Throughout the Middle Ages and the Early Modern period, synagogues across Christian Europe were generally small and, as far as their exteriors were concerned, they adhered to prevailing norms of vernacular architecture, so as to be ‘‘invisible’’ or at least unrecognizable as houses of worship. This was not just a defensive measure by Jews in order to avoid unwanted attention but was also a result of the restrictions placed upon theJewish populace by the government which required that they be inconspicuous. Synagogues are important artefacts of Jewish material culture. Their size renders them immovable and they represent a substantial investment in resources.This either requires a communal investment or a signi¢cant sum from a benevolent benefactor. Like any form of art, a statement is made through the production, visibility, and maintenance of synagogue architecture. Therefore a ‘‘great synagogue’’ constitutes a much larger, more pronounced statement. The cultural meaning of a great synagogue can be echoed, and thus reinforced, when aspects of its architectural design are duplicated elsewhere. With the coming of Renaissance philosophy, the Age of Reason, and Jewish urbanization in Christian Europe ^ primarily in the seventeenth-century Holy Roman Empire, Poland-Lithuania, and the Netherlands ^ synagogue architecture, art, and size began to change signi¢cantly. The increased size and architectural
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