The Tree of Jesse: the genealogy of Chris

The spirit of Yahweh would rest on this second David as well. The church found a route of interpreting this text allegorically. At the beginning of the triplet century, Tertullian apply the prophecy to Christ and equated the prow with Jesse, father of David; the rod cell or flaunt with Mary; and the fruit or rush of the rod with Christ.

In terms of the visual rendering of this symbolic image, it is unavoidable to distinguish between the shoot as an attribute and the Gordian image of the "Stem of Jesse" or "Tree of Jesse." Beginning near the year 1000, the shoot as an attribute was often fixed in the bargain of the Virgin, less frequently in the hand of the Son, and sometimes in the hand of Isaiah or the hands of the ancestors of Christ. The shoot was the symbol of Christ's human descent. The concepts of the blush and the shoot also aggregate in their various forms and always refer to the whole prophecy. In some works the shoot is portrayed as a long leaf-like stem; a short, scepter-like shaft with a flower; and later as a rose or flower signifying Christ. The shoot may also be exemplifyed as a flowering staff because of the blossoms of Aaron's rod, a symbol of elysian election and one of the relics preserved in the Ark of the Covenant. This was early equated with the stem of Jesse.

There are three pictorial groups representing aspects of the Tree of Jesse through and through different themes which may or may not be present. In the

They carry no scepters, they hold no banderoles, they do not bunk the retell as they do in later versions. They do aught; they are content to be, for their true role was to perpetuate a predestined race. It is because they had lived that a Virgin sits enthroned above them, and above her, a God over whom the seven doves of the Holy Spirit hover.

The motif of the Tree of Jesse is rather abstract, but this was not a hitch to the artists of the Middle Ages. They found ways that were simple to translate the text of Isaiah to a pictorial representation:

One detail confers on it the beauty implicit in the mystery: Jesse reclines on a bed and sleeps; it is night and a lamp hangs above his head; thus, it is in dream that he sees the future.

Male says that before this conception by Suger there had been no Tree of Jesse, and after this time approximately every Tree of Jesse was conceived in the same way as Suger's vision. Male cites a text that indicates there was an attempt to represent the verse from Isaiah as early as the eleventh century, as noted above, and the reference is in a work by William Thorne, a fourteenth-century monk. He makes reference to Hugo de Flory, an abbot of Westminster who in 1091 undertook the palm of his new abbey and brought in, for the choir, a large bronze candelabrum called a Jesse. There is some uncertainty as to the meaning of this theodolite or the identity of a "Jesse" in this context, but it does reckon that in the eleventh century the attention of artists had been directed to the inscribe of Jesse. The idea of the Tree of Jesse originated in a liturgical play around the end of the eleventh century, the well-known Play of the Prophets. At Christmas time in many churches there was a salary increase of certain of the prophets who one after another would come by and foretell the coming of Christ by reciting verses from their own books:

The third group shows the fully developed type of the Tree of Jesse, involving twain the
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