Saint Joseph Google Translation

7/13/2021 Saint Joseph
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Saint Joseph Sandra de Arriba Cantero
SAINT JOSEPH
Sandra FROM A RRIBA C PREVIOUS
University of Valladolid
[email protected]
Summary : The image of San José constitutes a paradigmatic example of evolution

iconographic, since it will go from being practically ignored during the first Christian centuries to
proclaim himself in 1870 Patron of the Universal Church. In all this process, the centuries of the Ages
Media were fundamental. Thus, at first, his figure will be obviated,
starting from the background or he will be represented as an old man, always with the objective
to safeguard the purity of Mary. Your presence will be limited to those episodes
related to the life of Christ or the Virgin, inspired by the canonical gospels and
Apocrypha, its main sources. But this situation begins to change in the late Middle Ages,
when the new devotional currents defend the idea of a young and beautiful Saint Joseph,
based above all on his hagiographic relationship with Joseph of Egypt. Such novelties
will also have their reflection in the plastic and, as a result, the saint will begin to acquire a
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own prominence with the definition of its two main iconographic types: the exempt type and
the "christophore" type.
Keywords : San José; Canonical Gospels; Apocryphal Gospels; Iconographic type;
Modern devotion ; Cristoforo.
Abstract : The image of Saint Joseph is a paradigmatic example of iconographic evolution, as he

will become Patron of the Church in 1870 after having been ignored during the first Christian
centuries. The Medieval period will be the key of all that process. So, in a first moment, Saint
Joseph will be omitted, hidden in a secondary plane or represented as an old man, in order to
safeguard the purity of the Virgin. His presence will be restricted to those chapters of the
Canonical and Apocryphal gospels related to Christ's life or Saint Mary's life. However, this
situation will change in the Late Middle Ages, when the new devotional trend will stand for the
idea of Saint Joseph as a young and handsome man, backed up on his hagiographic link with
Joseph of Egypt. All these changes will be reflected on Art and Saint Joseph will get his own
importance defining his two main iconographic types: the free-standing type and the
"Christophorus" type.
Keywords : Saint Joseph; Canonical gospels; Apocryphal gospels; Iconographic type; Devout
modern ; Christophorus
E ICONOGRAPHIC STUDIO
Attributes and form of representation

Throughout the Middle Ages the representation of Saint Joseph predominated as a
old man. This used to appear rather bald or with graying hair, being
practically inexcusable the presence of a beard on his face as a sign of maturity and
good judgement. Only the Gothic painting of northern Europe deviated from this trend
giving it a hairless or very shaved face. They were Van der Weyden and
Memling who introduced this novelty in the physiognomy of the saint, assuming it
Digital Magazine of Medieval Iconography , vol. V, No. 10, 2013, pp. 57-76. 57
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later a whole generation of authors (Gil de Siloé, Bartolomé Bermejo, Alonso de

Sedano, Master of Ávila…).
As for the attire of San José, the usual thing was to reproduce an outfit
typically Hebrew, including a pointed headdress called the Phrygian cap
very similar to the pileus cornutus worn by medieval Jews. It is possible that
such an anachronism would have had a mere diacritical intention, but this may have
provoked in the collective subconscious of the medieval spectator - commonly
anti-Semitic - an assimilation of dire consequences for devotional consideration
of the saint.
Apart from this, the vestments of Saint Joseph were important relics
in the absence of bodily vestiges to venerate, as a pious belief affirmed
that Saint Joseph had been an affair to Heaven. Among these ex vestibus relics the most
important was the cloak, which is said to have been used to wrap the newborn child,
as also happened with the San José hose ( Natividad de Hans Multscher,
Gemäldegalerie, Berlin, c. 1437). But his clothes did not end the desire to
hoard other Josephine memories, causing the "invention" of new relics that in
many cases had their origin in attributes popularized by the literary and
iconographic. Perhaps the best example is the staff of Saint Joseph, whose presence has
been linked to the Josephine iconography constantly. During medieval times it was
symptom of Joseph's old age, but at the same time explained by an apocryphal basis
according to which he was the means by which God chose him to be the Virgin's husband.
The only thing that varies, according to versions, is the way he did it and while some talk about
a dove that came out of it, others affirm that flowers sprouted from the rod. Regarding what
was what sprouted from the stick, no specific type of flower seems to be distinguished, but
as the chastity of Joseph is accepted, certain white flowers will be chosen
secularly linked to the idea of virginity, especially the lily. I even know sometimes
produces a “stylization” of it in the form of a fleur-de-lis (front of San Miguel de
Aralar, 12th century). Other times, the rod does not take on the appearance of flowers, but of leaves.
( Marriage of Fernando Gallego, church of Santa María la Mayor de Trujillo, c. 1485),
aspect that also seems to be alluded to in those crooks with a hilt in the shape of
of scrolls bearing some medieval images of Saint Joseph (capital of the Epiphany , Saint
Martín de Frómista, XI-XII centuries; door of the upper cloister of Burgos Cathedral, century
XIII; Door of the Clock of the Cathedral of Toledo, century XIV). Sometimes the own
staff is used to carry a pack or a gourd on the shoulder as a canteen,
attributes also of the pilgrim Joseph (capital of the Flight into Egypt , Cathedral of the
Rodrigo, yes. XIV). Other times he carries it tied to his belt, using it in the
Rest on the flight to Egypt (panel from the church of Castromocho, Museo
Diocesan of Palencia, XV century). Another element associated with San José is a bag
hung at the waist as a pouch, implying that in it she keeps the
travel supplies or the coins to be used to register the Child or
"Rescue him" in his Presentation, as referred to in the Book of Numbers 1 . This item
could emphasize its status as " nutritor domini ", but it is also often associated with
the traditional iconography of the Jew, which may have contributed to the "marginalization" of the
character by the medieval viewer.
1 “Every firstborn, animal or human, that they offer to the Lord, corresponds to you. But let
rescue the firstborn of man and also those of impure animals. They will rescue them when they have a
month, valuing them in five shekels… ”(Nm. 18, 14).
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There are times when both the pouch and the bundle may contain the
tools typical of the carpenter's trade, traditionally arrogated to Saint Joseph. Said
tools, along with various wooden objects and a lot of shavings, we will find them
also in the same cave of Bethlehem ( Epiphany of Jaume Huguet, Museu Episcopal de Vic,
XV century; Epiphany of Tomás Giner, church of Santa María de Calatayud, 15th century). The
Workshop scene, however, will be rare in medieval iconography.
Other elements that are not relics but that the iconography turned into
Recognizable attributes of the saint were the candle, the book and the bird. In the case of the candle,
regularly replaced by a lamp or lantern (table of the Nativity , church of Santa
María del Castillo de Frómista, 15th century), it was Saint Brígida of Sweden who stated in
his Revelations to have seen the saint wearing this object at the Nativity during a
mystical trance before the grotto of the manger 2 . With these words, Santa Brígida exposes all
a philosophy of light derived directly from Pseudo Dionysus and Saint Bonaventure,
for whom light is a mystical component that has three forms: LUX (God the Father),
LUMEN (God the Son) and SPLENDOR (Holy Spirit). In this way, Christ comes as a
luminous ray ( lumen ) from the womb of God the Father ( lux ) to "pierce" Mary without
corrupt her virginity, filling her with the Holy Spirit ( splendor ). Once Christ was born,
that splendor is manifested in the Child but also in the mother, not so with Saint
José whose light - the candle - is simply earthly. Iconographically, this idea gives as
result a Child wrapped in rays or golden mandorla that he shares with his mother
while, by his side, old José has to settle for the dim flame of the lamp
( Nativity of the Master of Ávila, Lázaro Galdiano Museum, 15th century). It would be, in
summary, of the classic contrast between the spiritual and the material, the divine and the
human.
Regarding the book, we have some Romanesque and Gothic examples,

being perhaps the oldest that of a capital with the Presentation located in the cloister
Huesca of San Pedro el Viejo (12th century). As for its meaning, it is unclear whether its
function was to grant dignity to the represented character, or to have a value
testimonial referred to the fulfillment of the messianic prophecy.
Other times, Saint Joseph carries in his hand a little bird that seems to be inspired by
some medieval texts where it is explained how there was no day without Joseph, returning from
work, did not bring a bird that the Child could play with. So endearing
anecdote seems to be reproduced in the altarpiece of Our Lady of Grace (Cathedral of
Ávila, 1496) where the Virgin, surrounded by angels, serves as the Child's throne while Saint
José hands her a small bird tied to a string. It is very likely that we will meet
before the re-elaboration of a very common iconography in the Middle Ages where the Child,
in her mother's arms, she clutches a bird tied by the leg to a string with her fist. Already
Didier Martens spoke of the symbolism of the bird as an image of the soul "trapped" by
Christ thanks to the captivating power of his Word 3 , so the inclusion of Saint Joseph in
the group would imply that it is he who captures her for Christ through his life
copy.
2 “… he brought his Son into the world from whom emanated such light and radiance that not even the sun could
compare it, much less the candle that the old man had brought to light, since the glow
divine had totally eclipsed the material radiance of the candle ”. BRIGID OF SWEDEN, Revelations ,
edition of BUTKOVICH, Anthony (1973): p. 29.
3 GUTIÉRREZ BAÑOS, Fernando (2005): p. 283.
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Regarding its iconographic type, it should be noted that, for a long time, the only
The way in which Saint Joseph was evoked was within an episode referring to the life of
Christ or the Virgin. The topics where it appears are:
1. S Ueno S AN J Osé (Matthew 1 : 20-25): San Jose was visited by the angel in a dream to
four times, so it is difficult to figure out which one of them is
reference, having to look at the age of the Child or the matter that develops in the background (the
Virgin announced, the slaughter of the innocents ...). In general, San José is represented
asleep, slightly reclining or lying down (capital of San Juan de la Peña, 12th century;
Main Altarpiece of the Old Cathedral of Salamanca, XV century), but there are also
exceptions where he appears awake and about to start the march (Holy Ark of
Oviedo, 11th century; altarpiece of Santa Catalina, Cathedral of Tudela, XV century; Main Altarpiece
of the Cathedral of Cuenca, XV century).
2. H UIDA A E GYPTUS (Mt. 2, 13-18): This is a very recurrent theme during the Age
Media that is almost never lacking in monumental Romanesque sculpture. It will be especially
abundant in the Jacobean setting, perhaps for referring the pilgrim to the model of Saint Joseph,
traveler par excellence. Its most frequent typology shows Mary riding on the
donkey while Saint Joseph advances in front pulling the halter. But there are other occasions - more
rare - where Saint Joseph can take the Child with him (Sepulcher of Gonzalo Ximénez de
Cisneros "The Good Knight", Parish Museum of Cisneros, 12th century.).
3. E L RETURN E GIPTO (Mt. 2, 19-23): Very minor and very own cycles
neat, such as that of Juan de Borgoña for the Main Altarpiece of the Cathedral of Cuenca
(XV century) where it is distinguished because the Child appears already developed.
4. T HE JOURNEY TO B ELÉN ON THE OCCASION OF THE CENSUS (Lk. 2, 1-5): Besides the fulfillment
prophetic, refers to the most celebrated virtue of Joseph: obedience. It is
relatively rare in medieval Spanish iconography, so Sánchez
Canton only offers us an example of the theme in the miniature of a fourteenth-century missal.
from Sant Cugat del Vallès 4 .

5. N ativity AND A DORACIÓN OF PASTORS (Lk 2 : 6-20.): Certainly at the scene of the
manger where the iconographic evolution of Saint Joseph is best perceived. After being
practically ignored in early Christian art, during the Romanesque San José
He stands in isolation, looking thoughtful, his hand resting on his cheek as he
María, next to him, remains lying recovering from the puerperium (wall paintings of the
church of Santa María de Mur, 11th century). Sometimes this brooding attitude is identified with the
theme of the Dream of Joseph, which would be incorporated into the Nativity by virtue of a syncretism
typical of the Romanesque style (capital of Santo Domingo de Silos, 12th century), but its
isolation may be a plastic resource to suggest the non-participation of San José in
the virginal conception of Jesus (front of Santa María del Coll, Museu Episcopal de Vic,
XII century). Gothic art will introduce a new stage where the saint has a more important role
participatory, approaching the Child to give him a fruit or carrying out all kinds of
tasks such as cooking the Baby's porridge ( Hans Multscher's Epiphany , Gemäldegalerie,
Berlin, c. 1437 ; altarpiece of San Bartolomé and Santa Isabel, Barcelona Cathedral, c. 1401),
put their diapers to dry (altarpiece of the Virgen de la Esperanza, Cathedral of Tudela, century
XV) and even attend to Mary (capital of the Nativity , cloister of the Cathedral of
4 SÁNCHEZ CANTÓN, Francisco Javier (1948): p. 17
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Tarragona, 12th century). In 1492, the Revelations of Saint Bridget of Sweden - perhaps
based on the Meditationes of the Pseudo Bonaventure - provoke a formal change that gives
foot to a new iconography known as “Nativity Worship”. Saint Bridget
proposes a painless delivery, eliminating the presence of midwives and incorporating
of Saint Joseph, whom he makes advance to the place of Mary to share with her and the Child
all the prominence of scene 5 .
6. C IRCUNCISIÓN Y P NTRODUCING THE N HILD (Lc 2, 21-38.): Although these two

different ceremonies, sometimes they appear confused or merged. The presence of Saint Joseph
it tends to be rather passive, limiting itself to carrying a candle or turtledoves for sacrifice 6 . The
The exception is in a Gothic altarpiece of the Salamanca convent of the Annunciation (century
XV), where Saint Joseph points his finger towards a kind of pyx - perhaps an inkwell.
as if he wanted to emphasize his power to impose the name on the Son. The same meaning
legal would be developed in a Gothic polyptych of the Museu Nacional d'Art de Catalunya
where, standing before Simeon, the saint lays his hand on the Virgin and Child with a
gesture reminiscent of a baptismal godfather.
7. J ESUS BEFORE THE DOCTORS (Lk. 2, 40-52): Also here the presence of Joseph is more
very discreet, usually standing at an angle next to his wife, who is the one who
Reprimand the Child (panel by Simone Martini, Walker Art Gallery, Liverpool, 14th century).
8. THE WORSHIP OF THE W AGES (Mt. 2, 1-12): Paradoxically, the Gospels

Canonicals do not incorporate Saint Joseph in this scene, while the Apocrypha will do so 7 .
This fluctuation will also be noticeable in the iconography, even in works by the same
Author. This is the case of Pedro Berruguete, who sometimes chooses to include it (table of
Várez Fisa Collection, XV century) and others not (panel of the Church of Santa María de Becerril
de Campos, 15th century) 8 . During the Romanesque period, San José is not usually part of the
Epiphany and when it appears it is relegated or maintaining a suspect
frontality (capital of San Martín de Frómista, XI-XII centuries). Maybe it's a
compositional solution with which to indicate the absence of José during the royal visit,
allowing at the same time to identify the scene. In fact, only in the baptismal font
of Renedo de Valdavia (13th century) Saint Joseph turns towards the Virgin and rests his hand on the
columnilla of the arcosolio as if it were the door of the manger. Unexpectedly, it will be in
Gothic art when

the church Saint
of Santa Joseph
María appears completely
de Villasirga, turnedOther
14th century). towards thethe
times, group
saint(cover of
is depicted
hiding and spying on what happens there through an opening or a hole made in
the wall of the manger (altarpiece of the Virgen de la Escala, Sant Esteve de Banyoles, century
XV). The "snooping" theme, which lasted well into the 16th century, could be a
derivation of the apocryphal Liber Infantia Salvatoris according to which Saint Joseph is not present
5 “When the Virgin felt that she had given birth to her Son, she immediately worshiped him, with her head
bowed and her hands together. At that moment, Saint Joseph fell on the ground and sobbed with joy, and
kneeling they both adored him ”. BRIGID OF SWEDEN, Revelations , BUTKOVICH edition,
Anthony (1973): p. 29.
6 “This is the Law regarding a woman who gives birth to a son or a daughter. If you don't have the means to buy a
lamb, let him take two turtledoves or two youngsters… ”(Lev. 12, 8).
7 “… and when they came to the house, they saw the Child with Mary, his mother, and they worshiped him by the fences” (Mt. 2, 11);
"Then they opened their chests and donated many gifts to José and María." Gospel of the Pseudo Matthew ,
Edition of SANTOS OTERO, Aurelio (2004): p. 93.
8
Pedro Berruguete. The first Renaissance painter of the Crown of Castile (2003): p. 98.
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on Epiphany but, full of curiosity, he sends his son Simeon to go away

counting 9 . Influenced also by this and other apocryphal texts, Saint Joseph may appear
dedicated to guarding the offerings brought by the Magi, without sometimes hiding a gesture of
greed ( Epiphany of the altarpiece of Saint Bartholomew and Saint Elizabeth, Barcelona Cathedral,
XV century).
9. L A A nunciation A M ARIA (Lc 1 : 26-38.) The presence here of San Jose explains
to serve as the background for said scene, so he is usually depicted working on
his workshop or receiving in dreams the angel's warning ( Triptych Mérode , Metropolitan
Museum of Art, New York, 15th century). Exceptional character will be the Annunciation
reproduced in a Romanesque wall painting in the church of San Martín de Puig-Reig
(13th century) where a supposed Saint Joseph appears observing Mary just at the moment
in which the angel addresses her. This attitude is repeated in some Eborary pieces from the 9th century
from the Rhine area and preserved in the Royal Museums of Brussels 10 , a
solution analogous - albeit strange - to that used in the pulpit of Barga (12th century) or
the wall paintings of the church of San Pedro de Sorpe (12th century), where there is San José
but one of the maidens at the service of Mary who discovers the angel's announcement. On
all cases would be justified by the need for an image-witness to endorse the
Virginity of Mary and the supernatural character of her conception.
10. L A V ISITATION (Lk. 1, 39-56): Saint Joseph usually stands next to the two cousins,
occasionally displaying a concerned face, frowning and hand resting on
chin while fixing his gaze on the swollen belly of Mary (altarpiece of the church
de Serdinyà, France, c. 1342).
11. E L Á TREE J that (Mt. 1, 2-16 and Lk 3 : 23-38.) Although the presence of San Jose
This topic is usually relegated for reasons of decorum, it does appear incorporated in a
Flemish engraving from 1480 entitled Chronologia Universalle 11 .
The apocryphal gospels collect many episodes of the Childhood where

San José is the protagonist, although few are transferred to iconography. A) Yes
we can cite topics such as the test of bitter waters (Chair of Maximiano
in Ravenna, 6th century; frescoes of Santa María de Castelseprio, 9th century; manuscript of Los
miracles of Our Lady , Gautier de Coincy, 13th century 12 ) or those of Saint Joseph sending
the Child to school, Saint Joseph rebuking the Child, the prodigious harvest, the miracle of
workshop ( The Tring Tiles , The British Museum, 14th century), etc. However, those who have
a greater iconographic impact are:
1. P RETENDIENTES OF V irgin , CHOICE OF J OSE and D ESPOSORIOS : One of the best

exponents of the first theme are the two tables that Pedro Berruguete makes for the
Palencia parishes of Becerril de Campos and Paredes de Nava (c. 1480). Refering to
choice of José, the most recurrent option is the miraculous flowering of the rod, but also
can be added the dove perched on the rod or on the head of the saint (altarpiece of the
Holy Spirit, San Lorenzo de Morunys, c. 1419). In the Betrothal of Robert Campin
9 “But Joseph said to Simeon: Son, watch and see what these strangers are doing inside, for they are not
It is good that I spy on them ”. Liber infantia Salvatoris , edition of SANTOS OTERO, Aurelio (2004): p. 116.
10 PONS PONS, Guillermo (2002): p. 8.
11 VORONOVA, Tamara and STERLIGOV, Andrei (1996): p. 278.
12 Ibid., P. 67.
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of the Prado Museum and in the polyptych of Vrancke van der Stockt of El Escorial the election
of the candidates incorporates a Saint Joseph who intends to flee hiding the flowered rod
under his mantle, being intercepted by one of those summoned. Regarding the
Betrothal, until 1473 the so-called French form predominates, where the spouses endorse
their union shaking hands ( dextrarum iunctio ). The most primitive Spanish testimony is
it would be found in a capital of the Huesca cloister of San Pedro el Viejo (12th century) 13 . Starting
of 1473, with the invention in Perugia of the relic of Santo Anello, the
called Italian way, where Saint Joseph gives a ring to Mary 14 . In parallel, there is
times when the figure of Saint Joseph is attacked or mocked by suitors
Rejected. In the altarpiece of San Francisco de Villafranca painted by Borrasá (15th century),
They try to trick him by exchanging the flowery stick for a dry one. In the betrothal that he paints
Nicolás Florentino for the Main Altarpiece of the Old Cathedral of Salamanca (XV century) o
those of Fra Angelico in the Prado Museum and the Cortona Museum (15th century), the
Disappointed candidates brandish their sterile rods against old Joseph.
2. E PISODIUMS OF H UIDA A E GYPT : The most recurrent will be that of the miracle of wheat 15
(wall paintings from the churches of Valberzoso and San Felices de Castillería, 15th century;
panel from the church of Santa María del Castillo de Frómista, Diocesan Museum
Palencia, 15th century), although the Encounter with Aphrodisio was also represented
(main arch of Santa Maria Maggiore of Rome, 5th century) and the subject of the leaning tree that
delivers its fruits to the Sagrada Familia (roof of the church of San Martín de Zillis,
Switzerland, 12th century) 16 .
3. R EPROCHES OF S AN J OSÉ TO THE V IRGEN : In the case of the reproaches that José makes to the
Virgin when she discovers her pregnancy, we have several examples in the Byzantine area
(mosaics of San Salvador de Chora and San Marcos of Venice) but also in art
Western Gothic (front of Santa María de Iguácel, 13th century; altarpiece of Santa Catalina,
Tudela Cathedral, 15th century; altarpiece of the Virgen de la Escala, Sant Esteve de Banyoles,
XV century).
Along with these, we can add one more:
4. E L WORKSHOP J Osé : The Greek texts of the Gospels use the word tekton for
refer to the office of Joseph, an imprecise term that led to confusion among the
idea of a Saint Joseph carpenter or Saint Joseph blacksmith. However, tradition always
preferred - and disclosed - the iconographic type of the " carpentarius " assigning it as attributes
tools of his trade, originating brotherhoods of artisans in his honor (the
first, of medieval origin, in Malta) and giving rise to the theme of the workshop. Said topic, without
However, it is very rare in medieval art and is only occasionally alluded to.
condition by scattering his work tools around the Birth cave. Starting
from the 15th century, José's workshop may accompany the scene of the Annunciation ( Triptych
Mérode , Metropolitan Museum of Art, New York, 15th century) or constitute a subject
13 RICO CAMPS, Daniel (2001).
14 In the panel of the Betrothal of the Main Altarpiece of the Old Cathedral of Salamanca, San José seems
make a clamp with your fingers, as if you were really giving a ring to the Virgin, although this
come to be appreciated.
fifteen
Gospel of Pseudo Tomás , edition of SANTOS OTERO, Aurelio (2004): p. 130.
16 Both in the Gospel of Pseudo Mateo , edition of SANTOS OTERO, Aurelio (2004): pp. 95 and 97.
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itself ( Taller de José , Pere Terrencs, Vilallonga Collection, 15th century; miniature of the
Book of Hours of Catherine de Cleves , Pierpont Morgan Library, 15th century).
As an independent iconography, San José does not acquire an exclusive role

until the sixteenth century, but this does not mean that there are no examples prior to said
moment. In this way, two different iconographic types can be distinguished in the
representation of Saint Joseph as an isolated character:
• E L EXEMPT TYPE : This is not the most common iconographic type, but the most
old. One of the first testimonies is found in a capital of the cloister
Romanesque of Sant Benet de Bages (11th century). Something later will be the San José exempt from
the Viñals collection (13th century), while another is kept in the Museum of Barcelona.
from San Martín de Jarroca (XIV century). They both carry a book and a cane like
identifying attributes. The pictorial examples are also relatively early

in Spain and thus we have, in the Lucas Moreno collection, a 15th century table
attributed to the Master of Perea where Saint Joseph appears seated, with the flowery rod and a
open book in his hands.
• S AN J OSE THE N HILD : The most common way that depicted the saint can to
turn divided into two other types:
• Withthe Child next to him (itinerant) . The first testimonies are in the field of
stamp and painting. One of the most primitive Spanish examples is that of a table
Valencian of the mid-15th century where the Child was limited to accompanying the saint in
of identifying attribute 17 . The variant of San José "guide" or "itinerant" where father and
Son are represented in walking attitude already appears in some German print of the fifteenth century,
but in Spain no examples are preserved prior to the image that El Greco made for the
chapel of the saint in Toledo.
• Withthe Child in arms (standing or sitting) . Again this time the painting brings him the
front of the sculpture, since what is perhaps the earliest example located in Spain
dates from the 15th century. It is a table preserved in the Lul·liana Archaeological Society
(Palma de Mallorca) and which occupied one of the gables that festooned the upper part of a
Gothic altarpiece. Taking into account that the rise of this typology does not take place until well into
the 16th century, we would be facing an isolated case that should be considered as the representation
“Skewed” from a larger developmental scene, for example one of those Gothic nativities
where it was common to find Saint Joseph receiving the Child from the hands of his wife to
help to fasten it (Grabow altarpiece, Church of St. Peter in Hamburg, 15th century).
Written sources 18
E CANONIC VANGELIANS : Although throughout its pages Saint Joseph remains
in a silence as undaunted as it is enigmatic, the canonical gospels constitute the
fundamental basis when generating iconographic themes where Saint Joseph is present.
17 GARCÍA GUINEA, Miguel Ángel (1948): pp. 94-95.
18 Among the current studies that deal with the subject, it is necessary to cite the iconographic repertoires (Réau, Grabar,
Mâle, Sánchez Cantón) or the iconographic dictionaries of Duchet-Pastoureaux, Schauber-Schindler,

Guenebault, Lurker, Giorgi, Revilla…; monographs on the subject (especially the essay by Paul Payan
on the image of Saint Joseph in the Medieval West) or the works sponsored by the different Centers
of Josephine Studies that arise all over the world. In the Spanish case, the Josefinos Studies Center
of Valladolid with such pioneering articles on Saint Joseph in Spanish medieval art as those of Miguel
Ángel García Guinea, Gratiniano Nieto Gallo, Téofanes Egido López and Juan Luis Rodríguez, among others.
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All of them will be relative –as it is logical– to episodes of the childhood of Christ, narrated
by Saint Matthew (Mt. 1, 18; 2, 23) and Saint Luke (Lk. 1, 26; 2, 52).
· E APOCRIFIC VANGELS : Especially the so-called " Gospels of the Childhood "
(Protoevangelium of James , Gospel of Pseudo Matthew , Book of the Nativity of
Mary , Childhood Book of the Savior , Gospel of Pseudo Thomas , Arabic Gospel
of childhood and Armenian Gospel of childhood ). Its descriptive nature supplies the
lack of data presented by the canonical gospels regarding the character and
physiognomy of San José, although his contribution was very negative for the consideration of the
holy, because they show us as a sullen, mischievous and mean type 19 . They are
also the apocrypha, those who propose the idea of an old and widowed Saint Joseph, with
even children from a previous marriage 20 . This was intended to give an explanation to the
reference on the brothers of Jesus 21 , wielded by some heretical movements to
the time to attempt against the virginity of María 22 . Very important will be the Coptic text of the
History of Joseph the Carpenter , although it will not be made known in Europe until 1522 when
Isidoro de Isolano incorporates it to his Sum of the Gifts of Saint Joseph . It also calls the
attention a fragment of the Protoevangelium of Santiago that has been called " apocryphal
of José ”, where the saint narrates in the first person his encounter with the midwife 23 . Throughout
In any case, the Apocrypha were a source of the highest order in the late Middle Ages, hence
that the iconography of the time fully coincides with that pejorative vision of the saint
that we just referred to.
L A P ATRISTIC : A fundamental text will be the Refutation against Helvidio and the
Commentary on the Gospel of Matthew , both the work of Saint Jerome, where for the first time
José's virginity is defended 24 . He will be followed by Saint Augustine, Theodoret, Bede the
Venerable, San Ruperto de Deutz, San Pedro Damián or Santo Tomás, among others,
definitively imposing the idea of a virgin and chaste Saint Joseph.
· TO UTOS SACRAMENTALS AND RELIGIOUS THEATER : They perpetuate that deteriorated vision of Saint
Joseph as a pitiful old man (for example, the Representation of the Birth of
Nuestro Señor de Gómez Manrique 25 ). At the same time, Réau and Orozco Pardo told us
19 “These gentlemen have done very well not to kiss the child for nothing; the opposite of ours
shepherds who came here empty-handed ”. Liber infantia Salvatoris , edition of SANTOS OTERO,
Aurelio (2004): p. 116.
20 “Zacarías, Zacarías, go out and gather all the widowers of the town (…) and Joseph, leaving his ax, joined
they". Protoevangelio de Santiago , edition of SANTOS OTERO, Aurelio (2004): p. 63.
21 Mt. 13, 55; Mc. 3, 31.
22 “Blessed are you in your old age, since the Lord has declared you fit to receive Mary under your
careful". Gospel of Pseudo Mateo , edition of SANTOS OTERO, Aurelio (2004): p. 86.
23 “And I, José, I started walking, but I couldn't move forward…”. Protoevangelium of Santiago , edition of
SANTOS OTERO, Aurelio (2004): p. 68.
24 “You say that Mary did not remain a Virgin; I claim for myself, even more, namely, that also the
Joseph himself was a virgin through Mary… ”(SAINT JERÓNIMO, Refutation against Helvidio ), in LLAMERA,
Bonifacio (1947): p. 62; “… We defend that the Lord's brothers are not sons of Joseph, but cousins
brothers of the Savior… ”(SAINT JERÓNIMO, Commentary on the Gospel of Matthew ), in LLAMERA,
Bonifacio (1947): p. 62.
25 "Oh, old man of many days, in the brains of very few, the chief of madmen ...". GÓMEZ MANRIQUE
(15th century): Representation of the Birth of Our Lord , Digital Edition of Miguel de
Cervantes (1999).
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indicate that in Central Europe it was used to choose the "fool of the people" for the character of
Saint Joseph in the car on Christmas Eve 26 . Presumably the choice was given by being the
paper with less dialogue, but it is likely that this would have led to an unfortunate
identification by the common people between actor and character.
S ERMONES : In general, they do not split from the line marked by medieval theology with
Regarding the weighting of San José 27 . A turning point, however, we have it
in the Super missus est de San Bernardo de Claraval or De Sancto Joseph Sponso Beate
Virginis by the Franciscan Bernardino of Siena, considered the first eulogies on
Saint Joseph.
HAGIOGRAPHIC G EENER : Essential were the Golden Legend of Santiago de la
Maelstrom, which "filters" and compiles the main apocryphal texts giving rise to the so
widespread Flos Sanctorum or Sacred Florilegios , and the Meditationes Vitae Christi of the
Pseudo Buenaventura, which will also end up leading to a gender with identity
own: the Vitae Christi . Equally important will be the disclosures and court briefs
mystical as those of Saint Bridget of Sweden, where it continues to insist on describing Saint
Joseph as an old man. The turning point will come with the publication in 1418 of
the Josephina of Juan Gerson (1418), a disciple in turn of Pedro d'Ailly, who had already
previously written a hymn dedicated to the Twelve Glories of Saint Joseph and where by
For the first time there is talk of a young, chaste Saint Joseph, sanctified in the womb,
risen and affair to Heaven. These news, however, will not reach Spain until
the 16th century with the " Josefinas" of Laredo (1535) and Gracián (1597) who were to be followed
many other authors.
Other sources
· V ILLANCICOS AND POPULAR POETRY : The cynical and scathing humor of popular folklore will prevail
even the caricature in these grotesque aspects of Saint Joseph that the Apocrypha 28 collect .
Geographical and chronological extension

The iconography of San José already has a place in the first manifestations of art
early Christian, such as sarcophagi, mosaics, and catacomb paintings, though
always within episodes related to the life of Christ or the Virgin. In the field
Byzantine, its presence is more common, perhaps because the Apocrypha had a
greater specific weight as an iconographic source. A notable case will be that of the Copts, in
Egypt, who will worship the Virgin's husband very early through texts
like the apocryphal Story of Joseph the Carpenter . In return, your image will suffer
of other problems, among which is the fact of preferring the type of San José
old man when it comes to representing it. Around the year one thousand, the feast of San José begins to
appear in European martyrologies (Fulda, Regensburg, Werden, Reichenau ...) but always
under a context of Byzantine influence. From the eleventh century some
26 RÉAU, Louis (1957): p. 164; OROZCO PARDO, José Luis (1974): p. 24.
27 “Think of the perplexity in which Joseph was, who was old and poor, and the Virgin Mary young and beautiful and
beautifull". GARCÍA MIRALLES, Manuel (1971): p. 400.
28 “Mary tells José / to give bread to the Child, / what an obligation of parents / to support their children. / Saint
José responds: / - I don't have an ochavo, / if the Child wants it / let him win it ”. DÍAZ, Joaquín (1982):
p. 16.
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oratorios in his honor within the Italian territory, the first being that of Borgo Galliera
(Bologna, 1129). In 1371, Gregory IX promoted the festival of March 19 (death of
San José), which in 1480 will be ratified as a simple rite festival by Sixtus IV. Is
date will be a turning point in the devotion to Saint Joseph and in its dissemination
iconographic, which will gradually increase. During all this time, the
Josephine iconography will continue to develop both in Romanesque art and in art
Gothic, spreading throughout the medieval West. In parallel, certain orders
nuns had already begun to incorporate the feast of St. Joseph into their own calendars.
The Servites will be the first, in 1324, followed by the Franciscans in 1399 and
later the Carmelites already in the XV century, hence we find a higher density
iconographic in those areas dominated by these congregations, or by those
guilds and devotional brotherhoods that have him as patron.
Supports and techniques

The Josephine iconography has the sculptural relief in stone as a support
predominant throughout the Middle Ages. Thus, we will find the image of Saint Joseph
in the monumental Romanesque sculpture that develops over a series of
capitals, portals, tombs and baptismal fonts. We also suppose that they were
There are abundant pictorial examples, especially of mural painting, although they have not been
preserved so many. On the other hand, we do have several Romanesque examples of antipendios
and altar fronts. All these supports continue in force in the Gothic period,
incorporating some specimen in round bulk and observing an increase in works
paintings destined
illuminated for altarpieces.
manuscripts, Onestained
choir stalls, must also
glasscite, of course,
windows and the existence
pieces ofparticularly
of gold,
manholes.
Precedents, transformations and projection

The conceptionist heresies of the early Christian centuries affected
negatively to the image of Saint Joseph, who becomes an uncomfortable character. In order to
"Neutralize" it, art tried to obviate it (catacombs of Priscilla, Rome, 2nd century; sarcophagus
de Layos, Museo Marés, 4th century) or disguise its compromising presence through
the second shots or the hierarchical perspective (sarcophagus of Castiliscar, 4th century).
When it was impossible to continue ignoring him, an image of the saint was manufactured in the form
of an elderly man starting from a very basic principle: if José was a
old man, his senility would have prevented him from cohabiting with the young Maria, thus testifying
her virginity and the divine origin of Jesus. Now, one thing is the pretense of
theologians and quite another the real feeling that such a disparate marriage could
stir up in the mentality of the medieval devotee. Thus, the age difference began to
see as something laughable and even provoked suspicions regarding the fidelity of the Virgin,
turning San José into a prototype of a deceived husband. This will lead to the Romanesque
to the controversial episode of "the jealousy of Joseph", of Byzantine influence, where the saint
He was cornered, with a sullen gesture, his hand resting on his chin. The situation no
improves during the Gothic period, where in addition to accentuating its decrepitude, the character
descriptive of this style usually shows us San José engaged in "improper" tasks of
their gender that hinder their devotional rehabilitation. This rawness is especially
visible in Spanish medieval art as proof of its link to the international style,
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much closer to Northern European painting than to Italian painting and, therefore,
indirectly influenced by that popular literature of which Réau spoke and where Saint
Jose was so mistreated.
Paradoxically, however, the first signs of recovery are already beginning
in this period thanks to the concept of modern devotion who, in his search for a
more "humanized" religiosity, will be set in the hidden years of the childhood of Christ.
In addition, Saint Bernard of Clairvaux and later the Franciscan spirituality
promote a Marian boom that will run parallel to the esteem for San José, as a
consequence of it. The importance of the Revelations of Saint Bridget is also
capital, because it places Saint Joseph on an equal footing with the Virgin, placing him next to her
in the manger. Thus, the end of the Middle Ages will bring about a process of change
radical, beginning to defend José's youth "for reasons of convenience."
Parallel to this hypothesis will run the idea of Saint Joseph as a physically beautiful man,
also based on mystical and devotional literature. All this will cause
starting from Trento, this new iconographic type developed in turn by the
main figures of the Spanish Baroque. In spite of everything, the iconography will not be able
easily let go of a model that had been successful for so many years,
existing an enduring vision of Saint Joseph as an elder that undoubtedly responds to the
strength of tradition. In fact, at the end of the 16th century, while Molanus promoted the
image of a mature but vigorous man, Pedro Canisio was committed to maintaining the
elder prototype " for being the most familiar to the faithful " 29 .
The Modern Age will witness the rise of the cult of Saint Joseph materialized in the
appearance of paintings, sculptures and even entire altarpieces entirely dedicated to him
(San José altarpiece, Tudela Cathedral, 16th century), the creation of new devotions
origin, in turn, of new iconographies (Death of Saint Joseph, Sagrada Familia ...) or the
Acquisition of full prominence in scenes where it never had 30 . Point
culminating will come in 1870 when Pius IX proclaims him Patron of the Universal Church.
The process of sanctification of Joseph also has its iconographic reflection in the
detail of the nimbus that adorns his head. Although it is difficult to know when and where it begins to
represent the image of José nimbado, there are those who see a definite evolution in said
process related to its shape, going from the absence of a nimbus to the appearance of a
polygonal nimbus that would eventually lead to a round 31 . Paradoxically, in the
Romanesque painting Saint Joseph normally appears haloed with a round halo and without
distinctions with respect to that of the Virgin. At most it can change the color, or not be
covered with gold leaf (front of Santa María del Coll, Museu Episcopal de Vic, century
XII). The most notable differences begin to appear in the Gothic, at which time José
more often lacks nimbus or shines one of different consistency or
“Opacity” (table of the Nativity , church of Santa María de los Ángeles, Monzón de
Campos, 15th century). At other times, it takes a polygonal or star shape ( aux ailes
de chauve-souris ) to make a difference with other characters considered more
"Sacred" or to indicate that José belongs to the Old Covenant, as well as
Zacarías, Joaquín or the righteous who accompany the Risen One on the descent to Limbo.
29 CHORPENNING, Joseph F. (ed.) (1994): p. 54.
30 This is the case of the Nativity of the church of San Hipólito de Támara (18th century) where José holds the Child
on her lap while occupying a central place normally reserved for the Virgin.
31 RODRÍGUEZ, Juan Luis (1971): p. 762.
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Prefigures and related themes

Theologically speaking, Saint Joseph is prefigured in the Old Testament by
the patriarch Joseph of Egypt, not only because of their shared name, but because their
hagiographies seem to converge on some points. Thus, Bernardo de Claraval compares them
for their proven chastity and for the frequency with which angels visited them in dreams 32 .
The same condition of homonym will promote the association between San José and José de
Arimathea, analogous to that of the two holy Juanes. Hugo de Saint included all of them
Cher when she spoke of “the four Josés”, that is, the son of Jacob, the husband of the
Virgin, that of Arimathea and "the Just", indicating that the first foreshadowed Christ, the
the second kept him, the third buried him and the fourth announced his resurrection 33 . The
The same coincidences regarding critical episodes in their lives will occur between San José and
San Joaquín, which is reflected in practically parallel iconographic cycles. With others
saints will be related by sharing an iconographic attribute, being the case of San Hermann
José, San Cristóbal, San Alberto de Sicilia, Santa Inés de Montepulciano or San Antonio
of Padua, since all of them are represented carrying the Child in their arms entering
from the category of cristoforos . They may also have some sponsorship in common, such as
It occurs with the so-called antipastiferous saints , among which are Saint Sebastian,
San Antonio, San Cristóbal, San Roque or Santiago. Equally the devotion that some
Saint manifested to the Patriarch can serve as the basis for an iconographic relationship, such as
it happens with Saint Margaret of Castello. Other times the bonding comes from
iconographic contamination, through common episodes. Thus the prodigy of the cane
greening appears in the history of San Sabiniano de Sens, while the choice
miraculous through a dove we find it in the hagiographies of San Severo de
Ravenna and San Fabian. Now, the development of the image of San José will have its point
starting from Marian iconography. In fact, the use of analogies between Mary and Joseph
it is a perfectly valid and doctrinally "safe" instrument when it comes to preparing
a Josephine “theology”, just as it actually happened during the first steps of his
walking. Thus, for example, the life cycles of Saint Joseph are usually a carbon copy of
those starring the Virgin, with whom artist and spectator are
familiar. Precisely this "marianization" is very well observed in the images
of Saint Joseph with the Child in his arms, whose clearest reference is the Byzantine prototype of the
Theotokos and specifically the type known as Eleusa or "Virgin of tenderness."
Selection of works
- Hans Multscher, Nativity , painting on panel, c. 1347. Berlin, Gemäldegalerie.
- Frontal of San Miguel de Aralar , sanctuary of San Miguel de Aralar, Navarra

(Spain), gilt copper and enamel, 12th century.
- Epiphany . Capital of the church of San Martín de Frómista, Palencia (Spain), relief in
stone, 11th-12th centuries.
- Maestro de Ávila, Natividad , painting on panel, XV century. Madrid, Museo Lázaro-

Galdiano.
32 CANAL, José María (1957): pp. 212 et seq.
33 DAVIS, James (1971): p. 296
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- Dream of Saint Joseph . Capital of the monastery of San Juan de la Peña, Huesca (Spain),
stone relief, 12th century.
- Revelation of the angel

Tudela, Navarra to Saint
(Spain), Joseph
painting on .panel,
Juan de Leví,
15th Altarpiece of Santa Catalina , cathedral of
century.
- Flight to Egypt . Tomb of the Good Knight , stone relief, 12th century. Museum
Cisneros Parish, Palencia (Spain).
- Nativity . Capital of the cloister of the cathedral of Tarragona (Spain), stone relief,
XII century.
- Presentation of the Child , painting on panel, XV century. Barcelona, MNAC.
- Epiphany . Baptismal font in the church of San Esteban de Renedo de Valdavia, Palencia
(Spain), stone relief, 13th century.
- Epiphany . Joan Antigó, Altarpiece of the Virgen de la Escala , monastery of San Esteban
de Banyoles, Gerona (Spain), painting on panel, 15th century.
- Epiphany . Guerau Gener, Altarpiece of San Bartolomé and Santa Isabel , cathedral of
Barcelona (Spain), panel painting, 15th century.
- Visitation . Panel painting, c. 1342, church of Serdinyà (France).
- The Tring Tiles , terracotta, c. 1320-1330. London, The British Museum.
- Lluis Borrasá, Marriage , painting on panel, church of San Francisco de

Villafranca, Barcelona (Spain), 15th century.
- Reproaches of Saint Joseph to the Virgin . Juan de Leví, Altarpiece of Santa Catalina , cathedral
from Tudela, Navarra (Spain), painting on panel, 15th century.
- The childhood of Christ . Master of Catherine de Cleves, Book of Hours of Catherine de

Cleves , Utrecht (The Netherlands), c. 1440. New York, Pierpont Morgan Library, Ms.
M. 917, p. 49.
- Pere Terrencs, José's workshop , panel painting, 15th century. Palma de Mallorca,
Vilallonga Collection.
- San José . Capital of the cloister of the monastery of Sant Benet de Bages, Barcelona
(Spain), stone relief, 11th century.
- Saint Joseph with the Child , panel painting, 15th century. Palma de Mallorca, Societat
Arqueològica Lul·liana.
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Page 17
Hans Multscher, Nativity , painting on Frontal of San Miguel de Aralar , sanctuary of San
table, c. 1347. Berlin, Gemäldegalerie. Miguel de Aralar, Navarra (Spain), gilt copper and
http://www.wga.hu/art/m/multsche/wurzach/6adorat.jpg enamel, 12th century.
[screenshot 11/29/2013]
Epiphany . Capital of the church of San Martín Maestro de Ávila, Natividad , painting on panel,
de Frómista, Palencia (Spain), relief in XV century. Madrid, Lázaro-Galdiano Museum.

stone, 11th-12th centuries. http://ceres.mcu.es/pages/Viewer?accion=4&AMuseo=MLGM&Ninv=029
10 [screenshot 11/29/2013]
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Page 18
Dream of Saint Joseph . Capital of the monastery of Revelation of the angel to Saint Joseph . Juan de Leví, Altarpiece of
San Juan de la Peña, Huesca (Spain), relief Santa Catalina , cathedral of Tudela, Navarra (Spain),
in stone, 12th century. panel painting, 15th century.
Flight into Egypt . Tomb

by D. Gonzalo Ximénez
of Cisneros "The Good
Caballero ”, relief in
stone, 12th century. Museum
parish of Cisneros,
Palencia (Spain).
◄ Nativity . Capital
of the cloister of the
Cathedral from
Tarragona (Spain),
stone relief,
XII century.
► Presentation of the
Child , painting on
table, 15th century.
Barcelona, MNAC.
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Epiphany . Baptismal font in the church of San Esteban de Renedo Epiphany . Joan Antigó, Altarpiece of the
de Valdavia, Palencia (Spain), stone relief, 13th century. Virgen de la Escala , monastery of
San Esteban de Banyoles, Gerona
(Spain), painting on panel, s. XV.
Visitación . Panel painting, c. 1342, church of

Serdinyà (France).
▲ Epiphany . Guerau Gener,

Altarpiece of Saint Bartholomew and Saint
Isabel , cathedral of Barcelona
(Spain), panel painting, century
XV.
► The Tring Tiles , terracotta, c.

1320-1330. London, The British
Museum.
http: // gerald-
massey.org.uk/tring/images/Tring%20Tiles%2
0-% 20British% 20Museum% 20 (3) .JPG
[screenshot 11/29/2013]
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Page 20
▲ Lluis Borrasá, Betrothal , ▲ Reproaches of Saint

painting on panel, church of Joseph to the Virgin . Juan
San Francisco de Villafranca, of Levi, Altarpiece of
Barcelona (Spain), 15th century. Santa Catalina , cathedral
from Tudela, Navarra
► The childhood of Christ . (Spain), painting on
Master of Catherine de Cleves, table, 15th century.
Catherine's Book of Hours
Cleves , Utrecht (The Netherlands),
c. 1440. New York, Pierpont
Morgan Library, Ms. M. 917, ▼ Saint Joseph with the Child ,

p. 49. painting on board,
http://commons.wikimedia.org/wiki/File: XV century. Palm of
Jesus_in_a_baby_walker_from_the_Hour Majorca, Societat
s_of_Catherine_of_Cleves.jpg [screenshot
11/29/2013]
Arqueològica Lul·liana.
Pere Terrencs, José's workshop , painting Saint Joseph . Cloister capital

on board, 15th century. Palm of of Sant Benet de Bages,
Mallorca, Vilallonga Collection. Barcelona (Spain), 11th century.
e-ISSN: 2254-853X

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7/13/2021 Saint Joseph

Saint Joseph Sandra de Arriba Cantero

Summary : The image of San José constitutes a paradigmatic example of evolution

Abstract : The image of Saint Joseph is a paradigmatic example of iconographic evolution, as he

Attributes and form of representation

Saint Joseph Sandra de Arriba Cantero

later a whole generation of authors (Gil de Siloé, Bartolomé Bermejo, Alonso de

Saint Joseph Sandra de Arriba Cantero

Regarding the book, we have some Romanesque and Gothic examples,

Saint Joseph Sandra de Arriba Cantero

from Sant Cugat del Vallès 4 .

4 SÁNCHEZ CANTÓN, Francisco Javier (1948): p. 17

Saint Joseph Sandra de Arriba Cantero

6. C IRCUNCISIÓN Y P NTRODUCING THE N HILD (Lc 2, 21-38.): Although these two

8. THE WORSHIP OF THE W AGES (Mt. 2, 1-12): Paradoxically, the Gospels

Gothic art when

Saint Joseph Sandra de Arriba Cantero

on Epiphany but, full of curiosity, he sends his son Simeon to go away

The apocryphal gospels collect many episodes of the Childhood where

1. P RETENDIENTES OF V irgin , CHOICE OF J OSE and D ESPOSORIOS : One of the best

11 VORONOVA, Tamara and STERLIGOV, Andrei (1996): p. 278.

Saint Joseph Sandra de Arriba Cantero

Along with these, we can add one more:

13 RICO CAMPS, Daniel (2001).

Saint Joseph Sandra de Arriba Cantero

As an independent iconography, San José does not acquire an exclusive role

identifying attributes. The pictorial examples are also relatively early

17 GARCÍA GUINEA, Miguel Ángel (1948): pp. 94-95.

Mâle, Sánchez Cantón) or the iconographic dictionaries of Duchet-Pastoureaux, Schauber-Schindler,

Saint Joseph Sandra de Arriba Cantero

Saint Joseph Sandra de Arriba Cantero

Geographical and chronological extension

Saint Joseph Sandra de Arriba Cantero

Supports and techniques

Precedents, transformations and projection

29 CHORPENNING, Joseph F. (ed.) (1994): p. 54.

Saint Joseph Sandra de Arriba Cantero

Prefigures and related themes

- Hans Multscher, Nativity , painting on panel, c. 1347. Berlin, Gemäldegalerie.

- Frontal of San Miguel de Aralar , sanctuary of San Miguel de Aralar, Navarra

- Maestro de Ávila, Natividad , painting on panel, XV century. Madrid, Museo Lázaro-

32 CANAL, José María (1957): pp. 212 et seq.

33 DAVIS, James (1971): p. 296

Saint Joseph Sandra de Arriba Cantero

- Revelation of the angel

- Presentation of the Child , painting on panel, XV century. Barcelona, ​MNAC.

- Visitation . Panel painting, c. 1342, church of Serdinyà (France).

- The Tring Tiles , terracotta, c. 1320-1330. London, The British Museum.

- Lluis Borrasá, Marriage , painting on panel, church of San Francisco de

- The childhood of Christ . Master of Catherine de Cleves, Book of Hours of Catherine de

ANDRÉS ORDAX, Salvador (1987): The artistic heritage of Trujillo (Extremadura) .

BLUMENKRANZ, Bernhard (2003): Il cappello a punta. L'ebreo medievale nello

Saint Joseph Sandra de Arriba Cantero

BUTKOVICH, Anthony (1973): Revelations: Saint Birgitta of Sweden . Ecumenical

CARTLIDGE, David R .; ELLIOT, J. Keith (2001): Art and Christian Apocrypha .

GARCÍA MIRALLES, Manuel (1971): "Josefina Doctrine in San Vicente Ferrer",

GONZÁLEZ HERNANDO, Irene: "The birth of Christ", Digital Magazine of

GUTIÉRREZ BAÑOS, Fernando (2005): Contribution to the study of style painting

on table . Spanish University Foundation, Madrid.

JOHANNES MOLANUS (1570): De picturis et imaginibus sacris . Edition of

Saint Joseph Sandra de Arriba Cantero

RODRÍGUEZ MARTÍNEZ, Juan Luis (1971): “Josephine iconography in the Gothic

RODRÍGUEZ PEINADO, Laura: "The Epiphany", Digital Magazine of Medieval Iconography ,

- Presentation of the Child , painting on panel, XV century. Barcelona, MNAC.