What drives thousands of people to visit the Shrine of Padre Pio in San Giovanni Rotondo every year? Let’s get to know one of the most famous pilgrimage sites in the world better.

Padre Pio da Pietrelcina is probably one of the most emblematic figures in the history of modern Christianity. The devotion reserved for him, even when he was still alive, assumed impressive dimensions after his death. Thanks to his fame as a thaumaturge, who went beyond his bodily death, pushing thousands of suffering people to visit every year the places that have seen him live and practice, first of all, the Sanctuary erected in San Giovanni Rotondo, in the province of Foggia, to whom this study is dedicated.

We have already spoken of Padre Pio on many occasions, dedicating articles to him that have tried to deepen various aspects of his surprising human and spiritual parable. In particular, in the article on Padre Pio and the order of the Capuchin Friars Minor we retraced the human and spiritual adventure of this man born and lived between two centuries, from his precocious religious vocation, favoured by the profound devotion of his mother, at the priestly service that began at the age of 23, at the visions and the stigmata, which the Friar received right in San Giovanni Rotondo, in the convent where Jesus himself had suggested that he stop, to take care of his frail health. The convent that once stood here and which housed the future saint became since then a destination for pilgrimages from all over the world, not only by the faithful and the sick but even by politicians and royalty from all over Europe. After the Second World War, a real ‘cult of the living saint’ will develop around the convent and the figure of Padre Pio, which has never stopped, and which following his death in 1968 and his canonization in 1999 and beatification in 2002 it increased more and more.

In another article, Padre Pio and his favourite prayer, we focused on the prayer that Padre Pio recited for those who turned to him in search of comfort and help, that is a Novena to the Sacred Heart of Jesus composed by Saint Margaret Mary Alacoque, French nun and mystic who lived in the 17th century.

In both cases, what was important for us to underline, beyond the human story, not without shadows and contradictions, of the Friar of Pietrelcina, is the spiritual power of this apparently meek and quiet man, who knew how to ignite souls with religious fervour and soothe the most tormented spirit with a few words, with his simple gaze. Like all the Capuchin Friars, Padre Pio chose to dedicate his life to contemplation and prayer, without this escaping contact with people, on the contrary, making his presence within the social fabric, close to people’s problems, his mission. A life marked by poverty, obedience and chastity, but also dominated by a profound empathy and the ability to get in touch with people, to speak to each one in the most easily understood and accessible language. Friars of the people, friars of the world, the Capuchins.

What is a Shrine

Once again just open the dictionary to get a rough answer to this question. It states that the sanctuary is a ” place that has acquired a sacred character due to the manifestation or presence in it of the divinity, or because it is connected to events and phenomena considered supernatural; in the ancient Jewish religion, the innermost and most sacred part of the temple, i.e. the sancta sanctorum; in the Christian tradition, a place of devotion linked to divine events or manifestations of the Madonna, saints and martyrs; also, part of the church where relics or miraculous images are kept, which therefore is the object of particular veneration and pilgrimage destination. “

There are many famous sanctuaries in Italy and the world places full of mysticism and hope, which every year attract pilgrims from all over.

As far as Italy is concerned, it would be really difficult to identify a criterion that defines which and how many are the most important sanctuaries. There are many, scattered throughout the regions, from the Marian sanctuary of Loreto, which would house the remains of the house of Mary of Nazareth, brought down there by the angels, to the sanctuary of Pompeii, dedicated to the Blessed Virgin of the Rosary, from the church of Monte Berico, theatre of apparitions of the Madonna in 1426 and 1428, at the Sanctuary of Montesantangelo, in the province of Foggia, the only sanctuary in the world not to have been consecrated by man, but directly by the Archangel Michael, just to name a few.

As for the rest of the world, we will mention only some of the most famous and visited Marian shrines, true landmarks of popular devotion through the centuries. We think of the Shrine of Our Lady of Lourdes, in France, that of Our Lady of Fátima, in Portugal, the Shrine of Our Lady of Guadalupe, in Mexico City, to which we dedicated a recent article.

The Shrine of Padre Pio in San Giovanni Rotondo

But let’s come to the Shrine of Padre Pio in San Giovanni Rotondo. It stands on the mount of San Giovanni Rotondo, on the spur of the Gargano, in Puglia, not far from the convent where Padre Pio lived and worked for a good part of his life. It is one of the largest churches in Italy and was built almost entirely thanks to donations and bequests from the faithful. Begun in 1994, it was inaugurated on 1 July 2004.

The building, designed by the architect Renzo Piano has the shape of a giant shell that develops in a spiral starting from the large central pillar, according to perfect geometric proportions. The structure is situated on two floors: the lower one is divided into segments of 10° each, and mainly houses the conference rooms, the reception rooms for pilgrims and the service areas. The upper floor is made up of three distinct areas: the liturgical hall, divided into three large semicircular naves supported by 21 arches that converge towards the central pillar; the Eucharist chapel and the sacristy. Two large arches placed side by side greet the arrival of pilgrims to the church. One houses a colourful stained glass window that recalls the medieval French tapestry of Angers and tells the Apocalypse of St. John in 84 panels. The other, smaller, is the actual entrance.

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Padre Pio

Department dedicated to Padre Pio, where you can find many articles with the image of the Saint.

The entire structure is built in Apricena stone, a limestone that is quarried in Puglia on the slopes of the Gargano. In addition to the construction of the arches, pillars and load-bearing structures, the Apricena stone also constitutes the liturgical furnishings and flooring.

The large churchyard, connected to the church by the huge stained glass window with scenes from the Apocalypse, and the driveway are an integral part of the architectural complex. The churchyard is triangular and is bordered by the original horizontal bell tower, a wall with 12 bells and decorated with 8 eagles with open wings, ready to take flight towards the Church, as well as by a clump of 24 olive trees. 12 trapezoidal stone basins channel the water to a large octagonal baptismal font. The churchyard is also equipped with a large movable altar for outdoor celebrations. The Apricena stone paving of the churchyard slopes gently towards the church. The entire outdoor area measures 8,000 m² and in addition to the olive trees mentioned above is embellished by many other trees and bushes: cypresses, pines, strawberry trees, myrtle bushes, lavender, ivy. A large cross in Apricena stone rises overlooking the Gargano.

At first glance, the church has an imposing double roof made with wood and pre-oxidised copper plates. The lower roof is a wooden cap, which covers the entire structure, while a second layer of laminated wood covered with pre-oxidised copper forms nine overlapping layers. The structure appears very large inside, but in reality, it is only 16 metres high, and this low height, combined with the pre-oxidised copper plates, allow it not to be too invasive for the landscape, pleasantly conforming to it.

Liturgical furnishings made by some of the greatest contemporary Italian artists decorate the interior. To name just a few, there are works by Arnaldo Pomodoro, Giuliano Vangi and Floriano Bodini, authors respectively of the altar and the bronze cross, the ambo and the large octagonal tabernacle.

Finally, a flight of stairs leads to the crypt, which houses the remains of the saint, and is decorated with mosaics by Marco Ivano Rupnik.

23 September

On 23 September, the anniversary of the death of Padre Pio of Pietrelcina, the saint is celebrated with solemn ceremonies and commemorations. Preparatory novenas and prayer vigils are often also organised in the rooms on the lower floor of the Sanctuary of San Giovanni Rotondo. The Capuchin Friars also organise processions during which the relic of the Saint’s body is carried to the churchyard of the sanctuary and into the church so that pilgrims can express their devotion to it.

Why aren’t the sacred plaster statues that we find in the church considered as objects of idolatry, but as an integral part of every Christian’s profession of faith?

We are used to seeing numerous sacred plaster statues in our churches depicting Jesus, the Madonna, saints and angels. In a previous article dedicated to sacred furnishings, we explained how everything that is part of the appearance of a church, outside and especially inside, is an essential element of the scenography necessary to best host the rites that are celebrated there. It is not just about furnishing elements, such as altars, pulpits, kneelers, baptismal fonts, tabernacles, altar crosses, holy water fonts, each of which however also has a definite practical and religious use. The issue is even broader and involves every single architectural and decorative element, from the distribution of space to the number of columns, even the size of the entrance door. This is because the church is the place destined to be the setting for the Liturgy, and, as such, it must be an expression of solemnity and sacredness. This solemnity is transmitted to the faithful who gather there, in ways that have evolved, over the centuries. If in ancient times the most common way to demonstrate to Christians the importance and sacred dimension of the place of worship was to flaunt wealth and opulence, with the use of precious materials and precious decorations, today there are other approaches, whose minor aim is to arouse amazement, and reverential fear, and above all to a dimension that stimulates spiritual dialogue with the individual and with the reunited community.

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Liturgical Accessories

Church furniture, Thuribles and boats, cruets, altar bells, candelabras, candle holders, Vigil Lights and more.

In this scenario of religious suggestion, also sacred statues are placed, which nevertheless deserve a more in-depth discussion. Religious statues made of plaster, resin, fibreglass, and even before that of wood and stone, have been the subject of heated discussions and even controversies within the same church for a long time. Why? Although it is evident that the plaster madonnas, rather than the plaster statues representing the Savior, assist prayer in an extremely effective way. Who does not keep in their hearts the childhood memory of a particular statue to which they loved to go to pray, or where they felt compelled to light a candle?

Yet still today there is no lack of fierce controversy regarding the adoration reserved for statues of saints and blessed. The reason is simple, even if this is not the place to immerse ourselves in theological dissertations. In Leviticus, we read: “Do not turn to idols and do not become gods of molten metal. I am the Lord your God ” (Leviticus 19:4). Here is the issue that has divided the church in two for a long time. How much could the veneration of a statue representing Jesus or the Virgin or a saint lead to idolatry?

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Plaster Statues

Statues made of plaster by an Italian craftsman, finely worked and hand painted.

In reality, Christians answered this question early, and without departing from the Holy Scriptures. In fact, in the Old Testament, many passages make us understand how God not only did not frown upon the creation of images and symbols that aroused in those who contemplated them an even greater faith and religious enthusiasm. With the advent of Jesus the Savior, then, this prerogative of creating figurative representations in support of prayer has increased even more. By becoming man, Jesus gave a physical, incarnate image of a God who was previously invisible. It is he himself who affirms it when he says: “Whoever sees me sees the Father“(John 12:45).

After many discussions and speculations, which were held during historical councils, today in the Catechism of the Catholic Church we read: “the Christian cult of images is not contrary to the first commandment that proscribes idols. Indeed, ‘the honour rendered to an image belongs to whoever is represented in it’, and ‘whoever venerates the image, venerates the reality of whoever is reproduced in it’. The honour bestowed on sacred images is a ‘respectful veneration, not an adoration that befits God alone.” (CCC, no. 2132).

The difference is exactly a question of terms. Given that for Christianity, adoration is a prerogative of God, and only His, the veneration of a statue that has only the symbolic value of evoking the true goal of prayer in those who turn to it, is not idolatry.

Unlike pagan cults, in which it was believed that the divinities lived within the simulacra dedicated to them, in the Christian religion there is always the awareness that one finds oneself in front of material representations of presences that remain ineffable.

This allows us, when we enter a church, to be able to linger with our gaze on these representations that evoke in us all the hope of salvation, all the amazement and religious yearning brought by the Incarnate Word. Here, in this meaning, the veneration of sacred statues is not only allowed but desirable.

On certain occasions, then, such as particular religious holidays, or even in the context of processions, or other forms of popular devotion, so widespread especially in our country, the plaster statues become active protagonists of the liturgy, allowing everyone to access and participate in an even more direct and enthusiastic way to collective prayer.

What does a plaster statue have to be like to best express its task?

To best fulfil their task of bringing the faithful closer to the divine, the sacred statues must be well made, with attention to detail, emanate a sense of beauty and serenity. In particular the plaster Madonnas, but also the representations of Christ as the Good Shepherd, or those of the angels, the more pleasing to the eye and sweet, the more they will constitute an instrument of spiritual elevation for those who will stop to contemplate them.

There are plaster statues and statuettes of all sizes, suitable for any context. Despite what one might think, a plaster statue can also be placed outdoors, as the material it is made of easily lends itself to waterproofing. For this reason, you may find a Madonna in plaster or another sacred statue even in gardens and aedicules exposed to atmospheric agents.

In our online store, you will find statues and figurines of all sizes and types. We point out some of the most requested by the churches, chosen both for their considerable dimensions (between 70 and 100 cm), for the accuracy of the rigorously handcrafted realisation, and the beauty of the subjects depicted.

For example, the plaster statue of St. Michael is 100 cm high, weighing 35 kg, which admirably depicts St. Michael about to crush the devil. The colours of the Archangel’s robe are bright red and blue. The wings and the sword, inserted individually, are gilded, as is the chain with which he immobilizes the devil, while the breastplate of the Saint is silver.

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St Michael 100 cm statue in plaster

This saint statue is made and painted entirely by hand by Italian craftsmen.

Even the statue of Merciful Jesus 90 cm high in mother of pearl plaster can embellish any church and place of worship. It is made and hand-painted in Italy, and represents Jesus wrapped in long light robes and radiating red and blue rays, with his blessing hand raised.

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Divine Mercy of Jesus Figurine 90 cm, in plaster with mother of pearl

100% made and painted in Italy.

If, on the other hand, you are looking for a statue of the Madonna, you can choose between the plaster statue with the mother-of-pearl effect of the Madonna of Lourdes, 80 cm high, which represents Mary in the traditional white robe with blue drapery and her hands joined as a sign of prayer, or the statue by Maria Rosa Mystica and mother of the church, also in mother of pearl plaster, 70 cm high, in which the Virgin wears white clothes and has on her breast the three mystical roses (white, red, yellow) which respectively represent prayer, sacrifice and penance.

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Statue of St. Rosa Mystica 70 cm, in plaster

The Rosa Mystica statue is made and painted by skilled Italian artisans.

Again Jesus, wearing white and red robes with golden edges and the Sacred Heart burning in his chest, is depicted in the plaster statue with mother-of-pearl effect depicting the Sacred Heart of Jesus, 80 cm high.

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Sacred Heart of Jesus 80 cm Plaster Statue

The statue is entirely made and painted in Italy by skilled artisans.

What does the Mitre represent, the strange headdress worn by the bishops at different moments in the Liturgy? We discover the origin and deeper meaning of this indispensable and precious element.

All of us will have happened to see, during a solemn celebration, a Bishop wearing a strange hat with an elongated shape, which ends with two points. Even Pope Francis himself, on liturgical occasions, presided over by him, does not wear his usual white skullcap but is flanked by the master of ceremonies in charge of placing the curious headdress on his head and removing it according to the different moments of the celebration.

This is the mitre or miter.

It immediately becomes clear that we are not talking about a common hat, also because the mitre, especially the papal one, is woven with gold threads and embellished by rich decorations and even precious stones.

But where does this strange hat come from?

The word mitre comes from the Greek μίτρα, mítra, “band”, “bandage for the head”, “turban”. This ornament likely derives from a cloth band used in ancient Greece by warriors, which later evolved into an ornamental strip that women wore around their foreheads. Scholars maintain that even in pre-Christian times there was a priestly headdress from which the mitre would derive, probably a specific headdress of the priests devoted to Mithras, in fact, a Persian deity also worshipped in the Roman Empire.

The mitre or miter has been used in the Catholic Church as a characteristic element of clergy clothing since the fifth century. At first, it was probably a non-liturgical accessory that the Pope wore during solemn processions. Subsequently, the Supreme Pontiff adopted the tiara as a characteristic headdress, a symbol of papal authority, which remained in use until the pontificate of Paul VI (1963-1978).

After the 10th century, the Bishops also began to wear the mitre, according to literary and iconographic sources, but we have to wait until the 12th century for this headdress to take the shape we know today.

The mitre is today the most important and solemn headdress of the Catholic Church, as it represents the splendour of the holiness embodied by the Bishop, his dignity and authority.

What is the shape of the Mitre?

The mitre that we are used to seeing on the heads of the Bishops and the Pope has a shape that resembles a little bellow. It is elongated and bicuspid (i.e. ending with two points).
The headdress is composed of two pieces of rigid fabric cut out with a triangular shape and joined partially at the sides, to form two points. These points, called cornua, are not random elements: in fact, they represent the Old and the New Testaments.

In ancient times the mitre was more like a cone, then a bonnet tied under the neck and pressed in the middle to form the two horns. The ribbons were used to fasten it under the neck and later became the two long bands that hang on the back of the current mitre and the shoulders of the wearer, the so-called baleen, or infule, or vitte, while the horns first assumed a rounded shape, then to the cusp, and took the name of cornua.

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Bishop’s items

Here you can find bishop croziers for solemn celebrations, bishops rings and pectoral crosses for bishops.

The mitres were once adorned with many precious elements, so much so that they became part of the liturgical treasure of numerous churches. Some were so decorated with gems, gold and silver embroidery, and even feathers, that they were very heavy to wear on your head!

There are three different types of the mitre, codified at the time of Pope Gregory X (1271) and distinguished according to use and decorative elements:

• Aurifrigiata mitre: used mainly for processions, it is made of gold laminated fabric or white silk interwoven with gold. The reverse is in red silk, devoid of decorations except for the pearls;
• Precious mitre: it is the mitre reserved for the most solemn celebrations, always in gold or silver laminated fabric, white silk and red silk lapels. It is enriched with precious embroideries and precious stones;
• Simple mitre: it is also used outside of celebrations, and in periods of mourning and penance, and changes depending on whether it is worn by the Pope (in this case it is in silver fabric with edges and baleen decorated with gold friezes), by the cardinals (in white damask silk with white decorated baleen) or by the bishops (in white silk or cloth, with red fringes that border the baleen.

This is the only differentiation of the mitre, which, unlike the other sacred vestments, does not change colour depending on the liturgical calendar.

In 2005, Pope Benedict XVI wanted to eliminate the symbols that appeared on the papal tiara, the so-called triregno (it consisted of three crowns that symbolised the triple power of the Pope: father of kings, rector of the world, Vicar of Christ) also from heraldry ecclesiastical.
Since then, the papal mitre has been characterised by three horizontal golden bands, reminiscent of the three crowns of the tiara.

When is the mitre worn?

The mitre must be worn in six moments of the Mass:

• entrance procession;
• proclamation of the readings (not the Gospel);
• homily;
• administration of the Sacrament;
• final blessing;
• farewell procession.

Abbots too can wear the mitre, by the will of Pope Urban II since the III Council of Melfi (1089). Over the centuries, this use was granted to presbyters who owned important churches, to provosts, to canons of the Chapters of some cathedrals and also to abbesses of some convents and deserving laity.

Episcopal ordination

When a bishop is awarded his office, he is given the so-called episcopal insignia: the ring, the crosier and the mitre.
The latter is, as we have already said, a symbol of dignity, authority and holiness.
The bishop’s ring instead symbolises the Bishop’s fidelity to his diocese and the Church in general, while the pastoral staff harks back to the image of Jesus as the ‘good Shepherd ‘ and indicates the new Bishop’s function of caring for the Christian people.

The nativity scene in the mocha or the one built on the branches of a fir tree? This year choose something original for your Christmas, Choose a nativity scene on Holyart!

Poised between traditions and innovation, every year Neapolitan artisans experiment with new forms and opportunities, making the nativity scene a constantly changing work of art with the addition of increasingly refined and particular elements. Let’s see together the 5 most original Neapolitan nativity scenes in the Holyart catalogue. Can you choose your favourite?

Winepress with a nativity scene

Known as a machine for extracting grape juice and starting its transformation into wine, the press is taken as an example and reproduced by expert nativity scenes to be used as a container for a beautiful eighteenth-century village.

Built on three different levels, the nativity scene is complete with a functioning fountain, nativity scene and other characters of the nativity scene with a strong symbolic value such as the washerwoman. To learn more about the symbology of the characters of the nativity scene, read our dedicated article.

If you want more detailed information read the product sheet of the nativity scene where all the specifications that may interest you are explained.

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Lighted wine press 85×45 cm

The village develops on different levels in the lower part there is a stable suitable for hosting the nativity scene.

Cask with a complete nativity scene

When the phrase “in the small barrel there is good wine” is particularly true.

This reproduction of a small barrel hides inside a real work of art framed by moss and lichens. A small village on several levels where the different elements of a classic nativity scene are arranged.

The barrel is practical to position due to its semi-cylindrical structure which facilitates support. The nativity scene is sold empty or complete with figurines made entirely by hand in terracotta.

If at Christmas you want to experience something different and leave your guests speechless, this is the nativity scene for you!

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Horizontal barrel for Neapolitan Nativity Scene

Scenery for Nativity Scene in the shape of an horizontal barrel with electric fountain on the right and an arch on the left.

Guitar nativity scene

Do not those seen so far seem quite original solutions to you? So what do you think of a nativity scene positioned inside a guitar?

Set in the soundbox of a guitar we find a small illuminated village complete with houses, balconies, shrubs and small terracotta figures. The whole is framed by moss and cork which help to mark the importance and catalyse the attention towards the body of the guitar.

A lively nativity scene that gives the environment a warm and modern atmosphere.

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Neapolitan Nativity Scene in an iluminated guitare 125x50x20 cm for figurines of 6 cm average height

Unique Nativity Scene in the shape of a guitare.

Mocha nativity scene

This nativity scene is inspired by one of the most well-known symbols of Italianity, the mocha, in its classic steel colour with black knob and handle, a large-scale reproduction so realistic that it emanates from the upper nozzle of real smoke. Only the scent of coffee is missing!

The village, which occupies the entire central part of the mocha, develops vertically on four levels inhabited by characters and professions, at the base instead we find, in a small cave, the scene of the Nativity.

A nativity scene that is certainly outside the box is suitable for those who want to add a little flair to tradition.

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Unique and original Neapolitan Nativity Scene.

Unique Nativity Scene with setting in the shape of a moka pot containing an entire village in it.

Nativity Tree

Nativity scene or Christmas tree? Why choose?

The Nativity Tree manages to make the two main aspects of Christmas coexist in a single object, the most sacred one with the presence of the nativity scene and the most magical and enchanted one thanks to the fir tree.

The union is perfect, an undeniable harmony that connects the two symbols, the village climbs between the branches of the tree without ever being really separated from it, and the branches of the fir seem to almost pop out of the walls of the houses.

The lighting of the village and the fountain add that touch of realism mixed with magic that never hurts, a thread of lights to wrap the branches of the fir would be just the extra master touch that enhances the entire work of art.

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Neapolitan nativity tree 150 cm, for 8 cm figures

The beautiful tree contains a nativity village inside, suited for 8 cm nativity figures.

You just have to choose.

Christmas decorations? They are never enough! Let’s find out how to create the perfect Christmas atmosphere with objects that can beautify our home for the rest of the year.

Who, with the holidays approaching, is not seized by the desire to make their home warmer and more welcoming, to embellish it with Christmas decorations that create the inimitable atmosphere of these special days? The possibilities are endless, and many begin already during Advent to decorate the house with festoons, angels, Christmas candles. And then there is the Tree, of course, which becomes the heart of the house for the time of the Feast, and the Nativity scene, which evokes the Nativity most traditionally.

But all these Christmas decorations are not only used to create atmosphere and make the home welcoming for Christmas. There is a deeper meaning, hidden in them, and it is an inherent desire in each believer: to reaffirm one’s love and devotion, to remember that His is a Christian home, that those who live there are baptised and live in love of God.

And there is more. Christmas decorations acquire the function of real sacred objects, with an action of protection from evil, protection of the house and of those who live there against the threats of darkness. We remember that some sacred objects can be considered real sacramental, and as such, prolong the effect of Baptism and the other sacraments, bringing it back in every moment in our life, in our home.

We must not consider the display of sacred objects as something dismal and obsolete. Indeed, few things illuminate a house as much as beautiful candles, for example, with elegant and fashionable colours, or a beautiful picture representing the Holy Family, or the Nativity, perhaps in clay or wood with bi-laminate coating, bright and large prestige. Christmas decorations all year round are a way to make the home more beautiful and welcoming, but also to never forget that sense of sacredness and belonging to the love of God, which should warm our hearts not only during the Christmas period but in every single one.

So why limit the beneficial effect of Christmas decorations only to the holiday season? If we cannot leave the Christmas Tree and Nativity Scene on display all year round, because it would be a little excessive, nothing prevents us from choosing Christmas decorations that we can keep in our home also in the other months, as an expression of sacredness and devotion, but also simply as beautiful and personal items of furnishing.

Here are some proposals for Christmas decorations for the home suitable for Advent and Christmas, but also for the rest of the year, which you can find in our online store.

1. Sacred picture

A sacred picture is a decoration that adapts to any home and any time of the year. The subjects are innumerable, but as a Christmas decoration, it seems appropriate to suggest a representation of the Holy Family, which recalls the concept of the family nucleus, or better still of the Nativity. Both subjects are not purely Christmas-themed and will instil a sense of familiarity and warmth in your home throughout the year. They are also really nice furnishing accessories, like this Christmas decoration for the house in white refractory clay depicting the Holy Family. It is modest in size (10 x 10 cm), suitable both for hanging and as an ornament, thanks to the wooden support to be inserted in the back of the supplied product. The miniature, entirely handmade in artisan workshops, depicts St. Joseph and Mary raising the Baby Jesus to heaven. It is a depiction of the Holy Family stylised and hand-coloured with pastels. In particular, the yellow colour in the centre of the miniature emphasises the point where Jesus is raised, reproducing the Divine light. Complete with a certificate of guarantee, it is an object of value and exclusivity that will make your home more beautiful and welcoming during the holidays and beyond.

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Nativity scene picture in fireclay 10X10 cm

Christmas decoration for the house in fireclay representing the Holy Family sized 10×10 cm.

2. Yuletide Candle

Yuletide candles are synonymous with warmth and atmosphere. They not only illuminate the house during the holidays but also perfume it, with their unmistakable essences. You can find countless different models, in all colours and with gold and silver glitter decorations. The shapes are numerous: pine cone, pine, angel, sphere, Christmas tree. The colours can be very varied: not only the classic red but also browns such as parquet, silver, champagne colour, perhaps in the same colour as the sofa or the furniture of the house. But, as well as for the holidays, Christmas candles, thanks to the variety of shapes and colours, lend themselves to being excellent furnishing accessories even in other periods of the year. And in addition to splendid home decorations during the Christmas period, they are also suitable as a gift idea for the holidays. For example, this champagne-coloured Christmas candle, with elegant and very special colour, suitable for any style and any decor, enriched by a floral decoration made with glitter on a shiny background. An elegant accessory to decorate the house during the holidays, but also to give it a touch of class every day of the year.

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Round Holiday Candle with silver shades

Great house decoration during the festive season.

3. Guardian angel bell

The guardian angel is a presence that accompanies us in every moment of our life. We are entrusted to him the very moment we are conceived when the soul is infused into what will become our body. The angel follows us throughout our existence and his pure and unconditional love protects us from evil, gives us the strength to face with courage the small and great difficulties that we encounter every day, preserving us from pain and when it is inevitable, it comforts and consoles us. So what’s better than keeping a Christmas decoration dedicated to the guardian angel at home? Its beneficial effect will continue even after the holidays, accompanying us and our loved ones every day. An object inspired by the guardian angel can be this pretty crystal bell with a wooden clapper in the shape of an angel. It is about 5 cm tall, carved and hand-painted with oil paints. An original object to give as a gift and a delicate decoration for your home.

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Crystal Bell with Angel Bell

The statue is hand-carved and hand-painted with oil paints. A delicate Christmas gift.

4. Coloured Christmas window

Instead of the usual sacred picture, you may decide to decorate your party house with the reproduction of a stained glass window. In our store there are beautiful ones, in plexiglass, to make the effect of coloured glass real without the risk of excessive fragility. You can choose a subject that inspires you or you particularly like, perhaps something that is a good omen for your home and its inhabitants, because of the coming year. This coloured free-standing Christmas picture, in coloured plastic, measuring 18 x 3.5 cm, for example, depicts the stylised image of the rising Sun, an ancient and ever-present symbol of continuous renewal. The rising sun is the bearer of good luck, it symbolises light and heat and preserves mankind from cold and darkness, filling the house with happiness and harmony.

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Christmas coloured window rising sun 18X3,8 cm

Christmas support picture in coloured plastic sized 18×3,8 cm. It represents the image of the rising sun.

5. Candle holder in wood with raised tube-shaped edge

Still on the theme of light, in addition to candles, we propose this candle holder in wood with raised tube-shaped edge. It is a naturalobject that creates a delicate atmosphere, and not just at Christmas.

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Wood candlestick with tubular raised edge

Modern tubular candlestick made in dark wood in a particular oriental style.

Complete nativity scene or just the Holy Family? Christmas is approaching and it is time to decide. Let’s find out the reasons for a choice together.

The tradition of the Nativity has deep roots and is particularly felt in our country. A short time ago we wanted to share with you what we consider the most beautiful nativity scenes in Italy, recommending possible destinations for a festive trip, and we always try to provide you with the best tips to make a nice DIY nativity scene at home and with a few recycled items perhaps complete one with a river and waterfall.

Why is the Nativity so important and dear to the faithful? It’s not hard to answer this question. The Nativity scene is the representation of the Nativity of Jesus Christ, set up for the first time in medieval times by the will of St. Francis of Assisi.
The birth of Jesus is a pivotal event for Christians, one of the most solemn mysteries for humanity. Every year, at Christmas, this anniversary is celebrated, renewing one’s love and devotion to Jesus who became man to bring eternal salvation to all of us. The Nativity scene, and in particular the group of the Nativity, that is Mary, Joseph and the little Jesus, center and heart of the Nativity itself, is the visible and tangible representation of that devotion. In all the Nativity scenes, small or large, classic or modern, those three statues catalyze the attention, not only of those who stop to look at the Nativity scene from the outside but of all the other characters who populate it. The Holy Family is the fulcrum where all the other characters converge, from shepherds to their animals, from musicians to the Magi, and so on, considering how many and which characters can be in a complete nativity scene.

So what is the difference between the Crib and the Nativity? The Nativity scene reproduces the birth of Jesus with all the characters and places of the tradition; the Nativity represents only the group of the Holy Family: Baby Jesus, Joseph and Mary.

Complete Nativity scene or Crib?

Having clarified this, it remains to be established what is more appropriate for us to do at Christmas, whether to set up a complete nativity scene or focus only on the Crib.

Before any speculation, we will certainly have to address the problem of space. Many prefer to limit themselves to exhibiting only the Nativity figurines, perhaps with the ox and the donkey in addition, because they do not have enough space for a complete Nativity scene. In addition to the lack of space, the inability to create a Nativity scene that satisfies the taste and needs of the whole family can also intervene. It is true that on the market there are splendid nativity scenes complete with all the characters, often even with suggestive settings that are already perfect, complete with lighting effects.

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Nativity sets

Nativities in wood, stone, porcelain: in this department you will find many different types of Nativity sets.

In short, there is no need to be a DIY expert, even if it is always stimulating to set up your Nativity scene with a little creativity.

Therefore, avoiding considering the problems of space and dexterity for the installation, we will limit ourselves to considering the choice from a purely emotional and religious point of view.

To understand this choice we must dwell on what the Nativity represents for a Christian. As we explained in a previous article on the story of the birth of Jesus in the Gospels, for two thousand years we have known the Nativity represented as follows: a cave, a man, a woman, a small child placed in a manger, with only an ox and a donkey to warm it on its first, cold night in the world. A simple and immense story, in its mystery. A love story, the greatest love in the world. Above all, the story of a family, a caring and attentive father, who takes care to protect his wife, a young mother completely outstretched towards her little one, and Him, Baby Jesus, the light of the world, but, on that first, cold night, just a cold baby, with his eyes, still half-closed on a world that still doesn’t know His name.

In this sense, the Nativity becomes the symbol par excellence of Christmas, in its desire to be a moment of union for the family, a reunion for parents and children, for the different generations who find themselves celebrating all together.

The characters involved are all invested with a strong symbolic value, which manifests itself not only in the attitude of the statues but also in the colours of their clothes. Thus Saint Joseph, who symbolises paternal responsibility, work, but also the humility and modesty with which he accepted the divine will without reserve and chose to protect that very special Child, wears dark and disused clothes, the colour of the earth. The Madonna, on the other hand, symbolizes the virtue and sacredness of motherhood, but also the divine inspiration of that Child she carried in her womb, and her blue mantle refers to the sky, which is the true home of that Child.

Over time, the Holy Family has become the ideal model to which every family in the Church should look. The ideals and values it embodies, love, mercy, affection, protection, but also humility and total trust in God’s plan, is not just an image of devotion, but a living and ever-present example for the faithful, a point of reference and constant comfort even in difficulties.

A Nativity scene complete with shepherds, animals for nativity scenes, huts.

In reality, all the characters of the traditional nativity scene have their own more or less evident symbolic meaning. This symbolism is particularly emphasised in the Neapolitan crib, far more than a simple reconstruction of the Nativity. Every character, every scene, every detail conceals a profound meaning that sinks into popular tradition. The characters of the Neapolitan nativity scene come not only from the Gospels but from stories, legends, anecdotes, folklore.

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Neapolitan Nativity Scene

All the figurines of this department are entirely handmade in Naples, the capital of the Christmas Nativity scenes tradition.

Even when we decide to set up a complete Nativity scene, we must never forget that what is happening is not just the attempt to recreate a beautiful scene to celebrate the birth of the Child Jesus, but a unique and special form of devotion.

The beauty of preparing a traditional nativity scene is that, from year to year, it can be enriched, enlarged more and more, adding characters, or perhaps architectural glimpses, new houses, shops, suggestive corners. In this way, our Nativity scene is not something static, stationary, immutable, but it is a reality that is built and evolves.

The important thing, whether we choose to exhibit only the statues of the Nativity, or to set up a complete Nativity scene, is the spirit that we will put into preparing it. The Nativity scene acquires a special value, different for each house, for each family, and yet always the same, true to itself. A message of peace, harmony and even welcome, if we want, because at the hut where little Jesus sleeps everyone is welcome, everyone is united in common adoration, in common love.