Queries & Comments

008

That’s No Edomite Goddess

A Case of Mistaken Identity

The object on the November/December 2016 BAR cover (and page 39) is identified as an Edomite goddess. Really?! Fess up! It’s really a bust of Woody Allen, isn’t it?

Woody Sighting?

Why was Woody Allen on your cover?

Many readers have made a similar suggestion.—Ed.

Relics In Rubble

Questioning Crusader Coin Caption

The caption for the silver Crusader coin of Baldwin III in “Relics in Rubble” by Gabriel Barkay and Zachi Dvira (BAR 42:06) says that the coin depicts the Tower of David. As the tower was built some four centuries after Baldwin died, this is most unlikely. Rather, it looks like a portcullis, a fairly common design on Western European coins of the time.

Zachi Dvira Responds: The term “Tower of David” refers to the whole citadel compound near the Jaffa Gate and not only to the Ottoman minaret that stands at the compound today. This compound includes fortifications from the time of King Herod and was used since then during all periods, with many renovations and additions. The design on the coin of Baldwin III is probably depicting the citadel as it looked at that time. The minaret that was added in the 17th century is obviously not depicted on the coin.

Numismatist Robert Kool Responds: The tradition of attaching the Herodian tower and defenses with King David had its origins in Byzantine times. It was widely adopted in the Middle Ages, particularly in the Crusader period.

The medieval citadel was the most important fortification in Jerusalem, dominating the city. Whoever held it ruled the city. That is why soon it was held by the kings of Jerusalem.

Frankish kings of Jerusalem saw themselves as the successors of the Biblical Israelite kings, particularly David, whose line would bring forth the messiah, Christ. So their use of the Turris David (Tower of David) on their coinage, particularly their FIRST coinage, was a highly symbolic and political gesture.

Unholy Ink or Sacred Link?

More Biblical References to Tattoos?

I read the article by Mark W. Chavalas about tattooing (“Unholy Ink: What Does the Bible Say about Tattoos?” BAR 42:06) with interest, especially because I have a small tattoo. Two Bible verses come to mind. First, Isaiah 49:16, which says, “See, I have written your name on my hand.” Also, Revelation 19:16: “On His robe and on His upper leg was written this name: King of Kings and Lord of Lords.” Doesn’t it sound like a form of a tattoo?

Mark Chavalas Responds: The difficult passage in Isaiah 49:16 is actually a beautiful figurative image. Instead of the slave (i.e., Zion) inscribing the image of her master (i.e., Yahweh) on her palms (or hands), Yahweh inscribes His servant’s name on His hands, which is a role reversal. John Oswalt (The Book of Isaiah Chapters 40–66 [Grand Rapids, MI: Eerdmans, 1998], p. 306) sees this as a type of divine condescension, an expression of divine devotion toward Zion (Israel). This fits well with the idea of tattooing as a form of slave identification (or sign of devotion to a master). The passage in Revelation 19:16 appears to be a bit different. Here a name is inscribed on the thigh of Christ. Cicero (In Verrum 2.4.44) mentions a name placed on the thigh of a statue of Apollo. Certainly this is not a slave identification like the other passage, but an identification which exhibits the true essence of the recipient. In other words, the thigh inscription represents the true nature of Christ as King of Kings and Lord of Lords.

Tattoo—God’s Approval or Taboo?

In light of Mark W. Chavalas’s Biblical Views column, we should consider the verse in Song of Songs 8:6: “Set me as a seal upon your heart, as a010 seal upon your arm…” It sounds as if she is asking for a tattoo of her name on his arm.

Quilting the Temple Mount Floor

Inspired and Industrious

We have subscribed to BAR for many years. Imagine my surprise when my husband handed me the November/December 2016 issue, turned to page 58 and said, “I have an idea for a quilt for you.” He was reading the article about the Temple Mount Floor tiles. I took his suggestion, and here’s a picture of the result.

Quilt Designs from the Temple?

I couldn’t believe my eyes when I saw the story on the Temple Mount floor by Frankie Snyder, Gabriel Barkay and Zachi Dvira (“What the Temple Mount Floor Looked Like,” BAR 42:06).

Like they say, “There’s nothing new under the sun.” We quilters use these patterns. The pattern I am talking about is called “King’s Crown.” One of the patterns on the floor of King Herod’s Temple is still called “King’s Crown” today!

The Truth about Tischendorf

Hero or Thief?

I am writing in response to the article “‘Lost Gospels’—Lost No More” by Tony Burke (BAR 42:05). There is another story about Codex Sinaiticus different from Constantine Tischendorf’s. It is found in The Sisters of Sinai: How Two Lady Adventurers Discovered the Hidden Gospels by Janet Soskice, published by Knopf (2009). Tischendorf did not rescue the Codex from the fire. He took 43 sheets of the manuscript to Leipzig and returned to the monastery determined to get the rest of it. He told the monks he was borrowing the manuscript to have it copied. He even wrote a promissory note to return it, but instead gave it to the Russian empire. The monks were furious when they realized what had happened. Perhaps Tischendorf066 told the heroic story about himself to cover up what he had done. I thought it might be useful to debunk this old heroic myth of Tischendorf’s.

You Blow My Mind!

Your Issue Is so Fine!

Thanks for this especially fine issue of BAR (November/December 2016). The level of excellence throughout blows my mind! BAR is always good, but the articles and photography of this issue stand out in my experience.

That’s No Edomite Goddess
A Case of Mistaken Identity
The object on the November/December 2016 BAR cover (and page 39) is identified as an Edomite goddess. Really?! Fess up! It’s really a bust of Woody Allen, isn’t it?