In the Ninth Century -- five hundred years after the events that gave birth to the legend of Nicholas of Myra -- Saint Methodius of Constantinople (modern-day Istanbul) writes a life story of Nicholas, based on the many tales that had been passed down for centuries throughout Christendom. Nicholas’ popularity grows immensely during this time and he is soon canonized an official saint by The Christian Church.

During the Middle Ages, Saint Nicholas of Myra becomes the most popular religious figure next to Jesus Christ and The Virgin Mary. Art depicting his image and his many works of wonder begins to adorn much of the religious architecture throughout The Middle East and Europe.

Centuries later, the Reformation of Europe forces many to sacrifice the veneration of their beloved Saint Nicholas. Yet in the course of this long period, familiar tales of a mythic gift-bearer begin to resurface among the faithful. Other names -- such as Christ Kindle (Kris Kringle), Pere Noel, and Father Christmas -- quickly gain popularity among many of the reformed cultures.

After another century, Dutch settlers breathe new life into the age-old legend, bringing their tales of Sinterklaas (Dutch for Saint Nicholas) to the New World. In the settlement of New Amsterdam, the Dutch lore attains such influence that even after the English gain control of the settlement, renaming it “New York,” Saint Nicholas continues to be referred to by many New Yorkers as Sinterklaas and the eventual English pronunciation -- Santa Claus.

Influenced by satirical representations of the Dutch culture in early New York, author Washington Irving’s A History of New York (published in 1809) Americanized the literary description of Sinterklaas by dropping his staunch Old World attributes and adopting a more whimsical and jolly presentation instead. In 1823, the first publication of Clement Moore’s “An Account of a Visit from St. Nicholas” (more commonly known as “Twas the Night Before Christmas”) began a new holiday tradition reinforcing the updated depiction of Santa in the seasonal recitation of the poem.

In the mid-19th century, Saint Nicholas’ image further evolved into his modern American form when, in 1863, caricaturist and political cartoonist Thomas Nast became an illustrator for Harper’s Weekly. Made popular by the magazine, Nast’s secularized depictions of a New World Santa Claus were undoubtedly influenced by Irving’s and Moore’s earlier writings, as well as traditions borrowed from Nast’s own German heritage.