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The veneration of the Holy Infant depicted either lying down or standing was already known in the late Middle Ages. It originated from the contemplative convents in southern Germany, Austria and Switzerland. In German-speaking countries, the veneration of the Holy Infant was spread by Dominican and Cistercian nuns. Some nuns of extraordinary sensibility even had mystical visions.

Lying Holy Infant (Fatschenkind, type Bambino di Aracoeli), early 19th century, wax, fabric, hair, metal, wood, glass, figure length 40 cm, inv. no. SVM 3066.
In an effort to bring the veneration of the Holy Infant to the faithful, an increasing number of Holy Infant figurines were placed on altars: at Christmas time, Holy Infants were displayed in cribs set up in convent churches. The number of figurines of the Holy Infant increased with the onset of the Renaissance. Initially made of wood and painted, these figurines were later cast in bronze and wax, carved in ivory or made from porcelain, papier-mâché or tight bundles of fabric. The center of figurine production moved from the Netherlands to Italy, Spain and Portugal, where most of the smaller and larger figurines still come from today.
In Italy, the most famous statue is the "Bambino di Aracoeli", which is worshipped in the church of the same name in Rome and represents the child Jesus as a swaddled Holy Infant, who is not lying down, but standing. It is made of wood.

The Holy Infant of Prague on the altar at the Carmelites Church of Our Lady of Victories in Prague, photo Marko Frelih.
In the 17th and 18th centuries, the worship of the Holy Infant was already widespread in almost all central European countries, even outside the monasteries. In many pilgrimage centers, many believers turned for help to various depictions of the Child, and even European rulers placed their hopes and gifts before the Merciful Jesus of Prague, which has been kept by the Carmelites in Prague since the 17th century.

The Holy Infant of Prague on the altar at the Carmelite Church of Our Lady of Victories in Prague, detail, photo Marko Frelih