The tradition of nativity scenes. Intangible cultural heritage
The path to UNESCO World Heritage status
There are a number of criteria for this: the annual setting up of the nativity scene is akin to a ritual, but also an act of community. This ritual is often accompanied by a communal prayer. At the same time, it is about preserving something of artistic value, which also includes the upkeep and restoration of the figures, the hill and the backdrop.
No less significant is the bringing together of people, the Krippeleschau’gn. The interactions in churches and private homes, and the shared exchanges amongst nativity scene enthusiasts. More and more people are building their own bespoke nativity scenes; the nativity scene has long since found its way into almost every household and often forms the centrepiece of family Christmas celebrations. Nativity scene-building courses are often fully booked months or even years in advance.
The Reformation and secularisation gave a new lease of life to the tradition of nativity scenes
With the Reformation (1517), much was destroyed or lost. The oldest known nativity scenes date back to the time of St Francis (12th century). The Thirty Years’ War contributed to this. The fact that only the privileged could read and write, combined with the loss of biblical knowledge, meant that during the Counter-Reformation (1545–1563) the Jesuits, in particular, endeavoured to spread this knowledge once more as part of a drive towards re-Catholicisation. The Baroque zest for life and a deep-seated piety also contributed to the enthusiasm for the nativity scene or ‘Christmas theatre’.
The secularisation initiated under Joseph II, together with the Enlightenment trends of the 18th century, once again banished nativity scenes from churches and monasteries. Much was lost once more, or destroyed. Or else it was purchased by wealthy citizens and thus saved. Gradually, the tradition of the nativity scene shifted into private homes, where it continues to play a significant role during the Christmas season to this day. More and more people are travelling to the Promised Land, and the Oriental nativity scene is becoming increasingly common in Tyrolean households. These are joined by craftsmen, innkeepers, musicians, hermits, soldiers, poachers and miners, who ‘set’ the story of the Saviour’s birth in their own surroundings. It is, and always will be, a question of money: nativity scenes made of paper or clay – particularly smaller figures, which cost less and take up less space – are becoming fashionable.
Special programme on Servus TV: Nativity scene traditions – and restoration
Hall is home to the second-oldest Baroque church nativity scene in Tyrol, its MK nativity scene (1609). It is also the only nativity scene in the province to be listed as a historic monument (!) and is therefore on display during the winter and the Christmas season: The nativity scene, which now comprises 19 figures, can be admired in the Franz Xaveri Chapel in the Jesuit Church until Epiphany (6 January).
The film crew led by Florian Guthknecht from Flowmotion in Munich got in touch with Hall to film a special programme on nativity scene restoration. The feature (on the ‘Servus am Abend’ programme) focused primarily on the restoration of the valuable figurines. Michael Schretthauser, a master painter, gilder and restorer from Innsbruck, has been ‘looking after’ the nativity scene for decades. He gave the camera crew a glimpse into his workshop and demonstrated live how the re-carved fingers of the blue angel figure are being retouched. The process of painting raw figures, including the preparation of the paints using fresh egg, as well as the gilding of individual accessories with gold leaf and an agate stylus, impressively demonstrated the full range of skills a restorer has to offer. At the end of the demonstration, the enthusiastic film trio were offered a strong schnapps to toast with, as is the Tyrolean custom. Gloria!
The scene and figures of the nativity scene in the Jesuit Church
The nativity scene in the Jesuit Church now comprises 19 figures, not counting the sheep and other decorative accessories: Mary, Joseph and the Baby Jesus, the Three Wise Men along with their pages, three angels, three shepherds, a high priest and two altar boys. A new addition is a half-relief sculpture created by Manuel Schmid, a sculptor from Hall, depicting an ox and a donkey, which now – in the truest sense of the word, albeit belatedly – plays a central role in the nativity scene and completes the story of salvation.
What makes the Haller figures so special is that they are, for the most part, wooden jointed dolls, which means they can be moved. Mary’s head is moulded from wax, whilst the baby Jesus is made entirely of wax. Joseph’s head was originally made of wax, but it fell to the floor and broke at the end of the 19th century. It was replaced at that time (1889) with a wooden replica. Incidentally, Mary and Joseph are said to bear the facial features of Charitas Thaler and Hippolyt Guarinoni. The famous Haller chaplain was prefect of the Marian Congregation of the Gentlemen and Citizens of Hall, which still owns the marvellous nativity scene to this day. The couple’s love for one another was profound. Sadly, Charitas died very young after giving birth to numerous children; she had borne Hippolyt eight children (!). Some figures are fitted with wigs made of real hair, such as the Baby Jesus, Joseph, one of the kings, the high priest and the angels. The pages accompanying the Three Kings, who are depicted as very small in stature, are a reflection of the hierarchical social order of that time.
None other than the Haller painter Franz Xaver Fuchs (1868–1944) was commissioned to create the background for the nativity scene: it is precisely tailored to the dimensions of the Franz-Xaveri Chapel. Fuchs must have been delighted to receive this commission! Especially as the nativity scene stands in the chapel dedicated to one of the first Jesuits and the artist’s namesake.
