Oil on canvas, 'The Adoration of the Shepherds', after Nicolas Poussin, late 17th century-early 18th century

In a stable built among classical ruins, the Virgin Mary, Joseph and the Child with an ox and an ass are on the right, while two men and one woman are adoring the Child on the left; another woman with a blue mantle is holding a large trail covered with fruits above her shoulder; in the background male figures leaning before a bright light coming from among the clouds.

Bequeathed by George Mitchell

Lord Radstock, Christie's London 13 May 1826, lot 22; Samuel Roger, Christie's London 2 May 1856; bought by Beauclerk; George Mitchell, bequeathed to the V&A in 1878 - on loan to the National Gallery from 1895 to 1960.

Historical significance: This painting is an old copy of a popular composition by Poussin, of which the original (signed) is housed in the National Gallery, London (NG6277), dated about 1633-34. On loan at the National Gallery from 1895 to 1960, this painting was believed by Poussin until 1957.
The present painting only reproduced the lower part of the original composition, of which at least 11 copies are known (Blunt, 1966). A drawing in the British Museum, London (Ff,2.163) shows the same lower half of the composition, which suggests that the painting may have been executed after the drawing rather than the original painting. The drawing is said to have belonged to Sir Lely and therefore was in England by mid 17th century. However the present painting differs slightly from the drawing and does not reproduce for instance the sacrificial lamb before the Child. A print was engraved by Arthur Pond after this drawing in reverse (see British Museum, London, Inv. No. 2006,U.1123).
The present painting shows the Adoration of the Shepherds, an episode from the life of Jesus following the announcement of Jesus Christ's birth in Bethlehem by an angel to a group of shepherds (Luke, 2). In the original version, putti holding flowers are depicted in the upper half. In the background is represented the Annunciation of Jesus' birth to the Shepherds dazzled by the divine light surrounding the messenger of God. Poussin uses here a long-established motif and sets the scene in a stable but adds an original feature such as the ruins of a classical buildings. This inclusion of Roman ruins is typical of the art of the 17th century while Renaissance art favoured the depiction of contemporary building.
This painting is a good example of Poussin's religious compositions, in which he focuses on the narrative sequence while showing the influence of the Italian masters, especially Raphael's classical equilibrium and naturalistic movement. For instance, the blue mantle of the far left female figure holding a large trail full of fruits conveys a strong sense of movement immediately balanced by that of the steady Virgin of the far right. On the other hand, the stage-like setting of this picture, the placing of the architectural background exactly parallel to the picture plane, the diminishing scale of the figures, also arranged in parallel planes, and the carefully calculated intervals of space which isolate the individual protagonists appears all derived from Domenichino (1581-1641).

History painting, i.e. depictions of non recurring events based on religious, classical, literary or allegorical sources, particularly developed in Italy during the Renaissance (15th-16th centuries). History painting could include religious themes, or depictions of momentous recent events, but the term was most frequently associated with Classical subject-matter. However a renewed impetus was given to religious subjects after the Council of Trent (1545-63), which stipulated new iconographical programmes. The development of art treatises, in which the compositional rules guiding the art of painting were discussed also notably influenced the evolution of history painting. From around 1600 history painting's principal rivals: still-life, landscape and genre painting began to emerge as independent collectable genres. Furthermore, the Rococo taste for the ornamental in the early 18th century prioritised the decorative quality of history painting, so that subject matters became more entertaining than exemplary. There was a renewed interest in history painting during the Neo-Classical period after which the taste for such pictures faded towards the end of the 19th century when an innovative approach to the image was led by the Symbolists and was developed further by subsequent schools in the early 20th century.

Nicolas Poussin (1594-1665) was born in Normandy but spent his formative years in Paris from 1612-1623. He may have studied with Ferdinand Elle (ca.1585-1637/40) and Georges Lallemand (died 1636) and was influenced by the second Ecole of Fontainebleau. He went to Italy and arrived in Rome, following a visit to Venice, in March 1624 where he spent the rest of his life. He became a member of the Accademia di S Luca by 1632 and received commissions from important collectors in France and Italy, producing history, religious and landscape paintings. His most famous pupil was his brother-in-law Gaspard Dughet (1615-1675).

This painting is an old and partial copy after a painting housed in the National Gallery, London. It depicts the Adoration of the Shepherds with the Annunciation of the Shepherd in the background, two scenes that belong to the life of Christ. This painting is a good example of the Classical Baroque, which tend to combine the harmonic symmetry of Renaissance art with the depiction of the emotions and movement favoured by the Baroque.

343-1878