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 the descendant of kings, the carpenter of Nazareth, as though in that one person were united the extremes of earthly rank. Down through the centuries his influence has been felt, comparatively still and small at first, but gradually expanding into its full importance, until in these past three centuries he has become the Father of Christians, the Patron of the Universal Church. "The saint of Scripture," says Cardinal Newman, "the foster-father of Our Lord, he was an object of the universal and absolute faith of the Christian world from the first; yet devotion to him is comparatively recent. When once it began, men seemed surprised that they had not thought of it before; and now they hold St. Joseph next to the Blessed Virgin in their religious affection and veneration."

Religious literature resounds with the praises of him who was emphatically railed in Holy Writ "the just." In prose and in verse, his noble, majestic figure has formed the theme of many a beautiful or striking passage. In art, Joseph appears almost from the first, and in a variety of ways. Now he is seen in some gorgeous canvas of Raphael or Perugino, or the more homely but forcible and lifelike presentations of the Dutch artists. Now he is feeble and old, the austere guardian of the Lily of Nazareth; again he is in a vigorous middle age, the defender and supporter of the royal Son and Mother; with a gravely intellectual head, portraying the wise and prudent guardian of his Immaculate Spouse; or in comparative youth, the strong protector of the flight into Egypt.

The saints in all ages have chosen St. Joseph