THE NATIVITY, NAPLES, 18TH-19TH CENTURY Madonna and Saint Joseph attributable to Giuseppe Gori (Coreno; Frosinone 1720-30 ; ?) Three heads of cherubs attributable to Angelo Viva (Naples 1768-1837) Composed of three 'shepherds' (Madonna, St. Joseph and the Angel), the Infant Jesus, twenty cherubs, heads of an ox, a donkey and two sheep; different materials Wears, defects, missing Total h. cm 72 The group, h. cm 62, w. cm 33 THE NATIVITY, NAPLES, 18TH-19TH CENTURY; WEARS, DEFECTS, LOSSES From the 19th century onwards, this scene was preferred to be displayed in more intimate and cosy settings such as the bedroom. On the 'rock', according to an extension of Luke's Gospel, the babe in swaddling clothes is laid in a 'manger', hence the constant presence of the ox and donkey that appear before St. Joseph. The depiction of the Holy Family, which retains rather rigid iconographic patterns over time, according to the 18th-century nativity tradition, can hardly be distinguished among a multitude of angels, cherubs and cherubs and festively dressed characters. In small nativities or in representations inside scarabs, as in this case, a setting with pictorial effects is preferred, with the inclusion of ruined architecture, reminiscent of classical temples, following the example of Filippo Falciatore's Nativity (Naples, Duca di Martina Museum). The Madonna and St. Joseph, are attributed to Giuseppe Gori, from Coreno in the province of Frosinone, active in Naples from 1759 at the workshop of the famous sculptor Giuseppe Sanmartino (E. Catello, 1989). Gori's intense activity was in the field of small statuary, ceroplasty and, in all probability, he also executed clay models for silversmiths. He modelled crib figures and animals for royal and aristocratic patrons. The figures in question, dressed in the 18th century tradition, are distinguished by great refinement and elegance in the interpretation of Sanmartini's style, not without neoclassical suggestions. The Child Jesus, entirely modelled in terracotta, can be dated to the beginning of the 19th century, and has a silver ray with Neapolitan hallmarks on his head; the Angel dressed in a green tunic and yellow silk organza band, holding a silver censer with Neapolitan hallmarks, can be dated to between the end of the 18th century and the beginning of the 20th century; the wooden cherub holds a wreath of flowers. Attributed to the sculptor Angelo Viva (active in the second half of the 18th century, until 1837) are the three polychrome terracotta heads. Trained in Sanmartino's prestigious workshop, during his long career he executed models for silver statues, working in the field of terracotta sculpture, even small ones, and in crib sculpture. He recovered the master's language not without personal contributions, but it was in his nativity work, as can be seen from the ancient inventories (E. Catello, 1988) that his adherence to Sanmartino's style became closer. The other examples, of excellent workmanship, can be ascribed to Neapolitan artists active between the end of the 18th century and the beginning of the following century. Bibliography: E. Catello, Civiltà del Settecento a Napoli, Naples 1999- R. Catello in Civiltà del Settecento a Napoli, Naples 1999; pp.163-166- E. Catello, Sanmartino, Naples 1988.