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La prima sala delle "Sale del Bramante" La prima sala delle "Sale del Bramante"

The exhibition is located in Rome in the picturesque Sale del Bramante, a time study of the illustrious Renaissance architect, leaning against the Aurelian walls, adjoining the Basilica of Santa Maria del Popolo.
E 'consists of three rooms of 350 sqm. total. The cribs are divided into categories: foreign nativity scenes, Christmas cribs, cribs spectacular, fancy cribs and nativity scenes Bodies / Associations / Educational Institutions.
Santa Maria del Popolo is an Augustinian church located in Rome on the north side of the Piazza del Popolo, one of the most famous squares of the city. The square is situated between the Pincio park and the ancient Porta Flaminia, which was one of the gates in the Aurelian Walls and the starting point of the Via Flaminia, the most important street in the north of ancient Rome. The church is rich in works of art by Raffaello, Bernini, Caravaggio, Pinturicchio, Andrea Bregno, Guillaume de Marcillat and Donato Bramante, who when he was working to achieve the apse of the Basilica, once the "barrel " and coffered had his study in the adjoining halls indeed called " Sale del Bramante " where he plays for 37 years the International Exhibition "100 Nativity scenes."
The church has its origins in a small chapel, built by Pope Pasquale II in 1099, following the demolition of the Domitii Enobarbi Mausoleum, the tomb of Emperor Nero, and is so called because the Roman people contributed largely to its construction.
In 1227 the chapel was enlarged by Pope Gregorio IX, who had herself carried from the chapel of the Blessed Saviour at the Lateran the beautiful picture, attributed to St. Luke, that image of the Virgin is still venerated today in the church. It was later rebuilt and enlarged, under Sixtus IV, by Andrea Bregno, between 1472 and 1477, with a Renaissance look. Since 1250 the church was officiated by the Augustinians.
Subsequent interventions were those of Bramante, the designs of which the choir was rebuilt in the early sixteenth century and Raffaello, who, at the same time, designed the Chigi Chapel, and those of Gian Lorenzo Bernini, who between 1655 and 1660 restored the church again, this time giving it a distinctly baroque style that can still be seen today.
In the early nineteenth century, for the accommodation of the square and the Pincio, was sacrificed the vast Augustinian convent , in which Martin Luther had stayed during his stay in Italy in his early years.

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