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The Ligurian crèche

The crèche art in Liguria was born and developed in the Baroque age, particularly in Genoa, where more were the requests from the important families, for blason or wealth, in the just found republic. The first productions are made of small statues carved in wood, gold-plated and painted, which take as model the marble sculptures, altar frontals, trittici, pictures reproducing Nativities and the adoring Magi, present in the churches in town and the surroundings, works of art of artists like Gagini, Orsolino, Foppa, Brea, Bergamasco, Semino, the Calvi brothers. The phenomenon proceeds at the same rate of the devotional custom of the processions, during which was usage to carry over the shoulders big statues in wood (already dressed with epoch clothes at the beginning of the XVII century) ordered by the various Confraternity, like the "Presepio" or "Re Magi". From this the creation of wooden figures of smaller size to form crèches alike the one the news reported, manufactured by father Alberto Oneto in the church of Santa Maria di Monte Oliveto in Multedo di Pegli. The dimensional reduction of the crèche characters, also executed in precious or valuable materials as gold, silver, alabaster, takes place in the same workshops and sculpture and painting schools by the same artists who, subsequently, will assert themselves among the most demanded goldsmiths, painters, sculptors. Among them the Pippi's, Filippo Sanatacroce sons, in the same school was a student the equally famous Gerolamo del Canto and also Giovanni Battista Castello, who preferred amongst the materials employed the tortoise, and the workshop of Domenico Bissoni and his son Giovanni Battista Gaggini da Bissoni, Piola, Francesco Costa and many more. In the course of the XVII century and even more in the XVIII century, the characters composing the ligurian crèche scene multiply, to the shepherds are added peasants, artisans, nobles and common people, page-boys, mendicants and poultry and pasture animals. The expansion of the production determines new technical choices and imposes a taste revolution: no more painted little statues in wood but wooden manikins dressed with now poor now sumptuous clothes, depending on the character represented. The artist ability concentrate in the heads, on the faces with glass eyes, on the hands, only on those parts which will stay uncovered; leader of this new style is Anton Maria Maragliano with a figurative language but refined that will become only later more realistic in the attitudes and in the images expressions, thanks to artisans free by then from his influence. At this point the historical vicissitudes determine the second and longer lasting turn of ligurian crèche art caused by the new democratic and anarchical system result of the French Revolution, introduced in Liguria by the Napoleonic army. Under the french strokes, the old dominant class fades, and with it, in practice, dies the nobles and middle class demand, nevertheless the Jansenist trend aimed to get rid of the religious folkloristic customs does not find the favour of the urban and country people, who remained faithful to their own devotional traditions. 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