Book Review: St. Joseph in art

Many people may think that Saint Joseph would have a special place in art from the beginning of Christian art. They would be wrong. It was a gradual progression from almost obscurity to his prominence in art of recent times.

This explains the title of this book, “The Silent Knight: a history of Saint Joseph as depicted in art.”  Saint Joseph did not have his own liturgical feast day on the calendar as important saints do until around 1570. He was not even mentioned in the Roman Canon (today's First Eucharistic Prayer) until 1962 when Saint John XXIII inserted his name after Mary's. Pope Francis later extended his inclusion in the other three Eucharistic Prayers for Mass. He was not the patron of the Universal Church until near the end of Blessed Pius IX's reign on Dec. 8, 1870. 

During the Counter-Reformation, there were some who supported the idea that Saint Joseph was assumed into heaven body and soul like Mary was. This was based on Scripture where it says that when Jesus died tombs were opened of holy ones and they rose from the dead and other traditions.     

Saint Francis de Sales was one who supported Saint Joseph's assumption, but in the end this idea was unsuccessful.

Elizabeth Lev studied art history at the University of Chicago and the University of Bologna. She has taught art history at Duquesne University's Italian campus. She is an author of several books; one being “How Catholic Art Saved the Faith” (2018). 

In this current book Lev shows how Saint Joseph started out in Christian art in the background of images featuring Jesus and the Blessed Virgin Mary. He slowly, through time, came to equal Mary's prominence and sometimes he was featured alone in art. 

Lev also touches on literature and theology in connection with art. She shows that art was used to teach certain doctrines of the faith; showing Saint Joseph as a model or example of that teaching. Some of these varied from topic and time in history.

One of those times was using the image of Saint Joseph wearing traditional papal colors to show support for the papacy. Another teaching was showing Saint Joseph being “too old” for intercourse and that this helped to preserve the doctrine of Mary being “ever virgin.” 

The age of Saint Joseph in Nativity scenes varied throughout history according to what was being taught. Lev shows that Saint Joseph most likely was not an old man when he married Mary because in those days traveling from Bethlehem to Egypt, and then later to Nazareth from Egypt, would have been very difficult for an older person. Lev discusses all these nuances that have appeared in art over time concerning Saint Joseph.

Lev describes various pieces of art very well. These pieces are featured in color so that the reader can see what she is pointing out. This book is wonderful with its color illustrations, descriptions and the knowledge that Lev passes onto her readers. 

There are footnotes, image credits and a bibliography. There is no index. The text flows very well and is a joy to read and to experience the artwork. This wonderful book is highly recommended, especially to those interested in Christian art history and theology and art of Saint Joseph. Besides the Universal Church being under the patronage of Saint Joseph. The Archdiocese of Oklahoma City is also under his patronage.

Br. Benet Exton, O.S.B., Saint Gregory's Abbey, Shawnee, is a freelance writer for the Sooner Catholic.