From Mud to Marvel
United States
Kevin Hanna

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 Christ child. Their riches, not necessarily material wealth, are symbolized with full crates, rich pottery, and food of all kinds. They lead the way to the crèche 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 crèche 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.

In Deep Winter
Canada
John Schnegg

This second set by John Schnegg, see #6, grew out of his Canadian experience. It reflects the traditional Christmas imagery of northern countries. Icicles are hanging from the rooftops, and the landscape is buried in deep snow. We see a typical Canadian stable and barn, garage, shelter for the sheep and water pump. The Holy Family is tucked away with the animals, as if they were hiding. The meaning here is that we need to be looking and searching for Jesus our Savior. Eyes need to be open to see our salvation. But where we humans need to be seekers, animals intuitively sense the presence of wonder. This boxed-in nativity, whose wintry landscape is not painted on canvas but on a sheet of metal, is a typical house or domestic crèche. Triangular in shape or rounded in the back like our set, it is placed in one of the corners of the living room, in "God's own corner," and becomes an object of meditation during the Christmas season.

A Starry Night
Germany
Dammer Family
Setting – J. G. Roten

These figures are classical examples of German crèche culture. Their members are moveable, the colors subdued but elegant, the dresses of rich texture but simple. Mary wears the traditional white, blue and red. Joseph is clad in brown tones, and the features of all the figures show pronounced individuality. In this scene the figures clash with the cold, starry winter night in which they are set. Cold and warm colors battle with each other. White, gray and black create a wall of hostility and indifference. Stars scattered over the dark skies, the powerful lone star hovering over the Child, and the five pairs of sensitive hands stretched out toward the manger – they all attempt to counterbalance the weight of cold and darkness, that is, of insensitivity and senselessness. The blooming flowers in deep winter stand for a new spring, and the end of a long, starry night.

The Global Village
France – Provence
Gustave Schneider

This crèche, built for The Marian Library Collection, represents one of the most important European crèche  traditions, that of the lower Rhone Valley in southeastern France called Provence, with cities like Marseille, Arles, Aix-en-Provence and Avignon. Faithful to the local tradition, the artist built a village with many ingredients of Provençal life: the tiled roofs, the Provençal blue of the shutters, the little vineyard in front of the house, and the round tower, home for the many pigeons in the region. This is only the setting for the many people living in the village, each character with his or her name and special role. Various professions are represented as is old age and youth, and in this set is the band on its way to the crèche, led by the mayor with his red umbrella. In Provençal tradition each of these figures has a role to play in the sacred drama. Each has its life story which will come to a climax in front of the Christ child. The Provençal village is a symbol of the world, the global village. Its history, in Christian tradition, is lived with Christ at its center. We either move toward or away from him, as do the characters in the Provençal crèche. In the end, they will all be gathered around the divine Child.

Jesus Christ in Heidi Land
Switzerland
Barmettler Family
Setting – Michel Forest

This nativity scene is a study in Swiss folklore. It not only shows the trappings of traditional Switzerland, like little Heidi, the accordion player, the tools of the typical dairy farmer, and the stylized silhouette of the famous Matterhorn. The many actors and actresses are dressed in the traditional costumes of Switzerland's many and varied cultural regions. Most of them are from central Switzerland (Uri, Schwyz, Luzern), others from the northern regions (Zurich, Appenzell), still others from the south (Wallis, Tessin) and west (Vaud, Fribourg). The two cows, black and brown, are a reminder of the Emmenthal (brown) and the Gruyère (black) cheese. In the midst of this display of rich folklore, the Christ child and his parents beg to be sought and found. Where accessories abound, the essential goes into hiding.

In Search of Truth
Switzerland
Caritas Müller
Setting – Marjorie Yefchak

This set of one piece, part rough and part glazed, was made for The Marian Library Collection by Swiss artist, Sr. Caritas Müller. It is a divided set. The panel to the left shows Joseph standing with his hands on Mary's shoulder in a gesture of support and protection. The mother, sitting, holds the tiny body of the Child with her left hand, and with her right hand emphatically points to it. She is involved in conversation with the two figures in the right panel, in particular with the figure which is half sitting and half kneeling. He wants to know, and so does his companion towering over him: Who is this Child? Is he really the one announced by the angel? Both he and his companion are generous people. Their gifts are ready to be delivered. But first they have to know. Mary tries her best to explain. Will she succeed? In the end it will all be a matter of generous faith ... she knows so much.

From the Orient ...
Egypt
Ausa (Garagos)
Setting – Michel Forest

The crèche culture is of Western origin. It has not spread widely to the region where Christ was born. Palestine created the well-known olive wood sets, but has also the even more exquisite nativities with figures clothed in fabric. Christian arts and crafts of Upper Egypt gave us beautifully fashioned ceramic figures, tall and slim, with characteristic features of the region and mostly bearded faces. Their message lies not in many details but in the posture of the body, the gesture of the hands and the position of the head. The whole scene is a symphony of reverence, silent adoration and sightless vision (the eyes of all the figures being closed). Broken upon arrival from Egypt, most of the figures had to be mended. There lies some symbolism even in this: Over time the story of Christ's birth has been broken and mended many times. Sometimes it was the sender who lacked attention, sometimes it was the recipient who became careless.

With Children's Eyes
USA (Midwest)
Eddie Walker
Setting – Michel Forest

There is the child, and there is the child in the adult. Both dwell in a children's world or crave, at times, to return to the simpler years and uncomplicated innocence of childhood. Eddie Walker has created his burly figures and smiling faces to take us back to a time when angels carried stars, a sheep was not really a sheep, and faces with a flattened nose were not only interesting but beautiful. It takes the ability to wonder, if we truly want to enter into the spirit of Christmas. Christmas remains an amazing story for those who read it with the eyes of children. Everybody is smiling in this story. Only the donkey and the camel remain serious because they are tired and kneeling.

Breaking and Sharing the Light
USA (Dayton)
Jo Leach
Setting – Michel Forest

For centuries the beauty of stained glass windows has lent intimacy and transparency to our churches. Intimacy brings us together, transparency makes us ready for God's message. There is something of this message in the nativity set crafted by Jo Leach. Her figures of simple lines and colored glass converge in one time and two movements toward the center marked by the star. They convey an impression of sliding, cutting the air and burning holes of light in the darkness as they move. Two dimensional, they take up little space and offer their generous surface to the whole impact of Christ's revelation, sharing some of his light, colorfully broken, with each one of us.

Adored and Persecuted
Germany
Walter Werner
Setting – Michel Forest

Representative of the rich creche culture of the Erzgebirge region of East Germany, this set was crafted by Seiffener artist, Walter Werner. Its many figures are of rounded wood, of simple and almost childlike forms, but adorned with great love of detail for both color and accessories. Angels have red wings, the camel carries baskets with manifold, colorful gifts, Joseph has a green broad-rimmed hat, and Herod looks exceedingly grim. In fact, this nativity also shows the flight into Egypt, with Herod's regiments in pursuit of the Holy Family. The infant Messiah is adored and persecuted, anticipating thus the future destiny of his person and mission. He remains a challenge to this day to both those who adore him and those who persecute him.

Of Fragile Beauty
Mexico
Angelita Gutierez
Setting – Michel Forest

This set reflects one of many styles of Mexican nacimientos. It comes from Tonala (Talisco). Its figures are rounded and sturdy, providing the painter with much surface to demonstrate his skills. Influenced by pre-Christian indigenous culture, the personages are covered in front and back with artful ornaments, luxuriant flora and mythic animals. This hymn of creation, showing fish and fowl, rabbits and deer, is also a hymn to life and its manifold plenty. The figures, representatives of life in its various forms, are gathered respectfully around the very source of life, the Christ child. In contrast with life as it should be, exuberant and plentiful, the setting is humble and sober. It conveys the frequent opposition between material poverty and the riches of the soul, or, life as it could and should be and its unfortunate present reality.

Hymn of Creation
Mexico
Jose E. L. Tomas
Setting – Michel Forest

This set reflects one of many styles of Mexican nacimientos. It comes from Tonala (Talisco). Its figures are rounded and sturdy, providing the painter with much surface to demonstrate his skills. Influenced by pre-Christian indigenous culture, the personages are covered in front and back with artful ornaments, luxuriant flora and mythic animals. This hymn of creation, showing fish and fowl, rabbits and deer, is also a hymn to life and its manifold plenty. The figures, representatives of life in its various forms, are gathered respectfully around the very source of life, the Christ child. In contrast with life as it should be, exuberant and plentiful, the setting is humble and sober. It conveys the frequent opposition between material poverty and the riches of the soul, or, life as it could and should be and its unfortunate present reality.

From the Mountain Tops
Alpine Regions of Europe
Gilberte Schneider
Setting – J. G. Roten

The central feature of this nativity is the typical habitat of the Alpine regions of Europe. These wooden constructions, burnt a deep brown or black as they grow older, are covered with slabs of granite or wooden shingles. They are built on stilts topped by circular slabs of granite to prevent mice from penetrating apartments and storage rooms. Buildings where people live are separated from granaries and stables. Similar constructions can be found in northern Spain and countries of the Pacific rim. The houses of this nativity are set in the barren landscape of the pre-Alps where grass and trees are sparse, but rocks, sheep, goats and old people, left behind, are many. Here, the Holy Family finds refuge in a shelter used by shepherds and sheep. The birth of the Messiah needs to be proclaimed not only to cities and on the flat lands but also from the mountain tops.

A Labor of Love
Slovakia
Peter Palka
Setting – Marjorie Yefchak

This nativity scene by Slovakian artist, Peter Palka, is an award-winning set (1st prize) of the 1996 International Crèche Festival in Bellingham, WA. It was featured on the 1995 Slovakian Christmas stamp. What makes this Christmas representation attractive is its simple beauty. It is made of corn husk, and artistically worked in great detail. Given the difficulty to work with corn husk, the finished product is not only an artful creation but also a true labor of love. The latter, a labor of love, echoes the deeper meaning of the Incarnation. The spirit of Christmas is God's labor of love for humanity, its beginning and promise for more labor and more love.

"God will conceal me in the cover of his tent" (Ps 27,3)
Holy Land
Annuntiata Bregy
Setting – J. G. Roten

Although designed in Switzerland, this set recreates a Bedouin scene, complete with a square, black tent and household goods. The intent was to show the intimate connection between God's promise and its fulfillment in Christ. Following Yahweh's call and promise, Abraham left his townhouse in Ur and lived in a tent. Ultimately, his journey of faith led to the announcement to Mary and the birth of Jesus. The tent is the symbol of this journey. God lives in a tent, even in churches of stone. He lives in the tent of history and its ever changing face. He lives in the fragile walls of our frequently shaky faith. He lives as memorial of our salvation in our mortal bodies. The figures are left faceless, not to point out anonymity, but universality. We need to give the Christ event a face, our own face, and the face of all those of good will.

The Jar That Was a Mountain
Spain
Unknown
Setting – Marjorie Yefchak

This is a typical example of Spanish and Latin American crèche culture. The figures are set within an open jar to show that the Christ event has its place everywhere, even among pots and pans. Jars are readily available and protect important food stuff, such as oil, sugar and flour, against mice, ants and moisture. The jar symbolizes the need to protect what is most precious to Christian faith. In fact, the jar frequently replaced the crèche mountain in countries where neither money nor space were available to build a vast crèche landscape. The lid on top of our jar represents the shepherds' field, and the angel is sending the shepherds off to hail the newborn King. Along the painted inside wall of the jar a narrow road winds down to its bottom where Jesus and his company receive visitors. The landscape is carved in cork, the tiny figures made of wire and plaster.

To the Center of the Earth
Austria
R. Himmelbauer
Setting – Brian Zampier

This stylized crèche mountain, crafted in peasant gothic style, describes a downward spiraling movement starting at the top with the three musician angels and ending at the bottom with the cave of the nativity set deep inside the mountain. Heaven (angels) calls to witness God's saving grace in Christ. It penetrates all layers of human reality, and is present even in the cave of its darkest recesses. The joyful procession of frolicking sheep and richly painted shepherds and kings is a symbol of new creation, born again in Jesus Christ. It contrasts with the elegant but empty beauty of the smaller mountains surrounding it.

All Roads Lead to the Manger
Italy
Fontanini Family
Setting – J. G. Roten

Flat roof tops, tightly clustered houses and narrow streets suggest a near Eastern location. The nativity stable sits on top of the hillside, dominating the village. Although steep and narrow, all roads lead to the manger. But not only beggars, also kings have to climb the hill of Christ's presence. However long the way, however many the obstacles, the goal, the manger, remains visible from all directions, and the angel is there to encourage the tardy and lazy and confused. This set is part of the vast Fontanini assortment of figures and accessories, a long-standing Italian Christmas tradition with frequently added elements.

The Magic Lantern
Switzerland
Matthäa Wirz
Setting – Cathy Nealon

Have you seen a multi-purpose nativity before? It has a handle and is portable. It holds not only one but three scenes. The nativity scene is complemented by those of the Annunciation and the Crucifixion. It looks like an exotic fruit or flower, ripe in some parts and open, but this set also looks like a magic lantern. One cannot look at one image without being attracted by the others. The angel of the Annunciation appears to Mary in a cave, growing literally out of the wall. The cave is reminiscent of the nativity grotto where Mary rests in a reclined position holding the Child in the nook of her arm. In this set and in older nativity traditions, Joseph sits pondering in a distance. The nativity is the beginning of a long and arduous journey, ending at the top of many stairs, but leading through death into the light of the resurrected Christ and Sun of Justice. It is not without meaning that this magic lantern has a handle. The light of salvation needs to be carried wherever we go to brighten our path with its memories of promise (Annunciation) and fulfillment (Crucifixion and Resurrection). This is what Christmas stands for.

Life is Theater
Italy
Angela Tripi, Peter Wolff
Setting – J. G. Roten

This set wants to convey drama. Its setting is the stage, its scenery the customary ruins of Italian creches, and the actors strike poses of reverence and submissiveness. They are clothed in flowing robes, indicating wealth and refinement for the magi, and decently covered shabbiness for the others, the Holy Family and the lone shepherd. In the wings are standing more actors waiting their turn to enter the scene. The backdrop reaches far into a landscape painted in colors of chiaro-scuro, suggesting a battle between darkness and light. The main pointer for this Christmas message are the ruins. The monuments and temples of pre-Christian cultures are slowly disintegrating and collapsing. Out of their ruins are growing new life and a new culture. Growth and development will not be easy. Light and darkness will clash frequently, but the Child in the manger will be a constant measuring rod for goodness and evil.

Family Portrait
Poland
S. Apriasz
Setting – Joe Barrish

This wood carved nativity from Cracow reminds us of a family portrait: the Holy Family with kings, shepherds and animals arranged in a close knit group under the aegis of Gloria banner and star. The plumb little figures with their broad faces and red cheeks are messengers of good health and prosperity. Their gifts are plentiful, lamb and rooster well-fattened, pots and coffers filled to the brim. Is the company of Jesus a warranty for good health and a fat wallet? Christmas representations of this kind originated mostly with the simple people of rural regions. Their images and sculptures reflected not so much what they had and who they were, but rather their needs and ambitions. It seems like a legitimate ambition to be part of the family portrait together with Jesus, Mary and Joseph. And if Jesus is the Savior of the whole human person, why shouldn't we portray those who are close to him with the red cheeks of good health?

Anonymous Christmas?
Switzerland
Verena Hirt
Setting – Don Smith

This nativity set is culturally, as well as geographically, anonymous. Although made in Switzerland, there is no telltale sign of a special tradition, cultural origin or geographical pattern. Unless anonymity itself could be considered a special tradition! Among contemporary artists crafting crèches, there are some who avoid any contact with local customs and all too human faces. Their reasoning needs to be pondered, for who knows how it really was? And there is more to be pondered. Who would be able to make the mystery visible with all these too familiar faces and customs? Verena Hirt's answer is that of the beauty of the form leading the viewer to the discovery of the mystery of Christmas. The figures with their anonymous faces and their half open and windblown mantels play hide-and-seek with our imagination. Is God the hidden one? How much of him is revealed? The beautiful ceramic towers with their pointed domes and wide open doors are an invitation to explore the mystery of this God who hides himself in a baby. For once anonymity leads into mystery, not for lack of knowledge but rather because of an abundance of grace.

Lying on a Bed of Straw
Mexico
Bernardino Marquez
Setting – Judy Potter

When poverty and faith meet, they frequently generate inventiveness and creativity. This is the case for some of the more beautiful samples of straw nativities from the Tzintzuntzan region of Mexico. The artist of this set, Bernardino Marquez, is a master weaver who created some beautiful figures with a most ordinary material straw. Decorative on large surfaces and intricate where small features are concerned, the artist's weaving produced figures of great simplicity and dignity. Admire Joseph with his blooming staff, the gourd hanging from its top, a pilgrim's hat (patterned after St. James') on his head. A golden glow emanates from this straw set, as if the ordinary material was ennobled by the noble purpose it served. As for the meaning of this nativity set, God is able to make beautiful things from humble beginnings.

To the Farthest Ends
Ivory Coast
Kahola Studios
Setting – Michel Forest

The wealth of African nativity sets cannot be summarized in this one set from the Ivory Coast. In Africa, there exist many nativity scenes of different styles, frequently carved in wood or made from brass and soapstone. This set is from clay and painted with chalk. It has an ornamental beauty. Its sober lines and square volumes are reminiscent of contemporary art; the intricate and colorful design of the dresses is a hymn to life as only African culture may conceive it. The magi bring gifts, as they would, but they are outdone by a group of impressive women carrying on their heads heavy loads for the Child. The representation of the Child is remarkable as he lies or stands with outstretched arms within the open petals of a rose. There exists a longstanding symbolic relationship between Christ and the rose. He is the center of life and love.

Heaven on Earth
Austria
Meusburger Family
Setting – J. G. Roten

Is it true that on Christmas the stars fell from heaven? Is it true that the Christ child fell from heaven with the stars, and found himself on a bed of moss in the deep, deep forest? Christmas lore is inexhaustible. How could it be otherwise. As it was told and retold the centuries over, the miracle of miracles gave rise to many fairytales. But it is a children's privilege to keep the miracle alive. This is what this set attempts to suggest. That, yes, the stars fell from heaven, and yes, you can find the Child in the midst of a dense forest, provided you are courageous enough to brave darkness, tangled roots and loneliness. You will find him on a bed of moss and roses in the company of Joseph and Mary, and surrounded by three boy-kings singing the Christ child to sleep. The boy-kings is a Germanic custom. On January 6, boys dressed up as the three kings walk the village streets, knock on house doors and sing Christmas carols for those who are generous and hospitable.

He Always Comes Our Way
Czech Republic
M. & A. Raboch
Setting – Marjorie Yefchak

Yes, this is an important part of the Christmas message. He came, and always comes our way. And he is not alone. With him come all those he once met and drew to himself. Together with him they form a long and age-old procession, the people of God on the march. They come in our direction. Not only Jesus, but all those he loves and who love him. They want to meet. They want us to join. This nativity set would like to express the idea of the pilgrim people of God. At first glance no more than a beautiful mass of orange and white colors, familiar figures reveal themselves gradually to those who take a closer look. There is Mary holding the Child and marching in the first row, Joseph slightly behind them, the night watchman announcing with his horn the hour of salvation, the lady with the goose, one making butter, others carrying a variety of delicious breads, not to forget the many musicians. The magi have joined the procession. They are part of the people, mixing in with sheep and shepherds.

To the Little and Simple Ones...
France – Provence
Marcel Carbonel
Setting – M. Forest and J. Barrish

The typical Provençal village, as we saw it in #9, is seen here from the sea. But this is a miniature edition. There exists in some countries a tradition to craft miniature crèches. Famous are the matchbox crèches of Peru and Saxony (Erzgebirge). There is one figure among these little people which begs for special attention. His name is "Le Ravi," and he usually stands in a remote area of the nativity scene. Both hands and arms are raised to heaven to express ravissement, meaning rapture. A farm hand, the boy is somewhat naive and simple-minded. But he is the only one in the whole village to manifest openly his guileless happiness on hearing the news of Jesus' birth. This moving character made its appearance at the beginning of the 19th century in Marseilles.

A Heavenly Ballet
USA
Franklin Mint
Setting – Marjorie Yefchak

Patterned on treasures of the Vatican Museums, Franklin Mint has created this nativity set in full baroque splendor. What is shown here hardly resembles the poor God who has come into humble human flesh. But should it always be like that? Is it not legitimate to show, once in a while, the other face of the coin, too? And so this nativity set takes human figures and gives them an almost heavenly appearance. The Christ child is surrounded by heavenly rhythms created by graceful poses and gestures. The figures defy gravity, and their weightless movement turns into a heavenly ballet. Baroque art has always attempted to open the heavens and bring their splendor down into this world. Rococo art takes it a step further and adds playfulness to the heavenly presence. This set brings these different aspects together and reminds us that there is "lightness of being" where Incarnation becomes a reality of faith.

Between Light and Darkness
USA
Dennis Brown (Enesco)
Setting – J. G. Roten

Solid, burly but gentle, these figures inspire trust and confidence, and one would not mind being led by them to the manger. Dennis Brown adopted a crèche style which has become popular in the United States. It favors a rough-and-tumble simplicity over sophistication, puts childlike faces on people and endows them with the smile of never- ending contentment. It is a deliberately primitive version of "paradise retrieved." The setting of this nativity suggests the theme of light and darkness, the need to find a way out of the maze of human existence. Coming into the light is a challenge because the birth of the "light-Child" did not take away all darkness. In fact, the line of demarcation between light and darkness is crossing the threshold of the stable. Thus, the search for the full light is still on. In this nativity set the seekers are the wise men. They come by boat, entangled in a maze of trees, but soon they will see the light.

Back to the Essentials
Alpine Regions of Europe
Gilberte Schneider
Setting – Marjorie Yefchak

Over time the nativity tradition expanded to include ever more cultural and thematic elements. Figures from scripture and local culture were added. Cave or stable became a ruin, then a village or sometimes a whole town. And although the nativity remained the center, this center was frequently obstructed or obscured by too many secondary figures. Thus, it sometimes comes as a welcome relief to find crèches where nothing but the essentials are shown. The example we present is composed of Jesus, Mary and Joseph clothed in simple robes of subdued colors. The Holy Family is set against a crown of bare white rocks streaked with yellow mica or cat gold. There is no distraction for mind or eye. Everything is centered on the essentials: its sober beauty and challenging simplicity.

Shelter Seeking
Austria
H. Störinger
Setting – Marjorie Yefchak

H. Störinger's shelter seeking group ties in with the extended Christmas tradition. This includes not only the nativity but also the events immediately preceding and following it, that is the holy couple's search for accommodation in Bethlehem and the Flight into Egypt. The former bears the name of "Shelter Seeking." The scene usually shows Mary sitting on a donkey; Joseph is leading the animal. The couple is threatened by the innkeeper and his dog. In this scene all figures are on foot. The wood carving is rough, and in imitation of a style developed by amateur woodcarvers, mostly farmers. "Shelter Seeking" is not limited to figures. It is frequently reenacted in Hispanic culture. Families visit each other to share in the joy of the impending event of the nativity. Where the holy couple was once rejected or found only locked doors, people now open their doors and extend hospitality in the name of Jesus Christ, the rejected one.

Flight to Egypt on Wheels
USA
Jil Gurule
Setting – Marjorie Yefchak

This work by artist Jil Gurule shows an endearing rendering of the flight into Egypt. The theme is well known in Christmas tradition and has been depicted in varied fashion: Mary and Child on the donkey, Joseph steering the animal, and the guardian angel leading the way. Sometimes the Holy Family is resting in the shadow of a palm tree, or is confronted with a pack of wild and exotic animals symbolizing evil ready to attack the future Savior. But there exist also more domestic scenes: Mary doing laundry, needlepoint or cooking. Here the artist resorted to a flight to Egypt on wheels. The cart looks much like the crossing of a Sicilian donkey-cart and the wagons of settlers going West. The figures are luminous with sunny beauty.

Carved in Bone
Mexico
Placido Hdz. Lopez
Setting – J. G. Roten

A prize-winning set at the 1993 Bellingham International Crèche Festival, this mini- nativity is carved in bone. The artist, a Chontal Indian, was 19 years old at the time. The tiny, tiny figures are carved with a remarkable sense of precision and realism. Admire the face of Joseph, and the meditative posture of Mary. See the artfully decorated gifts of the magi. Enjoy the humor of ox and ass playing with the Child. If nativity sets are first and foremost a pastoral aid created by artisans to teach young and old about Jesus' coming in this world, they can also be, and frequently are, beautiful pieces of art, real artwork. This mini-nativity set in bone falls in the latter category of artworks. Learning is greatly helped when beauty makes it joyful learning.

Jesus in the Box
Austria
Hermine Arbeitshuber

Hermine Arbeitshuber built this crèche for The Marian Library Collection. It represents a specific Austrian crèche type called Gasteiner Kastenkrippe. The nativity is set in a medium-sized wooden box covered with glass. A rich scenery is deployed before the eyes of the beholder, frequently adding local elements or events of the artist's life to the Christmas scene. The artist of this nativity box created a backdrop reminiscent of the city where she lives, the Austrian city of Linz. We see the skyline of the city, gates and churches, in particular the famous Marian sanctuary of P”stlingberg. The pilgrim's path leading to the sanctuary is marked with the Stations of the Cross which the artist prayed many times, most recently during a period of serious illness. To the left of the stable you will find a big house with a red roof. This is the silhouette of a minor seminary where the artist spent many years of hard work.

My House Is a House of Prayer
Mexico
Unknown

This set from Guerrero, Mexico, is a good example of lacquerware of the area. The richly decorated house shelters a host of figures, not least two dogs barking mightily in honor of the newborn King. The house is flanked by two guardian angels standing upright in a posture of praise. The facial expressions of the figures are in the style of indigenous, pre- Christian culture. The faces are flat, but pointed in the center reflecting human dignity (pointed parts) and dependence on God (flat parts). The setting of this nativity, the house covered with flowers, reminds us of the meaning of church. It is the place where Christ is born and reborn every time the memorial of his death and resurrection is celebrated.

Carved in Stone
Peru
Unknown
Setting – J.G. Roten

From the land of rich and varied Christmas traditions, this work of exquisite quality is carved in the white stone of the Ayacucho area (piedra de Huamanga). The whiteness of the stone and the graceful postures of the figures give this set weightlessness and transparency. The connoisseur of Peruvian crèche culture is used to heavier figures and darker colors from the Andes region. This set constitutes a welcome contrast in craftsmanship and meaning. Carved in stone does not necessarily mean monumental. Stone can be light and almost transparent. It is a symbol of weighty humanness made light and transparent by grace.

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This page, maintained by The Marian Library/International Marian Research Institute, Dayton, Ohio 45469-1390, was last modified Tuesday, 09-Jul-2002 11:29:42 EDT by Kris Sommers, July 9, 2002. Please send any comments to Johann.Roten@udayton.edu.

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