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At the risk of being crude, the narrative in Numbers 5 of the Sotah, the so-called "wayward wife," ought to be a goldmine for biblical painters. It is hard to imagine a biblical punishment more vivid and aesthetically fertile than the adulterous woman's belly bursting after she drinks the "bitter waters" into which the priest has erased the Divine Name - a violation of the third commandment so reprehensible it is clear how serious the Torah sees this issue. Forget the shyness of Esther before Ahasuerus, which has so fascinated artists for centuries. The Sotah is on trial for her life, literally exposed and alone in front of a host of men in the holy Temple. Numbers 5 devotes 21 verses to the Sotah; by comparison, Numbers 20 only gives 13 verses to Moses' sin of striking the rock, which prevents him from entering the Holy Land.
The title page to a 1610 edition of 12th-century poet and legal scholar, Eliezer ben Nathan's "Even Ha'ezer" ("Stone of Salvation," per I Samuel 7:12) features a woodcut that looks fairly standard at first glance. Two pillars flank the central alignment of the Hebrew text, and two birds perch atop the columns. Beneath the pillars are two lions and two hands, configured in the manner of the priestly blessing, with a gap between the joined index and middle fingers and the ring and small fingers. This combination of hands and lions constitutes the printing mark of Moses ben Bezalel Katz of Prague, who was a Kohen.