Blog series: ‘Krippeleschaug’n’. A vibrant Tyrolean tradition

Every year at Christmas time, there is a very special treasure to admire in the Tyrolean villages of Tulfes, Hall and Thaur: The three oldest nativity scenes in the province – and indeed, probably even in Central Europe – are housed in the parish church of Tulfes (1608), the Jesuit church in Hall (1609) and the Maxnhof in Thaur (first half of the 17th century). Whilst the first two are open to the public and can therefore be admired every year, the nativity scene at the Maxnhof in Thaur is privately owned.

Following a general introduction to the subject of nativity scenes, the first instalment of our blog series focuses on the nativity scenes in the villages of Tulfes and Hall in Tyrol.

The origins of these nativity scenes therefore date back to the Baroque period and the Counter-Reformation. It is therefore hardly surprising that the Jesuit churches and monasteries in Hall and Innsbruck were the first to own nativity scenes.

These nativity scenes were created in the Tyrolean style; it was not until the first pilgrimages that nativity scenes in the Oriental style began to appear. Felix Zimmerling, a hermit from Thaur, was one of the first to undertake a journey that would take him to the Promised Land in 1852.

The earliest nativity scenes were also found in monasteries or churches. In aristocratic or upper-middle-class households, private nativity scenes were a rare occurrence. The oldest surviving private nativity scene is the one at the Maxnhof in Thaur, the pride and joy of the Huetz family.

For decades, the tradition of viewing nativity scenes has been upheld in Tyrol, usually drawing interested visitors from near and far into private homes between St Stephen’s Day (26 December) and Candlemas (2 February). Proud nativity scene owners welcome visitors into their parlours and explain how their nativity scenes came to be part of the household. In the process, you’ll learn a great deal about when they were made, their design, background, the mountain and the figures, their carvers and their significance. Over home-baked biscuits or stollen, and whilst singing ‘Gloria’ together, a toast is raised to everyone’s well-being. That’s how the tradition goes!

In the following video, Willi Getter, a restorer and member of the Tulfer Nativity Scene Association, shares some fascinating details about Tyrol’s oldest church nativity scene. It was first mentioned in 1608, was originally housed in the Spitalskirche in Innsbruck, and was purchased by the people of Tulf for 5 gulden at the time. Today, it is the pride and joy of the people of Tulf, but hear for yourselves...

As well as the nativity scene, the parish church in Tulfes is home to another treasure: the ‘Jesuskindl’ by the artist Josef Bachlechner the Elder. Every year around 24 December, it is placed beneath a beautiful canopy on the high altar, where it can be admired until Epiphany.

When discussing nativity scenes and Tyrolean customs and traditions, one must not forget a very special man and artist: Josef Bachlechner the Elder (1871–1923). Born in Bruneck, this South Tyrolean sculptor ran a large workshop in Hall (formerly Dietl); Bachlechnerstraße is still named after him today. The artist, who worked primarily in the Neo-Gothic style, brought the nativity scene into more or less every household in Tyrol.

As a deeply religious man, he is said to have begun every task with the words ‘In God’s name’. His future wife wanted to test Bachlechner and, during a Christmas stroll through Tulfes, told him that there was a five-year-old boy in the village who no longer had a mother. The young woman hesitated at first, but then said she would certainly be a good mother to the child. Whereupon Bachlechner is said to have led her to the high altar of the parish church, where the Baby Jesus, carved five years earlier, can be seen every year at Christmas.

As well as the famous nativity scene in Hall’s Jesuit Church – the second oldest in Tyrol – there are other nativity treasures to admire in this medieval town, namely in Hall’s parish church, the Franciscan Church and St Magdalene’s Chapel.

Upon entering the Parish Church of St Nicholas via the main entrance to the west, you can admire further works by the woodcarver whilst viewing the nativity scene: At the St Catherine’s Altar in the northern aisle, there is a nativity scene by the artist, which was restored by Michael Schretthauser in 2017: The Baby Jesus, swaddled in a nappy and lying in the manger, is protected by two angels, whose wings – modelled on peacock feathers – are particularly striking. In keeping with the Neo-Gothic style, the hair, curls and folds of the robes are rendered with jagged lines.

The Waldaufkapelle at the end of the northern aisle in Hall’s parish church does not, admittedly, contain a nativity scene in the traditional sense, but it does feature one remarkable detail: The two angels holding the Madonna’s protective mantle were added to Josef Bachlechner’s statue of the Virgin Mary – which dates from around 1480 and originated from the Pacher School – over 400 years later (!). The work as a whole is striking for its exceptional harmony and charm.

Also well worth seeing is the wooden nativity scene by Andreas Crepaz (1923) at the high altar of the parish church in Hall. Wooden nativity scenes were created primarily in times of hardship and famine, often due to a lack of financial resources. The nativity scene by the Ladin artist is set up every year at the high altar of the parish church and consists of 11 parts. In addition to the Holy Family, the ox and the donkey, four shepherds and three sheep, five angels are also depicted. The 17 figures in total are painted on wooden boards and are still in very good condition.

A useful tip for craft enthusiasts: The nativity scene is available as a cut-out sheet!

At the Franciscan Church in Hall on the Stadtgraben, too, nativity scene enthusiasts can look forward to a very special display. Immediately to the right of the entrance is a lovely, large-scale mural depicting the birth of St Francis (1921). In this church in Hall, too, Josef Bachlechner the Elder has left his mark, though this time he has placed St Francis of Assisi in the nativity scene.

In the Magdalene Chapel, situated south-east of the parish church and formerly Hall’s cemetery chapel, another gem of nativity scene art can be admired: The predella of the winged altar (second half of the 15th century) features Gothic woodcarving at its finest. Once Lent – which actually also includes the Advent season, during which the wings of the altar traditionally remain closed – has ended, the view of the Holy Family is revealed. The ox and the donkey emerge from the background in bas-relief. A male figure at the back on the right remains a mystery to this day. Could this be the figure of the altar’s patron? The Nativity is flanked by Saints Barbara and Agnes, recognisable by their classical attributes: the tower for Saint Barbara and the lamb for Saint Agnes.

Arguably the most valuable nativity scene in Hall, as it is the second-oldest Baroque nativity scene in Tyrol (1609), will be on display from 8 December in the Jesuit Church on Stiftsplatz. In the left-hand side chapel (second half of the 17th century) of the Church of All Saints, dedicated to St Francis Xavier, the nativity scene is set up every year by the Hall Sacrament Guard, the ‘Partisans’. The chapel, dedicated to the patron saint of plague victims, was even designed to fit the nativity scene, which was funded by a donation from the Marian Congregation of Gentlemen and Citizens.

The Holy Family is the oldest group of figures and dates back to the foundation’s earliest days. A notable feature is that the infant Jesus and the heads of Mary and Joseph were fashioned from wax. However, St Joseph’s head was broken in 1890 and was replaced with a wooden one. The nativity scene consists of 17 clothed figures and the Infant Jesus. The Baroque robes of the three angels are particularly elaborate. The depiction of altar boys gathered around a high priest is also rare. The fact that the servants are depicted as relatively small has less to do with the arrangement or positioning of the figures within the scene than with their minor significance. All the more magnificent and larger, then, are the figures of the Three Wise Men!