Unknown artist
The Grapes from the Promised Land, from Historienbibel by Ulrich Schriber, 1422, Manuscript illumination, Staats- und Stadtbibliothek Augsburg; 2 Cod 50 (Cim 74), fol. 105r. (p. 211), Courtesy Bayerische Staatsbibliothek
Fearing the Other
Commentary by Rembrandt Duits
Numbers 13:23, which describes two Israelite spies who carry an over-sized bunch of grapes from the brook of Eshcol in Canaan back to the Israelite camp, is the most consistently illustrated verse of this section of the book of Numbers.
This is a relatively early variant, made in Strasbourg in Alsace in 1422, stemming from a historiated Bible or bible historiale, a popular late-medieval reworking of Scripture in vernacular prose. Such Bibles offered a summary of the biblical narrative accompanied by a suite of illustrations. The caption states that ‘here, two carried a bunch of grapes on a pole and spotted a giant, which, however, gave them a great and bad scare’, capturing the outcome of the reconnaissance mission into the Promised Land: great fruits but inhabitants you do not want to mess with.
At first, the image seems a straightforward visual interpretation of the story, albeit translated to a medieval environment. The two spies, in fifteenth-century tunics and hose, walk through a verdant landscape. A central-European walled city with a prominent gate is visible in the background. The grapes they bear are green, perhaps reflecting the local varieties of the Alsace region. The heavily bearded giant on the left wears full gilded armour over a crimson tunic with the long dagged sleeves that were in fashion with the nobility in the 1420s. He could be the equivalent of a threatening local robber baron.
There may, however, be a subtle, more disturbing layer to this image. The spy furthest away from the spectator wears a typical pointed hat (or pileus cornatus) that is often used as a discriminating mark of Jewish people in northern European pictures of the time. The fact that his companion has more regular style headwear and is not singled out as a Jew may indicate that the image reflects an existing allegorical reading of the passage (known from the fourteenth-century Speculum humanae salvationis). In this interpretation, the grapes refer to Christ (whose blood became the wine of the Eucharist) and the two spies stand for the Jews and the Pagans whom medieval commentators accused of together putting Christ on the Cross. Thus, for a medieval Christian viewer, not just the giant but the entire population of the image may have consisted of those they regarded as hostile aliens, with only the grapes offering salvation.
References
Bodemann, Ulrike. 2017. ‘Historienbibeln. Historienbibel IIa. Handschrift Nr. 59.4.1’, in Katalog der deutschsprachigen illustrierten Handschriften des Mittelalters (KdiH) vol. 7, available at http://kdih.badw.de/datenbank/handschrift/59/4/1 [accessed 7 March 2024]
Gier, Helmut and Johannes Janota (eds). 1991. Von der Augsburger Bibelhandschrift zu Bertolt Brecht. Zeugnisse der deutschen Literatur aus der Staats- und Stadtbibliothek und der Universitätsbibliothek Augsburg (Weißenhorn: Konrad Anton)
Wilson, Adrian and Joyce Lancaster Wilson. 1985. A Medieval Mirror. Speculum Humanae Salvationis 1324–1500 (Berkeley: University of California Press)