These medallion shaped illustrations of
Saint Nicholas come in green red and black.
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In Croatia, Christmas Eve is called Badnjak (Christmas Eve Day: Badnji dan, Christmas Eve night: Badnja večer), after the traditional log that is cut on Christmas Eve and lit in the hearth of the home in the evening. In villages, the father of the family cuts down a piece of wood from a tree at dawn, reciting the Lord's Prayer and making the sign of the cross, invoking God to bless the family. In the cities, logs are usually bought instead of cut down. The log is brought to the home, but left inside until the evening, where it is brought in and placed in the hearth or fireplace. Holy water is then poured on the log, usually accompanied by the Apostle's Creed. It is then lit and the father praises Jesus and welcomes Christmas Eve.
The badnjak is a central feature in the traditional Serbian Christmas celebration. It is the log that a family solemnly brings into the house and places on the fire in the evening of Christmas Eve. The tree used for the badnjak, preferably a young and strait oak, is ceremoniously felled in the early morning of Christmas Eve. Traditionally the head of the family was sent dressed in his best clothes to cut down an oak, elm, or pear tree. That tree is used as the badnjak. A prayer for forgiveness was necessary before it could be chopped down with three strikes with axe, and carried on one's right shoulder as it is not allowed to touch the ground. The burning of the log is accompanied by prayers to God so that the coming year may bring much happiness, love, luck, riches, and food. It would burn on through Christmas Day, whether rekindled or kept burning from the Eve. The first person to visit the family on that day should strike the burning badnjak with a poker or a branch to make sparks fly from it, at the same time uttering a wish that the happiness, prosperity, health, and joy of the family be as abundant as the sparks. The ideal environment to fully carry out these customs is the traditional multi-generation country household. Since most Serbs today live in towns and cities, the badnjak is symbolically represented by several leaved oak twigs that can be bought at marketplaces or received in churches. The origin of the badnjak is explained by events surrounding the Nativity of Jesus Christ. Scholars, however, regard these customs as practices inherited from the old Slavic religion.
In Bulgaria , it is an important part of Christmas Eve preparations. Traditionally а young man of the family was sent dressed in his best clothes to cut down an oak, elm, or pear tree. That tree is used as the Budnik (bg:Бъдник). A prayer for forgiveness was necessary before it could be chopped down and carried on one's right shoulder as it is not allowed to touch the ground. An indication of the importance of the ritual is that Christmas Eve translates to Budnik or Budnik Eve (bg:Бъдни вечер) in Bulgaria. In some regions, upon the man's return he asks "Do you glorify the Young God?" three times and receive a positive answer "We glorify Him, welcome". After that a hole is bored in one end of the badnik and filled with Chrism made of wine, cooking oil, and incense. The hole is plugged, and that end of the log is wrapped with a white linen cloth before the badnik is festively burned on the hearth. The log is considered to possess special healing powers and the ritual includes songs and uttering of wishes as the log is lit much like the Serbian ritual described above. The log has to burn all night and it is believed that its warmth and light symbolize the coming of Christ as well as providing a warm welcome to Virgin Mary and the family's ancestors who are believed to be guests at the table according to traditions in some regions. Sometimes the fire is put off using wine in the morning. Remains of the log are cherished and sometimes used to make personal crosses, also to make a plough and ashes are simply spread over a field or vineyard to induce better yields.
Bringing in the Yule Log at an environmental center.
Konstantin Ivanov's original sketch for the set of The Nutcracker (1892)
The Nutcracker is a two-act ballet, originally choreographed by Marius Petipa and Lev Ivanov with a score by Pyotr Ilyich Tchaikovsky. The libretto is adapted from E.T.A. Hoffmann's story "The Nutcracker and the Mouse King". It was given its première at the Mariinsky Theatre in St. Petersburg on Sunday, 18 December 1892, on a double-bill with Tchaikovsky's opera, Iolanta.
Although the original production was not a success, the twenty-minute suite that Tchaikovsky extracted from the ballet was. However, the complete Nutcracker has enjoyed enormous popularity since the late 1960s and is now performed by countless ballet companies, primarily during the Christmas season, especially in the U.S. Tchaikovsky's score has become one of his most famous compositions, in particular the pieces featured in the suite. Among other things, the score is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda.
After the success of The Sleeping Beauty in 1890, Ivan Vsevolozhsky,
the director of the Imperial Theatres, commissioned Tchaikovsky to
compose a double-bill program featuring both an opera and a ballet. The
opera would be Iolanta. For the ballet, Tchaikovsky would again join forces with Marius Petipa, with whom he had collaborated on The Sleeping Beauty. The material Petipa chose was an adaptation of E.T.A. Hoffmann's story The Nutcracker and the Mouse King by Alexandre Dumas père called The Tale of the Nutcracker.
The plot of Hoffmann's story (and Dumas' adaptation) was greatly
simplified for the two-act ballet. Hoffmann's tale contains a long flashback story within its main plot entitled The Tale of the Hard Nut, which explains how the Prince was turned into the Nutcracker. This had to be excised for the ballet.
Petipa gave Tchaikovsky extremely detailed instructions for the
composition of each number, down to the tempo and number of bars. The composer did not appreciate having to work under such constraints and found himself reluctant to work on the ballet.
The completion of the work was interrupted for a short time when
Tchaikovsky visited the United States for twenty five days to conduct
concerts for the opening of Carnegie Hall and composed part of it in France.
The first performance of the ballet was held as a double première together with Tchaikovsky's last opera, Iolanta, on 18 December [O.S. 6 December] 1892, at the Imperial Mariinsky Theatre in St. Petersburg, Russia. Although the libretto was by Marius Petipa,
who exactly choreographed the first production has been debated. Petipa
began work on the choreography in August 1892; however, illness removed
him from its completion and his assistant of seven years, Lev Ivanov,
was brought in. Although Ivanov is often credited as the choreographer,
some contemporary accounts credit Petipa. The performance was conducted
by Riccardo Drigo, with Antonietta Dell'Era as the Sugar Plum Fairy, Pavel Gerdt
as Prince Coqueluche, Stanislava Belinskaya as Clara, Sergei Legat as
the Nutcracker-Prince, and Timofei Stukolkin as Drosselmeyer. The
children's roles, unlike many later productions, were performed by real
children rather than adults (with Belinskaya as Clara, and Vassily
Stukolkin as Fritz), students of Imperial Ballet School of St. Petersburg.
The first performance of The Nutcracker was not deemed a success. The reaction to the dancers themselves was ambivalent. While some critics praised Dell'Era on her pointework as the Sugar Plum Fairy (she allegedly received five curtain-calls), one critic called her "corpulent" and "pudgy."
Olga Preobajenskaya as the Columbine doll was panned by one critic as
"completely insipid" and praised as "charming" by another.
One audience member described the choreography of the battle scene as
confusing: "One cannot understand anything. Disorderly pushing about
from corner to corner and running backwards and forwards – quite
amateurish."
The libretto was criticized for being "lopsided" and for not being faithful to the Hoffmann tale. Much of the criticism focused on the featuring of children so prominently in the ballet and many bemoaned the fact that the ballerina did not dance until the Grand Pas de Deux near the end of the second act (which did not occur until nearly midnight during the program). Some found the transition between the mundane world of the first scene and the fantasy world of the second act too abrupt.Reception was better for Tchaikovsky's score. Critics called it
"astonishingly rich in inspiration" and "from beginning to end,
beautiful, melodious, original, and characteristic." But even this was not unanimous as some critics found the party scene "ponderous" and the Grand Pas de Deux "insipid."
In 1919, choreographer Alexander Gorsky
staged a production which eliminated the Sugar Plum Fairy and her
Cavalier and gave their dances to Clara and the Nutcracker Prince, who
were played by adults instead of children. His was the first production
to do so. An abridged version of the ballet was first performed outside
Russia in Budapest (Royal Opera House) in 1927, with choreography by Ede
Brada. In 1934, choreographer Vasili Vainonen
staged a version of the work that addressed many of the criticisms of
the original 1892 production by casting adult dancers in the roles of
Clara and the Prince, as Gorsky had. The Vainonen version influenced
several later productions.
The first complete performance outside Russia took place in England in 1934, staged by Nicholas Sergeyev after Petipa's original choreography. Annual performances of the ballet have been staged there since 1952. Another abridged version of the ballet, performed by the Ballet Russe de Monte Carlo, was staged in New York City in 1940 by choreographer Alexandra Fedorova – again, after Petipa's version. The ballet's first complete United States performance was on 24 December 1944, by the San Francisco Ballet, staged by its artistic director Willam Christensen. The New York City Ballet gave its first annual performance of George Balanchine's staging of The Nutcracker in 1954.
Beginning in the 1960s, the tradition of performing the complete ballet
at Christmas eventually spread to the rest of the United States.
Since Gorsky, Vainonen and Balanchine's productions, many other
choreographers have made their own versions. Some institute the changes
made by Gorsky and Vainonen while others, like Balanchine, utilize the
original libretto. Some notable productions include those by Rudolf Nureyev for the Royal Ballet, Yuri Grigorovich for the Bolshoi Ballet, Mikhail Baryshnikov for the American Ballet Theatre, and Peter Wright for the Royal Ballet and the Birmingham Royal Ballet. In recent years, revisionist productions, including those by Mark Morris, Matthew Bourne, and Mikhail Chemiakin have appeared; these depart radically from both the original 1892 libretto and Vainonen's revival, while Maurice Bejart's
version completely discards the original plot and characters. In
addition to annual live stagings of the work, many productions have also
been televised and / or released on home video.
A Froebel star (German: Fröbelstern) is a Christmas decoration made of paper, common in Germany. In English it does not have a commonly recognised name; it can be referred to as Advent star, Danish star, German star, Nordic star, Pennsylvanian star, Polish star, Swedish star, Christmas star, or Froebel star. It is also sometimes incorrectly called a Moravian star, but the Moravian star has at least 26 tips instead of the 16 tips of the Froebel star.
The three-dimensional Froebel star is assembled from four identical
paper strips with a width-to-length proportion of between 1:25 and 1:30.
The weaving and folding procedure can be accomplished in about forty
steps. The product is a paper star with eight flat prongs and eight
cone-shaped tips. The assembly instructions can be aborted midway,
producing a two-dimensional eight–pronged star without cones.
Crafting Froebel stars originates in German folklore. Traditionally the stars would be dipped into wax and sprinkled with glitter after being folded. The star can be considered a form of origami, because it is made of identical paper sheets and assembled without glue.However, as it combines folding with weaving it is more a "fringe" subject of origami.
The Froebel star carries the name of the German educationist Friedrich Fröbel (1782–1852), founder of the Kindergarten concept. He encouraged the use of paper folding in pre–primary education with the aim of conveying simple mathematical concepts to children.
It is, however, likely that Froebel did not invent this item and that
it had already been within the realm of general knowledge for a long
time. Froebel did encourage paper folding as an activity for young
children and he popularised discourse about children's activities, which
is how his name and the folding instructions might have become related.
Descriptions of how to fold a Froebel star date back to at least the 19th century. In Germany the name Fröbelstern has been the common name for this paper decoration since the 1960s. It is used as ornament on Christmas trees and wreaths, and to make garlands and mobiles. Froebel stars are very common in Germany, although few people know how to make them.
A snow baby (sometimes
spelled snowbaby) is a small figurine that depicts some aspect of the
Christmas holidays or of winter sports. The traditional snow baby is
made of unglazed porcelain (bisque) and shows a child dressed in a
snowsuit; the suit itself is covered in small pieces of crushed bisque,
giving the appearance of fallen snowflakes. However, many other sorts
of figures are typically associated with these snowy children: Santas,
elves and gnomes, carolers, animals such as penguins and polar bears,
adult sledders and skaters, snowmen, and even houses and Disney
characters. Collectors in the United States and Europe will sometimes
decorate for the holidays using these figures to create winter scenes
of varying degrees of complexity.
Although
classical snow babies stand under 2 inches high and were often used in
England as cake decorations, there are many variations. Some of the
oldest types, made in Germany during the decade beginning about 1905,
ranged from 4 to 13 inches tall and were carefully painted by master
artisans. Other babies created during this early period were crafted
with similar attention to detail. With the onset of World War I,
production stopped; when it resumed sometime around 1922, the snow
babies were more hastily made, less finely detailed in their porcelain
and finish. Yet these newer pieces show children, Santas, and elves in
remarkably imaginative poses: a child feeds a seal from a baby bottle;
Santa drops toys from an airplane; two dwarves dance atop a psychedelic
mushroom. The variations are nearly endless: one estimate puts their
number at well over 2000.
Their is also a charming book called, "The Snow Baby: The Arctic Childhood of Admiral Robert E. Peary's Daring Daughter"
Just
before World War II, Japan began to produce snow babies, though they
were generally of a lesser quality than those made in Germany. In the
late 20th Century, a company called Department 56 began producing snow
babies in Taiwan.
Mary Morrison, Mary Morrison’s Big Book of Snow Babies (Tualatin Press, 2003)
"Silver Bells" is a classic
Christmas song, composed by Jay Livingston and Ray Evans. The lyric is
unusual for a Christmas song in that it describes the festival in the
city and not a rural setting.
Silver Bells was first performed by Bob Hope and Marilyn Maxwell in the motion picture The Lemon Drop Kid, filmed in July-August 1950 and released in March 1951. The first recorded version was by Bing Crosby and Carol Richards, released by Decca Records in October 1950.
After the Crosby and Richards recording became popular, Hope and
Maxwell were called back in late 1950 to refilm a more elaborate
production of the song.
Here you can see that I've used a pattern from a book. You may choose to cut and hang the scherenscnitte as single sheets of paper cuts as the book illustrates with the garland samples or you can choose to cut two of the same design and sew these together to create a three dimensional ornament. I have done so with the angel using a waxed dental floss.
In this photo you can see that I am reproducing the patterns from a book onto a thick sheet of plastic in order to work faster with the tracing work. This is the easiest way to transfer scherenschnitte patterns to black papers. Use a white pencil to trace around your template.
Scherenschnitte which means "scissor cuts" in German, is the art of papercutting
design. The art work often has symmetry within the design, and common
forms include silhouettes, valentines, and love letters. The art
tradition was founded in Switzerland and Germany in the 16th century,
and was brought to Colonial America in the 18th century by immigrants
who settled primarily in Pennsylvania.
Scherenschnitte make light weight, detailed ornaments that
can be hung on the weakest of branches. Cutting such delicate work takes
patience and practice, but once you've mastered the skill, you will be
able to decorate an entire tree for mere pennies!
Include these rocking horses on: Christmas stationary, gift tags, newsletter and more...
An old-fashioned rocking horse in full color.
The same rocking horse in monochromatic red.
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The following elf clip art is by Donna Rice. Please read the Terms of Use before downloading it for personal use only.
tiny elf dressed in green and red
tiny elf dressed in green only
tiny elf dressed in red only
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A Christmas stocking is
an empty sock or sock-shaped bag that children hang on Christmas Eve so
that Santa Claus (or Father Christmas) can fill it with small toys,
candy, fruit, coins or other small gifts when he arrives. These small
items are often referred to as stocking stuffers or stocking fillers.
During
The Great Depression/WWI and WWII, the contents of the Christmas
stocking were the only toys children received at Christmas from Santa
Claus in many American families. Both of my parents used to look forward
to receiving citrus fruits and nuts in their Christmas stockings
because these items were rarely eaten during the cold months where they
grew up.
Tradition
in German and Dutch culture sometimes dictates that a child who behaves
badly during the year will receive only a lump of coal. A lump of coal,
however, is not always considered bad during the winter, holiday
season. Coal is equated with warmth and salt with good fortune and bread
symbolic for enough to eat for the coming year in England on New Years
Day.
The
tradition of putting out a stocking for St. Nicholas began in the
Orthodox Christian churches; the exact date for it's humble beginnings,
historians are not sure of. St. Nicholas, who was a real person, a
Catholic bishop, had quite a reputation for purchasing the freedom of
indentured servants (slaves). In legendary stories written about St. Nicholas, his character is revealed through a series of charitable acts.
One
of these charitable acts is demonstrated in a story about a poor man
and his three beautiful daughters. Because none of his children had
dowries (marriage settlements) and he feared they would need to be sold
into indentured slavery to keep from starving as was the custom for
many poor Roman citizens at that time. Saint Nicholas happened to be
visiting the small village where these three sisters lived and overheard
the villagers talking about their problem. The villagers warned him of
their father's pride, saying he would not eccept Christian charity. So,
St. Nicholas kept his donation secret by tossing gold coins for the
girls down their chimney at night.
What
about the stockings you say? Well, it was also the custom at that time
and for many centuries afterwards, to wash one's stockings out in a
basin and to hang these up to dry over night in front of a fireplace.
Some of those gold coins tossed down the chimney at night apparently
made their way into the three sister's stockings. With the telling of
this particular story, in the Orthodox Church, the popular tradition of
concealing gifts in stockings began.
There
are other variations to these stories told in churches about St.
Nicholas. So much so that artists have painted symbolic gifts along side
or in the hands or pockets of St. Nicholas throughout the history of
his depiction in art.
The
popular retelling of the charitable acts of St. Nicholas according to
American television are a far cry from the original stories. St.
Nicholas is now Santa who doesn't much resemble his former glory and
certainly does not take upon himself the necessity of telling little
children about Jesus. St. Nicholas was a very charitable bishop who
loved Jesus so much that he gave his family's entire fortune in exchange
for the freedom of others; he was a devoted abolitionist. The truth is
almost always more inspiring than fiction.
"As it's almost Christmas I thought today would be a great
time to show you how to make Mince Pies. They are delicious!"
Geese, capons, pheasants drenched with amber-grease, and pies of
carps-tongues, helped to furnish the table in bygone Christmases, but
there was one national dish—neither flesh, fowl, nor good red
herring—which was held indispensable. This was furmante, frumenty or
furmety, concocted—according to the most ancient formula extant—in this
wise: 'Take clean wheat, and bray it in a mortar, that the hulls be all
gone off, and seethe it till it burst, and take it up and let it cool;
and take clean fresh broth, and sweet milk of almonds, or sweet milk of
kine, and temper it all; and take the yolks of eggs. Boil it a little,
and set it down and mess it forth with fat venison or fresh mutton.
'Venison was seldom served without this accompaniment, but furmety,
sweetened with sugar, was a favorite dish of itself, the 'clean broth'
being omitted when a lord was to be the partaker."
Mince-pies were popular under the name of 'mutton-pies,' so early as
1596, later authorities all agreeing in substituting neats-tongue in
the place of mutton, the remaining ingredients being much the same as
those recommended in modern recipes. They were also known as shred and
Christmas pies:
'Without
the door let sorrow lie,
And if for cold it hap to die,
We'll bury it
in a Christmas-pie,
And evermore be merry!'
In Herrick's time it was customary to set a watch upon the pies, on
the night before Christmas, lest sweet-toothed thieves should lay
felonious fingers on them; the jovial vicar sings:
'Come guard the Christmas-pie,
That the thief, though ne'er so sly,
With his flesh-hooks don't come nigh,
To catch it,
From him, who all alone sits there,
Having his eyes still in his ear,
And a deal of nightly fear,
To watch it.'
Selden tells us mince-pies were baked in a coffin-shaped crust,
intended to represent the cratch or manger in which the Holy Child was
laid; but we are inclined to doubt his statement, as we find our old
English cookery-books always style the crust of a pie 'the coffin.'
When a lady asked Dr. Parr on what day it was proper to commence
eating mince-pies, he answered, 'Begin on O. Sapientia (December 16th),
but please to say Christmas-pie, not mince-pie; mince-pie is
puritanical. 'The doctor was wrong at least on the last of these points,
if not on both. The Christmas festival, it is maintained by many, does
not commence before Christmas Eve, and the mince-pie was known before
the days of Praise-God Barebones and his strait-laced brethren, for Ben
Jonson personifies it under that name in his Masque of Christmas. Likely
enough, the name of 'Christmas-pie' was obnoxious to puritanical ears,
as the enjoying of the dainty itself at that particular season was
offensive to puritan taste:
'All plums the prophet's sons deny,
And spice-broths are too hot;
Treason's in a December-pie,
And death within the pot.'
Or, as another rhymester has it:
'The high-shoe lords of Cromwell's making
Were not for dainties—roasting, baking;
The chief est food they found most good in,
Was rusty bacon and bag-pudding;
Plum-broth was popish, and mince-pie—
O that was flat idolatry!'
In after-times, the Quakers took up the prejudice, and some
church-going folks even thought it was not meet for clergymen to enjoy
the delicacy, a notion which called forth the following remonstrance
from Bickerstaffe.—'The Christmas-pie is, in its own nature, a kind of
consecrated cake, and a badge of distinction; and yet it is often
forbidden, the Druid of the family. Strange that a sirloin of beef,
whether boiled or roasted, when entire is exposed to the utmost
depredations and invasions; but if minced into small pieces, and tossed
up with plumbs and sugar, it changes its property, and forsooth is meat
for his master.' Robert Chambers' Book of Days, 1869
India Galyean shows you step by step how to make a gingerbread house.
Gingerbread
is a sweet that can take the form of a cake or a cookie in which the
predominant flavors are ginger and raw sugar. Gingerbread was introduced
to Europe long ago by the Crusaders.
The
town of Market Drayton in Shropshire, UK is known as the "home of
gingerbread" and this is proudly decreed on the welcome sign. The first
recorded mention of gingerbread being baked in the town dates back to
1793; however, it was probably made earlier as ginger was stocked in
high street businesses from the 1640s. Gingerbread became widely
available in the 1700s.
Originally,
the term gingerbread (from Latin zingiber via Old French gingebras)
referred to preserved ginger, then to a confection made with honey and
spices. Gingerbread is often translated into French as pain d'épices
(literally "spice bread"). Pain d'épices is a French pastry also made
with honey and spices, but not crispy.
As
a cookie, gingerbread can be made into a thin, crisp cookie (often
called a ginger snap) or a softer cookie similar to the German
Lebkuchen. Gingerbread cookies are often cut into shapes, particularly
gingerbread men. Traditionally it was dunked in port wine.
A
gingerbread is used to build gingerbread houses similar to the "witch's
house" encountered by Hansel and Gretel. These houses, covered with a
variety of candies and icing, are popular Christmas decorations,
typically built by children with the help of their guardians.
Another
variant uses a boiled dough that can be molded like clay to form
inedible statuettes or other decorations. A significant form of popular
art in Europe, major centers of gingerbread mold carving included Lyon,
Nürnberg, Pest, Prague, Pardubice, Pulsnitz, Ulm, and Toruń.
Gingerbread molds often displayed the "news", showing carved portraits
of new kings, emperors, and queens, for example. Substantial mould
collections are held at the Ethnographic Museum in Toruń, Poland and the
Bread Museum in Ulm, Germany.
The
lesser known bread form tends to be a dense, treaclely (molasses-based)
spice bread. Some recipes add mustard, pepper, raisins, nuts, and/or
other spices/ingredients to the batter. In one variation, the bread
omits raisins or nuts and is served with warm lemon sauce. In the United
States, the bread is more often served in the winter, particularly at
Christmas time in the central parts of Pennsylvania. More Fun Links to Gingerbread:
Description of Clip Art: These stockings are stuffed with gifts and candy canes. They come in red, green and blue. Visitors may use the stocking rhyme for the inside of cards and the stocking clip art to decorate cards with.
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Description of Clip Art: little girl twirling in a tutu, text "Christmas Magic", stars in skirt
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One of the many paper mache' Santas that I've made for my own tree.
A Santa head crafted from a pine cone and fur.
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Below, I have loaded this page with clip art of dear old St. Nick for your holiday web pages.
Santa with a trumpet and holly. text reads, "Merry Christmas"
Text reads "Here Comes Santa Claus" in black. Red illustration of Santa.
Vintage scrap of Santa braving a snow storm with a bag of toys.
A retro Santa Claus reads a Christmas story before bed.
Above is a Victorian Santa Claus watching a sleeping child. He brings her a doll.
Santa listens carefully as a fairy brings him good news.
Dear old Santa wishes you "Best Christmas Wishes"
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Have a question about the illustration?
Just type it in the comment box and I'll get back to you as soon as
possible. I only publish content that is closely related to the subject,
folks.
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