This clay altar has two stories, with a roof that extends beyond the width of the altar and a slightly raised horn at each of the four corners. It is made from coarse clay and there is a certain roughness to its manufacture; the figures either side of the window are at different heights and the windows are asymmetrical. It is decorated with two molded figures flanking the lower windows, with an incised palm tree between. Each horn of the altar is incised with a palm frond and the space on the sides in between the horns is decorated with incised lines. The palm decoration is a symbol for an unidentified goddess. The altar shows signs of burning on the top, which indicates it was used for burning offerings at some point. The signs of burning on the sides are a result of the fire that destroyed the building it was found in. The altar was found along with a painted chalice and some other vessels close to an area that was devoted to producing honey and beeswax (an apiary). A number of clay cylinders bore traces of beeswax and were used as beehives. This apiary is the only one ever found in an excavation in the Levant. The altar and related objects found near the apiary are probably part of a 'cult corner' in this industrial area and, while the palm fronds on the altar indicate that a goddess is in view, they are also a symbol of fertility—an emphasis on which is to be expected given the apiary was dependent on the productivity of its bees. Another four horned altar of a similar, though finer, style was found at Megiddo, along with fragments of twelve others. These cult stands (see also this one from Jerusalem) were clearly popular among the inhabitants of the site in the tenth century BCE.
This bronze bull is a special find from a fairly remote open air cult site on the summit of a ridge in the northern part of the Samaria hills. The site is at least 6.5km away from the closest major city, though there were a number of small Iron Age settlements in the surrounding area. The site was only used for a short period of time in the twelfth century BCE before being abandoned, leaving little evidence of activity. The bull is bronze and would have had eyes made of a different material, pressed into the depressions in the face. The head is somewhat triangular and the legs have been made by looping the metal up over the back, creating a ridge. The tail is coiled on the right thigh, which is unusual; bulls were often depicted with the tail hanging between the back legs. The size of the object—quite large for a bronze figurine from Israel—suggests that it was itself a cult object, rather than a votive item brought as an offering. Bulls held an important position in ancient Levantine cult. They were associated with storm-gods, especially Hadad and Baal, but they could also symbolise other deities, including Yhwh. They represented the god's power and strength. Bulls are also sometimes used as pedestals for deities who stand on their backs; a bull figurine could thus represent the deity itself, or symbolise the presence of the deity. The golden calves in the biblical tradition provide a textual parallel to figurines such as this one; the golden calves may have been thought to represent Yhwh directly, or to symbolise his presence by serving as a pedestal for his invisible manifestation. The Megiddo Kernos in this collection may also attest to the cultic importance of the bull in early Iron Age society.
This inscription was removed from the pillar of a tomb at Khirbet el-Qom. It displays a carved handprint with some lines of text above it and two more lines of text on the lower left corner. The stone was smoothed over in preparation for the inscription with a tool that left scratches in its surface, and this, combined with natural faults in the stone and the presence of ghost-letters* has led to considerable debate over the translation of the text. Attempts to date the inscription paleographically (on the basis of the letter shapes) suggest a date between 750 and 700 BCE. If meant to be read top to bottom, the text perhaps reads: Uriyahu the rich wrote it Blessed be Uriyahu by Yhwh For from his enemies by his [Yhwh’s] Asherah he saved him [carving of hand]… by Abiyahu… by his Asherah… his A[she]eraAlmost all commentators agree that the inscription involves Yhwh’s blessing of Uriyahu, but it is not entirely clear if the inscription praises Yhwh for past blessings or expresses a plea for future blessing. The significance of the hand carving is also unclear, although a few places in the Bible associate hands with monuments. Both Saul and Absalom, for example, set up monuments that are referred to in the Hebrew as a 'hand' (1 Samuel 15:12; 2 Samuel 18:18). One of the most interesting features of the inscription is the mention of Asherah. This goddess was well known in biblical times; the biblical texts that use the term Asherah refer varoiously to a goddess or to an object (or, perhaps, sometimes to both, in an elision between the deity and the cultic object meant to represent the deity). When the texts refer to an object, it often appears in close proximity to Yhwh’s own altar. Biblical Hebrew does not usually affix pronominal suffixes to personal names. This has led to suggestions that 'his Asherah' in this inscription might mean the cultic object, rather than the goddess. A few other inscriptions associate Yhwh and Asherah; two inscriptions from Kuntillet ‘Arjud provide an especially useful comparison, as they also refer to 'Yhwh and his Asherah'.*Ghost-letters are traces of letters that can be seen on an inscription but are not properly incised into it. They are often detected by modern cameras that pick up details the human eyes cannot see. Some of the ghost letters on this inscription were probably caused by a person in antiquity tracing the letters with a fingernail, or perhaps a stick.
This image shows the remains of a clay oven (tabun) just outside the House of Ahiel in Jerusalem, excavated as part of by Kathleen Kenyon's expedition to Jerusalem. Similar clay ovens are still in use in parts of the Middle East. They were (and still are) often found in courtyards, and are especially used for the preparation of flat bread.See also: cooking pot and baking tray; grinding stone.
Fragments of figurines of four-legged animals are by far the most common figurine type in Judah and Jerusalem, and are part of a wider repertoire of clay figurines. The horse and rider figurine type is common through the southern Levant during this period, and survives well into the Persian period (539–333 BCE). The particular style shown here, with very simple modelling and a pinched head, is typical of Judah.Few figurines survive intact or nearly so; the ones that do survive generally come from tombs. The horse here comes from Cave I in Jerusalem and the horse with a rider—the head broken off in antiquity—is from Tomb 106 in Lachish. The two complete figurines are unprovenanced, but are probably from Judah. The exact meaning and use of these figurines remains unknown. They do however, open a window on the way social meaning was contructed and manipulated in ancient Judean society. Horses were used only by the royal family and the military. Horses and riders, therefore, are likely to represent military power, and their frequent presence in the figural repertoire suggest that military power was a significant concern for the inhabitants of Judah.
The variety of figurines found in Jerusalem and Judah are aprt of a general phenomenon and should not be studied in isolation. While the individual items and types are—of course—interesting, it is important to understand that they form part of a repertoire of figurines: a miniature world that includes female figurines, horses with and without riders, as well as furniture. Studies on figurines have tended to focus on specific types, but this risks isolating them from other kinds of figurines. Considering the female figurines alone, for example, it is easy to imagine them related to fertility ritual or female goddess. In reality they form a smaller part of the wider figurine repertoire. The majority of figurines are animals, which can generally be interpreted as horses; some appear with riders, others without. The use and meaning of the figurines is not very clear. Explanations range from cultic or apotropaic use, especially for the female figurines, to toys, usually with reference to the animals. Their archaeological context, which is primarily domestic and occasionally funerary, suggests that they were part of daily life. Whatever their immediate use, the repertoire provides a small window onto social meanings and identities that were represented and manipulated through the medium of clay figurines.
This fragmentary inscription was discovered in the House of Ahiel. It is written in ink on a jar in formal handwriting. Sherds (broken pieces) from storage jars were often used as a writing surface, so the inscription may be unrelated to the jar or its contents.The inscription's meaning is difficult to understand, but it mentions three individuals by name. Two of the names mention Yhwh. There is also a desciption of each person. These are harder to decipher, but may be tentatively translated as:...]s son of Ahiel, who marks [?] rags...]yahu son of Hesedyahu, who gathers silver...]yahu [son of Y]adayahu, who gathers [gold ?]Although the purpose of the inscription remains enigmatic, the House of Ahiel is named after the first individual named in the text.
The most famous of all settings of Lamentations is that composed by Thomas Tallis in the middle of the sixteenth century CE. By the time that Tallis composed this work, the text of the Lamentations was an established part of the liturgy of Holy Week. European Christianity thus used the texts of the Lamentations—which had been written either as a direct reaction to the destruction of Jerusalem at the hands of the Babylonians, or in order to recall the horror of the destruction during the rededication of the newly rebuilt temple in the late sixth century BCE—to express despair at the liturgically re-lived crucifixion of Jesus Christ. Tallis used the Latin text of the Vulgate translation of the Bible. The Hebrew poetry of Lamentations used a stylistic device quite common in Semitic languages: it was written as an acrostic. Instead of spelling out a word or name with the first letter of each verse, Lamentations goes through the letters of the alphabet in their Hebrew order—aleph, bet, gimel, daleth, he, and so on. In order to preserve this feature, the Vulgate translation has the name of the Hebrew letters preceding each verse, and Tallis, like most other composers included that into his music. By Tallis' time, it had already become common to compose the names of the Hebrew letters in a different style to the rest of the setting, perhaps comparable to the way the first letter in an illuminated manuscript often differed from that of other letters on the same page.
The main room of the temple of Arad contained a large altar. Two offering bowls (one pictured above) were found by its base. Both bowls have inscriptions consisting of two incised letters: ק (qoph) and כ (kaph). These are thought to be abbreviations for קדשׁ כהנים (qdš khnm), meaning 'holy / set apart for the priests'.See also the reconstruction of the shrine at Arad.
This ostracon—a pottery sherd with ink writing—was written by a subordinate to 'my Lord Eliashib' sometime in the late seventh or early sixth century BCE and was found at Arad. It reports that an unidentified person is 'in the House of Yhwh'. Because the Arad shrine was no longer in use at that time, it is usually understood as a rare extra-biblical reference to the Jerusalem temple. More than two hundred ostraca were found at Arad, dating over several centuries and providing a unique insight into the administrative activity at the fortress.
The rosette seals appear on large numbers of storage jar handles, from the late seventh and early sixth centuries BCE. They represent an official, centralised marking system, a successor to the lmlk ('belonging to the king') stamps used during the eighth and seventh centuries BCE. The group here also includes an unusual ink marking—a letter he or het, written in black ink—preserved on a complete storage vessel. The meaning of this sign on the vessel is unknown. It may have indicated something about the contents, or perhaps the provenance or destination of the vessel. This marking is exceptional, in that it is written in ink rather than incised or stamped on the vessel. However, this rarity may simply be the result of the reality of what survives in the archaeological record, because markings in ink are more likely than incisions to have been washed away or lost.
In this ethereal painting of the city, the German artist Gerhard Richter recreates a snapshot photograph he took of Jerusalem from his hotel room in 1995, looking towards the Christian Quarter. Discernible features of the cityscape have been all but erased in the painting, partially anonymising the city, or supplying it with a sense of timelessness. Only with very close inspection is it possible to make out a lamppost or car amongst the architectural structures. By these means Richter’s rendering of Jerusalem appears simultaneously as a vision of the city from centuries ago and a bird’s eye view on the contemporary metropolis. While the image is not a work of imagination, the ambivalent and luminescent light imbuing the painting effects a dreamlike quality in the image, perhaps alluding to the mystical and mythical status of the Holy City. Unlike some modern artists who chose to focus on the desolate quality of contemporary Jerusalem, or explore the religious and national divisions in the city, Richter’s work seems to meditate on the impossibility of visually conveying the full complicated history of the place. Instead his painting functions like a medieval visual aid for spiritual pilgrimage, evoking in its viewers a personal, individual response to the site by encouraging the exploration of their own memories and imaginings of the city, brought to the fore by his own ambivalent representation.
Female figurines with prominent breasts and a moulded or pinched head on a solid pillar type base are common at Judean sites. For this reason figurines of this type have become known as Judean Pillar Figurines. They are well attested in Jerusalem, Lachish, and other sites in Judah.The figurines shown here are from Jerusalem (Jewish Quarter), Bethlehem, and Lachish. The fragments from Lachish remind us that most figurines are often found in a fragmentary state, having been broken and thrown away with common refuse in antiquity. The meaning and use of these figurines is unclear. The figurines are clearly female, leading to suggestions that they are linked with fertility and childbearing, representing a goddess such as Asherah or Ashtarte or perhaps the women who worship the female deity. They differ, however, from the much clearer Late Bronze Age plaque figurines of such goddesses, insofar as these figurines lack any clear indicators that they are, indeed, goddesses. Some scholars have suggested that they might have had an apotropaic (for warding off evil) use. The figurines are found quite commonly in domestic contexts, and occasionally in funerary ones. This indicates that, whatever their specific use, they formed part of the daily life and rituals of ancient Judah and Jerusalem. They should not be isolated from the rest of Judah's figurine repertoire—most notably the horses and riders, as well as couches. They all formed part of a miniature world in which social meanings were represented and manipulated.
David Bomberg is perhaps most famous for his paintings influenced by cubism and futurism, such as the Vision of Ezekiel (1912) and The Mud Bath (1914). A key figure on the British art scene before the First World War, Bomberg was associated with a group of artists and writers now known as the Whitechapel Boys, a collection of Anglo-Jewish modernist artists and writers. On his return to England from the Western Front, traumatised by his experience of war, Bomberg went into crisis. He lost his passion for the modern world — abstract painting and the hopes of futurism became connected to the horrors of mechanised warfare. After a period of considerable struggle, he was given a commission by a British Zionist group, the Palestine Foundation Fund, who worked to relocate Jewish settlers in Palestine with the support of the British government following the Balfour Declaration in 1917. Under encouragement from his contemporary Muirhead Bone, the group sponsored Bomberg's travel to Jerusalem, with the expectation that he would produce a number of paintings that would serve as propaganda for their project. Although Bomberg was not a Zionist, he felt rootless and distracted living in England and the attraction of the Holy Land was strong. In 1923 he and his wife Alice arrived in Jerusalem and Bomberg set to work. The paintings he created during this period were not, however, well received by his patrons. Rather than focus on the attractions of new settlements, Bomberg’s work eschewed all reference to modernisation of the land, ignoring the promises of pioneer life so central to the PFF’s cause. Instead Bomberg favoured desolate landscapes that spoke to the long, unchanging spiritual significance of the Holy Land rather than the modern twentieth century city. The painting here is typical in presenting a serene, calm, and unpopulated view over the Jerusalem cityscape. Although its figurative style is a far cry from Bomberg's earlier work, there remains some trace of his cubist mode of working in the angular, flat planes of the city’s architecture.
Like other composers working with Lamentations, John Mundy used the names of Hebrew letters to structure his music. The Hebrew text of Lamentations begins each line of a verse with the same letter, beginning with the first letter of the alphabet: thus the the first verse starts with א (aleph), the second verse begins with ב (bet) and on through the alphabet. The tradition of attempting to convey this in musical works comes via the Latin Vulgate translation of Lamentations, in which each verse was preceded by the name of a Hebrew letter. In musical works these letters are often used to give room to the musical abilities of the composer—they function a little bit like the large letters in an illuminated manuscript. Where Mundy's Lamentations differs from those by his predecessors is that, apart from the title and the Hebrew letters, he does not use the text of the Lamentations. Instead his Latin text expresses anguish about the schisms in the Roman Catholic Church that arose during the Reformation. This creative use of both the form and the name of Lamentations, in order to evoke the anguish which the Lamentations so powerfully express, demonstrates the extent to which the upheavals of the Reformation were perceived by Mundy and others in the sixteenth century as a disaster—comparable to the destruction of Jerusalem—and, indeed, a disaster for the Church's conception of itself as a New Jerusalem.
John Duggan's Lamentation is at the same time both quite unusual and quite traditional in its setting of this now-classic text. Unusually, he adds a soprano soloist and a solo trumpet to the more common choral sound. His choice of text, however, is quite traditional, using the traditional introduction, 'here begins the Lamentation of Jeremiah', which is not from the Hebrew text but inferred from the Greek Septuagint; he finishes with a quote from Hosea 14:1 ('Jerusalem, Jerusalem, return unto your God'). Like the piece by Cecilia McDowall, Duggan's composition showcases the best in modern British composition, combining tradition features with departures from tradition in order to bring the ancient text and expression of liturgy to a modern audience.
Excavation works in the Jewish Quarter of the Old City revealed a significant stretch—65 metres long and varying between six and seven metres wide—of a major defensive wall of Jerusalem. The construction of this wall has been dated to the late eighth or early seventh century BCE, because is built over the top of earlier, eighth century houses. The wall may have been built during preparations for the Assyrian invasion by King Hezekiah, as described in 2 Kings 20:20 and 2 Chronicles 32:2-5. Hezekiah is rebuked for his preparations by Isaiah 22:9-11, protesting that he ought to have trusted in Yhwh to protect him but also that he broke down houses to build the wall. The wall serves as a poignant reminder of the impact that warfare and royal authority could have on the lives of individuals. This part of the wall must have been still standing after the the Babylonian sieges in 597 and 586 BCE, although other parts of it would undoubtedly have succumbed to the onslaught of the Babylonian siege engines.