England and France have socio-economic exchanges that predate the English Channel’s tunnel of the twentieth and twenty-first centuries.
One of many examples is a beloved Christmas season carol about the generous love of Bethlehem stable animals for the Holy Family. Carolers sometimes link the above-mentioned revel with twelfth-century England even though the original tune and words originate in France’s medieval Latin song Orientis partibus adventavit asinus (“From the East the donkey came”). The song’s oldest known precedents look only at the role of the donkey in getting Mary (18 B.C. – A.D. 41) to the stable delivery room.
Its most modern manifestation, The Friendly Beasts, contrastingly makes a case for critical contributions by the donkey’s stable-mates.
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Comments
Mira, It's interesting where crèches are displayed in the world. They aren't just set up outside or inside churches. They also appear elsewhere, for instance, at shopping malls sometimes or in other public places. Perhaps their appearances in public places in the U.S. have decreased over the past decades because of the religion/state issues.
Yes, you're right about the light. I don't know why crèches are not popular here. Reading online I see they are common in other parts of Orthodox Christiandom.
Mira, Me, too, I'm reminded of the same trio of artists for the elements which you've eloquently pinpointed. I'm happy that you appreciate Edwin Longsden Long's painting, for it's one of my favorites. He conveys an "Old World" atmosphere to this painting, and I also appreciate his use of light, especially to the left, almost as if the way is being lit for the Holy Family or as if the light of their holiness shines ahead of them.
Crèches are indeed wonderful. Why do you suppose they aren't part of Orthodox Christianity?
I didn't know of Edwin Longsden Long, or have forgotten his name if indeed I've seen images by him. That painting is very interesting. It reminds me of everything from Delacroix for its exotic elements to the style of Lord Frederick Leighton and the shapes, rather than the style (with its far more linear contours) of the faces and silhouettes of Edward Burne Jones. You brought me joy this evening with your article. And looking at that image of a crèche, I wonder why we don't have them in Orthodox Christianity. They're wonderful.