Discover the first public presentation of the nativity scene by the artist Christian Ganga on the occasion of the 800th anniversary of the birth of nativity scenes: 120 figurines compose different scenes encompassing baroque exuberance, popular devotion, and secular theatricality.

It was 800 years ago this year that Saint Francis of Assisi represented, through characters and animals, the birth of Christ.

However, it was at the end of the 16th century that the tradition of the “Presepe” (nativity scene) truly took root in Naples, representing the highest fantasy.

As the guarantor of themselves, the first action of this journey was to position the emergence of Christianity on ancient ruins. A real craze that 18th-century travel guides dedicated to Naples reveal to us.

The fashion for its multiple secular figurines from everyday life spreads and gains in theatricality with the characteristic boldness of representing the wise men escorted by their retinue. The scenography gives free rein to the quintessence of baroque art.

This true social phenomenon takes over from the weakest, irremediably poor, to the powerful, inviting the most fertile artists of the 18th century to participate.

This fervor conducive to exuberance, which could reign in the 18th century, became one of the popular entertainments of the high aristocracy and the extremely wealthy bourgeoisie, including the King of Naples, Charles VII, and Queen Marie-Amélie, who devoted their free time to creating these characters.

You no longer had to be the best; you had to be unique.

Like the luminaries of antiquity flaunting their wealth, at Christmas time, the noble residences were open so that everyone could come and marvel at such splendor and at the same time note the fortune of their sponsors.

Christian-Léandre Ganga, artistic director in haute couture in Paris and Milan, where cultivating excellence is a daily duty, took the initiative of expanding his collection of “pastori napolitano” (Neapolitan figurines) from the 18th century.

With all the required attention to detail, he takes up the tradition of santons; the greatest care is taken in the clothing—shimmering old silk decorated with gold braid and precious stones or modest vests in skin or wool for the little people.

A great lover of Italy, he hopes to communicate to you this whirlwind of emotions through the spirit of his crèche, a mirror of daily life that depicts the harshness of the poor facing the casually wealthy.