Abstract
AbstractThe Amsterdam Haggadot of 1695 and 1712 had exceptional influence on subsequent manuscript copies and printed editions, not least because of the copperplate illustrations by Abraham ben Jacob. A reanalysis of the sources from which the figures of the Four Sons were taken reveals that these were not selected at random but that they involve specific allusions to both Jewish and non-Jewish events, providing a form of additional commentary. Their selection demonstrates the visual and historical knowledge and understanding of disparate material on the part of those responsible for choosing these and other images.
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