page_title: Jacob's Ladder
section_title: Judaism
hierarchical_section_title: Jacob's Ladder / Judaism
caption_attribution_description: El cuadro narra el sueño misterioso del patriarca Jacob, según relata el Génesis, quien aparece dormido, recostado sobre el brazo izquierdo. Detrás de él se encuentra un árbol y al otro lado la escala de luz por la que suben y bajan los ángeles. El asunto muestra la capacidad técnica de Ribera para construir un discurso metafórico. A través de la representación de un pastor tendido a descansar en el campo describe uno de los episodios bíblicos más conocidos. La visión en primer plano del personaje sólidamente construido y los rasgos realistas de la escena sirven para hacer verídico el sueño milagroso, que se describe en un haz de luz bajo un cielo azul y gris. Ribera da aquí una de sus numerosas pruebas de su delicado sentido del color y su exquisita capacidad para la composición, al contraponer en diagonal los volúmenes del primer plano. Probablemente se trate de uno de los cuadros que se citan en 1658 en el inventario de don Jerónimo de la Torre, permaneciendo en poder de su familia hasta 1718. En 1746 reapareció entre las pinturas de la reina Isabel de Farnesio con atribución a Murillo.
context_page_description: Jacob's Ladder is a ladder leading to heaven that was featured in a dream the biblical Patriarch Jacob had during his flight from his brother Esau in the Book of Genesis.
  The significance of the dream has been debated, but most interpretations agree that it identified Jacob with the obligations and inheritance of the people chosen by God, as understood in Abrahamic religions.
context_section_description: The classic Torah commentaries offer several interpretations of Jacob's ladder. According to the Midrash Genesis Rabbah, the ladder signified the exiles which the Jewish people would suffer before the coming of the Jewish messiah. First the angel representing the 70-year exile of Babylonia climbed "up" 70 rungs, and then fell "down". Then the angel representing the exile of Persia went up a number of steps, and fell, as did the angel representing the exile of Greece. Only the fourth angel, which represented the final exile of Rome/Edom (whose guardian angel was Esau himself), kept climbing higher and higher into the clouds. Jacob feared that his children would never be free of Esau's domination, but God assured him that at the End of Days, Edom too would come falling down.
  Another interpretation of the ladder keys into the fact that the angels first "ascended" and then "descended". The Midrash explains that Jacob, as a holy man, was always accompanied by angels. When he reached the border of the land of Canaan (the future land of Israel), the angels who were assigned to the Holy Land went back up to Heaven and the angels assigned to other lands came down to meet Jacob. When Jacob returned to Canaan he was greeted by the angels who were assigned to the Holy Land.
  Yet another interpretation is this: The place at which Jacob stopped for the night was in reality Mount Moriah, the future home of the Temple in Jerusalem. The ladder therefore signifies the "bridge" between Heaven and earth, as prayers and sacrifices offered in the Holy Temple soldered a connection between God and the Jewish people. Moreover, the ladder alludes to the giving of the Torah as another connection between heaven and earth. In this interpretation, it is also significant that the Hebrew word for ladder, sulam (סלם) and the name for the mountain on which the Torah was given, Sinai (סיני) have the same gematria (numerical value of the letters).
  The Hellenistic Jewish philosopher Philo, born in Alexandria, (d. ca. 50 CE) presents his allegorical interpretation of the ladder in the first book of his De somniis. There he gives four interpretations, which are not mutually exclusive:
  The angels represent souls descending to and ascending from bodies (some consider this to be Philo's clearest reference to the doctrine of reincarnation).
  In the second interpretation the ladder is the human soul and the angels are God's logoi, pulling the soul up in distress and descending in compassion.
  In the third view the dream depicts the ups and downs of the life of the "practiser" (of virtue vs. sin).
  Finally the angels represent the continually changing affairs of men.
  A hilltop overlooking the Israeli settlement of Beit El north of Jerusalem that is believed by some to be the site of Jacob's dream is a tourist destination during the holiday of Sukkot.
caption: Jacob's Dream (1639) by José de Ribera, at the Museo del Prado, Madrid
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