Joseph the Smith and the Salvational Transformation of Matter in Early Medieval Europe
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flowing liquid to be followed by a further stage in
which hardened metal is again softened and made
pliable by fire and forged, without breaking, into
new forms, all in a dramatic atmosphere of exces
sive heat, flying sparks, dynamic hammering and
eruptions of steam from quenching water that can
readily appear as a microcosmic glimpse of su
pernatural, indeed cosmic, creative potency. To be
sure, woodworking can convey notable imagery of
creational abilities, both in the realization of sculp
tural images by carving and also when, in construc
tion, new organization and design emerges as dis
parate pieces of wood or other building material are
carefully trimmed and shaped and fitted together;
the skilled earthly master builder continuing the
Work of the primordial architect who first designed
and organized the constituent units of the universe,
fl is easy, therefore, to appreciate the appeal of
Joseph as woodworker and especially as master
builder.
Yet woodworking per se lacks the ultimate qual
ity of mystery in processual technique - the amaz
ing plasticity and durability of metals and the
astonishing transformational change of state that
smithing exploits and that underlay the long asso
ciation of metals with magic (Salzberg 1991:9).
^ood and procedures for woodworking have less
inherent potential for evidencing seemingly su
pernatural (magical) qualities and powers, though
^ood, and especially trees, the archetype of fruit
ful vegetation (life), have long been accorded their
°Wn, very fundamental symbolism in Near East
ern, Mediterranean, early Christian, and European
Pagan traditions (e.g., sacred trees and groves,
flic cross, trees of life, etc.; Helms 2002: 442f.;
^Jciggs 1982: 22). Nonetheless, within the context
°f skilled crafting, while processes of woodwork-
ln g can accommodate and enhance by degree the
basic nature of raw wood by giving it representa-
bonal form by carving or shaping pieces to con-
f° r m to a new construction, metalworking not only
ac cornmodates but also appears to transform and
rarify the inherent basic nature of ores - and thus
See mingly magically manipulates original creative
Processes and powers - by inducing fundamental
changes in kind (stone to liquid to solid metal) in
nature of the materials with which it works.
Early medieval Catholicism had good reason to
^ x plicitly emphasize principles of creation and the
a fl divinity of its pantocratic celestial Christ, and
J^ Us to be especially open to creational symbols,
he highly influential “heresy” of Arianism, though
baring a great many commonalities with Catholi-
^ ls m, challenged the inherent divinity of Christ
y affirming that, though an inspired prophet, he
was essentially a human creature (Watson 1989: xi;
Chadwick 1967: 249). It seems noteworthy that
three of the above texts identifying Joseph as smith
were written by bishops who strongly and actively
opposed Arianism’s influence in the church. Lean-
der and Isidore of Seville were dedicated supporters
of Catholicism at the time when Spain’s Visigothic
Arians officially converted to it. Several centuries
earlier, Hilary of Poitiers had also tirelessly and fa
mously opposed Arianism and staunchly defended
Catholicism and the divinity of Christ. 53 That such
respected members of the ecclesiastical elite iden
tified the earthly father of Jesus as a smith, that is,
presumably as a creatively and mysteriously trans
formational and liminal master craftsman, would
seem to be directly consistent with, and supportive
of, the anti-Arian position stressing the first princi
ple nature of Christ as full and creative divinity.
Joseph the mysterious, magical smith was also
appropriate for Christianity’s growing accommo
dation with traditional paganism in Europe; an ad
justment culminating in an indistinguishable mix of
Christian and non-Christian beliefs and activities. 54
One of the most firmly established principles of
this early medieval ideological amalgam, accepted
by laypersons and clergy alike, was firm belief in
magic; that is to say, belief that certain individu
als had the ability to impose their will on external
forces of the world by mysterious (secret) means.
Technology had long been regarded as a category
of mysterious magical acts in which supernatural
powers dominated natural forces, and skilled crafts
men, who could manipulate nature’s secrets with
spells and charms as well as with empirical knowl
edge that they also kept secret, were easily apotheo
sized as creative magi. 55 *
Technology’s aura was well exemplified by
the smith (Eamon 1983: 173), and conceiving of
Joseph as magus would have been entirely con
sonant with a milieu in which Catholic mission
ary monks and clergy accepted such non-Chris
tian magic as was deemed helpful in strengthening
Christianity’s acceptance within still largely pagan
cultures. Presenting Jesus not only as the divine son
of the original cosmic creator but also as incarnated
into the family of a skilled magus would be readily
53 Hilary’s position on Arianism postdated his writing of the
“Commentary on Matthew.” However, he apparently was
well aware, even at that time, of heresies impugning the
Godhead of Christ and firmly states his support of that
orthodox doctrinal position (Watson 1989: vii-viii).
54 Hillgarth (1980: 51-55); Jones (1963); see also Barb (1963)
and Dickie (1995).
55 Eamon (1983); Eliade (1962: 101); see also Kris and Kurz
(1979: chap. 3).
