The"' Finding of Moses'", sometimes called "'Moses in the Bulrushes'", "'Moses Saved from the Waters'",[1] or other variants, is the story in chapter 2 of the Book of Exodus in the Hebrew Bible of the finding in the River Nile of Moses as a baby by the daughter of Pharaoh. The story became a common subject in art, especially from the Renaissance onwards.
Depictions in Jewish and Islamic art are much less frequent, but some Christian depictions show details derived from extra-biblical Jewish texts. The earliest surviving depiction in art is a fresco in the Dura-Europos synagogue, dating to around 244. The motif of a "naked princess" bathing in the river has been related to much later art. A contrasting tradition, beginning in the Renaissance, gave great attention to the rich costumes of the princess and her entourage.
Moses was a central figure in Jewish tradition and was given various significances in Christian thought. He was regarded as a typological precursor of Jesus. He could also, at times, be regarded as a precursor or allegorical representation of things as diverse as the pope, Venice, the Dutch Republic, or Louis XIV.
The subject also represented a case of a foundling or abandoned child, a significant social issue in modern times. The subject is unusual in standard history painting in that it requires a number of female figures, but apart from the baby, no male figures are necessary. Many painters took the opportunity to depict female nudes.
Chapter 1:15–22 of the Book of Exodus recounts how during the captivity in Egypt of the Jewish people, the Pharaoh ordered: "Every Hebrew boy that is born you must throw into the Nile, but let every girl live." Chapter 2 begins with the birth of Moses, and continues:
A certain member of the house of Levi went and took [into his household as his wife] a woman of Levi. The woman conceived and bore a son; and when she saw how beautiful he was, she hid him for three months. When she could hide him no longer, she got a wicker basket for him and caulked it with bitumen and pitch. She put the child into it and placed it among the reeds by the bank of the Nile. And his sister stationed herself at a distance, to learn what would befall him. The daughter of Pharaoh came down to bathe in the Nile, while her maidens walked along the Nile. She spied the basket among the reeds and sent her slave girl to fetch it. When she opened it, she saw that it was a child, a boy crying. She took pity on it and said, “This must be a Hebrew child.” Then his sister said to Pharaoh’s daughter, “Shall I go and get you a Hebrew nurse to suckle the child for you?” And Pharaoh’s daughter answered, “Yes.” So the girl went and called the child’s mother. And Pharaoh’s daughter said to her, “Take this child and nurse it for me, and I will pay your wages.” So the woman took the child and nursed it.[2][3]
Visualizing the biblical account
The biblical account allows for a variety of compositions. There are different moments in the story, which are quite often compressed or combined in depictions, and the moment shown, and even the identity of the figures, is often unclear. In particular, Miriam and Moses's mother, traditionally given the name Jochabed, may be thought to be included in the group around the princess.[4]
The Hebrew word usually translated as "basket" in verse 3 can also mean ark or small boat. The basket, usually with a rounded shape, is more common in Latin Christianity, and the ark more so in Jewish and Byzantine art; it is also used in Islamic miniatures.[5] In all traditions, most depictions show a stretch of open river with few reeds. The vessel is sometimes seen drifting in many 19th-century depictions, and some in late medieval manuscripts of the Bible Moralisée type.
The Exposition of Moses, as his mother casts him off. The princess's party is further down the bank. Nicolas Poussin
The less common preceding scene of Moses being left in the reeds is formally called""' The Exposition of Moses'"".[6] In some depictions, this is shown in the distance as a subsidiary scene, and some books show both scenes. In some cases, it may be hard to distinguish between the two; usually, the "Exposition" includes Moses' mother and sister and sometimes his father and other figures.
Rivka Ulmer identifies recurrent "issues" in the iconography of the subject:[7]
Cycles with the life of Moses were not common, but where they exist, they may be with this subject if they have more than four scenes.[13] The fourth century Brescia Casket includes it among its 4 or 5 relief scenes from the Life of Moses, and there is thought to have been a depiction (now lost) in the mosaics of Santa Maria Maggiore. There is a 12th-century cycle in stained glass in the Basilica of Saint-Denis which includes it. Cycles are most often paired with one of the "Life of Christ", as later in the Sistine Chapel, where the scheme of paired cycles was intended to evoke the oldest Christian art.[14] There are several short cycles in luxury manuscripts of the Bible Moralisée and related types, some of which give the story more than one image.[15]
The depiction in the 12th-century English Eadwine Psalter has a naked female swimmer in the water, holding the empty ark with one hand, while a clothed female with her feet in the water holds out the baby to the princess, who reclines on a bed or litter. This is part of some 11 scenes of the life of Moses.[16] This may relate to the Jewish visual traditions covered below.[17]
The artist of a French Romanesque capital has enjoyed himself showing the infant Moses threatened by crocodiles and perhaps hippos, as often shown in classical depictions of the Nile landscape. This sporadic treatment anticipates modern Biblical criticism: "The cameo of the birth of Moses does not fit the reality of the Nile, where crocodiles would make it dangerous to send a babe in a basket onto the water or even to bathe by the shore: even if the poor were forced to take the risk, no princess would."[18]
Independent pictures of the subject became increasingly popular in the Renaissance and Baroque periods, when the combination of several elegantly dressed and graceful ladies with a waterside landscape or classical architectural background made it attractive to artists and patrons.[20] For Venice the story had a particular resonance with the early history of the city.[21] These paintings were for homes and palaces, sometimes for foundling hospitals.
In addition, child abandonment remained a significant social issue in the period, with foundling hospitals, orphanages specifically for abandoned children, a common focus of charitable activity by the rich.[22] The seal of the London Foundling Hospital showed the scene. The artist Francis Hayman gave them his painting of the subject, where it hung next to William Hogarth 's painting of a slightly later episode of the young Moses and the princess.[23] We know a depiction by Charles de La Fosse was one of a pair of biblical subjects commissioned in 1701 for the billiards room at the Palace of Versailles, paired with "Eliezer and Rebecca";[24] possibly the idea was to encourage those winning bets on the game to give their winnings to charity.
The 17th century saw the height of popularity for the subject, with Poussin painting it at least three times,[25] as well as several versions of "The Exposition of Moses".[26] It has been suggested that the birth in 1638 of the future Louis XIV, whose parents had been childless for 23 years, may have been a factor in the interest of French artists. The poet Antoine Girard de Saint-Amant wrote an epic poem, "Moyse sauvé" between about 1638 and 1653.[27]
As well as the Catholic countries, there were also several versions in Dutch Golden Age painting, where the Old Testament subject was considered unobjectionable, orphanages were run by boards of "regents" drawn from the local wealthy, and the story of Moses was also given contemporary political significance.[28] A painting of the subject shown on the wall behind "The Astronomer" by Vermeer may represent knowledge and science, as Moses was "learned in all the wisdom of the Egyptians."[29]
A painting by Bonifazio de' Pitati of 1545 was perhaps the first large and elaborate treatment of the subject to concentrate on a larger courtly group, entirely using carefully depicted contemporary costumes; he painted at least one smaller similar version of the subject.[30] Bonifazio painted a number of biblical subjects as "modern aristocratic reality", which was already an established pictorial mode in Venice.[31] This is essentially a large aristocratic picnic, complete with musicians, dwarves, many dogs and a monkey, and strolling lovers, where the baby represents an object of polite curiosity.[32] A Niccolò dell'Abbate from c. 1570, now in the Louvre, represents a more classical treatment, with the same "classical" costumes and atmosphere as his mythological subjects. This is closely followed by several compositions by Veronese, using the modern dress of his day.[33]
One of several treatments by Veronese, 1580s, Dijon.
The paintings of Veronese and others, especially Venetians,[34] offered some of the attractions of subjects from pagan mythology but with a subject with a Christian context. Veronese had been called before the Inquisition in 1573 for the improper depiction of the Last Supper as an extravagant festivity mainly in modern dress, which he renamed "The Feast in the House of Levi." Since the "Finding" indeed called for a party of lavishly dressed court ladies and their attendants, it avoided such objections.[35]
Veronese's costumes, contemporary when he painted them in the 1570s and 580s, became established as a sort of standard, and wseveraland repeated in new compositions by a umber of Venetian painters in the 18th century, during a "Veronese revival."[36] The famous painting by Giovanni Battista Tiepolo in the National Gallery of Scotland dates from the 1730s or 1740s, but avoids the fashion of that period and bases its costumes on a Veronese now in Dresden, but in Venice until 1747;[37] another Tiepolo now in the National Gallery of Victoria uses the style of Veronese even more thoroughly.[38]
Nicolas Poussin was attracted both to subjects from the life of Moses and history subjects with an Egyptian setting.[39] His figures wore the 17th-century idea of ancient dress, and the cityscapes in the distant background include pyramids and obelisks, where previously most artists, for example, Veronese, had not attempted to represent a specifically Egyptian setting.[40] An exception is NiccolincludesAbbate, whose broadly painted cityscape include several prominent triangular elements, although some might be gable-ends. Palm trees are also sometimes seen; European artists, even in the north, had been used to depicting these from painting the "Miracle of the Palm" on the Flight into Egypt in particular.
For good measure the main three versions by Poussin all include a Roman-style Nilus, the god or personification of the Nile, reclining with a cornucopia, in two of them in company with a sphinx,[41] which follows a specific classical statue in the Vatican.[42] His 1647 version for the banker Pointel (now Louvre) includes a hippopotamus hunt on the river in the background, adapted from the Roman Nile mosaic of Palestrina.[43] In a discussion at the Académie royale de peinture et de sculpture in 1688, the painting was criticised for two breaches of artistic decorum: the princess' skin was too dark, and the pagan god was inappropriate in a biblical subject. Both details were corrected in a version in tapestry, though the sphinx survived.[44] Poussin's treatments show awareness of much of the scholarly interest in Moses in terms of what we now call comparative religion.
After that, attempts at an authentic Egyptian setting were irregular until the start of the 19th century, with the advent of modern Egyptology, and in art, the development of Orientalism. By the late 19th century, exotic decor was often dominant, and several depictions concentrated on the ladies of the court, naked but for carefully researched jewellery. The reed beds in the Bible are often given prominence.[45] The extensive history of the scene in the cinema began in 1905, the year after Sir Lawrence Alma-Tadema finished his painting, with the "Finding" the opening scene in a 5-minute biographical film by the French company Pathé.[46]
The earliest visual depiction of the "Finding" is a fresco in the Dura-Europos synagogue, datable to around 244, a unique large-scale survival of what may have been a large body of figurative Jewish religious art in the Hellenized Roman imperial period.[47] This part of a composite image shows several episodes from the childhood of Moses (only the left end illustrated here). It displays both Midrashic details in the narrative and visual borrowings from the iconography of classical paganism.[48] Six of the 26 frescos in the synagogue have Moses as their main subject.[49] There are a few illustrations in mainly medieval Jewish illuminated manuscripts, mostly of the Haggadah, some of which seem to share an iconographical tradition going back to late antiquity.[50]
Jewish textual traditions elaborate on the Book of Exodus in various ways, and it has been argued that some details can be detected in Christian art as well. One Jewish tradition was that Pharaoh's daughter was identified as Bithiah, a leper who was bathing in the river to cleanse herself, seen as a ritual purification for which she would be naked. As at Dura-Europos, Jewish depictions often include her, and sometimes other women, standing naked in the river.[51] According to Rabbinic tradition, she was healed as soon as she touched the ark carrying Moses.[52]
Poussin, 1638, Louvre, with the male "swimmer" from Josephus, and a personification of the Nile at left.
The earliest surviving Christian depiction is a fresco of the 4th century in the Catacomb of Via Latina, Rome. Four figures are on the bank, with Moses still in the water; the largest is the princess, who stretches out her arms, which the baby also does. This gesture may derive from a textual variation found in Midrashic sources and the Aramaic translation of the Bible. In these "she ... sent her female slave" is changed to "she stretched out her arm."[53] Though the context is Christian, many of the images here are of Old Testament subjects,[54] and very likely reflect models adopted from an initially Jewish visual tradition, perhaps painted by artisans with sets of models for all religious requirements. In the play Exagōge by Ezekiel the Tragedian, Moses recounts his finding, saying of the princess: "And straightway seeing me, she took me up", which may be reflected both in the New Testament in Acts 7:20, and in artistic depictions where the princess is first to grasp the ark.[55]
The motif of the naked princess standing in the water, sometimes accompanied by naked maids, reappears in Jewish manuscript illuminations from Spanish workshops in the late Middle Ages, along with some other details of iconography found in the Dura-Europos synagogue.[56] In the 14th-century Golden Haggadah there are three, while Moses' sister Miriam sits on the bank watching them.[57] Other works include the so-called "Sister of the Golden Haggadah" manuscript, and the (Christian) Pamplona Bibles.[58] By contrast, the 18th-century Venice Haggadah has been influenced by local Christian depictions, and shows a clothed princess on land.[59]
A different tradition is first found in Josephus, who was read by Poussin and influenced his treatment of this and other biblical scenes. His account of the finding has the princess "playing by the river bank" and spotting Moses being "borne down the stream". She "sent off some swimmers" to fetch him. Thus in Poussin's 1638 "Finding" in the Louvre a burly male emerges from the water with the child and basket, a detail sometimes copied by other painters.[60] This is followed in Sebastian Bourdon's painting of 1650, with two male swimmers.[61] Italian paintings more often show female swimmers or at least women who have landed and are drying themselves after handing the baby to the princess, as in Sebastiano Ricci, Salvator Rosa, Giovanni Francesco Romanelli, as well as a painting in the Rijksmuseum by Paulus Bor and Cornelis Vroom from the 1630s, and Poussin's 1651 composition. The only painting of the subject from Rembrandt 's studio shows several naked women who have just come out of the water, bringing the basket.[62]
There is an unusual depiction in the Edinburgh University Library manuscript of the Jami' al-tawarikh, an ambitious world history written in the Ilkhanate, now Iran, at the start of the 14th century. In the Qur'an and Islamic tradition, it is Pharaoh's wife Asiya who rescues the baby, not his daughter. Here, the baby Moses remains in his ark, which is carried along a river with curling Chinese-style waves towards the women.[63]
The queen is in the river with an attendant, both at least clothed in undergarments (more clothes seem to be hanging from a tree branch), and an older servant, or Moses' mother, on the bank. The ark appears enclosed and solid; it looks like an elongated coffin, perhaps because the artist was unfamiliar with the subject. There are few comparable Islamic world histories, and like other scenes in the Jami' al-tawarikh, this may be all but unique in Islamic miniatures. The composition may be derived from Byzantine depictions.[64]
This manuscript has seven miniatures of the life of Moses, an unprecedented number perhaps suggesting a unique identification with Moses by the author Rashid-al-Din Hamadani, a convert from Judaism who became chief minister of the Ilkhanate.[65]
Leading depictions
The Finding of Moses by Gianbattista Tiepolo, in Edinburgh; a different composition in Melbourne.
Zalpuwa is the setting for an ancient legend about the Queen of Kanesh, which was either composed in or translated into the Hittite language:[66]
"[The Queen] of Kanesh once bore thirty sons in a single year. She said: 'What a horde is this which I have born[e]!' She caulked(?) baskets with fat, put her sons in them, and launched them in the river. The river carried them down to the sea at the land of Zalpuwa. Then the gods took them up out of the sea and reared them. When some years had passed, the queen again gave birth, this time to thirty daughters. This time she herself reared them."
↑ Yavneh, 53–56, analyses the passage and later interpretations of it at length.
↑ Wine, 370–371, on the Lo disagreeeh, 61, on the Prado Veronese, and both disagree with other art historians on who figures represent in particular depictions.
↑ Again, a rare title in English, but standard in the Latin languages. Nicolas Poussin painted both scenes more than once, and his compositions are described in Blunt, Anthony, "Poussin Studies IV: Two Rediscovered Late Works," "The Burlington Magazine", vol. 92, no. 563, 1950, pp. 39–52., JSTOR
↑ Barmash, Pamela, 2, in "Exodus in the Jewish Experience: Echoes and Reverberations", Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books, ISBN1498502938, 9781498502931, google books; for Poussin's hippo-hunt see below
↑ Poussin's various compositions are described in Blunt, Anthony, "Poussin Studies IV: Two Rediscovered Late Works", "The Burlington Magazine", vol. 92, no. 563, 1950, pp. 39–52., JSTOR
↑ Huse, Norbert; Wolters, Wolfgang (1993-10-30). The Art of Renaissance Venice: Architecture, Sculpture, and Painting, 1460–1590. University of Chicago Press. p.270. ISBN978-0226361093.
↑ Willis, note 7, lists 4, plus 3 from his workshop; Yavneh, 51–53; Robertson, 100
↑ Jaffé, David, "Two Bronzes in Poussin's "Studies of Antiquities"," in "The J. Paul Getty Museum Journal": Volume 17, 1989, 45–46, note 18, 1990, Getty Publications, ISBN0892361573, 9780892361571, google books
↑ " Tapestry in the Baroque: New Aspects of Production and Patronage", Metropolitan Museum of Art symposia, Editors Thomas Patrick Campbell, Elizabeth A. H. Cleland, 96, 2010, Metropolitan Museum of Art, ISBN030015514X, 9780300155143, google books
↑ Thompson, Jason, "Wonderful Things: A History of Egyptology 1: From Antiquity to 1881", 255, 2015, The American University in Cairo Press, ISBN9774165993, 9789774165993, google books
↑ Tollerton, David, ed., "Biblical Reception, 4: A New Hollywood Moses: On the Spectacle and Reception of Exodus: Gods and Kings", 75–77, 2016, Bloomsbury Publishing, 2016, ISBN0567672336, 9780567672339, google books
↑ "Alcestis and Hercules in the Catacomb of via Latina", Beverly Berg, "Vigiliae Christianae", Vol. 48, No. 3 (Sep., 1994), pp. 219–234, Brill, DOI: 10.2307/1584095, JSTOR
According to Abrahamic religions, Aaron was a Jewish prophet, a high priest, and the elder brother of Moses. Information about Aaron comes exclusively from religious texts, such as the Hebrew Bible, the New Testament, and the Quran.
The Ark of the Covenant, also known as the Ark of the Testimony or the Ark of God, is a purported religious storage and relic held to be the most sacred object by the Israelites.
The Book of Exodus is the second book of the Bible. It is a narrative of the Exodus, the origin myth of the Israelites leaving slavery in Biblical Egypt through the strength of their deity named Yahweh, who according to the story chose them as his people. The Israelites then journey with the legendary prophet Moses to Mount Sinai, where Yahweh gives the Ten Commandments and they enter into a covenant with Yahweh, who promises to make them a "holy nation, and a kingdom of priests" on condition of their faithfulness. He gives them their laws and instructions to build the Tabernacle, the means by which he will come from heaven and dwell with them and lead them in a holy war to conquer Canaan, which has earlier, according to the myth of Genesis, been promised to the "seed" of Abraham, the legendary patriarch of the Israelites.
In Abrahamic religions, Moses was a prophet who led the Israelites out of slavery in the Exodus. He is considered the most important prophet in Judaism and Samaritanism, and one of the most important prophets in Christianity, Islam, the Baháʼí Faith, and other Abrahamic religions. According to both the Bible and the Quran, God dictated the Mosaic Law to Moses, which he wrote down in the five books of the Torah.
The Crossing of the Red Sea or Parting of the Red Sea is an episode in The Exodus, a foundational story in the Hebrew Bible.
The ark of bulrushes was a container which, according to the episode known as the finding of Moses in the biblical Book of Exodus, carried the infant Moses.
Zipporah is mentioned in the Book of Exodus as the wife of Moses, and the daughter of Jethro, the priest and prince of Midian.
According to the Bible, Jochebed was a daughter of Levi and mother of Miriam, Aaron and Moses. She was the wife of Amram, as well as his aunt. No details are given concerning her life. According to Jewish legend, she is buried in the Tomb of the Matriarchs, in Tiberias. In the New Testament, she is praised for her faith in God.
The burning bush refers to an event recorded in the Jewish Torah. It is described in the third chapter of the Book of Exodus as having occurred on Mount Horeb. According to the biblical account, the bush was on fire but was not consumed by the flames, hence the name. In the biblical and Quranic narrative, the burning bush is the location at which Moses was appointed by God to lead the Israelites out of Egypt and into Canaan.
In the Book of Exodus, the Plagues of Egypt are ten disasters that Yahweh inflicts on the Egyptians to convince the Pharaoh to emancipate the enslaved Israelites, each of them confronting the Pharaoh and one of his Egyptian gods; they serve as "signs and marvels" given by Yahweh in response to the Pharaoh's taunt that he does not know Yahweh: "The Egyptians shall know that I am the LORD". These Plagues are recited by Jews during the Passover Seder.
According to the Hebrew Bible, the Tablets of the Law were the two stone tablets inscribed with the Ten Commandments when Moses ascended Mount Sinai as written in the Book of Exodus.
The Exodus is the founding myth of the Israelites whose narrative is spread over four of the five books of the Pentateuch. The narrative of the Exodus describes a history of Egyptian bondage of the Israelites followed by their exodus from Egypt through a passage in the Red Sea, in pursuit of the Promised Land under the leadership of Moses.
The Pharaoh's daughter in the story of the finding of Moses in the biblical Book of Exodus is an important, albeit minor, figure in Abrahamic religions. Though some variations of her story exist, the general consensus among Jews, Christians, and Muslims is that she is the adoptive mother of the prophet Moses. Muslims identify her with Asiya, the Great Royal Wife of the pharaoh. In either version, she saved Moses from certain death from both the Nile river and from the Pharaoh. As she ensured the well-being of Moses throughout his early life, she played an essential role in lifting the Hebrew slaves out of bondage in Egypt, their journey to the Promised Land, and the establishment of the Ten Commandments.
The Ten Commandments is a 2006 miniseries that dramatizes the Biblical story of Moses. It aired on ABC.
Ezekiel the Tragedian – also known as Ezekiel the Dramatist and Ezekiel the Poet – was a Jewish dramatist who wrote in Alexandria. Naomi Yavneh dated his work to the 3rd century BCE, while Howard Jacobson estimates the 2nd century BCE. Evidence of the date is not definitive.
Moses, Moishe, Moshe, Musa (Arabic:موسی), or Movses is a male given name, after the biblical figure Moses.
"A Rugrats Passover" is the 23rd episode of the third season of the American animated television series Rugrats. It first aired on Nickelodeon in the United States on April 13, 1995. The episode follows series regulars Grandpa Boris and the babies as they become trapped in the attic on Passover; to pass the time, Boris tells the Jewish story of the Exodus. During the episode, the babies themselves reenact the story, with Tommy portraying Moses, while his cousin Angelica represents the Pharaoh of Egypt.
The Bible makes reference to various pharaohs of Egypt. These include unnamed pharaohs in events described in the Torah, as well as several later named pharaohs, some of whom were historical or can be identified with historical pharaohs.
The Adoration of the Golden Calf is a painting by Nicolas Poussin, produced between 1633 and 1634. It is held in the National Gallery, in London.
The Finding of Moses is a oil-on-canvas painting by the Anglo-Dutch artist Lawrence Alma-Tadema, from 1904. It was one of his last major works before his death in 1912, but quickly fell out of favour; according to rumour, it was sold in the 1950s for its frame. After appreciation of Victorian painting was renewed towards the end of the 20th century, it was described in an auction catalogue in 1995 as "the undisputed masterpiece of [Alma-Tadema's] last decade, as well as a late flowering of the nineteenth-century's love-affair with Egypt". It was sold to a private collector at auction in 2010 for nearly US$36 million.
References
Bowers, Toni, "The Politics of Motherhood: British Writing and Culture, 1680–1760", 1996, Cambridge University Press, ISBN0521551749, 9780521551748, google books
Brigstocke, Hugh; Italian and Spanish Paintings in the National Gallery of Scotland, 2nd Edn, 1993, National Galleries of Scotland, ISBN0903598221
Bull, Malcolm. "Notes on Poussin's Egypt", "The Burlington Magazine", vol. 141, no. 1158, 1999, pp.537–541., JSTOR
DeWitt, Lloyd. "Finding of Moses, (PG-100)", in The Leiden Collection Catalogue, Arthur K. Wheelock Jr., Ed., New York, 2017, web page: Finding of Moses, by Pieter de Grebber, Leiden
Gutmann, Joseph, "The Dura Europos Synagogue Paintings and Their Influence on Later Christian and Jewish Art", "Artibus et Historiae", Vol. 9, No. 17 (1988), pp.25–29, JSTOR, or Free onlineArchived 2018-08-27 at the Wayback Machine
Hand, J.O., & Wolff, M., "Early Netherlandish Painting" (catalogue), National Gallery of Art, Washington/Cambridge UP, 1986, ISBN0-521-34016-0. Entry pp.75–86, by Hand.
Hall, James, Hall's Dictionary of Subjects and Symbols in Art, 1996 (2nd edn.), John Murray, ISBN0719541476
Langston, Scott M., Exodus Through the Centuries, 2013, John Wiley & Sons, ISBN111871377X, 9781118713778, google books
Mann, Vivian B., "Observations on the Biblical Miniatures in Spanish Haggadot", in "Exodus in the Jewish Experience: Echoes and Reverberations", Editors, Pamela Barmash, W. David Nelson, 2015, Lexington Books, ISBN1498502938, 9781498502931, google books
Natif, Mikah, "Rashid al-Din's Alter Ego: The Seven Paintings of Moses in the Jami al-Tawarikh", in "Rashid al-Din. Agent and Mediator of Cultural Exchanges in Ilkhanid Iran, 2013, online text, academia.edu
Purtle, Carol J, "The Art Bulletin", March 1999, "Van Eyck's Washington 'Annunciation': narrative time and metaphoric tradition", Vol. 81, No. 1 (Mar., 1999), pp.117–125. Page references are to online version, no longer available (was here), JSTOR
Robertson, Giles. "Tiepolo's and Veronese's Finding of Moses", The Burlington Magazine, vol. 91, no. 553, 1949, pp.99–101., JSTOR
Schiller, Gertrude "Iconography of Christian Art, Vol. I",1971 (English trans from German), Lund Humphries, London, pp 33–52 & figs 66–124, ISBN0-85331-270-2
"Sistine": Pietrangeli, Carlo, et al., "The Sistine Chapel: The Art, the History, and the Restoration", 1986, Harmony Books/Nippon Television, ISBN0-517-56274-X
Ulmer, Rivka, "Egyptian Cultural Icons in Midrash", Chapter 10, "The Finding of Moses in Art and Text", 2009, Walter de Gruyter, ISBN3110223929, 9783110223927, google books
Wine, Humphrey, National Gallery Catalogues (new series): "The Seventeenth Century French Paintings", 2001, National Gallery Publications Ltd, ISBN185709283X
Yavneh, Naomi, "Lost and Found; Veronese's Finding of Moses", Chapter 3 in Gender and Early Modern Constructions of Childhood, 2016, Eds. Naomi J. Miller, Naomi Yavneh, Routledge, ISBN1351934848, 9781351934848, google books and google books – ebook, with different pages viewable
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
