White, tall, and nondescript. Isn't this the overall impression that emerges when looking at this nativity? A fleeting glance may easily become a lasting impression. Before it happens, take another look.

The ten figures stand tall against a solemn curtain of black-and-white drapery. At their feet there is gold, both yellow and red. And, although their individual identity is not immediately evident, we intuit that each one of these personages takes part in a sacred drama. Sacred drama veils and unveils. But at all times the mystery remains intact. Here lies the meaning of this seemingly nondescript Christmas scene. There is more than faceless characters here. Isn't it as if the whole figure was shrouded in mystery? Meaning some of the mystery that only God himself can unveil for us, and which we recognize as such in faith. True mystery never wears down. It instills lightness in the soul as suggested with the dreamy arabesque decorations that ornate some of the figures.

Sealed Scroll
Unknown Artist
Mexico

The devil is in the detail, but not only the devil. Sometimes the crucial message meant to explain a whole story or picture is precisely this: a detail, nothing but a detail. One of the figures in this set holds in its hands the key to the deeper meaning of Christmas. But let us have a closer look at the whole group first. These are Raku people, named after a Japanese earthenware going back to the 15/16th century and well known for its rough and dark glaze. The artist has brightened the looks of her people by dressing them in caps and gowns of enamel-like colors. The overall impression is one of faraway countries, of old tales, and of boundless imagination. Majestic and mysterious, the magi differ greatly from the more common appearance of mother, father and child. After all, how often do we see Mary, half sitting and half kneeling, presenting the baby with a well-stacked fruit basket? There is also a shrunken old lady in this group. The traits of her face are not attractive, but they speak volumes of wisdom acquired in years of wear and tear. She holds an oversized scroll, rolled and of bright red color, which she brings to the cradle. It represents the hidden meaning of human existence, tightly wrapped and sealed, both ordinary and mysterious. The old lady is confident. The Christ child will have an answer, at least a partial one on how to unseal the scroll.

Cradle and Cross
Caritas Müller
Switzerland
Hans Wachter
Germany

Cradle and cross are never far apart in Christian thought. The first leads to the second, as certain as Christmas leads into Easter. At first sight, this double set is made of contrasts. Stoneware clashes with bronze, and the lovely nativity group seems to disagree with the stylized forms of book and cross. In fact, there is complementarily not only in color and weight: both lend a discreet nobility to the book as well as to the cradle. The delightful idyll of parents and animals gathered around the child is not without foreboding. The insouciant animal companions contrast somewhat with the more reflective parents. They seem perplexed and helpless, somehow anticipating the next scene with the crucified Son at its center. Tucked between the pages of the book of life, the Savior on the cross looks like a pressed flower. He is a constant reminder that the many pages of his message are drawing their fullness of meaning from his death and resurrection. Thus, cradle and cross have a twofold meaning. They both speak the language of Christmas and Easter.

The Accident
Manuel F. Cunha
Portugal

Admire the flowing robes of Mary and Joseph, the immaculateness of their garb, the noble compunction of Joseph's posture and wringing hands. The holy group is set against a backdrop of classy Bordeaux red which further heightens the solemnity of the scene. Does it, really? There is a feature in this set, so utterly unexpected and incongruous, it makes you wince and chuckle. Lofty sentiments and spiritual exaltation come tumbling down as the inquisitive eye discovers the accident. Shocking? Not so for the mother. With practiced hands and a smile on her lips she remedies the situation. Soon the baby will be dry and comfortable again. Incarnation and swaddling clothes are inseparable. And if the sublime does leave no room for a hearty laugh, it will indeed come tumbling down fast and furious.

The Star That Was No Star
Unknown Artist
Mexico

First impressions may be treacherous. Granted, these figures are clumsily crafted and crudely painted. Joseph looks like Captain Hornblower, Mary a character straight out of the funny pages. The three kings bear resemblance to Vaudeville figures, and the baby reminds one of Gulliver in need of a remake.

But did you know that this scene is of crude ethnic origin? Artisans of the region of Paplanta have fashioned this pathetic tribute to salvation in progress. There is an almost human quality in the way the many little animals are cast. Their devout and inquisitive alertness contrasts sharply with the coarse and broken humanness of all other personages. The watermark of this nativity set are the traces of finger painting: black against green, they progressively turn gray and pink. Despair is gradually overcome as busy fingers, desperately hopeful, grope for the outstretched hand descending upon them. This hand is hovering where usually there is the star of Bethlehem pointing the way. But a star is not always a star. Fortunately, a star may be sometimes a hand. A star leads. A hand saves.

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