Naples has been renowned for its tradition of nativity cribs for centuries and many talented and famous artists have used their craft in designing and recreating beautiful lifelike impressions of the scene of the nativity of Christ in Bethlehem, producing effigies of both the traditional as well as the not so traditional characters in various media. These beautiful and realistic ‘statuettes’ or pastori help bring in a very true-to-life ambience and replication the ‘story’ of the nativity as described in the Bible.

The ingenuity of the talented craftsmen, using more than a small dose of artistic licence, results in cribs having a fair amount of religiosity, drama and even humour. This interesting craft, which has lasted through the years, was elevated to high levels during the Baroque period and continues to the present day, with the traditional craft even being passed on from father to son.

Many well-known artists have, in fact, over the years tried their hand in this craft or used it as a ‘fill-in’ means of income in between more demanding commissions. The famous Giuseppe Sanmartino (1720-1793), who besides other works of art is the sculptor of the breathtakingly beautiful Veiled Christ (Cristo Velato) marble sculpture treasured in the church of San Severo, is one such artist. The works of art he produced for these cribs are regarded as the best and are in great demand worldwide and his prowess earned him the nickname of ‘Donatello dei Pastori’. Many of his talented students, notably Giuseppe Gori, Lorenzo Mosca and Angelo Viva, were also figurari or modellatori – modellers of whole terracotta figures.

The blending of the sacred with the profane reaches its peak in the nativity scene in Naples with the introduction of well-known personalities past or present from the worlds of politics, sport and entertainment

The peculiar, colourful character of the fiery and boisterous city of Naples is, possibly, the only place on earth where one can find a whole street completely dedicated to selling and displaying all kinds of sizes, shapes and varieties of these nativity cribs or, as they are known, presepi, not only in the Christmas Advent period but throughout the year.

If one were to realise the love and care with which such cribs are treasured by the Neapolitans and also in many other regions of Italy one would understand why this uncommon custom prevails. The nativity cribs are very much part of Neapolitan folklore and have been so for years. The sale of any item connected with them, ranging from fully equipped cribs and clay, wooden or terracotta figurines or pastori of various sizes and value as well as all kinds of ancillary paraphernalia results in flourishing trade throughout the year in Via San Gregorio Armeno in the historical part of Spaccanapoli in Naples, reaching the highest levels during Christmas time.

Although the word pastori directly corresponds to shepherds, the latter are only one characteristic of these statuettes. The traditional Bethlehem story characters are all represented, such as the three kings or magi, the Madonna and Child, St Joseph, the numerous angels, the ox and donkey, as well as other typical country folk and animals seen in rural settings such as farmers, hunters and  roosters, horses, hens and pigs.

The birth of Christ and the visit of the magi.

In line with the Neapolitan character and tradition the list of ‘eligible’ participants making up the nativity scene extends to include fishmongers, butchers, fruit, vegetable and flower vendors and the quintessential, iconic Neapolitan pizzaiuolo at his pizza oven.

The blending of the sacred with the profane reaches its peak in the nativity scene in Naples with the introduction of well-known personalities past or present from the worlds of politics, sport and entertainment, whether renowned or notorious; sometimes carrying ridiculing, derogatory or sarcastic slogans.

In this regard one can expect to find the popular Italian comedian Totò, Maradona, Berlusconi, Caruso and Donald Trump incongruously in close proximity in the crib to Pope Francis and Mother Teresa, all of whom are far from the traditional ‘pastore’. The crib, hence, serves as a social and cultural event that moves with the times and, it is said that Neapolitans judge whether personalities have reached the peak of popularity or derision when their likeness appears in the nativity scene.

The Neapolitan nativity crib is considered as yet another yuletide tradition or decoration like Christmas trees, mistletoe and Santa Claus, or the Italian equivalent – the Befana. It is, and has been for centuries, considered to be an institution. There are no less than four major heads of schools of the top Neapolitan workshops producing their varied unique styles, designs and intricately detailed and highly valued works of art throughout the year.

In fact, the Neapolitan crib was already  popular during the reign of the Bourbons, and in 1702 a number of precious figurines were presented as a gift to King Philip V and his son Carlo III, and as Edgar Vella writes in his book An 18th Century Neapolitan Crib in Malta, it is recorded that “his consort involved themselves in the making of the royal crib”.

The schools were set up over the years, with the oldest being that of Pietro Ceraso, who was born in 1633 and was active in this trade in the mid- to late 17th century, Lorenzo Vaccaro (1652-1706), the famous aforementioned Giuseppe Sanmartino (1720-1793), and Francesco Celebrano (1729-1814). These figurari produced their beautiful statuettes and crib embellishments that have left a valued legacy in the Neapolitan art world and are closely guarded as collectors’ items. This is not to say that they were the first to start this wonderful tradition as, undoubtedly, this goes back much further in time; however, they developed their botteghe during their lifetime and these were continued over the years in some cases even up to the present day.

The busy and boisterous tavern scene.

These figurari specialised in particular aspects of the crib. There were those who excelled in the creation of figures of men and women, others in animals, others in the building of miniature dwellings, as well as those who ‘dressed’ the figures in rich materials. There were others who were mainly devoted to the actual construction of the whole base from wood, cork, plaster, cardboard and papier-mâché, materials that are still used up to this very day also in Malta.

Considered by many connoisseurs to be the best crib in the world, the Michele Cuciniello Nativity Crib in the Certosa di San Martino is indeed an outstanding work of art which is both pleasant to the eye, as well as one that generates interest and curiosity in its blend of religiosity combined with blatant profanity. In Natività sulla scena barocca – Il presepe Napoletano del settecento, Claudio Chirivino and Bubi Mangoni di S. Stefano give special mention to this crib as a prime example of traditional Neapolitan cribs.

Considered by many connoisseurs to be the best crib in the world, the Michele Cuciniello Nativity Crib in the Certosa di San Martino is indeed an outstanding work of art

The high quality of craftsmanship as well as the overall design and naturalistic illusion of the story of the birth of Christ and the dawn of Christianity is so beautifully and masterfully portrayed that one cannot fail to admire the skills of the craftsmen and artists in creating such an impressive overall tableau. The crib is endowed with around 800 figurines or pastori, each of which is a work of art in its own right. This work of art goes back to the settecento and is named after the collector Michele Cucciniello, who was an artist, playwright and architect. His experience in these professions helped him to design this crib beautifully. The crib boasts the most ancient group of collections within the museum. He donated it in 1877 and two years later, together with Luigi Farina, he personally set it up. It was inaugurated on December 28, 1879. The base or ‘rock’ is a mixture of wood, cork and papier-mâché as well as terracotta. The setting is that of a traditional Neapolitan crib which invariably incorporates Roman ruins, and in this case, not least due to the fact that Luigi Farina was at the time involved in the archaeological excavations in Herculaneum. This crib was constructed and originally placed in the old refectory at the Certosa.

The tradition of Neapolitan cribs respects the iconography that has been passed on over the years and which was to be followed after the Reformation. This tradition is very much in evidence in the Michele Cucciniello Nativity Crib. The main important inclusions are the reproduction of the birth of Christ together with the Epiphany, depicting the visitation of the three kings or magi.

There is also the inclusion of standard scenes that are linked to beliefs referred to in the Bible and Church teachings as well as to legendary and folkloristic traditions. These include the setting of the birth of Christ in broad daylight representing the Son of God as the Light of the World. This change from bad to good and dark to light is also symbolised by a bridge.

There are also the Roman ruins which represent the victory of Christianity over paganism, and the featuring of such ruins in a Neapolitan crib shows the familiarity and proximity of Pompeii and Herculaneum.

We then have the tavern, which features as the place where the Holy Family were denied refuge. This is used in the crib as an excuse to display the serving of food, dancers, musicians and even gambling and profane debauchery. Some even go so far as to show beckoning prostitutes in the tavern windows!

The fountain, which is also a must in Neapolitan cribs, is here designed as a delightful feature in a beautiful baroque style. This fontanella symbolises the cleansing water emanating from the source in the ground which gives life and purifies, bringing to mind the baptismal font and the water cleansing man from original sin thanks to the birth of Christ.

The star is, obviously, indispensable in any crib, and here it is given its full importance, being the guiding light that directed the magi to the Holy Nativity.

We then have the Gloria, with the cascade of angels from heaven descending to earth in the direction of the Roman ruins which are in the vicinity of the creche where the holy child was born. This, indeed, crowns the glory of God and is the crowning glory that rewards the creation and completion of such an impressive, imaginative and beautiful work of art.

The Michele Cucciniello Nativity Crib at the Sanmartino Museum in Naples.