An infant Jesus figure was stolen from a Nativity scene in Brussels, Belgium. The Nativity scene, created by artist Victoria-Maria Geyer, features characters with cloth faces lacking facial features. The artist intended for the figures to be inclusive, allowing people from diverse backgrounds to identify with the biblical story. The theft occurred between late Friday night and early Saturday morning. Authorities have replaced the stolen figure and increased security around the manger scene.
13 days ago
A new Nativity scene featuring cloth figures without facial features was installed on Brussels' historic Grand Place for the Christmas market.1 3 Artist Victoria-Maria Geyer created the "Fabrics of the Nativity" using recycled textiles in beige and brown tones to promote universality, allowing people from diverse backgrounds to identify with the biblical story.1 3 The previous wooden figures, used for 25 years, had deteriorated, prompting a call for proposals approved by both city officials and the dean of Sts. Michael and Gudula Cathedral.3 4
The installation quickly drew sharp criticism on social media for its faceless design, seen by many as an erasure of Christian tradition.1 3 Belgian soccer player Thomas Meunier posted on X that "We’ve hit rock bottom… and we keep digging," a comment shared thousands of times.3 4 Georges-Louis Bouchez, head of the center-right MR party, called the figures "zombie-like" and an insult to Christmas traditions, comparing them to people at train stations.1 3
Politicians like Georges Dallemagne of the Christian Democrats labeled the missing faces "very shocking," arguing the Nativity conveys universality, not a "zombie exhibition."3 4 Professor Wouter Duyck of Ghent University suggested the design stemmed from political correctness and sensitivity toward Brussels' Muslim population, noting Islamic traditions against depicting prophets' faces.3 4 American author Rod Dreher contrasted it with a traditional Nativity outside Hungary's Parliament, praising Hungary as a "Christian country that is not ashamed of the gift of faith."3 4
Over the weekend of November 30-December 1, 2025, the infant Jesus figure was stolen from its crib in the Grand Place's white tent, mystifying authorities.1 Initial reports of beheading were incorrect; the entire figure was taken between late Friday and early Saturday, though some accounts mention only the cloth head being removed.1 3 This incident intensified the online maelstrom, with the theft occurring amid the site's high visibility during the Christmas market, which attracts over 4 million visitors annually.1
Brussels Mayor Philippe Close defended the installation at a press conference, stating the city aimed to evolve the tradition while preserving it, unlike places that removed Nativity scenes entirely.3 4 He emphasized protecting artist Geyer from personal attacks and noted the design's intent to "tone it down" during Christmas.3 4 Dean Benoît Lobet interpreted the crumpled fabrics as symbols of the Nativity figures' precariousness, as they were "rejected everywhere" in the biblical account.3 4 Geyer, a devout Catholic, reported that initial negative social media comments had shifted to positive feedback.1
Organizers replaced the stolen infant Jesus promptly, restoring the crib under the market's enormous Christmas tree.1 3 Delphine Romanus of Brussels Major Events confirmed past incidents of broken or stolen figurines but noted no additional precautions beyond closer monitoring.1 3 The installation is set to remain for at least five years on the UNESCO site.3 4
Bouchez's Liberal party launched a petition demanding a return to traditional figures, framing the debate as a defense of Brussels' heritage.1 3 Local resident Francis De Laveleye decried the vandalism as turning artistic merit into a "stupid little controversy that ridicules Brussels."1 The story has spread internationally, symbolizing tensions over European identity, religious heritage, and diversity in a multicultural continent.3 4
How does Catholic art balance tradition and inclusivity?
Catholic art, as understood through the Church's longstanding teachings, achieves a profound balance between tradition and inclusivity by cherishing its historical treasury while actively welcoming diverse artistic expressions from every culture and era. This equilibrium is not merely aesthetic but deeply theological, serving to glorify God, foster devotion, and evangelize across boundaries. Rooted in the infinite beauty of the divine, Catholic art preserves the sacred heritage that has nourished faith for centuries, yet it remains open to innovation, ensuring that the Gospel speaks to contemporary peoples in their own languages of beauty and symbol. This dynamic interplay reflects the Church's mission to unite the timeless truth of Christ with the varied genius of humanity.
The Catholic Church views its artistic patrimony as an irreplaceable "treasury" accumulated over millennia, embodying the faith's encounter with human creativity. From the earliest catacomb paintings to the grand cathedrals of the Gothic era, these works are not relics of the past but living witnesses to God's presence in history. As Vatican II emphasized, the Church has "brought into being a treasury of art which must be very carefully preserved," recognizing that sacred art orients the soul toward the infinite beauty of God and redounds to His praise. This preservation is active and discerning: the Church strives to safeguard artistic treasures from previous centuries, adapting them only as necessary to meet new pastoral needs without losing their essential spiritual value.
Pope John Paul II underscored this custodial role, noting that the Church not only preserves her past but offers it as inspiration for the present and future, ensuring that future generations can "drink deeply from the great river of the traditio Ecclesiae." Such tradition is not static; it includes a careful judgment on what befits sacred use. Bishops are called to remove works that are "repugnant to faith, morals, and Christian piety" or lacking in artistic worth, prioritizing "noble beauty rather than mere sumptuous display." This guardianship ensures that art remains a "sign and symbol of the supernatural world," truly worthy of divine worship and capable of turning minds devoutly toward God. In essence, tradition in Catholic art is a foundation that grounds the faithful in the continuity of the Church's worship, preventing the dilution of sacred mystery in favor of fleeting trends.
At the same time, the Church's approach to art is remarkably inclusive, admitting "styles from every period according to the natural talents and circumstances of peoples, and the needs of the various rites." No single style is imposed as normative; instead, the Church seeks the "noble assistance of the arts" from all peoples and regions, promoting new works that harmonize with each successive age. This openness extends to modern art from every race and region, provided it adorns sacred buildings and rites with "due reverence and honor," thereby contributing to the "wonderful chorus of praise" in honor of the Catholic faith.
This inclusivity is deeply pastoral, recognizing art's power to inculturate the Gospel and reach diverse audiences. The Pontifical Council for Culture highlights a "persistent, even growing, fascination with beauty" in a materialistic world, positioning every true work of art as a potential gateway to religious experience. The Church shows "profound respect to all artists, irrespective of their religious convictions," because art bears "an imprint of the invisible" and is ordered to the ultimate goal of the human person. Christian artists, in particular, offer "extraordinary potential for the expression of new formulas and for the definition of new symbols or metaphors," drawing from centuries of Catholic imagery to express the omnipresence of grace. Across continents, such inspired works can attract believers of any faith—or none—to the beauty and truth of Christ, serving as an "excellent way of reaching a whole host of people who may have no other contact with the message of Christ."
In this vein, sacred art evolves to respond to "the needs of every era and culture," developing in harmony with the Church's mind to proclaim God's kingdom universally. Beauty, as a "universal language," facilitates ecumenism and interreligious dialogue, spurring greater perception of spiritual values and preparing souls for the Gospel's newness. Thus, inclusivity ensures that Catholic art is not insular but missionary, weaving global human genius into the fabric of worship.
The balance between tradition and inclusivity is maintained through the Church's authoritative yet supportive role in guiding artistic endeavors. Holy Mother Church has "always reserved to herself the right to pass judgment upon the arts," determining which works align with "faith, piety, and cherished traditional laws" while admitting changes prompted by technical progress. This discernment requires "true excellence in art which nourishes faith and devotion and accords authentically with both the meaning and the purpose for which it is intended." Bishops, in particular, bear responsibility to encourage sacred art, imbuing artists with its spirit and fostering schools or academies for their training. Artists themselves are reminded that they engage in a "sacred imitation of God the Creator," producing works for Catholic worship, edification, and piety.
This formation bridges tradition and innovation: by rooting new creations in liturgical genius and Catholic imagery, the Church ensures inclusivity serves fidelity. The cultural heritage, as a "fruitful symbiosis of culture and faith," becomes a resource for catechesis, uniting truth and beauty without reducing sacred treasures to mere cultural artifacts. Where controversy arises—such as over modern styles that risk mediocrity or offense—the Church prioritizes what elevates worship and active participation, as in the careful design of churches. Recent teachings, like those from Vatican II and subsequent pontiffs, reaffirm this nuanced approach, with no significant divergences among the sources.
In summary, Catholic art balances tradition and inclusivity by preserving a sacred treasury that testifies to God's enduring presence while embracing diverse, contemporary expressions that evangelize the world. This harmony, guided by the Church's judgment and support for artists, transforms art into a bridge between divine mystery and human experience, fostering devotion and unity across cultures. As the Church continues to add to her patrimony, she invites all to encounter Christ through beauty's universal call.