I had to say that before pointing out this one tiny ... issue. See, we have this 100-year-old Nativity scene we set up each year. The older folks in the congregation have let us know that this must always happen. Somehow over the years it got mixed with both another Nativity scene and with a Noah's Ark scene. It's ridiculous. In with the oxen and cattle and camels are pairs of zebras and rhinos and elephants. There is some theological beauty in combining these two scenes, but it's kind of a train wreck.
I thought of that when I read this great story by Tim Townsend in the St. Louis Post-Dispatch. For all the importance that Nativity scenes have in the lives of Christians in America and throughout the world, it's interesting how little coverage we get of them in news stories. For many, it might be difficult to write an interesting or newsy story about them.
When the duke of Urbino in Italy needed a gift for the queen of Spain, he turned to his friend, the painter Federico Barocci.
Barocci, a devout Catholic, worked during the Counter-Reformation, and in 1597 he had painted his version of one of the most recognizable images in all Christendom.
And as Christians mark Jesus’ birth today, they will do so with imagery that owes less, perhaps, to historical accuracy than to artists such as Barocci and thousands of others who preceded him for 1,000 years.
The hook is that Barocci's Nativity is on display at the St. Louis Art Museum. But Townsend uses this as item to write an interesting story exploring the theology and artistry of the scene:
Historians and theologians say it is that sense of family intimacy, coupled with the humbling circumstances of Christ’s birth as told in the Gospel of Luke, that has resonated with Christians for centuries.
Many Christians hang a crucifix or cross — a symbol of the resurrection — in their homes, “but the other pillar of Christianity is the incarnation,” said St. Louis Archbishop Robert Carlson. “When the savior of the world was born, he wasn’t born in a palace, he was not born as a king. He came as a defenseless child.”
And, of course, Luke made Christ’s vulnerability even more stark by placing Mary and Joseph in a stable. When the time came for Mary to deliver the child, she “gave birth to her firstborn son and wrapped him in bands of cloth, and laid him in a manger, because there was no place for them in the inn,” wrote the author of Luke’s Gospel.
There is a ton of history packed into the story as well as interpretations of same, making it a rare, meaty story in the midst of a lot of fluffy stories. You should read the whole thing.
The whole thing reminded me of the stir over Pope Benedict's writing that the Gospels don't mention any animals at the manger. Townsend mentions it toward the end of the piece, which concludes:
Eventually manger scenes became a feature in many Christian homes throughout the world. Carlson said that when he was growing up, he loved to play with the creche figures in his parents’ house.
“What got me into trouble was that I also had these little toy soldiers,” he said. Did he ever mingle the two? “Never,” he said, smiling.
Carlson has 14 creches decorating the archbishop’s residence on Lindell Boulevard at this time of year. He keeps two of them up year-round. One, a gift from a family in South Dakota made of wood and dating to the 19th century, sits on a mantle directly across from the desk in his home office. He looks at it every day.
“To me,” he said, “it’s just a simple reminder that God loved us so much that he sent his son to be with us.”
Our house currently has three manger scenes: a toy one for the children, a nice ceramic one my mother sent me this year and the one my Dad picked up when he was studying in Israel. It's such an obvious point but it's nice to see something so important to me and my family in the news. What's more, it's nice to learn more about the history of their development and their significance throughout the ages.
Nativity image via Shutterstock.