This installation examines medieval fascination with Christ’s family lineage and its visual expression through depictions of biblical figures such as Jesse, David, and the motif of the Tree of Jesse. Genealogical imagery was significant in many parts of medieval society, especially among the noble classes, who would commission visually elaborate consanguinity charts that tracked a family’s lineage from a single shared ancestor. These charts demonstrated the prestige of their bloodlines and helped noble people manage marital relationships. Christ’s ancestry gained significant cultural traction and popularity as a visual subject during the 1100s. The motivation to depict Christ’s bloodline as a tree originated in a passage from the Book of Isaiah in the Old Testament of the Bible, which foretold that a pivotal ruler would emerge from the “root of Jesse.” This passage refers to Jesse’s son, King David, from whom Christ himself descended. Consequently, medieval artists and patrons utilized imagery of Jesse, his royal descendants, and the family’s broader genealogical framework to show Christ’s position as the Messiah, or savior. Tree of Jesse imagery from Northern Europe illustrates the many ways medieval people understood and visualized Christ's genealogy. This installation delves into how Christ’s ancestry captured the medieval imagination, examining the beginnings of what became the modern practice of showing genealogy in the shape of a tree. The objects in this installation are drawn from the collection of the Cleveland Museum of Art. They range from the 1000s to the 1500s and come from Germany, France, the Netherlands, and England.