The nativity scene according to Marco Ferrigno: an ideal to pass on to new generations

Considered one of the greatest contemporary masters of nativity art, Marco Ferrigno carries on the historic family workshop in Via San Gregorio Armeno, taking up the legacy of his father Giuseppe and the masters before him. In his hands, the tradition of 18th-century Naples is not just memory, but living matter: from terracotta heads to crystal eyes, to the fine silks of San Leucio, each of his creations is a bridge between the glorious past of the artisan school and the innovation of the present.

He is credited with projecting the Neapolitan nativity scene into international mass culture, while keeping intact the magic and emotion that make these works unique in the world. Today we have the honor of hosting a true custodian of a centuries-old art, heir to a dynasty that since 1836 has shaped the history and culture of Naples through terracotta.

Hi Marco, welcome to InItaly.it. Thank you for accepting our invitation. Today we want to share with you the magic of Neapolitan nativity art. What does the nativity scene represent for you?

The nativity scene represents an ideal of family, tradition, and identity. It is something we Neapolitans have carried forward for centuries, for generations, and it is right that this tradition be passed down in every family, from father to son, as happened to me.

It is important to remember who we are, where we come from, and above all to keep strong ideals such as Christmas and family, which are sacred.

San Gregorio Armeno is known worldwide. What does it feel like to be a standard-bearer of this reality?

San Gregorio Armeno is a street unique in its kind. It should be recognized as UNESCO World Heritage, because there is nothing like it in the world: a street full of workshops of the same craft.

Being a standard-bearer, a spokesperson for this street, is certainly an honor: it allows me, in addition to enriching Naples in prestige and reputation, also to enrich humanity’s cultural heritage in general.

We are noticing particular innovation in nativity scenes. What are the main features of this new trend? And above all, who are the main foreign buyers commissioning your work?

The new buyers are certainly the Spanish, who have a deeply rooted nativity culture and are loyal clients. We also see strong demand from Malta.

Recently, with the advent of social media and our e-commerce, we have noticed interest overseas, even in South America.

As for innovation, tradition and innovation have always been Ferrigno’s modus operandi for generations. We try to wink at trends without distorting the tradition of the nativity scene.

So today, those who visit us—or any of the workshops in San Gregorio Armeno—will certainly find the traditional side of the nativity, the typical characters, but also something current, something that can bring younger generations closer, to pass all this on.

Which characters in your nativity scenes deserve a place of honor?

The traditional character we love most is certainly Benino. He has an intrinsic meaning that many don’t know, but which is actually fundamental. Benino, the sleeping shepherd, is the “director of the nativity”: we like to call him that, because everything depicted by us artisans is nothing but Benino’s dream. Without the magic of his dream, none of this would exist.

As for current figures, I like to think that this year—and perhaps in the months to come—belongs to Ornella Vanoni, a very important figure in my view, beyond music. She is an example of life even for young people: I saw a lot of response from the younger generations regarding her passing, because she was a woman who left her mark. And we decided to honor her in the nativity scene with a figurine.

Do you have any projects or dreams for the future of Neapolitan nativity art?

Yes. My dream is to one day leave behind a school that can pass on this art, and that can also offer an alternative to young people from more disadvantaged neighborhoods, helping them understand that there is something else.

Art doesn’t have to be just a hobby or diversion: it can be a reason for life, something that sustains them. So my dream for the future is something that embraces the social dimension: to leave a legacy in the name of my family.

Is there a particular message you want to convey?

The message we want to convey is that the nativity scene must not be touched.

Recently in Brussels we saw an experiment, in our opinion unsuccessful, of a nativity without faces, for inclusivity. In Genoa they even removed the nativity from the Town Hall, again for inclusivity.

The word “inclusivity” needs to be revisited, because nowadays it is too often misused. It makes no sense to dismantle cornerstones such as religion and family in order to be inclusive. Inclusivity does not mean this: it means welcoming everyone and providing common points of reference, not erasing them and starting from scratch.

Thank you very much for being with us and for personally sharing the magic of Neapolitan nativity scenes.