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Joseph ben JACOB

Joseph ben JACOB

Male 0044 B.C. - 0023

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  • Name Joseph ben JACOB 
    Born 0044 B.C. 
    Gender Male 
    Died 0023 

      Luke 3:23

      «b»Joseph (the foster father of Jesus Christ)
      «/b»Meaning: remover or increaser
      Joseph, the foster-father of our Lord «u»Jesus «/u» «u»Christ «/u» («u»Matt. 1:16 «/u»; «u»Luke 3:23 «/u») lived at «u»Nazareth «/u» in «u»Galilee «/u» («u»Luke 2:4 «/u»).
      He is called a "just man." He was by trade a «u»carpenter «/u» («u»Matt. 13:55 «/u»).
      He is last mentioned in connection with the journey to «u»Jerusalem «/u», when Jesus was twelve years old. It is probable that he died before Jesus entered on his public ministry. This is concluded from the fact that «u»Mary «/u» only was present at the «u»marriage feast «/u» in «u»Cana «/u» of Galilee («u»John 2 «/u»). His name does not appear in connection with the scenes of the «u»crucifixion «/u» along with that of Mary (q.v.), «u»John 19:25 «/u».
      «i»Author: Matthew G. Easton, with minor editing by Paul S. Taylor.«/i»
      «b»Joseph's ancestry«/b» - Joseph was in the line of King David and therefore held a legal right to the throne. However, because he descended from Jechonias («u»Matt. 1:11-12 «/u») (also called «u»Jeconiah «/u» and «u»Jehoiachin «/u», he would have been disqualified by God from taking the throne. However, Mary's son would not (see: «u»Mary «/u»).

      "«u»Joseph «/u» was clearly the son of «u»Jacob«/u» («u»Matthew 1:16 «/u», so this verse [«u»Luke 3:23 «/u» - says "son of «u»Heli «/u»"] should be understood to mean "son-in-law of «u»Heli «/u»." Thus, the «u»genealogy «/u» of «u»Christ «/u» in «u»Luke «/u» is actually the genealogy of Mary, while «u»Matthew «/u»gives that of «u»Joseph «/u». Actually, the word "son" is not in the original, so it would be legitimate to supply either "son" or "son-in-law" in this context. Since Matthew and Luke clearly record much common material, it is certain that neither one could unknowingly incorporate such a flagrant apparent mistake as the wrong genealogy in his record. As it is, however, the two genealogies show that both parents were descendants of «u»David «/u»-«u»Joseph «/u» through «u»Solomon «/u» («u»Matthew 1:7-15 «/u»), thus inheriting the legal right to the throne of «u»David «/u», and Mary through «u»Nathan «/u» («u»Luke 3:23-31 «/u»), her line thus carrying the seed of «u»David «/u», since «u»Solomon's «/u» line had been refused the throne because of «u»Jechoniah's «/u» «u»sin «/u»" [Dr. Henry M. Morris, «i»The Defender's Study Bible«/i», note for Luke 3:23 (Iowa Falls, Iowa: World Publishing, Inc., 1995).].

    Person ID I61076  Glenn Cook Family
    Last Modified 28 Jan 2013 

    Father Jacob,   d. Yes, date unknown 
    Family ID F551617408  Group Sheet

    Family Mary,   b. 0026 B.C.,   d. Yes, date unknown 
     1. Jesus Christ,   d. Yes, date unknown
    Last Modified 30 Oct 2009 
    Family ID F551617407  Group Sheet

  • Photos
    RENI, Guido
    (b. 1575, Calvenzano, d. 1642, Bologna)

    St Joseph with the Infant Jesus
    c. 1635
    Oil on canvas, 126 x 101 cm
    The Hermitage, St. Petersburg

    The resting Mary in the background indicates that the scene is connected with the flight of the Holy Family to Egypt.
    Joseph and family
    Joseph and family
    Holy Family with bird by Murillo (1645-50).
    Joseph leads Mary and Jesus to safety in Egyp
    Joseph leads Mary and Jesus to safety in Egyp
    LORENZO Monaco
    (b. ca. 1370, Siena (?), d. ca. 1425, Firenze)

    The Flight into Egypt, c. 1405
    Tempera on poplar, 21,2 x 35,5 cm
    Staatliches Lindenau-Museum, Altenburg

    The painting is one of the three predella panels of a larger altarpiece. The oblong frame, with a semicircle on every corner and angular projections between them, divides the picture into three parts and Lorenzo Monaco made good use of the possibilities offered by the unusual shape of the frame. He placed the Virgin and her Child-isolated from the other figures-into the central, widest part. The Virgin is riding the ass side-saddle, as though she were sitting on a throne, and she is turned towards us. To indicate the direction of her course, her body is a little bent backwards. The oblique line of her body suggests a straight line between the upper point of the frame and the bottom inward angle on the right, and this diagonal axis is further stressed by the ass's foreleg, stepping forwards, which, continuing the same line, eventually ends in the semicircle. A similar connection between the composition and the frame can be observed in the hindmost leg of the ass and the bottom left semicircle. The oblique line of the leg is a reflected image of the axis which was mentioned previously. The horizontal line of the animal's body links the figures of the Virgin and Joseph, and, at the same time, it separates the Holy Family from the women accompanying them. The palm branches in the hands of the woman in a green cloak, and the drapery falling downwards from her arm, practically creates a line between the top and the bottom angular indentations of the frame. (According to some apocryphal gospels the fleeing Holy Family was nourished by the fruits of a palm-tree bending towards them.) The background, too, separates the left-hand side of the picture from the rest: the escorts proceed among bare, grey rocks, while the Holy Family move through woods: the foliage magically illuminates the semi-darkness.

    Whilst the two female figures are moving forwards, Joseph, at the head of the small group, has stopped and looks back. By this the painting representing progress in one direction becomes enclosed and symmetrical. This geometrically constructed composition with its strict rhythm by Lorenzo Monaco shows, as do all his works, that even while pursuing the best trecento traditions of Florentine art, an artist could adjust himself to the International Gothic style. Counterparts of the two women, with the long, even and soft folds of their draperies, or of the Virgin's graceful, aristocratic figure, could be found anywhere in the art of the period. On the other hand, the vigorous and definite personality of Joseph can be imagined only in Florentine art, which had old, democratic traditions. In vain would we try to find this image in the representations of Joseph as the humble old man in Northern art.