Huggler is the name of one of the better known woodcarver families in the Bernese region of Switzerland. Their figures have the measured elegance of well-to-do farmers. Postures are grave and reverential, all movement suspended in pious tribute to the Christchild. The subdued colors heighten the overall impression of devout this- worldliness.

There are two identical figures in this set: two shepherds, each carrying a sheep on his shoulders. These are the Twins, bearers of human challenge. Turned unto ourselves we see but ourselves. We are like twins, for wherever we look and whatever we do, we only see our own face and personal interest. Healing comes from the Child in the manger. He is the epitome of holy altruism. He frees us from our twin, meaning our other, darker self. Reflecting on the bitter experiences of human existence, this Germanic crèche tradition points beyond mere sociology and culture to the deeper recesses of the human psyche.

Horse, Elephant and Camel
Unknown Artist
Mexico

The classical beauty of these figures would suggest an Italian or German origin... In fact, they are Mexican. There exists in Mexico, where Christmas lore is abundant and varied, a modest creche tradition which goes back to the last century and the ephemeral reign of the luckless Emperor Maximilian. He brought to the new world samples of Austrian craftsmanship: a mixture of peasant style, gothic revival, and recently discovered orientalism.

The most prominent feature in this tradition is the three kings. Dominant, not to say domineering, they command attention. Dwarfing all other figures on their way, including the heavenly messenger, they do not look like weary God-seekers. Indeed, they no longer seek, they have found. The long, perilous and exhausting journey has reached a happy ending. The three beautiful animals stand for the inner dispositions or human qualities that made this relentless search possible. The impatiently snorting white horse which carries Melchoir, the King of Europe, is symbol of fearless enthusiasm without which no journey was ever begun. But enthusiasm needs to be sustained by sheer bottomless energy as symbolized in the monumental elephant which shoulders effortlessly not only Casper, the African king, but also his throne, canopy and driver. The camel is a symbol of endurance and right direction. The desert represents no threat and holds no secret for this animal. It leads King Balthasar, and his companions, patiently and securely to the even greater King's manger.

Lightness of Being
Genella Ossi
Italy

There are nativity sets which desperately beg for surroundings to define them: a house, a landscape or a story. Others speak for themselves, and stand out wherever you place them. They stand tall and define their milieu. This is one of those sets. It was discovered by chance in Rome's Piazza Navona where it stood, dusty and forgotten, on the shelves of one of the many Christmas stands. What attracted the visitor was its lightness of being. Pale and aged, the colors don't have a life of their own but blend in discreetly with the overall stance of the figures. The movement, used economically, is mainly in the flow of the robes and mantles. It directs the attention to faces and gestures. And here is where lightness of being finds its true expression: in the twinkling of an eye, a hat worn cockily or tired with age, a moustache twitching with laughter. The deeper meaning is shown in the lightness with which simple but generously measured gifts of eggs, poultry and vegetables are brought before the child. And with a similar gesture of lightness of being the Madonna presents her own gift to the three magi cum shepherds: her very son and God's gift to the world. She looks like a refugee from one of the many Raphael paintings, underscoring even more the lightness of being of the whole tableau.

Child Prodigies
June McKenna
USA

Christmas lore knows no boundaries. It puts the holy family under a thatched roof but places sheep, shepherds and camel on a lustrous landing of pure gold. The artist has also added two figures which ordinarily steer clear of paupers and beasts. We notice, at some distance from the manger, the presence of Saint Nicholas of Myra and Mozart. What an odd couple, indeed!

But here they are, child prodigies, to pay tribute to one of their own. As legend goes, only three days after birth Nicholas stands upright in his bathtub, and distributes his entire fortune at a tender age to the poor. He is even better known for throwing three golden balls into the home of three impoverished maidens, allowing them to marry well. Mozart, the other child prodigy, showed exceptional musical talent at an early age, and was taken – only six years old – on a concert tour of Europe by his father. He not only composed some 600 complete works – Mozart was also a generous man, often depleting his own resources to help out a friend. The third child prodigy is the Christchild. We don't know about any physical prowess or artistic talents of his, but he was similarly generous: he gave his life and reputation to be one of us.

O Lord, you search me...
Myra Vargas
Ecuador

This nativity representation comes from one of the most remote regions of our globe, the rain forests of the Amazon. Lifting the curtain of dense foliage, which hides a kaleidoscope of luxuriant color and primeval sounds, we discover in a sea of birds and beasts the main actors of the feast of life: a few – in appearance – clumsy and awkwardly heavy figures. But there is a pristine beauty in their raptured faces and painted limbs. Their burnished bodies are like rare jewels glowing in the dark green night of the jungle. One is reminded of Psalm 139: "If I say: Let the darkness hide me and the light around me be night, even darkness is not dark for you, and the night is as clear as the day." And looking at the orchid-shaped eye of the Creator's loving presence, bits and pieces of this other canticle come to mind: "Seas and rivers ... all water creatures... all you birds of the air ... all you beasts wild and tame, bless the Lord. You sons of men, bless the Lord" (Daniel 3, 57f).

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