by artist Ulderico Pinfildi
At Folger Shakespeare Library
IN THE SHAKESPEARE GALLERY:
This Neapolitan presepio, sculpted by artist Ulderico Pinfildi, re-creates the nativity with the colorful details of 18th century Italian life.
Pre-concert reception commemorating the display on Wednesday, December 19 from 6:30PM to 7:15PM. RSVP required for pre-concert reception.
Concert not included. A limited number of prime seats for the December 19 performance are on hold for the Istituto subscribers.
To purchase those seats, please call the Folger Box Office at 202-544-7077, mention the performance on December 19 and discount code ITALY5 by Friday, December 14.
ON VIEW DECEMBER 19 THROUGH JANUARY 6
LOCATION
Folger Shakespeare Library
201 East Capitol St, SE
Washington, DC 20003
RSVP
Please click on “Make a Reservation” by December 18, 2012 at 2 PM
RSVP required for free pre-concert reception. Concert not included.
The Reservation System will allow you to register until we reach
capacity or by December 18, 2012 at 2:00 PM (whichever comes
first.)
PLEASE NOTE: THIS EVENT WILL TAKE PLACE AT Folger Shakespeare Library – 201 East Capitol St, SE – Washington, DC 20003
THE PRESEPE (Crèche)
Modern interpretation of a presepe (from designerblog.it)
St. Francis of Assisi is credited with creating the first presepe in history. In December 1223, according to the legend, he set up a Nativity scene in a straw-filled manger surrounded by live animals, in a natural cave near the small town of Greccio (Central Italy). That year the Christmas Eve Mass was celebrated there and word quickly spread that this presepe had miraculous powers. Although this was not the first presepe ever built, the prestige of St Francis’ name greatly helped to make this re-enactment of Christ’s birth very popular.
In a short time, the presepi became a permanent fixture of Christmas time in Italy. Initially confined inside of churches and monasteries, Italian presepi were soon also set up by aristocrats and wealthy people in private houses, and from there the tradition trickled down to the homes of common people.
Today, during Christmas time, one finds presepi virtually anywhere in Italy, both in public and private spaces: churches, hospitals, airports, railway stations, open squares, courtyards, niches on the streets, dining rooms and lounges.
The basic structure is comprised of Baby Jesus with St. Joseph and Mary, but such a minimalistic and plain version is quite rare. The scene usually includes a cow and a donkey, the two humble animals which kept little Jesus warm with their tepid breath. Then we would have an angel announcing the good news, and a number of shepherds, with or without their flock, as a reminder that Jesus’ message was primarily directed to the most humble layers of the population. A comet star usually shines over the manger and it is followed by the Three Wise Men, who symbolize the human quest for the divinity and the homage the whole world pays to this miraculous birth. Around these central elements, one can find virtually anything. Most commonly the presepe-makers strive to recreate a vaguely Middle Eastern landscape, with palms and people wearing turbans and sporting scimitars. But often the natural and human settings actually familiar prevail and, depending on the regional provenance of the presepe, you will find mountains white with snow and green with firs and pines, or mild hills with water mills and gentle rivers, or sea shores with fishermen, cliffs and sea stars. You can also find very different natural settings put together without any pretense of realism, and modern-day presepi may present sophisticated features like blinking lights, streams of real water and turning watermills.
PRESEPE NAPOLETANO (Neapolitan Crèche)
Example of Neapolitan presepe by Ulderico Pinfildi
In Neapolitan culture the presepe lies at the core of Christmas celebration. The first Nativity scene in Naples is mentioned in a document about a crèche in the Church of S. Mary of the Nativity in 1025. In Amalfi, according to various sources, in 1324 there was a “chapel of the crib at the home of a certain Alagni family.” In 1340, Queen Sancha of Aragon (wife of King Robert of Anjou) gave to the Poor Clare Sisters a presepe for their new church, which today can be seen in the Museum of San Martino in Naples.
However, what is now known as “Presepe Napoletano” has its roots in the late 17th century, when it was fashionable to reconstruct nativity scenes in churches and monasteries with landscapes on very large proportions and life size figures. When the Bourbons arrived in Naples (1735) they immediately adopted the local custom and it was during their long domination, until 1860, that the presepe napoletano had its hey day. Every year the royal palaces of Naples, Capodimonte, Caserta and Portici hosted magnificent presepi. The Bourbon princesses sewed the clothes themselves for all the characters in the presepe and personally dressed them.
Whereas usually the presepe strives to reproduce a Middle Eastern landscape, the Neapolitan presepe is an excellent representation of the people and lifestyle in 18th century Naples. Besides the mandatory group of Baby Jesus, St. Joseph and Mary, plus the angel(s), the comet star and the Three Wise Men, all the other characters filling in the scene are locally characterized, as is the landscape, which does not mirror an oriental countryside but a crowded city, teaming with busy people and movement. Often the Vesuvius and the sea are also proudly exhibited, so that no doubt is possible about the location the artists had in their mind and their heart.
A proper presepe napoletano is set on a basis which is called scoglio (sea cliff), and can have any kind of size and shape. Ideally the Nativity group around the Holy Baby should be at eye level. Actually, very different combinations are found. The figurines populating the scoglio are called pastori (lit. shepherds, but this term is used for all the characters of the presepe), and their creation is the real benchmark of a presepe maker. Figurines can be partially made of wood, and hemp or hay wrapped in wire are used to create the body covered in garments. Terracotta generally makes up the rest of uncovered parts of the bodies. Figurines can be clothed with rich and sumptuous fabrics like silk and brocade, depending on “their” social status. Paradoxically, the most precious and costly pastori are not the richly dressed aristocrats, but the poorest beggars. Being their body almost naked, the shaping of terracotta for their features requires considerable artistry.
No path of Neapolitan life is foreign to the presepe. Fishermen, merchants or peasants can be seen admiring the Holy Baby, or minding their own business around town. We can even find represented prostitutes outside an inn! There may be a fountain and various buildings that also identify with Naples. Most figurines hold a particular symbology, like the famous Benino, the sleeping young shepherd. Legend says he was waiting for the birth of Christ and fell asleep and did not hear the angels rousing the other shepherds to go to the manger and pay homage to the Holy Baby. To this day, Neapolitans say the Benino should not be awakened, otherwise the presepe would vanish immediately like in a dream! Another one is the so called Carità (Charity), embodied by a poor, skinny beggar, in rags and tatters, who humbly offers his own piece of bread to the Holy Baby. He is the greatest example of charity, because he is giving out the only thing he has and maybe is renouncing to eat himself to give others something to eat. Of course, since he is almost naked, this personification of poverty is an extremely costly figurine.
ULDERICO PINFILDI
Continuing a family tradition, Pinfildi and his workshop can boast over twenty years of activity in the field of the presepe. Pinfildi’s art relies on research on traditions and aims at giving a careful and faithful reproduction of the Neapolitan crib sculptures of ‘700, both in the features as in the clothing. The details, in fact, are what make the scene come to life. Pinfildi pays particular attention to the finishing of faces, hair and hands; the clothes are faithful to the time, starting from the fabrics: embroidered silk for the nobles and hand-finished cotton and linen for commoners. The careful reproduction of the animals, of the wooden or metal tools, the reproduction of musical instruments, of baskets with fruit and vegetables and of various tools, make the figures produced by Pinfildi recreate, within a simple mise-en-scene, a festive atmosphere of yesteryear.
Ulderico Pinfildi’s works have been showcased internationally in many exhibitions dedicated to the tradition of the presepe. He has also been a teacher of modeling in training courses on behalf of Assofor and Gli Amici del Presepio.
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