Celebrating the Sacred Crèche Tradition

Celebrating the Sacred Crèche Tradition
A details of The Neapolitan crèche, 1725–1775, by various artists. Mixed media including wax, cork, cloth, metal, moss, straw, wood, gouache, watercolor, papier-mâché, and polychrome terracotta; 169 5/16 inches by 183 1/8 inches by 55 1/8 inches. Purchased with funds provided by Mr. and Mrs. James N. Bay and Linda and Vincent Buonanno and family; Eloise W. Martin Legacy Fund; Ruth Ann Gillis and Michael McGuinnis and Mrs. Robert O. Levitt; Charles H. and Mary F. Worcester Collection Fund. Art Institute of Chicago. (Public Domain)
Lorraine Ferrier
12/6/2022
Updated:
12/6/2022

For centuries at Christmas, Christians have set up devotional crèches, three-dimensional Nativity scenes that they normally display in their homes, churches, and stores until Jan. 6. That day, Epiphany, is celebrated as the time when the divinity of Jesus was revealed to the Magi, or wise men. These three wise men were the first Gentiles (non-Jews) to meet him.

St. Francis of Assisi (circa 1182–1226) popularized the crèche tradition, which experts believe originated much earlier.

Each year, staff at the Art Institute of Chicago continue this tradition when they set up an 18th-century Neapolitan crèche of over 200 terracotta figures, including 50 animals and 41 still-life objects. Since 2013, visitors have been able to delight in the Nativity display, which is on show for only a few weeks due to the figures’ fragile silk and embroidered costumes.

The Neapolitan crèche, 1725–1775, by various artists. Mixed media including wax, cork, cloth, metal, moss, straw, wood, gouache, watercolor, papier-mâché, and polychrome terracotta; <span style="color: #000000;">14 feet 1 1/4 inch by 15 feet 3 1/8 inches by 4 feet 7 1/8 inches. Purchased with funds provided by</span> Mr. and Mrs. James N. Bay and Linda and Vincent Buonanno and family; Eloise W. Martin Legacy Fund; Ruth Ann Gillis and Michael McGuinnis and Mrs. Robert O. Levitt; Charles H. and Mary F. Worcester Collection Fund. Art Institute of Chicago. (Public Domain)
The Neapolitan crèche, 1725–1775, by various artists. Mixed media including wax, cork, cloth, metal, moss, straw, wood, gouache, watercolor, papier-mâché, and polychrome terracotta; 14 feet 1 1/4 inch by 15 feet 3 1/8 inches by 4 feet 7 1/8 inches. Purchased with funds provided by Mr. and Mrs. James N. Bay and Linda and Vincent Buonanno and family; Eloise W. Martin Legacy Fund; Ruth Ann Gillis and Michael McGuinnis and Mrs. Robert O. Levitt; Charles H. and Mary F. Worcester Collection Fund. Art Institute of Chicago. (Public Domain)

Traditionally, the crèche genre of sacred art sets biblical scenes in a contemporary environment. In the Institute’s crèche, angels, shepherds, and the three wise men greet the holy family of Mary, Joseph, and Jesus among ancient ruins while 18th-century Neapolitan locals go about their daily lives.

The divine baby Jesus sits on his mother’s lap, surrounded by jubilant well-wishers. (Public Domain)
The divine baby Jesus sits on his mother’s lap, surrounded by jubilant well-wishers. (Public Domain)
The crèche genre of sacred art sets biblical scenes in a contemporary environment. Neapolitan locals go about their daily lives in one part of the 18th-century crèche at the Art Institute of Chicago. (Public Domain)
The crèche genre of sacred art sets biblical scenes in a contemporary environment. Neapolitan locals go about their daily lives in one part of the 18th-century crèche at the Art Institute of Chicago. (Public Domain)

Each of the 18th- and 19th-century crèche pieces in the Institute’s display was made for devotion. But look closely and you'll see that the size, style, and quality of the figures differ; fine craftsmen made some figures, while artisans crafted others. Often, many hands made each crèche figure. Sometimes, well-known artists created the terracotta head and shoulders, and the rest of the figure was completed by lesser artists, artisans, or even nuns. Artists painted the clay to animate each character. They then created bodies from twine and wire, adding many materials—from wax and cork to the finest embroidered silk—to bring each figure to life. For instance, artists stitched fine copper wire into the hems of the angels’ costumes to give the appearance of an angel fluttering in flight.

<span data-sheets-value="{"1":2,"2":"A group of angels gaze in awe at the Holy Family below, in the Neapolitan crèche at the Art Institute of Chicago. (Public Domain)"}" data-sheets-userformat="{"2":15107,"3":{"1":0},"4":{"1":2,"2":65535},"11":4,"12":0,"14":{"1":2,"2":0},"15":"Georgia","16":13}">A group of angels gaze in awe at the holy family below, in the Neapolitan crèche at the Art Institute of Chicago. (Public Domain)</span>
A group of angels gaze in awe at the holy family below, in the Neapolitan crèche at the Art Institute of Chicago. (Public Domain)

Many of the figures’ fine costumes were handmade and embroidered by the families who collected them. These collectors also added accessories to the figures, such as gilded censers, daggers, and silver filigree baskets.

Institute visitors can see the crèche in an authentic setting created by Alfredo Laino, a renowned Neapolitan crèche scenographer, who was commissioned in 2011 by the crèche’s former owner, Naples art dealer Vincenzo Porcini.

The Art Institute of Chicago’s 18th-century Neapolitan crèche is on display until Jan. 8, 2023. To find out more, visit ArtIC.edu
Lorraine Ferrier writes about fine arts and craftsmanship for The Epoch Times. She focuses on artists and artisans, primarily in North America and Europe, who imbue their works with beauty and traditional values. She's especially interested in giving a voice to the rare and lesser-known arts and crafts, in the hope that we can preserve our traditional art heritage. She lives and writes in a London suburb, in England.
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