This stunning ark, a fine example of Piedmontese baroque woodworking, was created for the synagogue in Trino Vercellese in the late eighteenth century. Portions of the synagogue were designed by the Turin court architect Benedetto Alfieri, although the name of the cabinetmaker responsible for the ark remains unknown. The ark features rich carving, faux marble, and gilded details, and the architectural scene on its doors alludes to the Temple of Jerusalem.
The synagogue in Trino was one of several built in Piedmont in the baroque era, including those in Casale Monferrato and Biella. Today, according to most sources, the synagogue in Trino has been secularized, and its contents dismantled in 1965.
In 1973, the holy ark was acquired by the Eretz Israel Museum in Tel Aviv. There it was installed in a pavilion designed by the architect Werner Joseph Wittkower, the younger brother of the famous architectural historian Rudolf Wittkower, who was the leading international scholar of Piedmontese baroque art and architecture between 1945 and his death in 1971.
Around fifteen years ago, the museum undertook an extensive restoration of the ark. It was then reinstalled in the Ethnography and Folklore galleries of the museum in 2006-7, along with additional elements from the synagogue in Trino. As the Eretz Israel Museum website explains:
A Holy Ark, or Torah Shrine, as it was called by Italian Jews, complete with its original Torah lectern, worshipers’ benches, and the latticed railing from the women’s balcony, is situated in a separate hall built according to the original synagogue plans. The Baroque and Rococo style of the Ark is typical of the Piedmont district of northwestern Italy and represents an excellent example of the influence of local style on historical Jewish themes. The set of doors carved with architectural images symbolizing the Temple still to be built in Jerusalem is the highlight of the Ark, expressing the centrality of Jerusalem in Jewish tradition.
The Holy Ark of Trino Vercellese stands as an impressive witness to the malleability of the baroque style, demonstrating how it could transcend the Catholic propaganda so often ascribed to it.
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