric of their surrounding (Jewish)communities, and prayer halls were often part of larger complexes whichincludes spaces for other religious and communal functions.While the synagoguewas not a distinct architectural type, it was a functional one, and thearchitectural and liturgical adaptations needed to produce and protect the medievalsynagogue were influential in subsequent centuries. Many of our modern notionsof what a synagogue looks like, how it functions, and what it signifies arepresent in the Middle Ages. Richard Krautheimer (Fürth (Franconia), Germany, 6July 1897 – Rome, Italy, 1 November 1994) was a 20th-century art historian,architectural historian, Baroque scholar, and Byzantinist.He was born inGermany in 1897, the son of Nathan Krautheimer (1854–1910) and Martha Landman(Krautheimer) (1875–1967). Krautheimer\'s cousin, Ernst Kitzinger, would alsobecome a prominent Byzantinist. Krautheimer fought in the First World War as anenlisted soldier in the German army (1916–18). Between 1919–23, he initiallystudied law at, successively, universities in Munich, Berlin, and Marburg underfaculty who included Heinrich Wölfflin, Adolf Goldschmidt and Werner Weisbach.During these years, he briefly worked on the state inventory of Churches for Erfurt(Inventarisierung der Erfurter Kirchen für die Preussische Denkmalpflege).In 1924 he married Trude Hess who subsequently also studied art history andbecame a noted scholar and collector herself. He completed his dissertation in Halleunder Paul Frankl in 1925 with the title Die Kirchen der Bettelorden inDeutschland (1240–1340). Frankl\'s work remained a strong influence forKrautheimer throughout his life. Willibald Sauerländer contends that it wasKrautheimer who later introduced Frankl’s work to the United States. Thesystematizing methodology of Krautheimer\'s mentor, Frankl, \"never leftKrautheimer\" according to Willibald Sauerlander.In 1927 he completed his habilitationunder Richard Hamann in Marburg. The same year, while researching at the BibliothecaHertziana in Rome, Krautheimer developed the idea for a handbook of Romanchurches with a colleague, Rudolf Wittkower, later to become the CorpusBasilicarum. In 1928 he accepted a privatdozent teaching position atMarburg. Except for studies-in-residence at the Hertziana (1930/31, 32/33) heremained at Marburg. The Krautheimers fled Nazi persecution, leaving Germanyfor good. Between 1933–35 Krautheimer worked on the Corpus, acceptingpaying employment from Frankl’s son in the city. The ever-declining politicalsituation for Jews in Axis-alliance countries compelled the Krautheimers toemigrate to the United States of America. Krautheimer found a position at the Universityof Louisville, Kentucky, a university he purportedly had never heard of. At hisrequest, Louisville hired another fleeing art historian, Krautheimer’s friendfrom school days, Justus Bier. Krautheimer moved to Vassar in 1937 at therequest of Vassar’s Art Department chair, Agnes Claflin. That same year sawKrautheimer’s first volume of the Corpus Basilicarum Christianarum Romae,a scholarly inventory and documentation of the early Christian churches in Romeeventually running to five volumes. The set would not be completed until 1977.Following US entry into World War II, he and Trude became naturalized citizens.Richard volunteered for duty as a senior research analyst for the Office ofStrategic Services for the years 1942–44. Here he analyzed aerial photographsof Rome to assist in the protection of historic buildings during bombing. Whilestill at Vassar, he taught (with lecturer status) at New York University(1938–49). He moved to NYU permanently in 1952 as the Jayne WrightsmanProfessor of Fine Arts. The early 1950s were devoted to researching his onemonograph on an artist, Lorenzo Ghiberti, published jointly with his wife in1956. He would serve for one semester as acting Director of the Institute ofFine Arts at New York University.Krautheimer next engaged in what he called hismost difficult book to research and write: the survey volume on early Christianarchitecture for the Pelican History of Art. The manuscript was completed in1963 and published two years later. The volume turned out to be one of thefinest syntheses of late antique/early medieval architecture published andbrought Krautheimer his widest readership. He revised and reissued the worktwice, in 1975 and 1979. After a second tome on Ghiberti in 1971, Krautheimerretired from NYU as Samuel F. B. Morse Professor Emeritus and returnedto Rome. Wolfgang Lotz, friend and fellow architectural historian, offered hima residence at the Bibliotheca Hertziana. There, Krautheimer completed hislong-standing research on the Corpus Basilicarum. In these final yearshe set to work writing two of his most synthetic and lyrical works on arthistory. Rome: Profile of a City (1980) and The Rome of Alexander VII(1985) combined social history, vast breadth of archival knowledge andinsightful architectural history into single volumes. In both cases,Krautheimer selected comparatively neglected periods in Roman history to offera compelling narrative of the interaction of public works and patronage. Whileassisting friends with plans for his 100th birthday, Krautheimer died at 97 atthe Palazzo Zuccari. His wife had preceded him in death seven years before. Hismany students at New York University included Howard Saalman, Leo Steinberg, FrancesHuemer, Marvin Trachtenberg, Slobodan Curcic, and Dale class=\"MsoNormal\" style=\"MARGIN: 0cm 0cm 4.5pt; LINE-HEIGHT: normal; mso-outline-level: 2\">