In Naples, where the most elaborate creations eventually took place, we have a record of a Presepe given by Queen Sancia to the Poor Clares in 1370. Development was subsequently rapid, with artists such as Giovanni and Pietro Alemanno and Giovanni da Nola. The Presepe became mobile, based on wooden sculptures crafted to scale. Artisans became ever more skilled in creating the “pastori”, eventually adding articulated limbs, wigs, glass eyes, lifelike bare skin. At the same time the background was developing, the setting became important. Perspective and special illumination were used, decorative elements were added, attention was paid to colors and the use of reflective surfaces. In effect the Presepe outstripped its original function of representing the bare Nativity, and became an artistic ideal in its own right, becoming more and more secularized in the process. The scope of the representation also expanded: it was now not just the shepherds and the Magi who came to worship the newborn Christ, but people from all walks of life, the baker, the butcher, the candle-maker…, all in the typical dress of their day and trade.
The Nativity scene is of course represented in very many countries all over the world, and it is fascinating to see how native cultural elements are incorporated into the Diversorium. The pastori exhibit local physiognomies and local dress, architectural elements echo the architecture of the country, vegetation and other decorative elements are modeled after local examples. The fidelity that is lost in giving up the attempt to represent the Palestinian landscape of 2000 years ago is more than made up for by the ecumenical union of all believers and by the implicit declaration that the event represented transcends any local characterization and holds a message for all mankind.
In Naples, particularly, we find that unique blend of classicism and religious art that had swept the Peninsula since the Quattrocento. Thus, a Neapolitan Presepe may depict the grotto of the Nativity next to Roman columns, with the Vesuvio in the background and perhaps even the sea, Naples’ sea, somewhere in the scene. Today the most spectacular collection of Presepi is found at the Museo di San Martino in Naples. In these examples, rich in baroque detail and symbolism, some of the figures may be arrayed in valuable cloth and may be wearing real jewels.
The artistic/religious theme began to wane in the 19th century, and the Presepe became a commercial commodity, within reach of most families who wanted to recreate the Nativity scene, in a more or less simplified form, in their own homes. Today one can buy most representational elements in a wide variety of sizes and assemble them at home – typically a joyous activity that involves the whole family. A famous street in Naples, San Gregorio Armeno, houses most Neapolitan Presepe artisans, and the neighborhood comes alive every Christmas as hordes of Neapolitans and tourists alike prowl the shops in search of pastori, I Re Magi, il Bue e l’Asinello, the Angels, il Bebe’, and perhaps the Tavern-Keeper and the Shoe Maker.
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