Flora Cassen – författare

It is a little known fact that as early as the thirteenth century, Europe's political and religious powers tried to physically mark and distinguish the Jews from the rest of society. During the Renaissance, Italian Jews first had to wear a yellow round badge on their chest, and then later, a yellow beret. The discriminatory marks were a widespread phenomenon with serious consequences for Jewish communities and their relations with Christians. Beginning with a sartorial study - how the Jews were marked on their clothing and what these marks meant - the book offers an in-depth analysis of anti-Jewish discrimination across three Italian city-states: Milan, Genoa, and Piedmont. Moving beyond Italy, it also examines the place of Jews and Jewry law in the increasingly interconnected world of Early Modern European politics.

It is a little known fact that as early as the thirteenth century, Europe's political and religious powers tried to physically mark and distinguish the Jews from the rest of society. During the Renaissance, Italian Jews first had to wear a yellow round badge on their chest, and then later, a yellow beret. The discriminatory marks were a widespread phenomenon with serious consequences for Jewish communities and their relations with Christians. Beginning with a sartorial study - how the Jews were marked on their clothing and what these marks meant - the book offers an in-depth analysis of anti-Jewish discrimination across three Italian city-states: Milan, Genoa, and Piedmont. Moving beyond Italy, it also examines the place of Jews and Jewry law in the increasingly interconnected world of Early Modern European politics.

In Stained Glass, Flora Cassen traces a Jewish life shaped by family and history, moving between medieval Europe and the present to connect lived experience with the longer arc of Jewish history. Drawing on her upbringing in Antwerp’s Jewish community and her grandparents’ escape from Nazi-occupied Europe to the Belgian Congo, Cassen writes from within a past in which powerlessness rubbed shoulders with power. From her later life in the United States, she considers Jewish life in Europe as a mirror that reflects enduring questions about vulnerability and belonging. Stained Glass asks what it means to leave Europe behind and to encounter in American Jewish life a vitality that is strikingly beautiful yet never fully settled.

In Stained Glass, Flora Cassen traces a Jewish life shaped by family and history, moving between medieval Europe and the present to connect lived experience with the longer arc of Jewish history. Drawing on her upbringing in Antwerp s Jewish community and her grandparents escape from Nazi-occupied Europe to the Belgian Congo, Cassen writes from within a past in which powerlessness rubbed shoulders with power. From her later life in the United States, she considers Jewish life in Europe as a mirror that reflects enduring questions about vulnerability and belonging. Stained Glass asks what it means to leave Europe behind and to encounter in American Jewish life a vitality that is strikingly beautiful yet never fully settled.

In Stained Glass, Flora Cassen traces a Jewish life shaped by family and history, moving between medieval Europe and the present to connect lived experience with the longer arc of Jewish history. Drawing on her upbringing in Antwerp s Jewish community and her grandparents escape from Nazi-occupied Europe to the Belgian Congo, Cassen writes from within a past in which powerlessness rubbed shoulders with power. From her later life in the United States, she considers Jewish life in Europe as a mirror that reflects enduring questions about vulnerability and belonging. Stained Glass asks what it means to leave Europe behind and to encounter in American Jewish life a vitality that is strikingly beautiful yet never fully settled.