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Neapolitan presepio at the Carnegie Museum of Art in Pittsburgh Detail of an elaborate Neapolitan presepio in Rome. In the Christian tradition, a nativity scene (also known as a manger scene, crib, crèche (/ k r ɛ ʃ / or / k r eɪ ʃ /), or in Italian presepio or presepe, or Bethlehem) is the special exhibition, particularly during the Christmas season, of art objects representing the birth ...
The Pittsburgh Crèche is a large-scale, American crèche, or nativity scene, that is located on the outside courtyard of the U.S. Steel Tower in downtown Pittsburgh, Pennsylvania. Since 1999, the crèche appears annually during the winter season from November's Light Up Night to Epiphany in January.
Other sculptural representations of the Nativity include ivory miniatures, carved stone sarcophagi, architectural features such as capitals and door lintels, and free standing sculptures. Free-standing sculptures may be grouped into a Nativity scene (crib, creche or presepe) within or outside a church, home, public place or natural setting. The ...
Since 1962, a sweeping life-sized Nativity Scene — depicting numerous figures, but focused on the Holy Family of Mary, Joseph and, beginning on Christmas Eve, the infant Jesus — has been one ...
Krýza's crèche (Czech: Krýzovy jesličky) is a nativity scene (crèche) created by Tomáš Krýza. It is a large mechanical construction, since 1998 mentioned in Guinness Book of World Records as the largest mechanical nativity scene in the world.
The crib was originally built on a right angle but at the turn of the 19th and 20th century it was rebuilt in a single plane. The whole nativity scene (including mechanical parts) is made of wood and is 6.9 metres (23 ft) long, 2.2 metres (7.2 ft) high and 1.9 metres (6.2 ft) deep. [n 1]
The wooden Nativity scene in the Vatican’s main audience hall had generated headlines when it was unveiled December 7 because of the presence of the keffiyeh, the black-and-white checkered ...
The scene includes other plants and birds, including a magpie on the roof of the stable, temporarily silenced from its incessant chattering, [3] and a red-faced goldfinch, symbol of redemption or the passion, in a shrub to the left. [5] The work was previously displayed in a heavy gilded frame, with fluted pilasters and Corinthian capitals. [3]
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