Crafted by Kevin Hanna, Norwalk, CT, for The Marian Library Collection, this nativity representation intends to show the depth and strength of God's love for us. God meets us where we are, be it the muddy floor of a wide open stable. The Child lies on soiled linen to show that Christ fully espoused the human condition – drabness, misery and all. Simultaneously, the tiny human being attracts the huddled masses pressing on him with eyes full of hope and faith. The figures are cast in the rough, but ageless style of northern European renaissance, that of the Brueghels in particular, and highlight the universal and timeless meaning of Christmas. The stark humanness of the event in the stable is contrasted by the "celestial bodies" hovering over it. Strange as it may be, the "celestial bodies" symbolize the strangeness of the Christmas mystery, meaning the difficulty we have to understand God, his message and presence among us. They also stand for the firmness and permanence of God's promise in Jesus Christ.
The Best of Two Worlds
France – Alsatia
Pascale Delorme
Setting – Don Smith
Where the best of two worlds combine there is Alsatia, a narrow strip of land in eastern France bordering Germany. Its culture is a happy combination of the typical French "joy of life" and the solid, hard-working and efficient character of Germany. This nativity of Alsatian santons is set in a landscape of rolling green hills, beds of blooming flowers, and wispy clouds sailing in the sky. Like in Provençal tradition, the burnt clay figurines reflect various activities and typical local costumes exquisitely painted. There is the lady with the cabbage cart (sauerkraut), the man carrying a block of ice, the girl taking a Gugelhopf (typical Alsatian pastry) to the manger, and the proud Strassbourg lady all dressed up in her Sunday best. The Holy Family almost disappears among the thirty-two personages. The holy couple in local costumes looks much like the ordinary couple they once appeared to be. But they hold each other, and the holy Child rests peacefully in their loving presence. Next to the Holy Family sits the rabbi pondering the scriptures, trying to make sense of this incongruous event.
Nutcracker Suite
Germany
Christian Steinbach (Smithsonian)
Setting – J. G.
Roten
Nutcracker figurines from Saxony are well known in many parts of the Western world. Square-faced and stern-eyed they have lent their limbs of turned wood to dozens of different characters. Christian Steinbach designed these three wise men and clothed them in exquisite finery, creating thus a telling contrast between the stark and awkward simplicity of the wooden figures and their rich, colorful and elegant robes – all of satin, silk and fur! His wise men teach us an important lesson. Even a timid and helpless heart will brightly shine forth, if and when bringing generous gifts to the manger.
New Life and Old Skins
Mexico
Raphael Arista
Setting – J. G. Roten
The paper- mache, of which this set is crafted, is a telltale sign. The procession of heavily laden folks represents people with fragile bones and parched skin. This is an old-folks nativity, indeed. It was created to honor the older generations among us. They bring a vast amount of life experience and achievements to the tiny Christchild. Their riches, not necessarily material wealth, are symbolized with full crates, rich pottery, and food of all kinds. They lead the way to the creche for younger people. Originally designed by the artist to tell the seniors of his village that they were not a useless bother but an integral part of the community, this old-folks nativity makes a universal claim. It expresses gratitude to all those who went before us on the pilgrimage to find the humble Savior, and became pathfinders for us on a road always there but never the same.
Black and Beautiful
USA
Ed van Rosmalen (ENESCO)
Setting – Michel Forest
In the long tradition of visually representing Christ's birth only one of the wise men, Caspar, was customarily of black skin. For long centuries the nativity was essentially a white nativity, with white snow, white sheep, and Eurasian faces. This black nativity reminds us of the universal character of Christmas. Jesus could have been black or red or yellow. He belongs to everyone, and he represents all of us. But each culture makes its special contribution to the representation of the nativity scene. In a special way, this black nativity is a graceful and beautiful nativity. Grace and beauty are captured in the rich fabric and colorful designs of the robes, creating a stunning contrast with the dark and shiny skin of the many figures. Grace and beauty reach even greater depth when captured in the parastone figurine's eyes, features, and overall posture.
As It Was in the Beginning
Austria – Canada
John Schnegg
The artist, John Schnegg, works in the tradition of his homeland, Tyrolia. The style is oriental, an attempt to reconstruct the nativity "as it was in the beginning." This tradition, initiated by Austrian artists at the turn of the last century, uses "near oriental" (mid- Eastern) architecture, dress, and ethnic characteristics. These are mixed in with typically Tyrolean elements, in particular the elaborate setting, the painted landscape of the Holy Land, and a host of angels in various positions and roles (Gloria angel, angels calling the shepherds, musicians, and even a guardian angel). John Schnegg is a woodcarver and the descendant of a creche crafters dynasty known in Tyrolia since the 18th century. His figures, all wood carved, are patterned on the so-called peasant style. The harsh traits of the face and strong colors of the dress highlight the "ordinariness" of the Incarnation. They contrast with the smooth artistry of the figures' postures and movements.
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