Virtual Nativity - Mary's Posture

Mary was often missing from the earliest artistic representations of the Nativity, but by the end of the fifth century she was always found at the manger. For the first thousand years of Christian art she was usually depicted lying down, in a posture apparently intended to convey exhaustion after giving birth. This begins to change in western European art during the fourteenth century, and from the late fifteenth century onward Mary was normally shown kneeling, with both hands together, praying to her divine Child.

Mary’s kneeling posture, with her hands folded in prayer, reflects the influence of certain Franciscan writings and the mystical visions of Saint Birgitta, a celebrated saint of Sweden. Known for her many influential visions, at the age of 10, she first saw Jesus suspended on a cross. Her visions of the birth of Jesus came to affect nativity art for centuries to come and were recorded in Revelationes Coelestes (‘Celestial Revelations’).

According to Saint Bridget, before the birth ‘the Virgin knelt with great reverence, putting herself at prayer’. After the birth, ‘having bowed her head and joined her hands with great dignity and reverence, she adored the boy and said to Him: “Welcome, my God, my Lord, and my Son!”’ from ‘Revelationes Coelestes: Book 7, Chapter 21’

The revered kneeling posture for Mary dominates Nativity carving scenes, her hands being placed together in prayer or crossed on her chest. Only occasionally is she shown lovingly cradling her baby son, Jesus Christ, as a new mother naturally does.

Huggler Wood Carvings in Brienz, Switzerland are famous for their Nativity wood carvings. Their carvings depict Mary in revered and motherly postures.