The inscription at the top of our icon reads:
Ἡ ΓΕΝΝΗCΙC ΤΟΥ ΧΡΙCΤΟΥ
HE ΓΕΝΝΗCΙC TOU KHRISTOU
“The Genesis of Christ” or “The Birth of Christ”
This simple inscription unites the mundane and cosmic aspects of the birth of Jesus Christ. Because in the Feast of the Nativity we celebrate both the birth of a human, Jesus, and the Incarnation of God in human form. The birth of any human is cause enough for celebration, but in celebrating this particular birth we express our belief that God so loved the world that they took on human flesh and form to redeem the world. The New Testament provides the account of God's life with us in the person of Jesus Christ, and for Christians the beginning of our redemption starts with the Incarnation of God through the Nativity of Jesus Christ.
At the top of the icon, separating the Greek inscription into two parts is a dark hemisphere containing filaments of light. This is the Heavenly Realm where God was in the beginning of creation. God is not depicted, because God is beyond knowing and beyond depiction. But the presence of God is marked by this symbol. The dark hemisphere is open at the top of the icon to the vastness of the Heavenly Realm above and beyond the physical world. The icon image side edge of the hemisphere is outlined in white and shades of blue. From it's base three strong beams of blue white light descend towards the Earth. The central beam of light extends the farthest into the pictorial frame of the icon, ending at a point slightly above the center of the icon with a bright, white, eight-pointed star in the midst of a dark cave which is illuminated by the light of the same star. The three beams of light represent the power of God working in the world, and can also be interpreted as representing the three persons of the Holy Trinity working together to accomplish the miracle of the Incarnation. The eight points of the star suggest that this is the Eight Day, the New Day, the first day of the new creation. The star is also the natal star, the Star of Bethlehem. Just below the star in the center of the icon is the infant, identified with the traditional IC XC as Jesus Christ, whose halo bears the Greek inscription for the “One Who Is” or “I AM” – the incarnation of God – wrapped in swaddling clothes or winding bands, lying in a tomb-shaped manger, showing that the birth of Jesus prefigures his death, making the Nativity a full representation of Alpha Omega, the first and the last, the beginning and the end. Or, more simply, in the words of the IVth century Roman poet Marcus Aurelius Prudentius (translated by J. M. Neale and H. W. Baker):
Of the Father's love begotten,
Ere the worlds began to be,
He is Alpha and Omega,
He the source, the ending He,
Of the things that are, that have been,
And that future years shall see,
Evermore and evermore!
At His Word the worlds were framèd;
He commanded; it was done:
Heaven and earth and depths of ocean
In their threefold order one;
All that grows beneath the shining
Of the moon and burning sun,
Evermore and evermore!
What more can one say?
Quite a lot actually. Our icon presents seven episodes from the Nativity narrative.
Our icon of the Nativity is a Greek Orthodox icon and following the typical pattern of Orthodox icons of the Nativity it provides a “panoptic” vision of the Nativity showing multiple episodes of the narrative drawn from the Gospels of Luke and Matthew, as well as from extra-Biblical sources including the Infancy Gospel of James (The Protevangelium Jacobi), the Infancy Gospel of Pseudo-Matthew, and Orthodox tradition. These various episodes provide the viewer/worshiper the opportunity to engage with the Mystery of the Incarnation from different routes. I shall try to walk us down several of those paths.
Before exploring the multiple paths of the narratives let's explore the background where all of the narratives take place. First the sky is gold, resplendent with the uncreated light of God. In icons a gold background represents and reflects the divine light of creation. This takes us out of the context of linear time and holds us in an eternal present, where with God we bear witness to the eternally unfolding events, now. In this timeless space God and the Logos cohabit in the power of the Holy Spirit, surrounded by angels; and, as is the case here, come into the material world. Second, we have a wilderness divided into three distinct spaces. The separate spaces, though they seem to present themselves as background, middle ground and foreground, do not represent distance. Instead, they provide multiple places where both contemporaneous and sequential events are shown concurrently. The background ochre peaks provide a separate wilderness space for the Magi to traverse before arriving at the cave. The foreground space provides the viewer/worshiper with an intermediate space to confront their doubts and confirm their faith while experiencing the Mystery of the Nativity. The successful agency of the Holy Spirit is displayed in the fertile, verdant peak in the middle ground of the icon. And along the slopes of that peak the cave or grotto of the Nativity is located, and where the main narrative of the icon takes place.
But, that's not Bethlehem! That's just a cave in the wilderness.
The Gospel of Matthew is imprecise regarding the location of the birth of Jesus, noting in chapter 2 “In the time of King Herod, after Jesus was born in Bethlehem of Judea, wise men of the East came to Jerusalem...” The second chapter of the Gospel of Luke is equally imprecise telling that “Joseph also went from the town of Nazareth in Galilee to Judea, to the city of David called Bethlehem, because he was of the house and family of David. He went to be registered with Mary, to whom he was engaged and who was expecting a child. While they were there, the time came for her to deliver her child. And she gave birth to her firstborn son and wrapped him in bands of cloth, and laid him in a manger, because there was no place for them in the inn.” The Infancy Gospel of James (Protevangelium Jacobi) is more precise in the Chapter 18: “And he found a cave there, and led her into it; and leaving his two sons beside her, he went out to seek a midwife in the district of Bethlehem.” And in Chapter 13, the Infancy Gospel of Pseudo-Matthew is even more precise: “for the time when she should bring forth was at hand; and he commanded the blessed Mary to come down off the animal, and go into a recess under a cavern, in which there never was light, but always darkness, because the light of day could not reach it.” Scriptures are full of examples of caves being used not only as simple refuges, as places for rest, physical or spiritual healing, and safety; they are also presented as liminal “thin” spaces where humans can encounter the Divine; as holy transitional spaces where God can enter the material world.
The “historic” cave/grotto of the Nativity was said to have been discovered by St. Helena, the mother of Constantine the Great, when she undertook a pilgrimage to the Holy Lands in 325/26. The Church of the Nativity in Bethlehem was built over the site and a silver star in the floor of the crypt chapel marks the “actual site” of the nativity. Also, be mindful that constructed barn-like, crêche scenes were not popularized until the time of St. Francis, when he presented a live action nativity at the cribb in Greccio in 1223.
Our icon shows Mary in this deep, dark holy cave. The Infancy Gospel of Pseudo-Matthew describes her progress: “And when the blessed Mary had gone into it, it began to shine with as much brightness as if it were the sixth hour of the day. The light from God so shone in the cave, that neither by day nor night was light wanting as long as the blessed Mary was there. And there she brought forth a son, and the angels surrounded Him when He was being born.” Indulge in a personal interpretation, which is supported by the iconography of our icon: As Mary descended into the darkness of the cave it began to brighten in the glow of her light, as the Marian light brightens, overcoming the darkness, the light of Christ streams forth reflecting and refracting light filling the cave with the light of Divine Presence of the All in All. Perhaps in the darkness of the cave one can hear the Pascal chant: “The light of Christ.” And respond with the people: “Thanks be to God.”
Or, one might sing the words of St. Ambrose of Milan, translated by C. P. Price:
Your cradle shines with glory's light;
it's splendor pierces all our gloom.
Our faith reflects those radiant beams;
no night shall overcome it now.
In the everlasting brightness of the cave of the Nativity, presented in our icon we see: the Ever Virgin Mary, the Theotokos, the God-bearer, the Unbroken Vessel, the Unburnt Bush, the Mother of God and Queen of Heaven. The Greek inscription of her name floats above her halo. Mary is depicted as the largest human figure in our icon. Mary is depicted larger than the angels. Mary is the most important person in the icon. The icon is about her! Mary is wearing a reddish-brown purple maphorion with eight-pointed cruciform stars on her head and shoulders. Her hair is covered under her veil with a blue cloth and she wears a simple blue dress. She is reclining on a royal cushion resting from her travail. She glances away from her newborn child, pondering in her heart the events that have brought her thus far, and future events which she will also treasure in her heart. Alternative readings of the purpose for Mary looking away from the the newborn child would have that she is thinking about the person toward whom her gaze is directed. In the case of our icon, Mary's gaze is directed toward Joseph. Anyone can imagine any number of thoughts that Mary might be having regarding Joseph, and their future life with Jesus. In the cave, beside Mary, the infant Jesus is found; wrapped in bands of cloth, lying in a tomb-shaped manger. Above them is the star of the Divine Presence shines forth. Without words the icon conveys the meaning of the passage: “'Look, the virgin shall conceive and bear a son, and they shall name him Emmanuel', which means, 'God is with us.'” (Mt 1:23)
In the cave, in addition to Mary and Jesus we have two animals: an ox and an ass. The animals are not mentioned in the Gospel accounts, but are traditionally included based on interpretation of Isaiah “The ox knows his owner, and the ass his master’s crib: but Israel does not know, my people do not consider.” (Isa 1:3) And another passage from Habakkuk “...In the midst of two animals you shall be known...” (Hab 3:2). Traditionally, the animals are interpreted as representing Gentiles and Jews, expressing the aspiration that all of God's people will come to know the fullness of the love of God.
The XVth century Latin carol translated by P. Dearmer clarifies the scene:
Unto us a boy is born!
The King of all creation,
came he to a world forlorn,
the Lord of every nation.
Cradled in a stall was he
with sleepy cows and asses;
but the very beasts could see
that he all folk surpasses.
Exiting the cave for a bit, lets explore the surrounding associated episodes of the narrative presented in our icon. Let's explore the episodes in the foreground, first we'll explore Joseph's story depicted in the lower left of the icon. We go to Joseph first because other than Mary and Jesus, Joseph is the only individual actually named in the icon. The Greek letters of his name float above and to the left of his halo. This process of actually naming individuals in icons reenforces and underscores the importance of the specific individual in the icon narrative and also in the broader narrative of salvation history. Also note, Joseph is the second largest human figure in our icon, this too, helps draw our attention to him. Joseph is an important character in this story.
When Joseph takes Mary to the cave, Mary sends him away to find an Israelite Midwife to assist with the birth. As Joseph exits the cave to fulfill this quest, the Infancy Gospel of James describes an amazing occurrence which is of great importance to iconography. “And I Joseph was walking, and was not walking; and I looked up into the sky, and saw the sky astonished; and I looked up to the pole of the heavens, and saw it standing, and the birds of the air keeping still. And I looked down upon the earth, and saw a trough lying, and work-people reclining: and their hands were in the trough. And those that were eating did not eat, and those that were rising did not carry it up, and those that were conveying anything to their mouths did not convey it; but the faces of all were looking upwards. And I saw the sheep walking, and the sheep stood still; and the shepherd raised his hand to strike them, and his hand remained up. And I looked upon the current of the river, and I saw the mouths of the kids resting on the water and not drinking, and all things in a moment were driven from their course.” (Chapter 18). Just as theatrical presentations require of the audience a “willing suspension of disbelief,” icons require of viewers/worshipers a suspension of the linear progression of time. Icons provide a space where the past and the future fill the eternal present with potentiality, and in the raging, stillness of this confluence of past and future we can encounter God. The preceding verses from the Infancy Gospel of James describe the suspension of temporal progress. And Joseph was troubled.
The canonical Gospel accounts and the Infancy Gospels enumerate Joseph's troubles: He's an older widow called upon by his people to wed Mary. He already has children, how will he support them and the children he might have with Mary? He is a Godly man who tries to do the right thing. He fears the judgement of his people, his peers. Both he and Mary have already been tried and found guiltless of siring a child before being married. He is a man of faith and fear. He takes counsel of angels in his sleep. In the midst of his troubles, he may hear Mary's loving plea from the XVth century German Christmas carol:
“Joseph, Dearest Joseph mine,
Help me cradle the Child divine.
God reward thee and all that’s thine,
In paradise," so prays the mother Mary.”
The proof of his steadfastness and faithfulness is found in his halo, the future consolation for his present troubles. And in the halo, we can imagine Joseph's sung response:
“'Gladly dear one, Lady mine
Help I cradle this Child of thine.'
'God’s own light on us both shall shine,
In paradise,' as prays the mother Mary.”
The figure of Joseph in our icon is visibly troubled. He supports the weight of his head full of troubles in his left hand as his right hand dangles listlessly in his lap, while he sits on a rock in the midst of a hard place, weighing his troubles. He wears the simple brown robe of an artisan, he is a craftsman, a carpenter, who will take upon himself the role of earthly Father, guide, and mentor to Jesus. He will build a life for them. He will protect and support Mary and Jesus through their life together. These are the known eventual outcomes, but for now, Joseph ponders.
Beside Joseph in our icon is a troublesome figure, a personification of Joseph's current troubles. Greek Orthodox tradition identifies the bearded, hooded man, dressed in furs, as a shepherd who is recounting to Joseph the angelic salutation. Russian tradition holds that the figure represents the Devil, disguised as a shepherd, to tempt Joseph to abandon Mary, Jesus, and God. With two black brush strokes above the shepherd's head, our Greek iconographer taunts us with horns to follow the Russian narrative. In either case Joseph's steadfast faith in the time of doubt, and trouble shines through his halo.
On the right side of our icon, in the foreground, we have images from the end of the story of the Midwife Zelomi and of Salomé, Mary's cousin, which are recounted in the Infancy Gospel of Pseudo- Matthew and the Infancy Gospel of James. Joseph brings the Midwife Zelomi to the cave of the Nativity to assist Mary through the birthing process. On entering the cave Zelomi is bedazzled by the vision of the infusion of divine light enveloping Mary and the child. Zelomi queried Mary regarding the birth. Mary professes to have given birth to the child while remaining a virgin. Zelomi rejoices in the miracle of the virgin birth and on exiting the cave shares the miraculous news with her assistant, Mary's cousin, Salomé who is overcome with doubt. Salomé resolves to test Mary. As a result of testing God, by testing Mary, Salomé's hand withers. Salomé immediately repents of her doubt. An angel appears and instructs Salomé to take Jesus in her arms, on doing so Salomé's withered arm is healed.
Our icon shows Zelomi and Salomé in the aftermath of the story fulfilling their tasks attending to the birth by bathing the infant Jesus. Zelomi holds the Holy Infant in veiled arm while, Salomé, also with a veiled arm, pours water from a pitcher into a font-like basin. This act of bathing the Holy Infant prefigures his baptism and reiterates that the women have been cleansed of their sins.
Both of these narratives, Joseph's story and the story of Zelomi and Salomé, provide us as viewers/worshipers with the blessed assurance that we can approach and engage in the Mystery of the Nativity through our faith and in our doubt. The third verse from Martin Luther's hymn “From heaven above to earth I come” can help us:
This is the Christ, God's Son most high,
who hears your sad and bitter cry;
he will himself your savior be
and from all sin will set you free.
In our icon, the main episode of the Nativity in the cave is bookended on either side by stories which, also, effectively bookend the Christmas story. These are the stories of the Shepherds and the Angels, and the story of the Wisemen.
On the right side of the icon we resume the main narrative from the Gospel of Luke:
And there were in the same country shepherds abiding in the field, keeping watch over their flock by night.
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people.
For unto you is born this day in the city of David a Saviour, which is Christ the Lord.
And this shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes, lying in a manger. (Luke 2:8-12, KJV)
In our icon this scene unfolds on the fertile, green slope of our holy mountain, where a shepherd holding his staff is tending the flocks. Another shepherd is seated on a rock playing a pipe for a curious lamb. An angel of the Lord appears, and the gold representing the glory of the Lord surrounds them all. The standing shepherd, bends slightly away from the angel of the Lord, listening, undoubtedly fearfully, to the angelic message. The piper is unconcerned.
And suddenly there was with the angel a multitude of the heavenly host praising God, and saying,
Glory to God in the highest, and on earth peace, good will toward men. (Luke 2:13-14, KJV)
On the left side of the icon, three more angels appear, representing the heavenly host. The forth verse of hymn 92 in the Episcopal Hymnal expresses this scene:
On this day angels sing;
with their song earth shall ring,
praising Christ, heaven's King,
born on earth to save us;
peace and love he gave us.
Ideo. Ideo.
Ideo gloria in excelsis Deo!
Though the shepherds next actions, those of deciding to go, and actually going to Bethlehem to see the child, are not depicted in our icon, our faith allows us to believe that they do, indeed, visit the scene.
Below the the trio of angels, on the left side of our icon another story develops, as the wise men from the East riding horses, approach the cave; the gestures of their hands indicate that they are searching diligently for the child. The story from the second chapter of the Gospel of Matthew closes out the Nativity saga. We know they will bring and present their gifts and offerings of gold, frankincense, and myrrh. We know they will not return to King Herod. We know that King Herod, in his fury, will dispatch soldiers to kill all of the children in and around Bethlehem who were two years old or under at that time. We know that Joseph will be warned of the forthcoming massacre by an angel, and will flee into Egypt with Mary and Jesus. This is the end of the beginning of the salvific narrative of God's life with us in human form.
The words of Caelius Sedulius from the Vth century, translated by J. M. Neale, help set the scene:
The eastern sages saw from far
and followed on his guiding star;
by light their way to Light they trod,
and by their gifts confessed their God.
The Christmas narrative presented in the stories of the Nativity of Christ, represent a cosmic voyage and an intimate journey; a public procession and a private quest; expressing Awe and Majesty, yearning and fulfillment; hope and dreams; faith and fear; sin, repentance, and redemption; replete with unexpected encounters and events along the way. It is the neverending story, always fresh, always new, of God's enduring love for their people and the people's respondent love for their God.
Stepping back from our icon we should follow Mary's example: “But Mary treasured all these words and pondered them in her heart.” (Luke 2:19, KJV)
And celebrate Isaiah's prophecy:
For a child has been born for us,
a son given to us;
authority rests upon his shoulders;
and he is named
Wonderful Counsellor, Mighty God,
Everlasting Father, Prince of Peace. (Isa 9:6, KJV)
And perhaps meditate on the message in Christina Rossetti's hymn:
Love came down at Christmas,
Love all lovely, Love divine;
Love was born at Christmas,
Star and angels gave the sign.
Worship we the Godhead,
Love incarnate, Love divine;
Worship we our Jesus:
But wherewith for sacred sign?
Love shall be our token,
Love be yours and love be mine,
Love to God and all men,
Love for plea and gift and sign.
