In the "From Haven to Home: 350 Years of Jewish Life in America"

exhibit currently running at the Moakley Courthouse, an illuminated marriage

contract between Meir Meyerstone and Rebekah De Meza is displayed (http://www.loc.gov/exhibits/haventohome/images/hh0028s.jpg). The

parchment ink, pencil and watercolor document, on loan from the

Skirball Center in L.A., is a very early American ketubah, dated Nov. 7, 1819.

It is signed by Ephraim Hart and Moses Levi Maduro Peixotto, well known

figures in American Jewish history.

Of course, the ketubah, which means "that which is written," dates much

further back than 1819. According to ketubah artist Elaine Adler of

Lexington, ketubahs date to the fifth century B.C.E. Aramaic remains

the primary text language, and Hebrew, unchanged since Ezra the Scribe

declared it a holy language, is used for the date.

Yet despite its ancient and intransigent base, the ketubah signified an

unprecedented step forward for women's rights. "The ketubah was the

original prenuptial financial agreement," says Adler. It was just after

the return from the Babylonian exile when rabbis envisioned a document

that would impress the importance of marriage upon men, stating that

the groom must "serve, cherish, sustain and support" the bride, and

specifying a sum of money for the woman in the case of the dissolution

of the marriage. "A man would certainly think twice before having to

pay the sum promised, and would thus work on the marriage," she explained.

"For its time, the ketubah was a revolutionary document that offered

some protection to women." Of the Jewish life rituals, ketubot provide

the strongest link to the past for her. "Every time I develop a

ketubah, I am aware of its 2500-year history and the continuity it provides,"

she said.

A Speech and Language Pathologist who holds bachelor's and master's of

science degrees from the University of Michigan, Adler worked for 23

years with preschoolers to adults. As an award-winning calligraphic

artist, graphic designer and scribe, she lectures on the history of

Hebrew illuminated manuscripts and ketubot. "As letters drop off my

pen, I am mindful that I am carrying on an ancient tradition of the Jewish

people," she says. Adler has designed artwork for Anita Diamant's

books, as well as for many congregations, schools and organizations.

In his 1927 book "The Jewish Marriage Contract: A Study in the Status

of the Woman in Jewish Law," Louis M. Epstein stresses the clarity and

objectivity of the ketubah. He calls it "a legal document embodying the

essential points agreed upon by the parties and sanctioned by the law

as to the manner of their living together as husband and wife." Indeed,

the ketubah set the stage for all manner of litigation, both in good times

and in the event of divorce.

Given that the ketubah is primarily a financial document, couples often

choose to revise the wording from the traditional Orthodox text or the

traditional text with the Lieberman clause, an added section covering

divorce that is often used in Conservative ceremonies. While some

rabbis adhere to a certain text and some couples simply go by their religious

denomination, there are a variety of options that range from

traditional to more modern, to egalitarian, interfaith, ceremonies of commitment,

or the noting of an anniversary. (Adler says that if a Conservative rabbi

requires the traditional text and the couple has decided upon an

egalitarian one, they often can sign both types of texts at the same

time, and then display their choice.) Couples also may decide to mix in

some English so they can more precisely spell out their dreams and

common goals. Anita Diamant's book "The New Jewish Wedding" includes

many egalitarian texts, where the bride and groom choose to pledge

equal vows toward one another, rather than focus upon financial issues.

Any combination of Hebrew, Aramaic and/or English can be used. Mickie

(pronounced "Mikey") Caspi, an Israeli-American artist and calligrapher

living in Newton who has produced the Jewish Art Calendar since 2000,

has exhibited extensively in Israel and the US, and has illustrated

several Hebrew children's books. She offers eight different,

wide-ranging texts: The Traditional. Aramaic (Orthodox), the

Traditional Aramaic with Contemporary English (Orthodox), the Lieberman Clause with

Contemporary English (Conservative), the Egalitarian Hebrew and English

(Reform), the Modern English with Hebrew Heading (Interfaith), the

Anniversary with Hebrew Heading, the Alternative Egalitarian (Gender

Neutral) and the Humanist English-only. Her company, Caspi Cards & Art,

which she operates with her husband, Eran, created the pre-printed

Interfaith text that was the first of its kind; their gender neutral

text can be used by same-sex couples. They introduced the all-English

Humanist text in 2003 for secular couples or those desiring a more

modern interpretation.

Many rabbis have penned modern texts in Aramaic, Hebrew and English for

couples to consider. Some couples choose to write their own text, often

finding the process a deep and meaningful learning experience. "For

many," says Adler, "this is the first time they are discussing artistic

and visual preferences." These may clash, and Adler often calls her

language and counseling skills into practice. "Our negotiation process

as we develop a design becomes a microcosm of the understanding and

sharing each couple will need to continue throughout their married

life," she says.

Adler says that despite all the options out there, the traditional text

remains a common choice. "It is the only acceptable text for an

Orthodox wedding." Many Conservative couples also use the traditional text, she

adds (either alone or combined with an egalitarian English text), as do

Reform Jews. "While most Reform couples choose a more contemporary

text, some maintain their ties to tradition."

Orthodox tradition requires that the text be justified on both the left

and right margins, as can be seen in Torah script. This dates back to

the concept that no one would have room to add a word that might alter

the original meaning. (Adler can create justified margins in the shape

of a circle, square, or rectangle.) Conservative rabbis sometimes allow

for "ragged" edges, saying that they have found no actual halacha

requiring justification.

Ketubah makers generally combine text with beautifully crafted designs.

But not always. Ellen Litt of Newton related that her daughter's

ketubah came from a bookstore in New York; the groom's sister did the

calligraphy. "It wasn't fancy, but more traditional, and was from the

grandfather," she said. "It was not necessarily a piece of artwork."

Others go for what moves them. For her 2002 wedding, Jaimie Adler of

Watertown chose her ketubah, "Celestial Embrace" by Amy Fagin, in

modern Hebrew and English, from Kolbo in Brookline.

With practice, one can discern the country of origin by the distinctive

designs. Caspi's watercolors reflect traditional Jewish, Persian and

Arabic influences, as well as modern graphic art and art nouveau, and

her appreciation of the natural world. Her gallery is extensive, her

designs magnificent. Text can be chosen first, then matched to

available designs. These include cloisonne with fine gold foil accents, Rakefet

(cyclamen flowers), Festivals, Persian Silk, Birds of Paradise, Garden

of Eden, Blue Scroll, Venetian, Circle of Peace, Mystic Jerusalem and

Huppa.

Gad Almaliah, an Israeli who studied at the Bezalel Academy of Art in

Jerusalem and the school of Visual Arts in New York City, operates the

Design Lab in Dedham. His designs include a seasons watercolor litho,

The Seven Blessings, Mazel Tov, Soul's Delight, Talmud and Dodi Li

Ketubot. Almaliah's work includes postal stamps, coins and medals,

Judaic sculpture and ritual objects. His own metal embossing technique,

where each metal panel is embossed, polished and hand-cut, is used on

certain ketubot.

Another popular local artist, Tamar King of Brighton, has been

designing ketubot for over 30 years. she began practicing the art for friends as

a grad student in architecture at Washington University in St. Louis.

(Her husband Richard explained that back then, people simply bought ketubah

printouts at bookstores.) King produced some ketubot in Israel, where

her family lived for a number of years before returning to Brighton in

1989. They attend Congregation Kadimah Toras Moshe; their oldest son

recently completed service with the Israeli Army, and the other two

children are in college. King works closely with the Israel Bookstore

in Brookline (and with both Caspi and Amaliah as well) on all aspects of

kebubah making. She designs and executes custom ketubot, writes just

the text for those who have their own or another artists's design, and

fills in texts to match whatever lettering is printed. King has two printed

designs available, and works in watercolor or gouache on paper.

Elaine Adler's offerings include a Vegetable Garden Ketubah, where tiny

symbols of the couple's life together are interspersed within myriad

fruits and vegetables, and Jewish stars adorn the border. Another

design depicts Boston in three scenes. She replicates the ancient tradition of

creating handmade, custom-made ketubot, each a reflection of the bride

and groom. She tries to get to know each couple personally, even if it

is by long-distance email, to assist them from conceptualization to

finished work. Adler has also been approached by non-Jewish couples who

have seen her work at weddings, and has gotten requests for texts in

the languages of one or both of the partners.

Signatories usually include the couple, at least two witnesses, and the

rabbi. Orthodox and some Conservative rabbis require two male witnesses

who are Jewish and Shabbat-observant, and not related to the couple;

other rabbis allow for other friends to be added. Orthodox ketubot

customarily require signatures only from the two witnesses at the time

of signing. "This practice dates back to Biblical times," explains

Adler, "when official contracts were signed by two witnesses who

attested to the identity of the parties named in the document."

Caspi recommends using a plain ball point pen for signing, as fancier

fountain or ink pens can leak (oy!). And she also advises practicing

writing one's Hebrew names beforehand. Adler recommends having two

males sign a low-cost print or a photocopy of a traditional ketubah at the

same time. "Young people from the US sometimes move to Israel and find

themselves making wedding plans there, and must prove that they are

Jewish. This can be difficult for someone whose parents do not have a

traditional ketubah," she said.

The creation of ketubot remains a complex, individualistic undertaking,

but the longlasting, heartfelt results are more than worth the effort.

Judy Menkes, who runs Unique Simchas at 1382A Beacon St. in Coolidge

Corner, sometimes sees the ketubah extending into other aspects of the

wedding. "On occasion, a bride and groom will take an artistic element

or design from their Ketubah and incorporate it into their invitation,"

she says. Usually, this appears as a front cover design that reflects a

part of the Ketubah design. "Sometimes there will be a quotation used

on the Ketubah that the couple includes as a statement on their

invitation."

Adler maintains that ketubah making is a wonderful experience for all

involved: "I am privileged to work with happy people at happy times in

their lives."

Contact Elaine Adler at 781-861-9679 or www.ElaineAdler.com; Tamar King

at 617-787-5569; Gad Almaliah at 617-326-4777 or

www.thedesignlabboston.com; Mickie Caspi at 800-538-8268 or

www.caspicards.com. Amy Fagin operates 20th Century Illuminations in

Athol, Mass., 978-544-2247). View other ketubot at

www.judaicconnection.com, www.ketubahtree.com, www.ketubah-gallery.com,

www.ketubahstudio.com and www.modernketubah.com.