Vincenzo Velardita is an artisanal workshop specializing in the production of typical figurines from Caltagirone. These figurines are made with clothing crafted from clay sheets, a technique first introduced in the 19th century by Giacomo Buongiovanni.
I am a figurative ceramist, meaning I create anything that represents the human figure, in both stylized and classical styles, ranging from nativity scenes to mythology. For example, here is a depiction of the beginning of Christ’s Passion: the Last Supper, the betrayal, leading up to the crucifixion and deposition. This particular piece includes the Spasm of Mary, Saint John supporting the Virgin, and Christ being taken down from the cross.
For nativity scenes, which is the theme we are discussing today, there are central figures that cannot be absent, beyond the Nativity itself, such as the Virgin Mary, Saint Joseph, Baby Jesus, and the Magi, who are indispensable. However, there are also specific characters, like the Shepherd of Wonder or the Frightened Shepherd, as he is called in dialect. This shepherd is someone who has physically grown up but still retains a pure heart and childlike awe. When he sees Jesus, he exclaims, “How wonderful!” The other shepherds scold him, saying, “Why didn’t you bring a gift?” But the Virgin Mary intervenes and replies, “No, look, you have brought the most beautiful gift: the wonder still inside you.”
Another key figure is Stefania, who is said to be Saint Stephen’s mother. The story is a bit long but very interesting: Stefania was an unmarried girl who, upon hearing of the birth of Baby Jesus, went to worship Him. However, according to Jewish law, she could not enter the place where Mary had given birth. The next day, she returned with a great desire to see Jesus, bringing an empty stone and pretending it was a baby. When Mary saw her, she said, “Feed him; he’s hungry!” Stefania replied, “But how can I? It’s a stone!” Mary then told her to unwrap the cloth around the stone, and a miracle happened: the stone transformed into a baby. This symbolizes Saint Stephen, Christianity’s first martyr, born from a stone and destined to die by stoning.
There are other figures as well. For instance, January, or Gennaro, represents the New Year, the transition from the old year to the new, but for us, it also symbolizes the transition from the Old to the New Testament. Shepherds are, of course, indispensable. Among them are those who bring dairy products: some make ricotta, others bring cheese, symbolizing the gifts of the earth. Another significant figure is the woman with the pitcher, bringing water. This element is essential, as are bread and other basic foods, all of which carry a profound spiritual significance.
What is the symbolism behind these figures?
Every aspect of the nativity scene holds deep meaning. Take Saint Joseph, for example: in the classical tradition, he is depicted as old to justify Mary’s virginity, but here he is young and active, a present father figure. Beside him is the shepherd with the sheep, symbolizing the Good Shepherd, and the angel of the Annunciation. At the center is, of course, Baby Jesus, representing the sacrificial Lamb destined to wash away humanity’s sins. This symbolic cycle reminds us that Jesus was born, sacrificed Himself to save us, and, after death, rose again to grant us eternal life.
On the other hand, there are figures associated with demonic symbolism, like the spinner or embroiderer. These figures recall the Greek mythology of the Fates, who spin, draw, and cut the thread of life—a symbol of death and mystery. Similarly, the cripple, the innkeeper, and the butcher represent aspects of human weakness. For example, the innkeeper symbolizes how wine can make one lose reason, allowing evil to take over.
In the narrative journey of the nativity scene, we find moments like the search for lodging, the innkeeper’s rejection, Christ’s birth in Bethlehem, and the flight into Egypt to escape Herod’s persecution. Each scene carries profound symbolic meaning, illustrated by characters like the adolescent shepherd, Benino, who represents the transition from adolescence to adulthood and symbolizes the dream and mystery of life.
Many of these figures and stories are based on apocryphal gospels, unofficial texts offering a more novelistic narrative of Jesus’ life. When creating a nativity scene, one can draw from Gospel episodes, like the Annunciation to Zechariah, where he is told that, despite his old age, he and his wife Elizabeth will have a child—Saint John the Baptist. This is followed by the Annunciation to Mary, the Visitation to Elizabeth, the birth of Christ, and other episodes of Jesus’ infancy and life, culminating in the Resurrection, creating a complete narrative.
How did your journey begin? It was like a “little flame” within me, something that pushed me.
What distinguishes Caltagirone nativity scenes from national and international ones? Caltagirone nativity scenes are not flashy. Every element has a purpose and a story. For instance, the figurines are entirely hand-sculpted, then dressed with clay sheets and detailed with human-like expressions. It’s a complex yet balanced artisanal process.
Does this craft allow room for creativity and innovation? Absolutely. The “flame” is what inspires you and drives you to create. Clay responds as if alive under your hands, guiding the creative process. However, if you lose inspiration and work on it for too long, the clay hardens, and you must start over. This craft requires passion and a deep connection with the material.
What are the main challenges of this craft? One of the greatest challenges is creating works that will endure for future generations. These aren’t mere souvenirs but unique, meaningful creations. For example, this figurine represents a serene person proud of their work—an image of God watching over humanity with no worries. It’s essential to capture this expression, this sense of complicity and authenticity.
We also create bas-reliefs inspired by different themes. For instance, I completed a sculpture of Caravaggio’s Bacchus because it was missing a part.
Is it true that Caravaggio passed through Caltagirone? There is a theory, still unverified, that Caravaggio might have passed through Caltagirone and remarked that to see a work more beautiful than Gaggini’s in the Church of Jesus, one would have to go to heaven. Isn’t that a fascinating story?
Some creations include more complex symbolic references, such as Bacchus, tobacco, and Venus, or the “man in ashes.” These works depict the interaction between man and woman with a touch of irony and boldness. For instance, the woman appears to have lost her complicity with the man, stiffening him—a playful scene that provokes reflection.
What other themes inspire your works? One cannot stop at the classics. For example, I created a sculpture called Fixed Idea, representing a man as a Don Giovanni-like conqueror obsessed with the female figure, bombarded by media images reducing everything to curves and appearances. It’s a critique of superficiality, a play of volumes expressing deeper meanings.
Other works include reproductions like the Dancer’s Apple by Skopas and other more Greek-style sculptures. For example, this figure of a pregnant woman draws inspiration from classical forms but with a modern, personal touch. Meanwhile, creations in white kaolin clay are more minimalist and innovative, born purely from invention.
Finally, what message would you like to leave for future generations? Passion is everything. If profit doesn’t come, so be it, but what matters is expressing what you have inside. Your hands become tools to transform your thoughts and feelings into something tangible. It’s vital to convey positive emotions. When you create something beautiful, you share a part of yourself with others. That’s the true meaning of our work.
