How did the kindly Christian saint, good Bishop Nicholas, become a roly-poly red-suited American symbol for merry holiday festivity and commercial activity? History tells the tale.
The first Europeans to arrive in the New World brought St. Nicholas. Vikings dedicated their cathedral to him in Greenland. On his first voyage, Columbus named a Haitian port for St. Nicholas on December 6, 1492. In Florida, Spaniards named an early settlement St. Nicholas Ferry, now known as Jacksonville. However, St. Nicholas had a difficult time during the 16th century Protestant Reformation which took a dim view of saints. Even though both reformers and counter-reformers tried to stamp out St. Nicholas-related customs, they had very little long-term success except in England where the religious folk traditions were permanently altered. (It is ironic that fervent Puritan Christians began what turned into a trend to a more secular Christmas observance.) Because the common people so loved St. Nicholas, he survived on the European continent as people continued to place nuts, apples, and sweets in shoes left beside beds, on windowsills, or before the hearth.
The first Colonists, primarily Puritans and other Protestant reformers, did not bring Nicholas traditions to the New World. What about the Dutch? Although it is almost universally believed that the Dutch brought St. Nicholas to New Amsterdam, scholars find scant evidence of such traditions in Dutch New Netherland. Colonial Germans in Pennsylvania kept the feast of St. Nicholas, and several later accounts have St. Nicholas visiting New York Dutch on New Years' Eve (New Year gift-giving had become the English custom in 1558, supplanting Nicholas, and this English custom was still found in New York until 1847).
In 1773 New York non-Dutch patriots formed the Sons of St. Nicholas, primarily as a non-British symbol to counter the English St. George societies, rather than to honor St. Nicholas. This society was similar to the Sons of St. Tammany in Philadelphia. Not exactly St. Nicholas, the children's gift-giver.
After the American Revolution, New Yorkers remembered with pride their colony's nearly-forgotten Dutch roots. John Pintard, the influential patriot and antiquarian who founded the New York Historical Society in 1804, promoted St. Nicholas as patron saint of both society and city. In January 1809, Washington Irving joined the society and on St. Nicholas Day that same year, he published the satirical fiction,
Knickerbocker's History of New York, with numerous references to a jolly St. Nicholas character. This was not the saintly bishop, rather an elfin Dutch burgher with a clay pipe. These delightful flights of imagination are the source of the New Amsterdam St. Nicholas legends: that the first Dutch emigrant ship had a figurehead of St. Nicholas: that St. Nicholas Day was observed in the colony; that the first church was dedicated to him; and that St. Nicholas comes down chimneys to bring gifts. Irving's work was regarded as the "first notable work of imagination in the New World."
The New York Historical Society held its first St. Nicholas anniversary dinner on December 6, 1810. John Pintard commissioned artist Alexander Anderson to create the first American image of Nicholas for the occasion. Nicholas was shown in a gift-giving role with children's treats in stockings hanging at a fireplace. The accompanying poem ends, "Saint Nicholas, my dear good friend! To serve you ever was my end, If you will, now, me something give, I'll serve you ever while I live."
The 19th century was a time of cultural transition. New York writers, and others, wanted to domesticate the Christmas holiday. Christmas of old was not images of families gathered cozily around hearth and tree exchanging pretty gifts and singing carols while smiling benevolently at children. Rather, it was characterized by raucous, drunken mobs roaming streets, damaging property, threatening and frightening the upper classes. The holiday season, coming after harvest when work was eased and more leisure possible, was a time when workers and servants took the upper hand, demanding largess and more. At the same time a new understanding of family life and the place of children was also emerging. Childhood was coming to be seen as a stage of life in which greater protection, sheltering, training and education were needed. And so the season came to be tamed, turning toward shops and home. St. Nicholas, too, took on new attributes to fit the changing times.
1821 brought some new elements with publication of the first lithographed book in America, the Children's Friend. This "Sante Claus" arrived from the North in a sleigh with a flying reindeer. The annonymous poem and illustrations proved pivital in shifting imagery away from a saintly bishop. Sante Claus fit a didactic mode, rewarding good cbehavior and punishing bad, leaving a "long, black birchen rod . . . directs a Parent's hand to use when virtue's path his sons refuse." Gifts were safe toys, "pretty doll . . . peg-top, or a ball; no crackers, cannons, squibs, or rockets to blow their eyes up, or their pockets. No drums to stun their Mother's ear, nor swords to make their sisters fear; but pretty books to store their mind with knowledge of each various kind." The sleigh itself even sported a bookshelf for the "pretty books." The book also notably marked S. Claus' first apperance on Christmas Eve, rather than December 6th.
The jolly elf image received another big boost in 1823, from a poem destined to become immensely popular, "A Visit from St. Nicholas," now better known as "The Night Before Christmas."
He was dressed all in fur, from his head to his foot,
And his clothes were all tarnished with ashes and soot;
A bundle of toys he had flung on his back,
And he looked like a peddler just opening his pack.
His eyes—how they twinkled! his dimples how merry!
His cheeks were like roses, his nose like a cherry!
His droll little mouth was drawn up like a bow,
And the beard of his chin was as white as the snow;
The stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath;
He had a broad face and a little round belly,
That shook, when he laughed like a bowlful of jelly.
He was chubby and plump, a right jolly old elf. . . .
Washington Irving's St. Nicholas strongly influenced the poem's portrayal of a round, pipe-smoking, elf-like St. Nicholas. The poem generally has been attributed to Clement Clark Moore, a professor of biblical languages at New York's Episcopal General Theological Seminary. However, a case has been made by Don Foster in Author
Unknown, that Henry Livingston actually penned it in 1807 or 1808. Livingston was a farmer/patriot who wrote humorous verse for children. In any case, "A Visit from St. Nicholas" became a defining American holiday classic. No matter who wrote it, the poem has had enormous influence on the Americanization of St. Nicholas.
Other artists and writers continued the change to an elf-like St. Nicholas, "Sancte Claus," or "Santa Claus," unlike the stately European bishop. In 1863, during the Civil War, political cartoonist Thomas Nast began a series of annual black-and-white drawings in Harper's Weekly, based on the descriptions found in the poem and Washington Irving's work. These drawings established a rotund Santa with flowing beard, fur garments, and an omnipresent clay pipe. Nast's Santa supported the Union and President Lincoln believed this contributed to the Union troops' success by demoralizing Confederate soldiers. As Nast drew Santas until 1886, his work had considerable influence in forming the American Santa Claus. Along with appearance changes, the saint's name shifted to Santa Claus—a natural phonetic alteration from the German Sankt Niklaus.
Santa was then portrayed by dozens of artists in a wide variety of styles, sizes, and colors. However by the end of the 1920s, a standard American Santa—life-sized in a red, fur-trimmed suit—had emerged from the work of N. C. Wyeth, Norman Rockwell and other popular illustrators. In 1931 Haddon Sundblom began thirty-five years of Coca-Cola Santa advertisements that popularized and firmly established this Santa as an icon of contemporary commercial culture.
This Santa was life-sized, jolly, and wore the now familiar red suit. He appeared in magazines, on billboards, and shop counters, encouraging Americans to see Coke as the solution to "a thirst for all seasons." By the 1950s Santa was turning up everywhere as a benign source of beneficence, endorsing an amazing range of consumer products. This commercial success led to the North American Santa Claus being exported around the world where he threatens to overcome the European St. Nicholas, who has retained his identity as a Christian bishop and saint.
It's been a long journey from the Fourth Century Bishop of Myra, St. Nicholas, who showed his devotion to God in extraordinary kindness and generosity to those in need, to America's jolly Santa Claus, whose largesse often supplies luxuries to the affluent. However, if you peel back the accretions, he is still Nicholas, Bishop of Myra, whose caring surprises continue to model true giving and faithfulness.
There is growing interest in reclaiming the original saint in the United States to help restore a spiritual dimension to this festive time. For indeed, St. Nicholas, lover of the poor and patron saint of children, is a model of how Christians are meant to live. A bishop, Nicholas put Jesus Christ at the center of his life, his ministry, his entire existence. Families, churches, and schools are embracing true St Nicholas traditions as one way to claim the true center of Christmas—the birth of Jesus. Such a focus helps restore balance to increasingly materialistic and stress-filled Advent and Christmas seasons.
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