Zeruba B Bel

Juan Bautista Villalpando and Sacred Architecture in the Seventeenth Century
Author(s): Sergey R. Kravtsov

Source: Journal of the Society of Architectural Historians, Vol. 64, No. 3 (Sep., 2005), pp. 312339
Published by: University of California Press on behalf of the Society of Architectural Historians
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and
Juan Bautista
Villalpando
in the Seventeenth
Sacred Architecture
Century
SERGEY
R.
KRAVTSOV
Center
for Jewish Art,

of Jerusalem
University
In
previous
and
publications,1
of
decoration
in Poland
the
I have argued that the plan

nine-bay
synagogue,
in the second decade of the seven
emerged
teenth century, was influenced by the treatise of Juan
Bautista Villalpando with itsmagnificent
image of the Tem
ple of Jerusalem (Figures 1-5).2 In this article, I expand the
scope of research to include several Dutch and English
monuments
that illustrate the dissemination of this Polish
of
building type and Villalpando's influence. Consideration
these distant Jewish and Christian edifices strengthens my
hypothesis about the impact of Villalpando and makes pos
sible a better
synagogues
Baroque
of
study
particular,
of the place
understanding
occupied
this
building
that Polish
in architectural
type
In
history.
the
underscores
essen
tial role played by both architectural typology and messianic

in the program of those sacred buildings that
mysticism
were modeled
to a great extent on the iconography of the
thought occupied an important place in
Eschatological
the spiritual life of Europe in the sixteenth and seventeenth
centuries.
humanistic
expulsion,
split
invigorated in Italy, a center of Christian

culture and Jewish spirituality after the Spanish
and found believers in the Ottoman Empire and
It was
and western
between
Europe.3
the Reformation
It varied
Commonwealth,
across
the
continent,
and Counter-Reformation,
and survived crises as anticipated

It was, however, not welcome
Lithuanian
were
almost
was
collapse
as a "Babylon" soon doomed

a result,
As
persecuted.5
the Protes
and where
synonymous,4
the
to
community
large
Jews there preferred to hide any manifesta

tions of their belief in near redemption, in spite of themes
sianic fervor stirred by forecasts based on the Zohar, by
of Ashkenazi
Lurianic kabbalah, and by the Sabbatean prophecy. By con

trast, in the Protestant Low Countries and England, mil
involved Jews in
lenarian brethren acted publicly. They
their preparations for the advent of the millennial kingdom,
and applauded the appearance of the alleged messiah, Shab
In addition to millennialism,
the
betai Zevi (1626-1676).6
of Israel was
concept
of the New
Children
Protestant
countries.
In Holland,
patriotic myth
sen
people,
Adamites.7
that identified
an
already
In
England,
it was
the Dutch
advanced
messianic
in
popular
of
component
as a divinely cho
outpost
enthusiasm
of
the
together
new
with
was popular in the days of the Puritan Revolu

it
least among the intellectual elite?only
vanished?at
tion;
with the Restoration.8 While
approaches tomessianic mys
Hebraism
Temple.
eastern
Judaising
tant vision of Papal Rome
which
the Hebrew
millenarianism
and
Poland
and the Protestant
Low Coun
tries and England were distinct from each other, the

and Ashkenazi
Jewish communities
freely
Sephardic
exchanged people and ideas, heeding messianic rumors and
their
apocalyptic dates passed.

in the Catholic Polish
where
ticism in Catholic
refutations
with
a common
hope
for near
redemption.9
In 1648, predicted in the Zohar as the year the messiah

would appear, the violent persecution of the Jews during
Bohdan Chmielnicki's uprising and the subsequent invasion

were a great shock

by Muscovites
for the Jewish world, resulting in a massive emigration of
Eastern European
and Lithuania.
Jews from Poland
of the Commonwealth
in Amsterdam,
arriving
refugees
tinued to believe
be
realized,
of
the
as
viewed
other
as "birth
events
messianic
con
who
Jews
soon
prediction would
traumatic
these
unfulfilled
yet
like
that the messianic
an
expectation,
pangs"
expecta
Shabbetai Zevi was declared mes
tion that was met when
proved to be the major event in the

messianic history of the century, Zevi's subsequent forced
conversion to Islam in 1666 resulting in turmoil among the
siah in 1665. This
In the epoch during which eschato

logical thought spread through Europe, the Temple became
an important symbol intelligible across diverse cultures.
messianic
believers.10
current study was stimulated by an interest in the

and spread of a particular type of Baroque sacred
The
genesis
the
building,
so-called
continuous
despite
theories
from
the
the
the
been
proposed,
Explanatory
synagogue
nine-bay
or
architecture,12
so-called
older
has
the problem.11
of
genesis
Church
Orthodox
from
on
discourse
propose
its origins
of
explanation
satisfactory
of
equal vaulted bays. To date,
synagogue with
the four-pier
no
a variation
synagogue,
nine-bay
as an
evolution
with
synagogues,
bimah-support
central piers, in the lands of the Polish

Scholars who argue that the
Lithuanian Commonwealth.
was
inspired by kabbalistic fer
bimah-support synagogue
their clustered
ment
and
innovations
liturgical
of
the
sixteenth
to see
ing
the
of
importance
more
with
gation
the
of
communication
space,
solution
treatise
must
esis
the nine-bay
of
be
central
bimahP
design
of
acoustic
I con
However,
to understand
the
on the
in Eng
and monasteries
churches,
synagogues,
the influence of
of Jerusalem
cultures during the epoch of great eschatological

and
in relation
to messianic
and the allegory of the New
Treatise
Villalpando's
Juan Bautista Villalpando

tect, writer,
and
loannes
Hierosolimitani.
(Rome,
Baptista
explanationes
Villalpandus
and Hieronymus
et apparatus
urbis ac templi
et emaginibus
Commentarii
1604), pt.1,
illustratus
In
Pradus,
opus,
vol. 2
title page
gen
and Poland during the seventeenth

land, the Netherlands,
we
As
shall
see,
century.
"Villalpando'sTemple assumed dif
ferent architectural forms and different meanings in diverse
tions
Figure
Ezechielem
synagogue.
image of the Temple
Villalpando's
of
of the Villalpandan
aim in this article is to demonstrate
My
reduce
that
a congre
and
visual
significance
account
into
taken
to
providing
better
tend that the iconographie
8:4), refus
design,
synagogue
and with
the
with
the nine-bay
nine-bay
architectural
efficient
merely
sources
additional
or
century,
as a parallel to the biblical "tower" (Nehemiah
theorist,
of Israel.
and,
as of
about
studied
and
mathematics
after
first volume of their treatise was published

del
Prado's
death.
The
next
two
volumes
in
con
taining graphic reconstructions of the Temple appeared in

1604 (see Figure l).14 This work included several details
that make any quotation from Villalpando's
imagery recog
was a Spanish archi

1575,
he
account,
struction of Solomon's Temple and a full commentary on

the building as described by the prophet Ezekiel (chapters
1596,
and Its Influence

(1552-1608)
own
architecture with Juan de Herrera, the builder of the Esco

rial, in or around the court of Philip II. About 1583, he met
Her?nimo
del Prado, a fellow Jesuit theologian, sculptor,
and architect, with whom he undertook a detailed recon
40-42). The
millennialism,
mysticism,
Children
expecta
to his
According
a Jesuit
friar.
nizable
in future
These
elements
literature
as well
as
include the nine-bay

JUAN
BAUTISTA

in built
monuments.
ground plan, distinc

VILLALPANDO
313
vT.nrtîflfriu?nw"i
Figure
Figure
3 Villalpando,
?.tfft.< ^/ijRosao**'"*.
Juan Bautista
Villalpando,
Temple
Temple
of Jerusalem,
of Jerusalem,
plan
elevation
MUH
'M.WH.MM'Ht+l-4+t't'Mt-t'M
*-!
'tH
^>T
"jww
w t*fh 15 * im iv. frisas\r imjsya,
314
JSAH
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SEPTEMBER
IMM \M'V\U
2005

VHUm^^JJÎ\l>ij'M?l^nK!MUV?
EORVNDEM
CASTRORVM
DISPOSITIO.
MVNDVM
referais, & Templum.

Gntf-lt.t-
?? ?t.Dofc
J-0C?f.49.9-*-7-9-t}.t+l7'
Duo fibj
lui tec.
oui crime. pax.
r&?fciPJSJ!ME.r
4 Villalpando,
Figure
tive
curved
and
buttresses,
chart showing
Solomonic
Corinthianesque
architectural order (see Figures 3, 5).

In Villalpando's
treatise, the nine-bay
the Temple
scheme
ascribing
outer
twelve
Tribes
was
compound
of
cosmic
nodes
Israel.
of
scheme
by
an
nodes
who
were
treated
3:23-38). Villalpando
signs
of
the
zodiac,
and
as
connected
the L?vites
one
unit
to the
and water.
elements:
sons
and
2:1-34;
to the
fire,
was
According
and Doric
corresponded,
(Num.
in the
In addition,
spaces
placed
the
between
on
the
(see Figures
to
air,
elements.
axis
known
of
of
the
the whole
were
planets
scheme.
The
composition,
2, 4).15
reconstruction,
Villalpando's
The
seven
the nodes
combined
tectural order of the Temple
the Twelve
the Twelve Tribes
of Jerusalem
sanctuary
The
layout.
according toVillalpando, to the Levitical families?the

of Gerson, Merari, and Kohath, together with Moses
Aaron,
of the Temple
shifted westward
explanatory
represented
central
FtarDm
colaba
?nvi*,
cenfes
earth,
ground plan of
??
Input r?.
located
to the overall
meaning
the
four
The
accompanied
symbolism
Ji.p.
capitals
of
the
the
archi
Corinthianesque
columns,
close
to
of palm and date
in their shape but composed

fronds, supported aDoric entablature, including triglyphs,
which corresponded to the butt-ends of wooden beams (see
were decorated
Figure 5). The channels of the triglyphs
Corinthian
with
narrow
palm
branches.
JUAN
BAUTISTA

VILLALPANDO
315
2
s
>
h
*rriACvix>RVMMAtoa forma
r <* : :#
5 Villalpando,
Figure
architectural
orders
of the Temple
Villalpando's architectural concept of Solomon's Tem

was
assumed to be divinely ordained as revealed to
ple
Hiram of Tyre. Under Villalpando's influence, the Corinthi
anesque
order
special,
thetic
theory
Graphic
divine
order
textual
three-dimensional
of
the
teenth,
and
in more
than
pando's
imagery
of Jerusalem
316
JSAH
known
twenty
was
/ 64:3,
as
works.17
production
seventeenth,
can
They
Besides
in various
eigh
be
these,
maps
1660 and 1852.18 His
SEPTEMBER
of
reconstruction
the
centuries.
reproduced
between
as well
were incorporated as backdrops for bibli

in drawings by Jan Luyken, his son Casper,
reconstructions
cal subjects
Pierre
and
Mortier,
Bernard
and
traced
Villal
views
architectural
Picart.19
Villalpando's theoretical writings also had an impact on

built architecture, although not immediately. The Spanish
Jesuit Francisco Bautista imitated Villapando's order at the
church of S.Juan Bautista
theory.16
throughout
nineteenth
aes
Baroque
of Villalpando's
recurred
even
characteristic
peculiarly
quotations,
models
Temple,
within
to Vitruvian
opposed
and
as the
treatise
came to be judged by his popularizers
order of the Temple

as a
in the
presented
of Jerusalem
tion
that
became
(1633-34)
as a new
recognized
inToledo,
Spanish
an adapta
order.20
The
book by Rabbi Le?n, another important link in the chain

of Villalpando's
followers, was reprinted several times,
translated
into
no
fewer
than
seven
languages,
and
popu
larized by awooden model (Figure 6). Rabbi Leon's influ

ence in the Reformed Low Countries coincided with the
architectural
creativity
of Jacob van Campen
2005

and Daniel
Figure 6 RabbiJacob Juda
W??NUEÛ?M????^^
~ f
H^^^^H^^^n^^^^^^H?^Hi^^H^^H^^H^^HHl^^^BKhfek
Le?n,viewof theTempleof
^^HHH^^^^^hIH^^^^' . *il????^^^^H^^^^^^^^^^^^H?^ Jerusalem
I^^^HH?HHHHHill^KlMil
whose
Stalpaert,
was
work
also
based
on
directly
Villal
an
became
modeled
The
and
early
area
important
of
design
Nine-Bay
Treatise
applications
Villalpando's
In the Catholic
Polish-Lithuanian
the
Commonwealth,
itself early because it
influence of the treatise manifested

was speedily imported by Bernardines, Dominicans,
and
other
monastic
orders
Jesuits,
the Counter-Refor
promoting
Polish scholars have discussed the influ

ence of the treatise on Polish architecture.21 The oldest
known copy of the book in Polish libraries is dated 1610,

the same year its frontispiece was used for a booklet by
Hieronim
Bildziukiewicz.22 The treatise appears to have
literature in Poland as reflected in
written works by Bartolomiej Nataniel Wasowski

(an advi
sor to King Jan Sobieski) and Benedykt Chmielowski.23
in Poland were certainly familiar
Architects
and masons
with
other
the book, which was much more

works
by
such
famous
and Pietro Cataneo.24

were
acquainted
with
It is not known whether
and
iconography
monasteries.
Corinthian
buildings.
The
and Doric
Several
there than
Scamozzi
Polish Jews
it.25
the first manifestations
appeared
characteristic
in Catholic
combination
orders was often
design
dolese
applications
so-called
were
who
architects,
seventeenth
older
in the first
active
One
century.26
of
churches
of
the
in Jesuit
applied
marked by Villal
the
monasteries,29
from Villalpando
in 1631.30
built
is the
example
ure
the
scheme
St. John
of
for
places which God
who
was
several
the
opinion,
the Cross,
the
of
to a
church
the bays
of
concept
"certain
as with
other
special
location for a
architecture, it could glorify the wisdom

founder and the perfection of the building.32
of
the
so-called
of
applications
Solomonic
As stated, I contend
(Fig
Solomon's
echoed an instruction by
recommended
this,
inCzerna,
reduced
chooses" as an appropriate
Beside
monastery.31
influence
clear
in which
composition,
substituted
in the desertum at Czerna
Temple
with
example
nine-bay
four-bay
In Brykowska's
7).
first
being the Carmelite monastery
Here
were
compartments
that Villalpando
of the
influenced
the
which
spread
through the eastern region of the Polish-Lithuanian
Com
genesis
monwealth
teenth
In the architecture of Poland,

Villalpando's
popular
as Vincenzo
theorists
the
cross-in-square
mation. Numerous
influenced the theoretical
of
quarter
the
by
ably dating to 1617.27 A similar combination of orders is

noticeable in the Visitant Nuns Church inKrakow, as well
as in the Jesuit Church portal in Kalisz.28 The
multibay
scheme was applied to the layout of Carmelite and Camal
and
Synagogues
of Lublin
generation
in works
appear
fa?ade decoration of the Jesuit Church in Lublin, with a

frieze including triglyphs above Corinthian capitals, prob
on Villalpando.
Polish
influence
pando's
pando's treatise. In England, Inigo Jones and Christopher

Wren were impressed by the Jesuit's exposition. Poland
in the
beginning
In
century.
"nine-bay"
or
verse
arches
equal vaulted
bimah-support
the
"nine-vault
pier buildings where

divide
synagogue,
nine-bay
second
of
quarter
existing
synagogue"
literature,
the
denotes
those
the supports together with

the
of
ceiling
bays.33 This
synagogues,34
JUAN
the
BAUTISTA

the
seven
term
four
the trans
sanctuary
type is close
in which
the
into
nine
to the so-called
central
VILLALPANDO
piers
are
317
i ii
?
Figure
hmimmmmmHMMHMHMI^
Poland,
0
10
l-n,t,..t..,...t.t.J
^^^^^^
7 Plan of a monastery
inCzerna,
1631
20 m
_4
close to one another, and in their height do not reach the

springing point of the major vaults; they bear amasonry
canopy that supports the barrel vaulting of the main space
port for the barrel vaulting on perimeter of the prayer hall

(Figure 8).37 The columns are crowned with Corinthian
of the prayer
capitals
hall. The
proximity
chronological
of the four-pier
morphological
of
scheme
two
these
demand
similarity
alternative
and
versions
arches
and
that
shafts,
heavy
that they be closely
Corinthian
earliest two bimah-support prayer halls were built

in the second half of the sixteenth century in Lublin and
Przemysl, but only the latter one can be analyzed as an
ments.
monument
authentic
without
major
1592-94,
Bononi.35
that
changes.
probably
No
direct
survived
This
until
synagogue
in
constructed
by Italian architect Andrea Pellegrino

has
precursor
been
found
for
an
edi
fice of this type either in contemporary Jewish or Christian

sacred architecture.36 It is a building with four heavy
columns placed at the four corners of the central bimah. The
columns
318
carry
JSAH
a cubic
/ 64:3,
structure
SEPTEMBER
pierced
by
semicircular
not
openings
which
the
This
akin
architect
order
to
correspond
are
the
rather
the
have
sup
of
proportions
to
the
Doric
to
intended
notwithstanding
decision
a structural
forming
the
order.
the
employ
structural
require
been
inspired by the
Corinthian columns proposed by Luca Pacioli in his recon
struction of the Temple gate titled "Porta Templi Domini
may
Dicta
the Holocaust
was
do
Apparently,
examined.
The
shouldered
the idea may have been

Speciousa."38 Alternatively,
from
borrowed
the twisted Solomonic Corinthian columns,
which were thought to be derived from the Temple, and
were amotif especially fashionable in the Catholic world at
that time, when
under
been
the
reconstruction.39
present
late
Thus,
in the
sixteenth
in Rome was
the old St. Peter's basilica
four-pier
the
Solomonic
synagogue
century.
2005

idea may
design
as
have
early
as
There
Synagogue
is every
reason
of L'viv
was
to believe
the
that
earliest
the Great
Suburban
It
synagogue.
nine-bay
can be dated with
certainty by the agreement concluded

the
between
Jewish community and the town hall, and by its
confirmations by both the king and the Church.40 The initial
between
agreement
the
Suburban
and
community
the mag
istrate, dated 30 April 1624, stated that the synagogue vault

ing "should be arranged modestly in three sections under an
Italian
roof,"
a structure
meaning
of
three
naves
crowned
E"I
by
a hipped roof, not by a gable.41 The document added that the

building's width "cannot exceed 40 cubits, while the length
From
houses."42
we
this passage,
see
that
??
?t
*7??1?
??a-?r*
to con
the decision
r
La?-,
E?
r ;Pe;d?i
height from the ground to

the top of the highest middle vault will be 20 cubits, in order
to preserve the roof apex as high as those of the neighboring
will be limited to 38 cubits. The
id
?:
struct the vaults in equal heights had not yet been made when
the agreement was signed. Before World War II, the interior
of the building had changed little since the seventeenth cen
?.
tury.Though the synagogue was destroyed by theNazis, sim

plified but clear drawings and old photographs exist (Figures
9,
10). The
column
of
Corinthian
at the Suburban
Ionic, and Corinthian
bined Doric,
belt
capitals
acanthus
capital,
leaves
was
with
placed
underneath
com
Synagogue
elements
corner
scrolls,
r::
j:i:
(Figure 11). A
resembling
the Doric
a
:::H:
echinus
decorated with egg and dart, while four rosettes filled the four
to Andrea
8 Attributed
Figure
Bononi,
Pellegrino
Poland,
Przemysl,
Synagogue,
1592-94,
Old
destroyed
::?Lh?;
Medleni,
Suburban
:?
destroyed.
: ::%
visible
r:::
Great
Synagogue,
now Ukraine,
'a, ??;?p??
H?;?;?:?:??
'1
to
9 Attributed
Figure
Giacomo
L'viv,
1624-32,
The zodiac
on the east wall,
signs
to the
right of the Torah Ark, are

those
of Virgo and Leo.
%???3
??
i
51, ?
,-,
JUAN
BAUTISTA

VILLALPANDO
319
Unlike
the
of
synagogue
the L'viv
suburban
commu
nity, where the rabbi was the little-known Jacob Koppel ben
Asher Kohen,47 the synagogue of the Volhynian
city of
was traditionally associated with one of the fore
Rabbi Samuel Eliezer ben
Jewish commentators,
Ha-Levi
Edels
and was called the
(1555-1631),
Judah
MaHaRShA
after his acronym. It was erected about 1627,
Ostroh
most
the Jews of Ostroh were granted a decree to build a

synagogue not exceeding the height of the local Catholic
when
and Orthodox
churches.48
The general layout of the Ostroh Synagogue is very simi

lar to that of the Suburban Synagogue of L'viv. It is clearly based
on a nine-bay plan with equal vault bays (Figures 12, 13). Its
capitals follow the composite order of the Suburban Synagogue
of L'viv (Figure 14; see Figure 11).The size of its prayer hall is
20.85 x 18.3m,49 slighdy larger than that of the Suburban Syn
which
agogue,
synagogue
x 19.28 m.50 On
20.1
measured
was
with
supplied
large
pando's
curved
windows
buttresses,
suggests
though
at least
buttresses,
slanting
themain, west fa?ade (Figure 15).Their

round-arched
the exterior,
the
two on
position between the

quotation
in Ostroh
no
from
curvature
Villal
was
noticeable. The
general layout of the building and its decora

tive details leave no room for doubt that itwas designed by the
O 10
same master
who
was
responsible
for the Suburban
ofL'viv.51
10 Great Suburban
Figure
corners
fairly
under
the
abacus.
to one
closely
tiano Serlio.43 The

rare
of
This
type
of
nor
schematic
ing
a scholar
Zajczyk,
its destruction,
the
vaults
seem
Sebas
be
may
a visual
fronds inVillalpando's
who
The
smooth,
after
examples
these
as "neither
capitals
columns
support
approximating
Com
octagonal
visually
quo
capi
the monument
examined
characterized
common."44
corresponds
capital
of the capitals included
beading?which
tation from the palm-and-date

tals. Szymon
of
the Composite
floral decoration
element?rows
before
L'viv, plan
Synagogue,
posite proportions.
ground plan of the building was
a
with
reduced
central bay, and groin vaults
nine-bay,
slightly
The
separated
by
transverse
either axis. Zodiac

connection
with
arches,
no
creating
on
emphasis
signs sculpted on the walls45 provided

the Twelve Tribes of Israel. Nevertheless,
the location of those signs differed from that suggested by

Villalpando, as one can see in the prewar photograph of the
east wall (see Figure 9).40 The main elements of affinity
between
struction
the Suburban Synagogue

of
the Temple
were
and Villalpando's
the
order that combined Corinthian
composite
and Doric
nine-bay plan, and the decorative motifs

Tribes of Israel.
320
JSAH
/ 64:3,
SEPTEMBER
recon
architectural
elements, the
associated with the
Figure
11 Great
Suburban
Synagogue,
2005

L'viv, capital
Synagogue
Figure
12 MaHaRShA
Synagogue,
Ostroh,
now Ukraine
Figure
14 MaHaRShA
Synagogue,
Ostroh,
capital
10
Figure
13 MaHaRShA
Synagogue,
Ostroh,
plan
JUAN
BAUTISTA

VILLALPANDO
321
presence of an architect in two distant cities in the
The
same
narrows
decade
the
search
for his
The
identity.
archi
synagogues was probably Giacomo

(Jakob)
orMadlaina,
amaster of the L'viv builders' guild
tect of both
Medleni
since 1601, who arrived in that city from Graub?nden

in
Switzerland at the end of the sixteenth century. According
to recently discovered
Luts'k Gate in Dubno
had built the

documents, Medleni
for Prince Aleksander Zaslawski in
1623.52 The
great similarity between the plan of this gate

and those of the Luts'k and Tatar Gates in Ostroh, a city
that was
in the
partially
of
possession
same
the
Aleksander
Zaslawski, strengthens the argument thatMedleni designed

all three edifices.53 Another
of Medleni's
works is the
in Iziaslav, a city located near Ostroh
Bernardine Monastery
to
same
and belonging
aristocratic family.54 The oldest
the
of
the
part
preserved
building features aMannerist attic wall
so it would
be
to expect
reasonable
for about thirty years,

that
any works
executed
be made
may
comparison
between
the
in
synagogue
built in 163356 and those of L'viv and Ostroh. The
Vilnius
synagogue
of
imposts
combined
of
the
with
central piers standing close together and the perime

ter of the prayer hall spanned by barrel vaults.57 Thanks to
this mixture
of
architectural
we
features,
may
as a result of the historical
synagogue of Vilnius
ment of the bima h-support
the
nine-bay
and
more
later
than
invention
Medleni's
of
those
that
proves
synagogues,
was
design
Its date,
design.
Ostroh
develop
in the direction of
synagogue
the
than
true
the
the L'viv
no
of the older bimah-support type?provided

transitional forms before 1624 are discovered.
scheme
bimah'-support
in other
existed
that
ings
the
the Tuscan
heavy
order,
that
of
proportions
agogue of Tarn?w
of Przemysl.
a Vitruvian
their
piers,
bears Solomonic
the
Thus,
second
wave
of
the
the
syn
bimah-sup
port synagogues of the seventeenth century chronologically

overlapped with the first nine-bay synagogues.
Insofar
straightforward
Villalpando's
The
322
as the
nine-bay
design
development
imagery
of
the
as an alternative
was
not
the
result
bimah'-support
source
is more
of
/ 64:3,
SEPTEMBER
his
at the
and Hebrew
and probably a pupil of Bri
teacher's
could
projects,64
have
pop
Poland
of synagogues. That of Leshniv,

apparently the earliest nine-bay
and Ostroh.
Other
some
to the
Sobieski
a mixture
immaculate
underlined
by
the
than
of
Shul built
of orders
columns,
of
Nevertheless,
sophisticated
In Zhovkva,
in the
in 1692, probably
was
applied
synagogue
nine-bay
a row
order.65
orders.
the
acanthus
no Vil
in this building with

a more
show
architectural
construction
design,
nine-bay
the Tuscan
examples
the
built about 1677, included

prayer hall to follow those
can be detected
version
nine-bay
stalled
to
with
egg-and-dart
leaves
and
the
so
by Peter
In
capitals.
four
round,
echinus
rosettes,
was
and
surmounted by the Corinthian abacus (Figures 16, 17). On

the exterior, sloping buttresses strengthened walls pierced
by high round-headed windows. The architectural appear
ance of this monument may have been influenced by the
synagogues, which are discussed below. It is
that
the
likely
authority of Uri (Phoebus) ben Aaron Ha
a Hebrew
Levi (1625-1715),
and Yiddish printer who
Amsterdam
a
scheme,
likely.
treatise was available in L'viv; copies were held in the

JSAH
continued
Doric-proportioned
similar to
of executing
capable
of mathematics
professor
mid-seventeenth-century
this
in
own
of his
design
1627. Briano never
ularized the Jesuit iconography among the local masters.

The ruin of Jewish life due to the Chmielnicki uprising
Beber,66
only
of masons
its
since
abroad,
dated
colleges of L'viv and Krakow,
(1626-28),
(1642), Nava
decoration
architect,
called
consistency
whereas
a team
was
Briano
while
begun
a serious commission, although he could have influenced

the local guild masters such asMedleni. Moreover,
it is
(1594?1641), a Jesuit friar
probable that Jan Chomentowski
used
independently
with
the subject of a document
approach
(about 1630), Pinsk (1640), Slonim

grudak (1648), and Tykocin (1648).58 Almost all these build
use
was
The
and was
Tarn?w
also
its modest
such as those of Luts'k
synagogues,
was
lalpandian elements
of
evolution
1630,63 when the new Suburban Synagogue of L'viv was

nearly finished. In all likelihood, the synagogue of Ostroh
of L'viv
nine-bay
product
Library.61 Villalpando's
Briano
Giacomo
Although Briano also designed the Jesuit Church and col

lege in Ostroh, it is impossible to attribute the local syna
gogues to him. He had left Poland in 1621, before fire
in
the
regard
by
drawings was furnished with the recognizable combination

of Corinthian capitals and rectangular openings toward the
gallery in the frieze level as a substitute for triglyphs.62
ano who
scheme,
nine-bay
applied
(1589-1649)?the
supervisor of Jesuit building sites in the
of
Little
Poland?when
he designed the Jesuit
province
Church in L'viv from 1617 to 1621. One version of his
and
the
supports reaching
high
a characteristic
the vault,
of L'viv University
was
iconography
possessed
by him in the third decade of the seventeenth century would

bear the hallmarks of a very skilled professional.
Vilnius
in the possession
destroyed L'viv's old Suburban Synagogue and a new build

ing was commissioned; he did not return until September
similar to those of the town gates aswell as to theMaHaR

ShA synagogue of Ostroh. The architect died in 1630,55
having been one of the guild masters
and the Carmelite Monastery;59

another
Jesuit College
one
to
the
local
and
is still
other
Dominicans;60
belonged
to Zhovkva
in 1690
his press from Amsterdam
at
invitation
the
of
Sobieski,67
Jan
reportedly
King
played an
moved
2005

15 MaHaRShA
Figure
view
Ostroh,
Synagogue,
from
the southwest
Great
(Sobieski
role
of Doric
application
dart
echinus
Corinthian
in this
and
the
design
of
Another
combined with egg-and

volutes
Corinthianesque
and
curved
abacus, is known from the Little Synagogue

built in 1705-10.68
some
in
or
early
its buttresses
very
with
synagogues
but
built in the second half of
eighteenth
seems
of
influence on the
that Villalpando's
persisted
seventeenth
ture
fertilization.
proportions,
like that of Przeworsk,
tresses,
now
1692
cross-cultural
Rzesz?w,
It is also possible
nine-bay
Synagogue
Shul), Zhovkva,
Ukraine,
important
to Peter
16 Attributed
Figure
Beber,
in the
slight
curva
The
century.69
pre
surviving
war
photographs,
though in the drawing by Kajetan
Kielisi?ski
from 1838 they are remarkably curved
Wincenty
(Figure 18).
The reflection of Villalpando's Temple iconography in
the overall composition of the L'viv and Ostroh synagogues
did not have the same meaning
ples
such
as the Carmelite
as it did in Catholic
in Czerna.
monastery
exam
In the
lat
ter case, Villalpando's

imagery referred to the Temple of
site.
antiquity and thus sanctified the newly developed
to
While
also
referred
the
historical
synagogues
Temple of
this
Jerusalem,
reference
was
and through the orientation

synagogues
past,
means.
also
at L'viv
quoted
ordinarily
and Ostroh,
the
Moreover,
this
source
sacred
of
the messiah,
iconography
who
JUAN
most
unlike
Jewish hope for the rebuilding

advent
in words
expressed
of the building.70 However,
was
through
expressed
of the Temple
expected
BAUTISTA

others
the
of
the
architectural
the profound
and for the
to "reveal
VILLALPANDO
himself
323
cism
was
fervor
arouse
lore
and
in the
arrived
the
arcane
to
and
churches
appeared in Catholic
in Poland
soon
architecture
The
country.
of
design
of
expression
too
considered
probably
influence
sacred
order
architectural
architectural
reaction.
Catholic
Villalpando's
book
the
However,
publicly.73
messianic
application
the multicourt
and monasteries.
after
the
treatise
of his
characteristic
scheme
emerged
These
in
quotations
could glorify the edifice and its founder, and they could hal
it with the Temple
low the building site by comparing
Mount.
By
in
contrast,
the
emerged
the Temple
compound
was
which
synagogues,
nine-bay
in the 1620s, Villalpando's
nine-court
transformed
into
scheme of
the
nine-bay
hall layout of a synagogue.

Villalpando's
expectations
The
Influence
Century
Figure
17 Great Synagogue,
speedily
Zhovkva,
echoed
appearance
messianic
that their architectural
fervor,
among the Jews of the eastern Polish

of
the
This
seventeenth
century
fervor was muted
community,
given
the
mentioned
the kabbalistic
revival
lands in the first half

by
contemporaries.72
by Jewish authorities for the good of

threat
of
Dutch
on Seventeenth
of Villalpando
Church
and Synagogue
Design
Fifteen years afterMedleni had interpreted the nine courts

of Solomon's Temple as nine bays of vaults, Villalpando's
treatise inspired several works by the Dutch architect Jacob
plan
in our days."71 I believe
In this case, the application of

imagery presumably reflected the messianic
of the Jewish community of Poland.
Catholic
reprisals.
For
instance, Rabbi Edels of Ostroh, himself well acquainted

with kabbalah, criticized Jewish youth for discussing mysti
van Campen
(1595-1657).74 His interest in Villalpando
dated at least to 1634, when he asked his friend and client,
the poet and statesman Constantijn Huygens
(1596-1687),
to arrange for the loan of the book.75 It is possible that van
Campen was acquainted with Rabbi Le?n, since the latter
assisted
Huygens
in construing
Figure
ssusis
324
JSAH
/ 64:3,
SEPTEMBER
Hebrew
while
passages,76
van Campen 's knowledge

of the original text is beyond
doubt. Starting with the churches of Hooge Zwaluwe and
18 Kajetan Wincenty
drawing
of synagogue,
Poland,
1838
huty**
2005

Kielisi?ski,
Przeworsk,
church.
This
device
architectural
the
of
interpretation
church's
van
repeats
Campen's
as based
elevations
on
the
ele
platform rather than on those of the

Temple building proper. The placement of the columns is
crucial for understanding
the ground plan of the church,
vations of the Temple
that the nine-bay
given
since
explicit,
the
division
are not
bays
of the vaulting
is not
homogeneously.
The
treated
four interior square piers of the Nieuwe

eate
the nine-bay
function.
The
columns
secondary
a clear
have
scheme,
design
Kerk, which delin

load-bearing
merely
cen
the
support
ter of the beams.
In the original design that van Campen

to the Haarlem municipality
in 1645, the vaults
proposed
on
rested
twelve
on
eight
the
but
columns,
reduced
the magistrate.
of
request
he
their
to
number
the
Nevertheless,
initial idea was not forgotten: the church interior as painted

by Pieter Jansz. Saendredam in 1652 depicts twelve columns
though in fact four of them never existed.80 The twelve
columns of the church apparently evoked or symbolized the
of Israel, an important component
Twelve Tribes
pando's
of Villal
interpretation.
symbolic
intersecting vaults of the axial naves of the church

produced a cross, which was emphasized by painted her
aldry glorifying the legendary participation of the Haar
The
in the Crusades.
lemmers
the
Though
cross
was
not
explicit
it was of
in Villalpando's
nine-bay scheme, undoubtedly

great importance for the Reformed Church. The
tral
which
columns,
the
produced
van Campen,
19 Jacob
Figure
Nieuwe
1646-49
Kerk, Haarlem,
pulpit,
built in 1639-41, he introduced curved but

Rensewoude,
tresses and Greek cross-based plans into Reformed Church
sacred
architecture.77
Later,
in Haarlem,
(Figures
tions
in van
'sNieuwe
Campen
in 1645 and erected
designed
19, 20a), the impact of Villalpando's
even
became
more
Kerk
the
curved
windows
echoing
in the
platform;
austerity
by a horizontal
One
may
add
alternating
the buttresses
of
the
round-headed
elevations
crowned
cornice; and in the triglyphs on its frieze.79

that
the
cross-in-square
plan
of
the Nieuwe
to the plan of the Temple

in Villalpando's
(see Figure 2),
interpretation
compound
and with the explanation of its symbolism (see Figure 4).
The nine original courtyards of the Temple are replaced by
Kerk
in Haarlem
is analogous
the bays of vaulting
and the flat coffered
in the
into
subdivided
nine
it took the place of the sanctuary in the
the church, where

nine-bay
of
plan
the
in the
and
compound,81
but
curved
pulpit, the four columns could be interpreted as an allusion
and niches of the Temple

church's
canopy
was
of the
bays by four columns bearing the intersecting joists. Addi

tional parallels between the pulpit and Villalpando's
image
of the Temple can be detected in its spatial location within
to
the
significance
restated
reconstruc
explicit.
with
acoustic
the
was
tresses added on its north and south sides. In the case of the
has shown, the similarity between

and
the Nieuwe Kerk is noticeable in
imagery
buttresses
where
crucial elements
in 1646-4978
As van der Linden

Villalpando's
Their
scheme.
or nine
cross-in-square
bay layout of the church, became

architectural
four cen
ceiling
in the
the
the L?vites?the
as
altar
in the
der
of
the
since
Linden,82
in the Reform
creation
to
horns
preaching
Church.83
spatial
meaningful
of
Van
com
and a liturgical ordering for the Reformed Church
position
not
imagination
ple
by
van
sacrifice
role
Campen's
should
supposed
over
prevailed
not
Archpriests?but
compound
be
since
underestimated,
that
transformed
into
the
it was
the nine-bay
nine-bay
scheme
the
plan
of
architect's
of
a church
the Tem
and
of
its pulpit.
Van der Linden has already proposed several reasons
in the
for the application of the imagery of the Temple
to the State Bible, the
Nieuwe Kerk. In a commentary
rebuilt Temple as described by Ezekiel was considered to
JUAN
BAUTISTA

VILLALPANDO
325
q-?_^_?_jo
20
Figure
Plans of a) Nieuwe
be a prophecy of the Universal Church.84 Another motif in

the program of the Nieuwe Kerk was the Temple purified
of idolatry. Since the suppression of the Protestant Church
symbol of the Twelve

of the church, to say
its
with
the
of
Temple, only rein
symbolic parallels
nothing
The
Tribes
in Europe was compared to the destruction of the Temple

of Jerusalem
its restoration
by the Babylonians,
by
forces
Zerubabbel
appeared analogous to the liberation of the

people from the papacy and Spanish tyranny.85
the
Finally, the hope for peace was widespread when
Nieuwe Kerk was designed and built; the end of the Eighty
Year War between Spain and Holland was already in sight
events
Dutch
and
in 1645, and the peace treaty was signed in January

current
Thus,
events
were
the
with
compared
1648.
of
days
Solomon, the peaceful king and builder of the Temple.86

These analogies can be linked to the myth of the so
called New Children of Israel, widespread in the Protestant
lands. This concept became especially popular in patriotic
literature,
of
chronicles,
didactic
works,
stories,
the Netherlands,
where
drama,
created
newly
of
components
interesting
and
this
ideology
arts
in the
plastic
national
mythol
Israels took root.87 One
ogy of the Nederkinderen

most
and geographic
historiographie
poetry,
was
the
Amsterdam
and b) Oosterkerk,
Kerk, Haarlem,
of the
typol
ogy that connected biblical events with current affairs, not

in terms of a causal relationship but by analogy.88 In keep
ing with this typology, the inaugural sermon preached on 3
1648 presented the reconstruction of the Temple of
May
presence of the eschatological

of Israel in the composition
this
The
suggestion.
as the
a
but
Spain,
Van
town
who
He
ple
eschatological
think
in the Zohar
significance
and
326
this
calculation
JSAH
/ 64:3,
was
and
well
SEPTEMBER
in later
known
to four,
of pillars
exterior
the church
plan
ground
the
its
with
and
the cross both

axial
protruding
integral
at Haarlem.
Kerk
Thus
in a sequence
nizable
the
departed from the
cornices
continuous
and
nine-bay
the Nieuwe
of
plan,
recog
clearly
con
a device
became
of monuments,
of
in the
in the var
and
naves,
which
ied heights of the compartments,

volume
treatment
architect's
emphasized
in Protestant
Bible and Christianity
necting
church architecture. This device could emphasize the image
of Solomon's Temple in the symbolism of a Christian sanc
the Hebrew
the Oosterkerk
fervor,
in Oud
church
Stalpaert's
Nevertheless,
iconography.
otic
than messianic
responsi
kept the curved buttresses and the pulpit, similar to those in

Nieuwe Kerk, again linking the church design with Tem
tuary, or blur it, depending

the design.
propaganda
Stal
design of the Amsterdam
the number
Solomon in the shape of the Nieuwe Kerk as the fulfillment

of biblical prophecy.89
Apart from this typology, which included more patri
ing can be detected in the concept of theNieuwe Kerk. The
year of its dedication was identified as a date of messianic
was
he applied a purified version of
where
reduced
as well.
by Daniel
architect
city
in
repeated
(1661-71),
scheme.
borrowed
as the
States-General
calculation
van Campen's
It was
hall.
shoorn
was
concept
Campen's
the
between
treaty
millenarian
popular
ble for executing
the
peace
(1615-1676),
paert
symbol
thus echoes not only current historical
ism of the building

such
Solomonic
cumulative
Stalpaert
He
repeated
tresses.
quasi-Zoharic
texts,90
vaults
in millenarian
circles.
rior
Above
of the
were
applied
the
starting
cross-in-square
axial naves
increased
dominating
on
account
2005

with
the
plan,
the
of
of
to
more,
(Figures 20b, 21).91
(1663-71)
features,
once
scheme
four-pillar
inAmsterdam
familiar
on the architect's handling
the
corner
and
but
barrel
intersecting
interior
the
curved
the
bays.
exte
He
from the Polish prototype besides four pillars and the cen
tral bimah. The Dutch system of triple longitudinal wooden
barrel
women's
the
vaults,
into
protruding
galleries
the
prayer hall and adjacent to the central pillars, as well as the

orientation
of the Holy Ark toward the geographical
instead
Jerusalem
to the
of
conventional
east,
were
notice
the Amsterdam
able departures that distinguished
from
the
Polish
gogue
prototype.94 In contrast
syna
to the
described above, the barrel vaults of the Grote

ran
Sjoel
along the longitudinal axis of the building. In this
way, they emphasized the orientation toward the Torah Ark
churches
and
avoided
rior
is an
north
volume,
integral
elevation
of
cross.
to the
allusion
any
corresponding
the
synagogue
exte
to its interior.
The
was
sup
The
if not
synagogue,
others,
ported by curved buttresses (see Figure 23).

The Ashkenazi Great Synagogue was followed by the
Great
Portuguese
Esnoga?built
the
by
of
Synagogue
same Elias
Amsterdam?the
Stal
under
Bouwman,
sermon by Rabbi Isaac

1670 raised a generous
paert's supervision. The initiating

Aboab de Fonseca on 23 November
of about forty thousand guilders for the purchase

of the building plot. The cornerstones were laid in April
1671, and the synagogue was to have been completed by
May 1672, but the French invasion and the hurricane on 1
donation
21
Figure
Daniel
the shape and position
imported
of Haarlem
churches
now
canopy
rested
of the pulpit
and Oudshoorn,92
on
two
only
1663-71
Amsterdam,
Oosterkerk,
Stalpaert,
piers
from the
the
though
and was
acoustic
divided
into
twelve flat bays instead of nine. Obviously, the church echoed

Villalpando's reconstruction of the Temple, although Stal
paert's knowledge of Rabbi Leon's interpretation cannot be
out. The
ruled
of
two
the
question
later
as to whether
remains
churches,
the
of Oudshoorn
those
of
or was
Israel
by millenarian
inspired
expectations.
churches both date from about 1666, a year inChristian

chiliasm, but further research on the actual building program
for
The
next
the Grote
application
of
the
Sjoel, the Ashkenazi

built
terdam,
satisfactory
conclusion.
by
nine-bay
Great
mason
master
scheme
Synagogue
Elias
came
in
of Ams
Bouwman
(1636-1686) under Stalpaert's supervision, in 1670-71 (Fig

ures 22, 23). This synagogue was to become the first four
in Holland
and an important point of
pier synagogue
intersection
for concepts
of
synagogue
architecture
coming
from both west
inaugural sermons were delivered by Aboab de

and his disciples. The first-day sermon was dedi
Seven
inal
sin.96 The
the
same
the
universe.97
to
relationship
The
the
the
placed
Solomonic
preacher
from orig
as man
Temple
a
expressed
in
synagogue
hope
that
to
"this
plant [that is, the new synagogue], may yet be

transplanted to the Sacred Soil." The third-day speaker sup
posed that this would be the last synagogue to be built in
blooming
captivity,
The
and compared
sermon
fourth-day
prayer.98
On
the fifth
day,
it to the Temple
was
dedicated
there
was
the size of the synagogue, which

than the Temple; this difference
of Zerubabbel.
to
some
the
of
power
about
speculation
is only ten inches smaller
was explained by divine

providence, but not the builder's deliberation.99 On the sixth
day, the building activity of the community was compared
to that of God,
who
before
this
now
struction
Sjoel did not inherit much
sermon
second-day
and east of Europe. It adopted the plan of

the Reformed churches by van Campen and Stalpaert while
following the four-pier layout from Poland suggested by the
synagogue's patron Joseph ben Abraham, alias Joseph Polak,
who came from the city of Bar in Podolia, a Polish province,
in Ukraine.93 The Grote
of the purified Temple
the Maccabees.95
cated to Adam's fall and the need for redemption
The
is needed
days, as did those for the dedication

under
Fonseca
symbolism
and Amster
dam, was a product of the patriotic theory of the New Chil

dren
to 2 August 1675,
August 1674 delayed the consecration
one day after the 9th of Ab, the Hebrew anniversary of the
Destruction of the Temple. The ceremonies lasted for eight
enth-day
achieving
sermon
and politics,
of
one,
is
which
emphasized
and condemned
the
and rejected many worlds
created
synagogue
JUAN
totally
good.100
The
between
harmony
religion
the con
those who opposed

as an antithesis
BAUTISTA

to the
sev
promised
VILLALPANDO
327
10
Figure
22
Elias Bouwman,
Synagogue
plan and section.

the northeast
Figure
23
Amsterdam,
328
JSAH
/ 64:3,
Ashkenazi
(Grote Sjoel), Amsterdam,

The Great
corner
Ashkenazi
buttresses
Synagogue
Great
1670-71,
occupies
of the compound.
Great
Synagogue,
of the north fa?ade
SEPTEMBER
2005

the Corinthian
an
served
retained
buttresses
windows.
The
by
was
pound.103
The
further
1773-74,
when
four
a court
of
the Temple
of
the
massive
com
semantic
gogue,
buttresses
ilies,
its four main

and
twelve
of Israel. The
emphasis
tancing
reveals
Figure
24
Heavenly
inaugural
Elias Bouwman,
As
House.101
themes
Portuguese
1773-74,
1671-75,
Great
the
on
columns
the
itself
from
transverse
the
axis
syna
the Esnoga
the
fam
the Tribes
symbolizing
of
plan and
to the Levitical
cross-in-square
longitudinal
of
symbolism
roofing of the synagogue
in the churches. The
Amsterdam,
the Portuguese
columns dedicated
secondary
the orig
and Villalpando's
churches,
scheme
interpretive
with
between
similarity
the Dutch
in
synagogue
curved
were added to its east fa?ade,104 simply underlined

inal concept (see Figure 25).
The
urban
using
buildings,
impression
round
high
within
placed
reconstruction
exceptionally
elevations
with
alternating
pre
synagogue
with
volume,
synagogue
the
the
exterior,
lower ancillary
to reinforce
planning
the
integral
curved
formed
yard
On
impressive
by
headed
abacus.
interior avoids any

thus
building,
composition
dis
explicit
barrel vaulting runs par
(Esnoga),
Synagogue
plan
I demonstrate
a context
provide
several
below,
for
of
interpreting
the
the
design of the synagogue.

The architectural appearance of the synagogue relied
greatly on the image of Solomon's Temple by Villalpando,
repeated in the model by Rabbi Le?n, and in earlier
achievements of Dutch Reformed sacred architecture (Fig
ures
24-26).102 Its ground plan included

columns
the beams of three
supporting
wooden
lower
barrel
columns
while
vaults,
bore
two
the women's
these columns combined
rows
galleries.
of
four central
longitudinal
the
The
secondary
order
of
the Ionic volutes and echinus with
Figure
25
buttresses
Portuguese
Great
of the east
fa?ade
Synagogue,
JUAN
Amsterdam,
BAUTISTA

view
VILLALPANDO
of the
329
allel to the main axis of the building, which emphasizes

ascending of the space toward the Torah Ark. Itmoves
the
the
of the courtyard to the Holy

worshipper
of the prayer hall, and further to the Holy of Holies of the
from the Profane
Ark.
The
entrances
side
mark
distinctly
transverse
the
axis
of the building, even though the north door was blocked by

the bench for the pamassim (elders) behind it.105Apparently,
the
were
entrances
inspired
in part
only
by
metry, as supposed by Judith Belinfante

gave
with
east,
to the
expression
the Temple
after
compound
and
north,
and
south,
for
the pamassim
the
the
reconstruction,
triad
corresponding
curved
and
platform from the

of gates
courtyard (see Figure 2). The
echoed
sym
the Esnoga
Villalpando's
its three gates leading to the Temple
of the interior Levitical
for
and others.106 It also
between
relationship
a need
buttresses
of
bench
the Tem
ple platform, as did the preacher's pulpit in the interior of

the Reform churches (Figure 27). Similarities and marked
differences
between
the Esnoga
precursors
reflected
the
nity
to create
what
they
of
called
"bom
Judaism capable of confronting

ture
on
an
equal
Acceptance
architectural
was
unusual.
and its Reformed
effort
the
Portuguese
judesmo,"
"worthy"
cul
the dominant Christian
footing.107
by
the
Portuguese
attitude
Figure
of
27
Amsterdam,
the wealthy
Portuguese
bench

of
congregation
idea originating from their Ashkenazi

The
church
commu
Great
and well-estab
Synagogue,
for the pamassim
an
brethren
to the epistle circulated in Amsterdam?written

was
of Gaza, a disciple of Shabbetai Zevi?1670
to the Ashkenazi
lished Portuguese Jews of Amsterdam
can best be described
Years
War
the
from
Thirty
refugees
According
by Nathan
limited to providing aid and charity in return

for certain services.108 Their perception of the Polish Jews
predicted as the year "ofmanifestation of the Holy Ancient

One," while 1672 would be the year "when the ingathering
who fled from Chmielnicki's massacres with only the clothes

on their backs was initially slightly more favorable because
of the dispersed [Tribes of Israel] shall take place, and he

[Shabbetai Zevi, who Nathan of Gaza believed was the mes
siah] shall behold the sanctuary all ready built descending
as pragmatic,
of the number of educated people among them, correct offi

cial relations with the Jewish Council of the Four Lands,
and
a desire
to
by
deprecate
means
contrast
of
the
"beg
wave of refugees.109 But by 1670, when

gars" of the German
to achieve the leadership of the
the Poles had managed
entire
Ashkenazi
Amsterdam
was
there
community,
no
great difference in the attitude of the Sephardim toward

tudescos (Germans) or polacos (Poles);110 this position could
anachronistically be described as Jewish anti-Semitism.111
For
instance,
intermarriage
two
the
between
communities
was prohibited, German and Polish Jews could occupy only

the side aisles in the Portuguese synagogues, and Sephardi
welfare
were
contributions
used
to reroute
the new
immi
the Sephardi Jews were not fond of their poor

relatives, they sometimes needed to employ Ashkenazi offi
cials because of their greater Jewish knowledge, since the
grants.While
had never been forced to live as crypto-Jews.112

the Sephardim borrowed the Polish archi
Nevertheless,
Ashkenazim
tectural
reasons.
for other
pattern
Acceptance of the Polish nine-bay design scheme by the

wealthy Portuguese Jewish congregation of Amsterdam in
the 1670s was prepared for by a common understanding of
the symbolism of the building. As Villalpando's imagery was
a
widespread throughout Europe, it became kind of exclusive
architectural language for the initiated. The design philos
ophy of the poor polacos was acquired by the arrogant
Sephardim, well schooled in these allegories by Rabbi Le?n
and
it was
tive
such
architects
probably
to any
as van
Campen
messianic
allusions
fervor
to the
and
Stalpaert.
that made
approaching
"last
recep
days."
the mes
At both Jewish communities of Amsterdam,
sianic tension had passed its climax in 1666 with the apostasy
of Shabbetai Zevi, the famous false messiah. In the follow
ing years, the initially enthusiastic leaders of the Sephardim,
including theHaham Aboab de Fonseca, became "unbeliev
ers"worried about the stability and respectability of the con
gregation.
Nevertheless,
messianic
expectations
were
still
shared by many decent members of the community;113 hence

it is possible that the connection between the two Amster
dam synagogues
and the Temple prototype was stipulated

calculations of the dates around which they
by apocalyptic
were erected. In the Portuguese
in the
commission
the
included
a new
of
sermon:
inaugural
seventh-day
synagogue,
"Are we,
was
echoed
they
said,
to
build a palace for God who already has a house and throw
the needy Portuguese out of their house into the street?"116
continuity of messianic expectations was explicit in the
second-day inaugural sermon of the Esnoga, with its alle
The
gory of the synagogue as a plant hopefully transferred into

the Sacred Soil,117 that is, mystically moved to the Holy
Land.
architectural
The
Esnoga
were
and building date of the

satisfying to both "believers" and
concept
solutions
within
"unbelievers"
the
For
congregation.
in
succeeded
"unbelievers"
the
instance,
a
constructing
instead of expecting the ready-built Temple,

"believers" could be comforted by considerating
synagogue
the
while
the impor
lintel instead
tance of the year 1672 carved in the synagogue

of the historically correct 1675. Its shape satisfied every
body, since it supported the general Jewish hope for the
"in our
redemption
days."
in Jewish Amsterdam by 1670 was far

from the postmessianic
idyll; it was full of competition
and tensions
between the Sephardim and Ashkenazim,
I
within each congregation.
dispute the opinion that the
situation
The
of the main synagogues of Amsterdam with the

was a political allegory in which Hol
of
Solomon
Temple
land was substituted for the Promised Land, while the Iber
connection
Moreover,
believers
dispute between those who expected

the ready-built Temple to appear in the coming years, and
the followers of amore politically balanced approach which
from above."115 The
Jewish community of Ham

Shabbetai
Zevi presumed the year
followers
of
the
burg,
1670 to be the year inwhich the Temple would be rebuilt.114
ian peninsula
Egypt.118 This
and eastern Europe played the role of

interpretation seems to be an artificial pro
jection of the New
of Israel onto
Children
the
underestimates
of messianic
strength
It
the Jews.
in
sentiments
Judaism at that time. The third-day inaugural sermon of

the Esnoga actually describes it as "the last synagogue in
captivity."119 A reference to the Temple of Zerubabbel?
rebuilt on the return from the Babylonian
address
the
recent
as an
calamities,
exile?could
did
reference
analogous
in the inaugural sermon of the Nieuwe Kerk of Haarlem.

The influence of Villalpando's reconstruction of the Tem
ple persisted
tury, apparent
Corinthianesque
in the Low Countries

in characteristic
architectural
JUAN
in the seventeenth
quotations
order,
BAUTISTA

the
cen
of Villalpando's
curved
buttresses,
VILLALPANDO
331
and
the
in-square
of
plans
the
was
which
scheme,
nine-bay
churches
four-pier
plans
of
future ruler of theMillennial
the synagogues. Van Campen
invented this concept, and his

younger colleague Stalpaert later used it. It corresponded to
the nine-bay synagogue layout imported from Poland due to
the
same
visual
treatise.
source?Villalpando's
symbolic meaning of the Villalpandan-inspired

sacred buildings in the Low Countries was not uniform.
The
The
Reform
churches
the Temple
of Solomon
to
quoted
glorify victory of the "true" religion over "idolatry" and of
the Dutch people over Spanish tyranny.While millennial
ism may
a source
been
have
of
the Reformist
mes
program,
sianic expectations were definitely taken into consideration

when the Great Portuguese Synagogue was designed and
A
built.
issues
the
concern
for controversial
in the
its expression
found
post-Sabbatean
architectural
messianic
of
appearance
focused on the restored monarch
Channel
in the cross
interpreted
in the
and
ben
suc
Israel's
cessful mission, Rabbi Le?n traveled to England in 1674?75

with his model of the Temple. Rabbi Le?n leftHolland with
introductions from Constantijn Huygens to the Portuguese
ambassador
in London,
to Lord Arlington,
to Henry Old
Itmay be assumed that Rabbi Le?n
enburg, and toWren.

presented his model both to the architect and to the king.125
Although messianic enthusiasm was already out of favor in
England, the impact of this visit should not be
underestimated, given the interest in the image of the Tem
Restoration
as a
ple
at least
prototype,
was
Wren
associated
for Wren.
a
with
of
group
reformers,
repre
sented by Robert Boyle, Walter Charleton, John Evelyn,

John Wallis, and John Wilkins, who shared a religious and
vision
social
synagogue.
Kingdom.124
after Menasseh
years
twenty
Nearly
II as the
Charles
of
science,
including
millenarian
albeit
aspects,
distinct from the Puritan radicalism of the 1640s. This
group
stood at the beginnings of modern science with its skeptical
and experimental methods. In accord with Boyle's Christian
and England
Villalpando
The messianic
believers within the Jewish communities

were not isolated from Christian millenarians.
of
Holland
In
fact, the model of the Temple by Rabbi Le?n was inspired

and commissioned
by a millenarian
theologian, Adam
a
to
of
scholars that
who
Christian
Boreel,
group
belonged
and Peter Serrarius. Joint
included Jan Amos Comenius
work by Christian and Jewish scholars aimed to bridge the
abyss between Jews and Christians, a goal considered desir
able
at
dawn
the
of
Besides
16S5-S6.120
the messianic
Rabbi
era,
an
Le?n,
and
for
planned
tative of the Portuguese Jewish community, Rabbi Menasseh

ben Israel (1604-1657), was involved in these activities. He
played an important role not only in the teaching of Hebrew
to the Christians, translating theMishnah to improve Gen
tiles' understanding of contemporary Judaism, but also on
the political stage. In the 1640s, he met twice with a Jesuit
de Vieira, and together they formulated
friar, Antonio
in which the coming of the Jewish
"Judeo-Christianity,"
and the Second Coming
Messiah
preted
as the
same
event.
This
of Jesus could be inter
formulation
of salvation for all without
the
encompassed
the conversion
of the
possibility
ben Israel traveled to England
Jews.121 In 1655, Menasseh
as agent of the Jews of the world to negotiate with Cromwell
the readmission of the Jews to England. In this way, he
sought realization of the prophecy that the complete dis
persal of the Jews to the four corners of the world would
hasten
the
of the messianic
coming
era.122 The
Dutch
Chris
Jews worked closely with

as
Samuel Hartlib and John
their British brethren such
chiliastic
aspirations on both sides of the
Dury.123 Strong
tian millenarians
332
JSAH
and the messianic
/ 64:3,
SEPTEMBER
to expand this approach into architectural history and its

important subject of the biblical Temple of Jerusalem.126
was
Wren
it.127 He
aware
well
of Villalpando's
considered
did not include
to be
work
Villalpando's
a "fine Roman
tic Piece after the Corinthian Order."128Wren

theory
that
Solomon's
Temple,
assumed
that
the Tyrian
since
the
or Phoenician
its builders
order
Tyrian
recon
Temple
although his library apparently
struction,
own
represen
outstanding
ized "corpuscular philosophy," they believed that providence

in the world,
and nature both stood behind all the motion
and had to be studied with patient scrutiny.Wren managed
proposed his
order
was
were
Phoenicians.
was
ruder
that
of
He
than
the
and that itwas transmitted
Corinthian,
to the Babylonians,
It was
Greeks.
from the Egyptians

on to the Phoenicians, and finally to the
thus
product
of
both
nature
and
divine
did not
inspiration.129 This divergence from Villalpando
Wren
from
solutions
himself
that
prevent
producing design
were similar to the Dutch patterns by van Campen and Stal
paert, to say nothing
order
combined
with
of his application
the
cross-in-square
of the Corinthian
scheme,
appar
ently with reference to the Temple. This can be seen in a

small group of churches that he built after the Great Fire of
(begun in 1670) (Figure 28a),
(Figure 28b), and St. Martin's,
Ludgate (Figure 28c) (both begun in 1677).13? In each case,
the main body of the church is roughly a square, and four
London?St.
St. Anne
Mary-at-Hill
and St. Agnes
columns define the innermost bay in the center of the build

ing. The ceilings of these churches, outside the central bay,
are low and flat, while the axial bays are spanned by higher
barrel vaults, which
intersect in the central bay in St. Anne
2005

28
Figure
Plans of Christopher
Wren's
London
churches,
a) St. Mary-at-Hil
I;b) St. Anne
and St. Agnes;
c) St. Martin's,
Ludgate;
d) St. Stephen's,
Walbrook
St. Agnes,
and
central
and
is
bay
of
evolution
St. Martin's.
spanned
this
by
to
columns
columns.
diagonal
Their
eight
those
arches,
the Nieuwe
of
of
a dome.
and
none
of
four
the
work
that included
composition
pendentives,
Kerk,
and that of
inWren's
the
twelve
central
in the design
reflects the application of Vil
involved
of St. Stephen's, Walbrook,

lalpando's nine-bay scheme and its symbolism of the Twelve
Israel. Wren's
of
Tribes
church
cross-in-square
tions may reveal his admiration of Villalpando's

and
order.
Corinthianesque
of St.
columns
entablature
are
Walbrook,
Stephen's,
Temple plan
an
by
floral elements,
triglyphlike
could have been related to Villalpando's order, espe
cially to his leaf-shaped channels in the triglyphs.
the similarity
In the opinion of Margaret Whinney,
which
between Wren's
London
discussed
is so great
above
between
sible
One
to
the Dutch
say
exactly
possible
Robert Hooke,
land
a new
by
Abraham
Lutheran
churches and the Dutch

that
must
there
and English work,

how Wren
explanation
whose
Story,
church
knew
comes
be
churches
a connection
though it is not pos

the
about
via Wren's
Dr.
diary of 1674 records a trip to Hol

a London
in Amsterdam
and his
mason,
and
on
report
the new
of
St.
by
of
the
since
contacts,
St.
projects
his
developed
was
Walbrook,
Stephen's,
an
from
construc
the
was
in 1674. Perhaps Wren
Dutch
or had
source,
and
Mary-at-Hill
already under way

aware
these
and English
the Dutch
between
already
unknown
earlier
and
cross-in-square
from the Dutch
independently
but under the influence of Villalpando.
Beside the Dutch associations ofWren's
twelve
prototype,
design already
his turn
discussed, his dependence on Claude Perrault?in
influenced by Villalpando's image of the Temple?is
conspic
uous.136 This line is further traceable in the work ofWren's
In his St.Mary's,
(1661-1736).
pupil Nicholas Hawksmoor
Hawksmoor
Woolnoth
(1716-23),
applied Solomonic ele
such as twisted Corinthian
columns and twelve fluted
Corinthian columns delimiting the central space.137This edi

St. Mary-le-Bow,
fice inherited much from Wren's
built,
to
according
Pacis.138
The
architect's
the
statement,
connotation
Solomonic
after
here
the Templum
was
mediated,
since Templum Pacis was built by Roman emperor Vespasian

to honor
the
of Jerusalem.139
destruction
none
However,
on
syn
of
these varied examples was influenced byWren's Tyrian theory,

which was probably invented after a number of Wren's
churches had already been built, at a time when
former.133
friend
tion
architecture
ments
Corinthian
surmounted
with
decorated
composi
the
Moreover,
the similarity
explain
column schemes
Unlike
could be eliminated
of St. Stephen's, Walbrook,

arbitrarily. The number of columns
columns
agogue in the same city.134Another possible link is the visit

by Rabbi Le?n, who presented his model of the Temple to
it remains difficult to
in 1675.135 Nevertheless,
Wren
church
difference
placement
position
allowed for a splendid Baroque

transverse
increased the
The
twelve.
the
recessed
Wal
Stephen's,
Kerk of Haarlem
was
Walbrook,
Stephen's,
An
pendentives.131
at St.
(Figure 28d).132Wren
the plan of Nieuwe
between
St.
its central
of
the
Mary-at-Hill,
on
is noticeable
scheme
brook, built in 1672-79

number
In St.
a low dome
in
increased
ical for
"true"
Wren's
typology
early
Eastern
Christian
as
architecture
interest
prototyp
churches.
alleged
on
dependence
some
eschatological
seems plausible given that the Dutch

JUAN
BAUTISTA

prototypes
VILLALPANDO
333
may have been influenced by this kind of thought, in light

interest in theology140 and his personal contacts
ofWren's
with
thinkers.141
and messianic
millenarian
different meaning emerges in the quotation from the Tem

other
and in Wren's
ple at St. Stephen's, Walbrook,
In St.
churches.
Stephen's,
seem
to the
Temple
references
a Solomonic
though
on
placed
four
Kodesh,
builder,
and
bimah,
regarded
ance
quotation,
to
unconnected
amere
be
but may
were
numerical
appli
these
cannot
However,
Villalpando.
was
far
by
from
removed
Wren.144
the
Moreover,
elite
architectural
Bevis
was
Marks
public
comparable
Dutch
their
of
statement
repre
relatively
their
influence of Villalpando's
The
in a number
ofWren's
contradicted
it.Wren
churches,
scheme
developed
theory
an
into
impressive Baroque work at St. Stephen's, Walbrook. Unlike

the Dutch Reform application of Villalpando, the Temple alle
gory of this church was a setting for a Christian saint rather
than
of messianic
symbol
certain
and Wren's
of Amsterdam
Synagogue
included
expectations.
Marks
though a recognized daughter of the Great Por
Synagogue,
tuguese
Bevis
The
messianic
albeit
symbols,
ciated with Villalpando's
contemporary,
not
asso
necessarily
imagery.
influence on architectural
Villalpando's
uous
Europe
JSAH
and
the
throughout
be observed
334
plan
nine-bay
twelve-pier,
inde
pursued
was
or on
in a square,
contained
as the
ambivalent
a matter
for
of choice
the
vaulting,
longitudinal
of
symbolism
vault
the nine-bay
architects,
on
depending
commission.
of
important
monuments.
were
applications
itwas most
In Poland,
evi
synagogues of L'viv and Ostroh. Later

to
confined
mosdy
schemes,
nine-bay-plan
scheme
to the
Portuguese
as a model
it served
Esnoga,
a few
for
Ashkenazi synagogues,
Sjoel in Amster
dam (mid-eighteenth century), the synagogue in Leeuwarden
(1800), and probably that of Altona (1682-84).
The
sacred
the
in the
architecture
cultural
context.
seventeenth
In Catholic
century
on
depended
reference
edifices,
in
influences
of Villalpanian
varied meanings
to
the
Temple of Jerusalem praised the builders and their work

and hallowed the new sacred site by means of Solomonic
In
retrospection.
imagery
symbolized
the
Reform
a return
churches,
to
the
Villalpando's
roots
genuine
of
reli
gion in accordance with the typological concept of theNew

Children of Israel. In Anglican architecture of the Restora
to that of an
tion, the role of such quotation moderated
illustration of the early Christian story. In synagogue archi
tecture, the image of the Temple was called up by messianic
our days." Cultural
expectations, hope for redemption "in
architects and Jewish
the Christian
exchange between
Conclusion
in western
cross
dent in themagnificent
is feasible
own
Wren's
the nine-bay
was
such as theNieuwe
presence."145
reconstruction
although
the
as well
tion
to make
counterparts
of
the Temple
Sjoel of
the four-pier design proposed by the Polish
Amsterdam,
was
patron
eagerly taken up by the Dutch architects; in addi
building with limited means of expression. Kadish

not yet share the architec
points out that "British Jews did
confidence
route
The
to a
eighteenth centuries. From Poland, the nine-bay

waves of refugees. In the Grote
spread west with the
modest
tural
adopted
element.
although a sporadic reference to the specific order and curved

buttresses could still be discerned in the late seventeenth and
interpreted as an application of the Tyrian theory,

because Avis did not belong to the Anglican establishment
sented
or
cross-in-square,
number
be
and
of
scheme
the Tem
in western
was not amarginal phe

Villalpando's influential work
nomenon in synagogue architecture; itmanifested itself in a
carpenter.143
synagogue
Europe,
Solomonic
recognizably
the nine-court
was
in Poland, van Campen inHolland,

pendently byMedleni
Wren
in England. A genuine innovator,
and apparently by
revised an earlier bimah-support scheme with the
Medleni
on
of
Villalpando's imagery and symbolism. Emphasis
help
the
not reproduced at Bevis Marks, although the twelve Tuscan

columns supporting the women's gallery may perhaps be
as a
ing,
Its architect
pews.142
the mother
of
(1701),
balusters?was
a Quaker
Avis,
Joseph
columns
central
twisted
element?the
the Aron
a master
was
The
of London
as a
from
or
to
first Christian martyr of Jerusalem.

A very limited acceptance of the design principles of
the Great Portuguese Synagogue of Amsterdam is evident
synagogue Bevis Marks
ple
synagogue
of
vision
of Villalpando's
in eastern
invented
Europe
be less symbols of the Temple of the messianic era than an

appropriate setting for an Early Christian saint, given the
dedication of the church to one of the first deacons and the
in the daughter
first
the nine-bay
Moreover,
a transformation
design,
Nevertheless,
architecture.
synagogue
seventeenth
in Catholic
/ 64:3,
its eastern
century.
and Reform
SEPTEMBER
theory and practice
borderlands
This
was
contin
impact
churches aswell
can
as in
clients, between millenarian

between
Catholics
and
Christians
Protestants,
and messianic
gave
an
device for expression of diverse symbolic meanings

by the believers.
2005

Jews,
architectural
sought
Notes
I wish
of
for Jewish Art at the Hebrew University
Society Institute and Soros Foundations Network,
to thank the Center
and the Open

me the opportunity
to search Austrian,
Israeli, Polish, and
granted
and to
Ukrainian
archives for visual sources of synagogue
architecture,
I am profoundly
Willy Lindwer, who facilitated my research inHolland.
Deluga,
grateful to colleagues Andrzej Betlej, Judy Cardozo, Waldemar
Jerusalem
which
Yosef Kaplan, Jerzy Kowalczyk, Tobias Lamey, Anthony

and
Serhii Yurchenko,
Rudolf, Jorge Salzberg, the lateVolodymyr Vuitsyk,
Tadeusz Zadrozny, who supported my research with advice, help, encour
agement, notes, and criticism.
Sharman Kadish,
in Sarah Harel
1. Sergey R. Kravtsov,
in Eastern Galicia,"
"Synagogues
ed., Treasures ofJewish Galicia: Judaica from theMuseum
ofEthnog
"O
raphy and Crafts in L'viv, Ukraine (Tel Aviv, 1996), 38; and Kravtsov,
Hoshen,
proiskhozhdenii
deviatipolevykh
masonry
kamennykh
sinagog" (On the genesis of
in Ilia Rodov, ed., Evreiskoie iskusstvo v
synagogues),
evropeiskom kontekste (Jewish art in the European
Moscow,
2002), 191-204.
nine-bay
context)
and
(Jerusalem
and Hieronymus
Pradus, In Ezechielem
Baptista Villalpandus
ac
et
Hierosolimitani.
Commentarii et emag
urbis
apparatus
templi
exphnationes
2 vols. (Rome, 1596-1604).
inibus illustratus opus...,
2. Ioannes
3.Moshe
Idel, Messianic Mystics
and London,
1998), 154-82.
(New Haven
4. Zdzislaw Pietrzyk, "Judaizanci w Polsce w 2 polowie XVI w." (Judaisers
in Poland in the second half of the sixteenth century),
in Andrzej Link
Pola?ski, eds., Zydzi w dawnej Rzeczpospolitej
in the Old Commonwealth)
(Wroclaw, 1991), 151.
and Tomasz
Lenczowski
(Jews
eschewed
of current
explanation
theologians
eschatological
the time of the apocalyptic prophecies
either with
events, and connected
future. See Jean-Robert
the end of pagan Rome or with an unspecified
in
of
the
Revelation
of John: 1500-800,"
"Interpretations
Armogathe,
5. Catholic
Bertrand McGinn,
1999),
vol. 2 (New York,
ed., The Encyclopedia ofApocalypticism,
185-94.
6. Richard
H.
Popkin,
in Holland
"Some Aspects
and England,
of Jewish-Christian
Theological
in Johannes van den
1640-1670,"
Interchanges
Berg and Ernestine G. E. van derWall, eds., Jewish-Christian Relations in the
Seventeenth Century: Studies and Documents (Dordrecht,
1988), 3-32.
De sociale positie van de predikanten in
voor ca. 1100 (Groningen,
de Republiek der verenigde Nederlanden
1977),
Consciousness:
"Calvinism and National
The Dutch
77-102; Groenhuis,
7. Gerrit Groenhuis,
De Predikanten.
Israel," in Alastair C. Duke and Coenraad A. Tamse,

Republic as the New
Britain
and
the
Netherlands
eds.,
1981), 118-33; Simon Schama,
(The Hague,
The Embarrassment ofRiches: An Interpretation ofDutch Culture in the Golden
"Oppenbare Lessen in
Age (New York, 1987), 94?105; Marloes Huiskamp,
en Moral. Het Oude Testament
en andere
in Stadthuisen
Geschiedenis
in Christian
Openbare Gebouwen,"
Schilderkunst van de Gouden Eeuw
1991),
148^9;
Antoni
Israel) (Warsaw, 2000),

8. Harold
Century
1650-1800
Izraela
in de
and Jerusalem,
(The New
and Albion: The Hebraic

1964),
Israel and the Triumph
"England,
ed., Het Oude Testament

Amsterdam,
Children
of
73.
(New York,
kin, ed., Millenarianism
(Zwolle,
Ziemba, Nowe Dzieci
Fisch, Jerusalem
Literature
T?mpel,
255-58;
of Roman Virtue,"
and Messianism
Factor
in Seventeenth
and Steven N.
Zwicker,
in Richard H. Pop
and Thought,
in English Literature
1988), 38^2.
"Three Contemporary
of a Polish Wun
Perceptions
derkind of the Seventeenth Century," Association for Jewish Studies Review 4
(Leiden,
9. David
Ruderman,
(1979),
143-63.
10. Gershom
(Jerusalem,
Scholem,
1971),
"Shabbetai
1219-54.
?evi,"
Encyclopedia Judaica,
vol.
14
z
11.Wladyslaw
Luszczkiewicz,
"Sprawozdanie
odbytej w lecie
wycieczki
1891 roku" (Report on an expedition
of summer
1891), Sprawozdania
for
komisyi do badania historyi sztuki w Polsce (Reports of the Commission
in Art History
in Poland), vol. 5 (Krakow, 1896), 172-89; Alfred
b?chmische und polnische Synagogentypen vom XI. bisAnfang
desXIX. Jahrhunderts
(Berlin, 1915), 37-39; Majer Balaban, Zabytki histo
Studies
Grotte,
Deutsche,
in Poland)
(Warsaw,
ryczne Zyd?w w Polsce (Historie Jewish monuments
Adolf
do
b?znic w
1929), 60;
Szyszko-Bohush,
"Materialy
architektury
in Poland), Prace Komisji His
Polsce" (Sources on synagogue architecture
torii Sztuki
for Art History),

vol. 4 (Krakow,
(Works of the Commission
"Architektura
b?znic
1-25;
Szymon
barokowych
Zajczyk,
w Polsce
murowanych
(zagadnienia i systematyka materiahi
zabytkowego)
(The architecture of Baroque masonry synagogues in Poland [problems and
1930),
of historical material]),"
systematizing
Biuletyn naukowy, wy daw any przez
Zaktad Architektury Polskiej iHistorii Sztuki Politechniki Warszawskiej
(Sci
at
entific Bulletin of the Institute of Polish Architecture
and Art History
the Polytechnic
and Kazimierz
University
ofWarsaw)
Piechotka,
Wooden
(Warsaw,
1933), 4, 186-95; Maria
(Warsaw,
1957), 28-31;
Synagogues
Piechotka and Piechotka, Bramy nieba. B?znice murowane na ziemiach dawnej
in the Old Com
synagogues
Rzeczpospolitej (Gates of heaven: Masonry
The
Rachel
Architecture of
Wischnitzer,
(Warsaw, 1999), 70-80;
monwealth)
the European Synagogue (Philadelphia,
"Mutual
1964), 115-22; Wischnitzer,
in Synagogue Architec
Influences between Eastern andWestern
Europe
ture from the 12th to the 18th Century,"
in The Synagogue: Studies in Ori
gins, Archaeology
York,
and Architecture,
1975), 285-94;
sel. and intro. by Joseph Gutmann

The Synagogue (New York,
(New
Brian de Breffny,
1978),
117-20; Carol Herselle Krinsky, Synagogues ofEurope: Architecture, History,

Gerhard W. M?hlinghaus,
1985), 51,205-17;
(Cambridge, Mass.,
Meaning
"Der Synagogenbau
inHans-Peter
des 17. und 18. Jahrhunderts,"
Schwarz,
Die Architektur der Synagoge (Frankfurt amMain,
1988), 115-56; Geoffrey
The Story of the Synagogue (Jerusalem, 1985), 100-105.
Wigoder,
12. Balaban, Zabytki, 60;Wischnitzer,
"Mutual," 287-88.
13. Zajczyk,
190-91; Wischnitzer,
"Architektura,"
"Mutual," 292; Wis
chnitzer, European Synagogue, 115; de Breffny, Synagogue, 117; Piechotka,
the only visual source suggested for the
Bramy, 70-80. lb my knowledge,
nine-bay synagogue was Lucas Cranach's engraving The Measurement
of the
"Der Synagogenbau,"
Temple (seeM?hlinghaus,
distant
from
the
cradle
of this building
sively
seventeenth-century
14. Helen M. Hills,
143). However,
type?the
eastern
it is exces
lands of
Poland.
"Villalpando, Juan Bautista," in Jane Turner, ed., The

and his
ofArt (New York, 1996), vol. 29, 560. On Villalpando
art and thought, see also Gregor M. Lechner, "Vil
significance toWestern
zu baroker Klosterarchitek
in Beziehung
lalpandos Tempelrekonstruktion
Dictionary
tur," in Friedrich
Piel and J?rg Tr?ger, eds., Festschrift Wolf gang Braunfels

andMystical Archi
1977), 223-37; Ren? Taylor, "Hermetism
(T?bingen,
tecture in the Society of Jesus," in Rudolf Wittkower
and Irma Jaffe, eds.,
Baroque Art: The Jesuit Contribution (New York, 1972), 63-98; Taylor, "Juan
Bautista Villalpando
y Jer?nimo del Prado. De la arquitectura pr?ctica a la
reconstrucci?n
m?stica," in Dios, arquitecto. J. B. Villalpando y el Templo de
Salom?n (Madrid, 1994), 153-212; Robert J. van Pelt, Tempel van derWereld.
De kosmische symboliek van de Tempel van Salomo (Utrecht, 1984); Ralf Busch,
vom
und die Vorstellung
"Johan Lund, seine 'Alter J?dischen Heiligt?mer'
in Aliza Cohen-Mushlin,
Salomonischen
ed., Jewish Art, vol.
Tempel,"
19/20 Jerusalem,
1993/94),
62-67;
Lola Kantor
Kazovski,
"Piranesi
and
The
in European Architectural The

of the Temple
Villalpando:
Concept
ory," in Bianca K?hnel, ed., "The Real and Ideal Jerusalem in Jewish, Chris
tian and Islamic Art, Jewish Art," vol. 23/24 (Jerusalem, 1998), 226-44.
15. Villalpandus
and Pradus,
In Ezechielem,
vol. 2, pt. 2, 420, 467, 470
(see
n.2).
JUAN
BAUTISTA

VILLALPANDO
335
16. Lech Kalinowski,

"Barok. Styl czy epoka" (The Baroque: A style or an
epoch), Biuletyn Historii Sztuki 1 (1958), 110.
17. Salomon de Bray, Architectura moderna ofte Bouwinge van onsen tyt (Ams
terdam, 1631); Jacob Judah Arje Le?n, Retrato del Templo de Salomo. En el
quai brevemente se descrive la hechura de lafabrica del Templo y de todos los vasos
y Instrumentos con que en el se administrava, cuyo modelo tiene elmismo Autor,
como cada uno puede ver, and his
van den tempel Salomonis . . .
Afbeeldinghe
Fr?art
Roland
de
1642);
(Middelburg,
Chambray, Parall?le de Varchitecture
antique et de la moderne, 2nd ?d. (Paris, 1650); Christopher Wren,
Jr.,
Parentalia: Or, Memoirs
1750); Biblia
of the Family of theWrens (London,
. . . , 6 vols.
(London,
Polyglotta. Complectentia Textus Originales Hebraicos
1653-57);
[Johannes Henricus Coccejus], Prophetia Ezechielis cum Commen
tario Johannis Coccei (Amsterdam,
1669); Juan de Caramuel de Lobkowitz,
Architectura civil recta y oblicua, considerada y dibuxada en elTemplo deJerusalem
ments
of Solomon's Temple
in the New Age churches of Poland),
in Piotr
and Tadeusz Zadrozny,
eds., Jerozolima w kulturze europejskiej
(Jerusalem in European
culture) (Warsaw, 1997), 395-406; Kowalczyk,
w
"Porzadek
architekturze
(The
salomonowy
polskiej
nowozytnej"
Paszkiewicz
order in modern
Polish
in Lech Kalinowski,
architecture),
Stanislaw Mossakowski,
and Zofia Ostrowska-Keblowska,
eds., Nobile claret
Zlatowi (Nobile claret
opus. Studia z dziej?w sztuki dedykowane Mieczyslawowi
opus. Studies in art history dedicated toMieczyslaw
Zlat) (Wroclaw, 1998),
Solomonic
225-36;
Adam Malkiewicz,
"Teoria architektury
(Architectural theory inmodern
nictwie
w nowozytnym
pismien
Polish literature), Zeszyty
polskim"
naukowe Uniwersytetu Jagiellonskiego
(Prace z historii sztuki) (Scientific pro
[Studies in art history]) (Krakow, 1976),
ceedings of Jagellonian University
Architektura polska XVIIwieku
40-41; Adam Milob?dzki,
(Polish architec
...
(Vigevano, 1678-79); Campegius Vitringa, Aanleydinge tot het rechte ver
stantvan den tempel, die de propheet Ezechiel gesien en beschreven
heeft (Franeker,
ture in the seventeenth
1687); and Bernard Lamy, Introduction ? la lecture de VEscriture Sainte (Lyon,

in 1694, German
Schott exhibited a
1689). In London
sculptor Gerhard
model of the Temple
close to Rabbi Leon's reconstruction;
the model
is
now held
loque tenu ? Tours du 9 au 14 juin 1986 (Paris, 1992), 317, 324; Kowalczyk,
w Polsce" (Ele
"Elementy Swiatyni Salomona w kosciolach nowozytnych
in the Museum
f?r Hamburgische
See Leonhard
Geschichte.
Sturm,
Christoph
Sciagraphia Templi Hierosolymitani
(Leipzig, 1694); Niko
laus Goldmann
and Leonhard Christoph
Sturm, Vollst?nd. Anweisung zu der
Civil-Baukunst
(Wolffenb?ttel,
1696); Johannes Lund, Die alten J?dischen
22. Hieronymus
century)
emblematum figuris
czyk, "Porzadek," 229.
23. Seen.
17.
hieroglyphicis
(Warsaw,
1980),
149.
Divi
Bildziukiewicz,
titularispartii Casimiri insigne virtutum

adumbratum (Vilnius, 1610). See Kowal
24. Brykowska, "Pustelnia w Czernej,"

177-78.
25. The Hebrew
edition of Rabbi Leon's book that referenced Villalpando
was published
only in 1650, during a short interval of peace during Chmiel
Gottesdienste und Gewohnheiten, vol. 3 (Hamburg,

1722); and
Heiligth?mer,
von
Bernhard
Fischer
historischen
Architektur
Erlach,
Johann
Entwurffeiner
1725 and 1735, David Mill produced an enormous
(Vienna, 1721). Between
nicki's uprising,
26. Milob?dzki,
of the Temple
after Villalpando's
is
reconstruction,
part of which
see Giovanni Amico, Uarchitetto
stored in the Bijbels Museum,
Amsterdam;
Prattico (Palermo, 1726-50); Isaac Newton,
The Chronology ofAncient King
doms Amended (London,
1728); Augustin Antoine Calmet, Het Algemeen
"Elementy," 402.
29. Brykowska, "Pustelnia w Czernej," passim.
30. Nikolaus
Pevsner, Historia architektury europejskiej (History of European
vol. 2 (Warsaw,
"Pustelnia w
architecture),
1980), 201; Brykowska,
model
. . . naamgroot historisch
en woord-boek van den

gantschen H. Bybel (Leiden,
Physica Sacra, 4 vols. (Augsburg, 1731-35); Chris
architecturae civilis elementa (Vienna,
1756); Bar
1727); Jacob Scheuchzer,
tian Rieger, Vniversae

tolomiej Nataniel Wasowski,
Callitectonicorum seu de pulchro architecturae

1678); and
compendio collectiorum liber unicus (Poznan,
Nowe Ateny albo academia wszelkiej sciencyi peina
Benedykt Chmielowski,
(New Athens, or Academy of All Sciences), vol. 1 (L'viv, 1745).
sacrae et civilis
18. Rehav Rubin,
Image and Reality: Jerusalem inMaps and Views (Jerusalem,

in 1687, Romeyn
de
1999), 47-104,
gives examples by Richard Blome
in 1715 (cf. Biblia Polyglotta), Fran?ois Halma
in 1717, Richard
Hooghe
Ware andWilliam Taylor in 1725, Johann B. Probst about 1730, Matthaeus
in 1734, Christian
G. Hoffman
1740, Robert Sayer in 1770,

in 1852. Besides
and Adolf Eltzner
these, a recently printed work by
William
(see Pierre
Stukeley, carried out about 1734, should be mentioned
de laRuffini?re du Prey, Hawksmoors London Churches: Architecture and The
Seutter
ology (Chicago, 2000), 105.

19. See the so-called Mortier
Bernard
Mortier,
ments,
2 vols.
about
illustrated
by Jan Luyken,
des Ouden enNieuwen
and Alle de Werken
(Amsterdam,
Josephus (Amsterdam,
20. Sergio L. Sanabria,
1700), passim;
1732), with illustrations
"Orders, Architectural,"
Pierre
monastery
(1981),
336
32. Tadeusz Zadrozny,

"Dei templum est, Dei structura est, Dei aedificatio
w
est, czyli o niekt?rych
aspektach recepcji idei Swiatyni Jerozolimskiej
structura
architekturze
Dei
est,
est,
(Dei
nowozytnej
sakralnej"
templum
Dei
aedificatio
of the idea of
est; or on some aspects of perception
Solomon's Temple
Tadeusz
gogue
Hubka
by Jan and Casper Luykens.

inDictionary ofArt, vol. 23,
Tatarkiewicz,
Estetyka nowozytna
(Modern
(A
2
aes
inL'Emploi des ordres dans l'architecture de la Renaissance. Actes du col

/ 64:3,
sacral architecture),
in Piotr Paszkiewicz
and
w kulturze europejskiej (Jerusalem
in
1997), 407.
eds., Jerozolima
SEPTEMBER
and Piechotka, Wooden Synagogues,

and
30-33; Piechotka
Bramy nieba, 70-71 (see n. 11). Krinsky calls this type of syna
"four-pillar tabernacle" {Synagogues, 11 [see n. 11]), while Thomas C.
calls it "clustered-column"
(Resplendent Synagogue: Architecture and
Polish Community
[London, 2003], 67).
Worship in an Eighteenth-Century
i sanockiej. Uwagi o wykon
35. J?zef T. Frazik, "Sztuka ziemi przemyskiej
on artists)," in
of Przemysl
and Sanok: Notes
1600.
Sztuka
okolo
roku
Hrankowska,
ed.,
Materiaty
sesji Sto
Sztuki
warzyszenia Historyk&w
zorganizowanej przy wsp?lpracy Wydziatu Kul
tury Prezydium Wojewodzkiej Rady Narodowej w Lublinie, Lublin, listopad 1912
awcach
"Pustelnia w Czernej
"Barok,"
Brykowska,
in Czerna)," Biuletyn Historii Sztuki (Bulletin of Art History)
JSAH
Zadrozny,
inmodern
culture) (Warsaw,
European
33. Piechotka and Piechotka, Wooden Synagogues, 30-33 (see n. 11); Szymon
Zajczyk in his early "Architektura barokowych" uses the Polish equivalent of
the term "nine-bay synagogue" for all types of four-pier design (see n. 11).
Testa
Sebastiano
thetics) (Wroclaw,
1967), vol. 3, 205, 246-47; Jerzy Kowalczyk,
Serlio a sztuka polska (Sebastiano Serlio and Polish art) (Wroclaw,
1973),
"Gli ordini nell'Europa
centrale. Polonia,
244, 251; Kowalczyk,
Slesia,
Boemia,"
145-49.
232-33.
172-78.
Czernej,"
31. Brykowska, "Pustelnia w Czernej,"
178; St. John of the Cross, "Ascent
of Mount
in St. John of the Cross,
introduction
Carmel,"
by Kieran
trans.
and
Otilio
The
Collected
Works
Kavanaughand
Rodriguez,
of Saint John
of the Cross, (London, 1966), 286-87.
van Flavius
110;Maria
176-78; Wladyslaw
"Porzadek,"
Piechotka,
489.
21. Kalinowski,
Architektura,
did not reach Poland.
34. Piechotka
Bible
and others, Historie
Picart,
27. Kowalczyk,
28. Kowalczyk,
and probably
(Art of the regions
Teresa
from a session of the Society of Art Histo

(Art around 1600: Proceedings
in cooperation with the presidium of the the Department
rians, organized
of Culture, Regional Popular Council
in Lublin, Lublin, November
1972)
(Warsaw, 1974), 206; Piechotka and Piechotka, Bramy nieba, 175.
2005

36. Szyszko-Bohush,
"Materiafy," 3^ (see n. 11); alternatively, Helen Rose
nau supposes that the four-pier design was imported to Poland from northern
see Rosenau, "The Synagogue and
Italy, without naming particular patterns;
order's church in Iziaslav: Archival

(The Bernardine
p?znobarokowego"
sources for the history of Late Baroque decoration), Biuletyn Historii Sztuki
3-4 (1995), 353-64.
(Bulletin of Art History)
inHarry M. Orlinsky, ed., The Synagogue:

Church Architecture,"
Studies in Origins, Archaeology and Architecture (New York, 1975), 314.
37. Vienna Nationalbibliotek,
Bildarchiv, Nr 449.346 Br, 449.348 Br.
Cech budowniczy, 31.

56. Zajczyk, "Architektura barokowych,"
194.
57. Piechotka
and Piechotka, Bramy nieba, 79-80 (see n. 11).
194; Eleonora Bergman and Jan
w Polsce.
Jagielski, Zachowane synagogi i domy modlitwy
Katalog (Extant syna
Protestant
Bearers ofMeanings: The Classical Orders inAntiquity,

1988), 219-20.
Ages, and the Renaissance (Cambridge, England,
"The Shrine of St. Peter and Its Twelve Spiral
39. John B.Ward-Perkins,
Columns," Journal of Roman Studies, vol. 42 (1952), 21-33.
38. See John Onians,
theMiddle
40. Majer Balaban, Zydzi Iwowscy na przelomie XVI iXVII wieku (Jews of
L'viv in the sixteenth and seventeenth
centuries) (L'viv, 1906), 218-20.
41. The
document
"gatunek," which
tung, and means
is quoted in Balaban, Zydzi Iwowscy, 96; the Polish word

I translate as "section," derives from the German Gat
"kind,"
"sort,"
"form,"
and,
Lamey, "a truss." It is unlikely that the magistrate

the vault shapes invisible from the outside.
in the opinion of Tobias

decided on the variety of
42. Balaban, Zydzi Iwowscy, 96. The main hall of the synagogue was about
38 x 40 Polish cubits (1 cubit = ca. 59.5 cm) on the exterior, while its inte
rior height was about 18 cubits, as I have checked in the drawings by Grotte,
n. 11).
Synagogentypen, pi. 5 (see
43. Sebastiano Serlio onArchitecture,
trans. Vaughan Hart and Peter Hicks,

vol. 1 (New Haven,
2001), 366 (after 1551 ed., bk. IV, LXII v [184 r]).
194 (see n. 11).
45. Jakob Schall, Przewodnik po zabytkach zydowskich m. Lwowa (Guide to
Jewish monuments
46. National
in L'viv)
Museum
of the Conservator's
Authority,
file no. 12621,
no. 46. See also Ethnological

Institute in L'viv, Library,
of Curatorium
for Jewish Monuments,
file C, tabl. 16. The
Archive
signs of
the zodiac placed on the east wall, to the right of the Torah Ark, are those
of Virgo and Leo instead of Sagittarius and Scorpio, associated, respectively,
with Benjamin and Dan inVillalpando's
scheme.
47. Balaban, lydzilwoscy,
207, 208, 569.
48. Stanislaw Kardaszewicz,
do
Dzieje dawniejsze miasta Ostroga. Materiafy
historii Wofynia (Ostroh's past: Sources on the history of Volhynia)
(War
a
saw, 1913), 118. The privilege was issued by Anna Chodkiewiczowa,
the patroness ofthat part of the
daughter of Prince Aleksander Ostrogski,
and Janusz Ostrogski
city. Ostroh was shared between brothers Aleksander
in 1603; from 1620 on, the other part of the city was in the possession
of
Zaslawski, married to Janusz's daughter Eufrozyna. The Jewish
population of Ostroh was so great that a biographer of Anna Chodkiewic
zowa claimed that the "Jews almost founded there a new Jerusalem." Ibid.
Aleksander
49. See measured
drawings by Ihor Fugol

Center for Jewish Art, Hebrew University
50. Grotte, Synagogentypen, pi. 5.
and others
in the archives of the
of Jerusalem.

194.
52. Serhii Yurchenko,
"Pro chas budivnytstva Luts'koi
of the Luts'k Gate
the dating of the construction
v
bramy Dubni" (On
in Dubno),
Zapysky
arkhitektury tamisto
tovarystva imeni Shevchenka. Pratsi Komisii

buduvannia (Records of the Shevchenko
Scientific Society: Works
Naukovoho
Comission
for Architecture
and Town
Planning),
vol.
241
of the
(L'viv, 2001),
511-16.
53. Yurchenko,
"Pro chas," 511-16.
Cech budowniczy we Lwowie za czas?w polskich (do roku

builders'
1112) (The
guild in L'viv during the Polish period [before 1772])
i
wieku.
Lozi?ski, Sztuka Iwowska w XVI XVII
(L'viv, 1927), 31;Wladyslaw
cen
i rzezba (The art of L'viv in the sixteenth and seventeenth
Architektura
54.Michal
Kowalczuk,
turies: Architecture
ci?l OO.
and sculpture)
Bernardyn?w w Zaslawiu:
(L'viv, 1901), 82; Andrzej Bedej, "Kos

archiwalne do dziej?w wystroju
Zr?dla
and prayer houses in Poland: Catalogue)

(Warsaw, 1996), 135.
59. Brykowska,
"Pustelnia w Czernej,"
178 (see n. 21).
60. The copy is preserved in the Rare Book Room, Library of Academy
Science, L'viv.
gogues
of
61. Rare Book Department,

L'viv University
Library, 2946 IV.
on by Richard B?sel at the Second
62. Briano's drawings were commented
see his "Der Architektur
of Ukrainists;
International Congress
der Lem
in Druhyi Mizhnarodnyi
Konhres Ukrainistiv, Lviv,
berger Jesuitenkirche,"
18-22 serpnia 1993 r.Dopovidi ta povidomlennia. Istoriografiya ukrainoznavstva,
of Ukrainists,
L'viv,
etnolohiya, kultura (Second International
Congress
18-22 August
studies,
1993: Lectures
and culture)
ethnology,
of Ukrainian
and reports; Historiography
(L'viv, 1994), 184?89. For Briano's draw
ings, see John Bury, Forty-three Sheets ofArchitectural

Briano daModena S. J. (Milan, 1984).
by Giacomo
Drawings
63. Jerzy Paszenda,

Briano" (Biography of
"Biograf?a architekta Giacomo
the architect Giacomo
Briano), Biuletyn Historii Sztuki (Bulletin of Art His
tory) 1 (1973), 13-14.
64. Jan Poplatek
(L'viv, 1935), 56.
in Lviv, Collection
55. Kowalczuk,
of Jesuit
and Jerzy Paszenda, Slownik Jezuit?w

1972), 99-100.
artyst?w (Dictionary
artists) (Krakow,
65. Sergey Kravtsov,

imModel,"
Leszni?w
"Rekonstruierte
Die Synagoge von
Vergangenheit.
Judaica: Beitr?ge zum Verstehen des Judentums, vol. 2
(2003), 99.
66. Piechotka
Bramy nieba, 290-91.

this interesting
idea. On Uri
proposed
and Piechotka,
67. Waldemar
ben Aaron
Deluga
see Majer Balaban,
Ha-Levi,
skiego"
(Some
Jewry),
in Karol
"Z zagadnieri ustrojowych

pol
Zydowstwa
issues concerning
the communal
of Polish
organization
ed., Studia
Badecki,
43; Jakob Schall, Dawna
Z?lkiew
Iwowskie (L'viv studies)

ijej Zydzi (The Old Zhovkva
(L'viv, 1932),
and its Jews)
(L'viv, 1939), 71; and Encyclopedia Judaica, vol. 16 (Jerusalem, 1972), 6. The
in Zhovkva can be illustrated by loca
unusually high status of Uri Ha-Levi
tion of his press in the central square (Rynek) of the city, in spite of general
prohibition on a Jewish presence in this area; the other known exception to
this law was made for Jacob Bezalel ben Nathan,
the Jewish factor of the
w Z?lkwi
i ich kontakty z
royal family. See Stefan Gasiorowski,
"Zydzi
w
XVII
i
XVQI
Dominikanami
wieku" (Jews
tamtejszymi
pierwszej polowie
in Zhovkva
in the seventeenth
and their contacts with local Dominicans
and first quarter of the eighteenth
century), Biuletyn Zydowskiego Instytutu
w Polsce (Bulletin of the Jewish Historical
Institute in Poland)
Historycznego
1-2 (1993), 25.
177 (see n. 11); Bergman and Jagielski,
"Sprawozdanie,"
synagogi, 116-17.
69. Piechotka
and Piechotka, Bramy nieba, 274.
70. Krinsky, Synagogues, 8 (see n. 11);Wigoder,
Story of the Synagogue, 36,
38 (seen. 11).
68. Luszczkiewicz,
Zachowane
71. Babylonian Talmud, Sukka 52a.

72. See Gershom
Scholem, Sabbatai Sevi,
1626-1676
theMystical Messiah,
to
from
the
late
sixteenth
the
first
half of
(Princeton,
period
was
the seventeenth
dotted
with
calculations
of
messianic
dates,
century
including those of 1575, 1598, 1621, 1630, and 1648; see Idel, Messianic
1973), 79. The
158-59 (see n. 3); Idel, '"One from aTown, Two from a Clan': The
Mystics,
A Re-Examination,"
Diffusion
of Lurianic Kabbalah
and Sabbateanism;
JUAN
BAUTISTA

VILLALPANDO
337
"Three Con
1993), 92-93; David Ruderman,
of the Seventeenth Cen
of a Polish Wunderkind
vol. 7 (Haifa,
Jewish History,
temporary Perceptions
tury," Association for Jewish Studies Review 4 (1979), 143-63.
73. Encyclopedia Judaica, vol. 6 (Jerusalem, 1972), 363-64; Scholem,
Sabbatai
Sevi, 78.
uit de Gescheidenis der Joden inNederland
74. Jacob Zwarts, Hoofdstukken
van der Linden,
"De symboliek van de Nieuwe
C.
R.
1929);
J.
(Zutphen,
te Haarlem," Oud Holland 1 (1991), 4, 22.
Kerk van Jacob van Campen
75. Van
"De symboliek,"
der Linden,
7.
in Jacobine Huisken, Koen

77. Ibid., 4; Koen Ottenheym,
"Architectuur,"
and Gary Schwartz, eds., Jacob van Campen. Het klassieke ideal
Ottenheym,
in de Gouden Eeuw
1995),
(Amsterdam,
1-4; Ottenheym,
"Architectuur,"
184-87.
"De symboliek," 8. He believes that not only Villa
der Linden,
to the image of the Temple
in
lando but also Fran?ois Va table contributed
79. Van
of the Nieuwe
the architecture
185-86.
Kerk.
"De
der Linden,
1; Ottenheym,
"Architectuur,"
symboliek,"
depicted the interior of the Nieuwe Kerk at least five
twelve columns, and at least twice with eight columns; see Petrus
Saenredam
times with
Pieter Janszoon
T. A. Swillens,
1591-1665
schildervan Haarlem,
Saenredam,
100-103.
(Amsterdam,
81. Villalpando's
1935), figs. 97-98,

Temple reconstruction
shifted the sanctuary
the west,
but
"De symboliek," 21.

of a sin offering was put on the four horns
82. Van der Linden,

blood
(Ezekiel 43:19-20).
84. Van der Linden,
of the altar
86. Ibid., 15-16.

87. See n. 7.
88. Ziemba, Nowe Dzieci,
89. Van der Linden,
90. Idel, "One from
70-71
Amsterdam
Sluys, De oudste Synagogen der Hoogduitsch-Joodsche
Rosenau
94. Helen
its design from
terdam borrowed
Rosenau,
impossible.
312 (see n. 36).
logically
(Marekerk)
gemeente te
F. van Agt
synagogue, which
and Protestant
"Synagogue
the Sephardi
is chrono
Church
Architecture,"
95. Judith C. B. Belinfante, Edward van Voolen, David P. Cohen Paraira,

to
and Julie-Marthe
Cohen, The Esnoga: A Monument
Jaffa Baruch-Sznaj,
In spite of the later

Culture (Amsterdam,
1991), 45-47.
Portuguese-Jewish
an inscription that contains a chrono
building date, the entrance door bears
gram: "But I, through Thy great love, may come into Thy house" (Psalm
5:8), where the letters of the Hebrew word for "Thy house" are marked to
indicate
their numeric
Leo Fuks,
value,
to 1672 CE.; see

that is, 432, corresponding
inAmsterdam
of the Portuguese
Synagogue
"The Inauguration
in Renate G. Fuks-Mansfeld,
ed., Aspects of Jewish Life in the

A Selection from theWritings of Leo Fuks (Assen, 1995), 86.
96. Sermo?s que pregara? os doctos ingenios do K K de Talmud Torah, desta
Cidade de Amsterdam. No alegre Estreamento, & publica celebridade da Fabrica
in 1675,"
Netherlands:
338
JSAH
103. Belinfante,
Esnoga,
104. Ibid., 55-58.
56.
105. Ibid., 54-55.
/ 64:3,
SEPTEMBER
"Gente Politica: The Portuguese

107. Yosef Kaplan,
Jews of Amsterdam
vis-?-vis Dutch Society," in Chaya Brasz and Yosef Kaplan, eds., Portuguese
as Perceived by Themselves and by Others (Leiden, 2001), 28-29.
Jews
in the Early
"Sephardic Philo- and Anti-Semitism
H.
in
Richard
of
Christian
Attitudes,"
Jewish Adoption
to the
Popkin, ed., Jewish Christians and Christian Jews: From the Renaissance
1994), 193.
(Dordrecht,
Enlightenment
Modern
Era: The
112.Weiner,
"Sephardic," 190-95.
cantor of the congregation,
a renowned
Emmanuel
Abenator;
Abraham
Levi de Barrios; and a wealthy
poet, Daniel
philanthropist,
see Yosef Kaplan,
Pereyra, were among the Sabbatean "believers" in 1671;
to the Sabbatian
in Amsterdam
"The Attitude of the Sephardi Leadership
113. The
1921), 17-18; Johannes

(Amsterdam,
Nederlandse synagogen (Weesp, 1984), 19-22.
states that the Ashkenazi synagogue of Ams
mistakenly
(1635-1611)
van Voolen,
and Edward
133-48.
in the 11th Century:

102. Yosef Kaplan, The Portuguese Jews ofAmsterdam
Exhibition toMark the 300th Anniversary of the Inauguration of the Portuguese
(Jerusalem, 1975), 62.
Synagogue inAmsterdam
111. Gordon M. Weiner,
Die Kunst des 11 Jahrhundert. Propyl?en Kunstgeschichte,

1970), pis. 292a, 292b, XLIX; and Spiro K. Kostof, A History
pulpit
93. David M.
101-29.
101. Ibid.,
110. Ibid., 41-42.
"De symboliek," 21.

aTown," 92 (see n. 72).
Settings and Rituals (New York, 1985), 538-39.

was similarly arranged in the churches in Leiden
see van der Linden, "De symboliek," 26.
and Rotterdam;
92. The
100. Ibid.,
1986 (Jerusalem, 1989), 28.

ber-Tel Aviv-Jerusalem,
35-36.
109. Kaplan, "Portuguese Community,"
(see n. 7).
91. Erich Hubala,

vol. 9 (Berlin,
ofArchitecture:
was based on First Kings (6:2): 60 cubits of

following calculation
the Temple,
each cubit 24 inches, equal to 1440 inches; 130 feet of the syn
agogue, each one 11 inches, equal to 1430 inches. See Sermo?s, 85-86.
99. The
in 17th Century Amster

108. Yosef Kaplan, "The Portuguese Community
Dutch Jewish History: Proceedings of the
dam and the Ashkenazi World,"
1-10 Decem
Fourth Symposium on theHistory of theJews in theNetherlands;
11.
"De symboliek,"
14-15.
85. Ibid.,
eds., Essays in theHistory ofArchitecture Pre

J. Lewine,
sentedto Rudolf 'Wittkower onHis Sixty-sixth Birthday, vol. 1 (London, 1967),
and Pradus, In Ezechielem, vol. 2, pt. 2,471 ff. (see n. 2).
93; and Villalpandus
106. Ibid., 54.
not to the south.
83. The
ple is likewise related to the elemental world and in particular to the micro
cosm which
is Man.
See Ren? Taylor,
"Architecture
and Magic:
on the Idea of the Escorial," inDouglas Fraser, Howard Hib
Consideration
98. Sermo?s, 59-74.
180-84.
"De symboliek,"
der Linden,
80. Van
but with an elegantly

ancient Hispanic
theme of 'man as a microcosm,'
to
I
it
variation."
concept, as he, having
compare
Villalpando's
developed
shows that the Tem
then
dealt with the celestial and supercelestial
spheres,
bard, and Milton
76. Ibid., 9.
78. Van
que se Consagrou a Deos, para caza de Ora?a?, cuja entrada sefestejou em Sabath
anno 5435 (Amsterdam,
Naham?
1675), 1-14.
97. Sermo?s, 17-36; Fuks, "Inauguration,"
90-91, traces this back to "the
in Kaplan, An Alternative Path toModernity: The

1665-1671,"
Sephardi Diaspora inWestern Europe (Leiden, 2000), 222.
114. Scholem, Sabbatai Sevi, 573.
194 (see n. 3). In Idel's opinion,
115. Ibid., 270-71; Idel, Messianic Mystics,
to an astrological forecast based on the
this calculation could be connected
Movement,
name
a
cycle of Saturn, since Shabbetai is Hebrew
116. Sermo?s, 148 (see n. 96); Fuks, "Inauguration,"
117. Sermo?s, 36.
for the planet Saturn.

94 (see n. 95).
Euro
"De symboliek," 22 (see n. 74);Wischnitzer,
(see n. 11); and David H. de Castro, De Synagoge der
Gemeente teAmsterdam (Amsterdam,
1950), passim.
118. See van der Linden,

pean Synagogue,
92-97
Portugees-Isra?litische
119. Sermo?s, 55 (my emphasis).
3-32
120. Popkin, "Some Aspects,"
Jehuda Le?n
"Jacob
(see n. 6); Adri K. Offenberg,
in Johannes van
of the Temple,"
and His Model
(1602-1675)
Relations
den Berg and Ernestine G. E. van derWall,
eds., Jewish-Christian
in the Seventeenth Century: Studies and Documents (Dordrecht,
1988), 95-115;
2005

of His Model
Adri K. Offenberg,
"Jacob Judah Le?n Templo's Broadsheet
et al., eds., Bibliotheca Rosenthallana:
in Adri K. Offenberg
of the Temple,"
Treasures ofJewish Booklore (Amsterdam,
1994), cat. no. 14.
121. De Vieira later was judged by inquisition. See Popkin, "Some Aspects,"
20.
122. Popkin, "Some Aspects," 21. On Menasseh
Roth, Menasseh ben Israel (Philadelphia,
1934).
123. Harry M.
Bracken,
ed.,Millenarianism,
Popkin,
124. Popkin,
ben Israel, see also Cecil

in Richard H.
"Bishop Berkeley's Messianism,"

IS (see n. 8).
126. James R. Jacob andMargaret C.Jacob, "The Anglican Origins ofMod

ern Science: The Metaphysical
Foundations
of theWhig
Constitution,"
Isis: An International Review Devoted
to theHistory of Science and its Cultural

and Lydia M. Soo, "Wren," in Randall J. van
Influences 71 (1980), 251-53;

ed., International Dictionary
vol. 1
of Architects and Architecture,
(Detroit, 1993), 994-95.
127. Du Prey, Haw ksmoor s London Churches, 149.
128. Parentalia, quoted in Lydia M. Soo, Wrens "Tracts" onArchitecture" and
Vynct,
Other Writings
1998), 169.
(Cambridge, England,
129. Soo, "Wren," 995; and Soo, Wren's "Tracts," 128-29.
Wren
(London,
1971), 61.
132. Ibid., 64.

133. Ibid., 63.
134. Ibid., 64; and Henry W
of Robert Hooke:
135. Offenberg,
136. On
"Unknown
1612-1680
(London,
andWalter
1935),
Adams,
108 (see n. 120).

see
and Villalpando,
Wolfgang
for the 'Temple of Jerusalem' by Claude
Design
Essays toRudolf Wittkower,

to Louis XTV and Versailles,"
"An Encomium
Miller,
tura. Zeitschrift fur Geschichte der Baukunst 23, no. 1 (1993),
137. Du Prey, Haw ksmoor s London Churches, 106-9.
138. Ibid., 108; and Soo, Wrens
"Tracts,"2X6.
139. It is not known whether Wren was informed
apparendy
designed
and painted by van Campen

54 (see n. 77).
"Architectuur,"
a transparent
See Hugh Trevor-Roper,

Crisis of the 11th Century: Reli
three-story
gion, the Reformation, and Social Change (New York, 1967), 267.
in Eighteenth-Century
142. Clarence Epstein, "Compromising Traditions
beehive.
London: The Architecture
Synagogue, Duke's Place," in Shar

Jewish Architecture in Britain (London,
of the Great
ed., Building jerusalem:
1996), 59.
143. See Epstein, "Compromising Traditions,"
53-59; and Sharmah Kadish,
Bevis Marks Synagogue: 1701-2001
(London, 2001), 1.
144. See Kadish, Bevis Marks,
20; and Kadish,
Identity:
"Constructing
and Synagogue Architecture," Architectural History: Journal of
Anglo-Jewry
the Society ofArchitectural Historians
145. Kadish, Bevis Marks,
8.
of Great Britain 45 (2002),
388-89.
Illustration Credits
1-5. Photographs
by Dmitrii Vilenskii
6. Gross Family Collection
7. Drawing
Figure
by Svetlana Sirota after Brykowska,
152
Czernej,"
Figures
Figure
Figure
8. Nationalbibliotek,
Figure
9. National
Figure
pi. 5
10. Drawing
Figure
11. Drawing
Figures
12,15.
"Pustelnia
Vienna
L'viv
Museum,
by the author
by Grotte,
after Grotte,
Deutsche
Deutsche Synagogentypen,
Insytut Sztuki, Warsaw.
Photographs
Synagogentypen,
pi. 5
by Henryk
Poddebski,
13, 20, 28. Drawings

by the author
14.
Collection
of
the
author.
Figure
Photograph
Figures 16, 17. Insytut Sztuki, Warsaw
18. Collection
XX
of the Foundation
Figure
Figures
Herrmann,
Perrault," in
143-58 (see n. 97);
and Lewine,
ofArt, vol. 33, 392.

with Hartlib
and even built him
corresponded
141. Wren
1922
111.
Perrault
and Naomi
Ottenheym,
eds., The Diary
"Jacob Jehuda Le?n,"
Claude
Fraser, Hibbard,
Robinson
in Dictionary
"Wren,"
man Kadish,
"Some Aspects," 24. For more on Christian-Jewish

contact,
see Popkin,
in the 17th Century,"
"Christian Jews and Jewish Christians
Jewish Christians and Christian Jews, 57-80.
125. Du Prey, Hawksmoors London Churches, 9, 49 (see n. 18).
130.Margaret Whinney,
131. Ibid., 62-63.
140.Wren
spoke about the importance of astronomy for theology and lec
tured atOxford on the astronomic calculation of Easter. See Kerry Downes,
Architec
33.
about the "Vredestempel"

in 1648 inHaarlem.
See
Museum,
by Ihor Kostets'kyi,
Czartoryskich,
1988
National
Krakow
19, 23, 25-27. Photographs

by the author, 2004
21. Photograph
byWilly Lindwer, 2004
Figure 22. Drawings
by the author after T Brouwer, 1940,
van Voolen, Nederlandse Synagogen, 17
Figures
Figure
in van Agt
Figure 24. Drawing

by the author after Jaacob S. Baars and J.W
in van Agt and van Voolen, Nederlandse synagogen, 23
JUAN
BAUTISTA

VILLALPANDO
and
Kuiper,
339

Zeruba B Bel

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Juan Bautista Villalpando and Sacred Architecture in the Seventeenth Century

Author(s): Sergey R. Kravtsov

This content downloaded from 138.237.48.248 on Mon, 15 Dec 2014 21:19:55 PM

for Jewish Art,

I have argued that the plan

in the second decade of the seven

tial role played by both architectural typology and messianic

invigorated in Italy, a center of Christian

and survived crises as anticipated

as a "Babylon" soon doomed

Jews there preferred to hide any manifesta

Lurianic kabbalah, and by the Sabbatean prophecy. By con

was popular in the days of the Puritan Revolu

tant vision of Papal Rome

and the Protestant

tries and England were distinct from each other, the

apocalyptic dates passed.

In 1648, predicted in the Zohar as the year the messiah

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were a great shock

that the messianic

Shabbetai Zevi was declared mes

tion that was met when

proved to be the major event in the

In the epoch during which eschato

current study was stimulated by an interest in the

equal vaulted bays. To date,

central piers, in the lands of the Polish

cultures during the epoch of great eschatological

and the allegory of the New

Juan Bautista Villalpando

and Poland during the seventeenth

image of the Temple

aim in this article is to demonstrate

tend that the iconographie

as a parallel to the biblical "tower" (Nehemiah

first volume of their treatise was published

taining graphic reconstructions of the Temple appeared in

was a Spanish archi

struction of Solomon's Temple and a full commentary on

and Its Influence

architecture with Juan de Herrera, the builder of the Esco

include the nine-bay

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ground plan, distinc

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referais, & Templum.

architectural order (see Figures 3, 5).

tectural order of the Temple

the Twelve Tribes

according toVillalpando, to the Levitical families?the

of palm and date

in their shape but composed

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Villalpando's architectural concept of Solomon's Tem

1660 and 1852.18 His

were incorporated as backdrops for bibli

Villalpando's theoretical writings also had an impact on

came to be judged by his popularizers

order of the Temple

book by Rabbi Le?n, another important link in the chain

larized by awooden model (Figure 6). Rabbi Leon's influ

of Jacob van Campen