Continuity in Food Culture in the Naples of Charles of Bourbon to the Present as seen through the Presepe
The way in which Neapolitan nativity scenes celebrate food culture.
Charles of Bourbon is given credit for inspiring a love of Nativity Scenes (Presepe in Italian) in Naples. There is a large one that is exhibited at his royal palace that he created. It seems consistent with his love of connecting with his subjects that led him to accept a public road bisecting his palace at Portici, and his love of hunting and informal clothes, that he would support these amazing celebrations of the Nativity that depict all walks of life.
I had been aware of the craft of the Neapolitan Nativity scene makers through the annual Christmas tree that is displayed at the Metropolitan Museum of Art. This tradition goes back to 1957 at the suggestion of Loretta Hines Howard, a museum patron, who began collecting Nativity Figures in 1925. She gave her collection to the museum.
The interesting thing about a Nativity scene is that per force it includes food culture in that the setting is a manger—a barn with animals. Shepherds tending their flock are also part of the story. All of these are present in the Met’s nativity. What the Met did not prepare me for is the extent to which Charles’ presepe celebrated the daily life in Neapolitan culture. This ranges from the exalted three Kings and their retinues, to the taverns where cards are being played and shops and vendors selling food. The fishmonger is present alongside the butcher and the vegetable merchant. Food is being enjoyed at the table.
As we have been here in the lead up to the holidays, the presence of these presepe are keenly felt. There is one in the central station in Naples that of course features the railroad—it is included through a digital backdrop which celebrates Italy’s first train, which I discussed in my last post, as well as modern trains. It also celebrates the fact that Naples won its third national soccer title last year. In this way the presepe is an almost 300 year old tradition that is brought into contemporary times. It is interesting that the figures tend to largely be dressed in clothing from the 1700s.
This blend of past and present is also seen in the presepe at the Church of San Fernando across from the San Carlo Opera House which is in the old royal palace and the famous neoclassical café: Gambrinus.
Presepe even make their way to Rome. Last week I was in Chiesa di Sant’Ignazio—the great Jesuit Church dedicated to the founder of the Order—Saint Ignatius. Here, one of the chapels on the left side isle is taken over for the presepe that very much makes room for the presence of food merchants.
I had seen an old presepe in the Villa on the Golden Mile designed by Vanvitelli. In a case next to it was a figure of Pulcinella as a fruit and vegetable vendor and this made me curious about the tradition of the representation of food in presepe.
The Certosa di San Martino on the Vomero mountain of Naples houses the Museo di San Martino. The National Museum of San Martino opened to the public in Naples in 1866 after the unification of Italy. The archaeologist Giuseppe Fiorelli who was the famous head of the excavations in Pompeii, established the museum in his will with the intention to collect evidence of the life in Naples and the former Kingdom of the Two Sicilies. In the museum there are a series of rooms dedicated to presepe.
The exhibition is anchored by the world’s largest presepe—the Presepe Cuciniello—which has more than 170 figures, 80 animals, 28 angels, and over 400 tiny objects. It was created in the nineteenth century by Neapolitan playwright Michele Cucinello. Scenes of eating frame the central procession.
From here one enters into a more museum-like room where a collection of eighteenth and early nineteenth century figures, animals, food, and objects are exhibited. One case immediately caught my eye because it includes a figure eating a plate of spaghetti in the traditional way with his hands. Suddenly I was transported back two and a half centuries and was with this man as he ate.
The cases are arranged with both figures and objects. The musicians to the left of the spaghetti eater have all their miniature instruments faithfully crafted and there below the spaghetti eater are dishes and dishes of food all rendered accurately as if you could eat them. The relationship between producers, consumers, and the food is evident. The many breeds of sheep, goats, and other animals can be determined as can the cured meats. You can even find a piece of guanciale curing. What is interesting to me is not only how identifiable all of this is but also how much of this is part of the diet today.
On a back street, I happened to walk by a store that restores old figures and in their window there is a display of how the figures are made.
The combination of wood supports and ceramic arms and heads is fascinating. These figures get “dressed” with elaborate costumes.
The art and craft of presepe making is flourishing in Naples. So much so that, la Repubblica, a major newspaper can put out a book as a give away to their subscribers on the best current artisans. Armed with this as a guide I went to the Via San Gregorio Armeno, which is the center of presepe production and sales. Here are stores and families that are both new and those that have practiced their craft over centuries.
The Ferrigno family is one of the great producers. There seem to be several “Ferrigno” stores and I can only think that different branches of the family have set up shop over the years. I was particularly struck by the work in the Giuseppe Ferrigno store.
This final picture says it all to me—the contemporary soccer star, Victor James Osimhen, paired with the age old butcher. The presepe figures are a window into and a record of Neapolitan life and into their food culture.