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Adoration of the Shepherds (Domenichino)
The painting of the Adoration of the Shepherds of c. 1607–10 by the Italian 17th century master Domenichino has been in the National Gallery of Scotland in Edinburgh since 1971, and was previously in the Dulwich Picture Gallery in London.
==Description==
The painting shows a fairly conventional depiction of this very common scene, with some unusual details. The number of shepherds is rather large at nine, and the pose of the shepherd pointing at the baby Jesus while looking over his shoulder outside the picture space suggests that more are arriving. Or possibly he has seen the approaching Magi, the next arrivals in the traditional narrative. Saint Joseph, often a rather superfluous figure in paintings of the Nativity, is shown making himself useful by carrying hay, presumably to feed the ox and ass, in the background, so filling a gap in the composition, and perhaps distracting them from joining in with the bagpipe music. The relegation of the ox and ass to a dimly-lit background is typical of 17th century compositions.〔Schiller, I, 88〕
A prominently placed shepherd on the left side of the group is shown playing his bagpipes. Though the shepherds sometimes carry musical instruments, often including pipes (see gallery below), they are less often shown playing them at this solemn moment, as opposed to the earlier scene of the Annunciation to the Shepherds where an angel appears to them with their flocks.〔Earls, Irene, ''(Renaissance Art: A topical dictionary )'', Greenwood Publishing Group, 1987, ISBN 0-313-24658-0, p. 18.〕 If music is shown being performed beside the crib it is more often by angels. A charming but atypical miniature in the 15th-century Flemish ''La Flora Hours'' in Naples shows a shepherd playing his bagpipes as his two companions dance for the infant Jesus and a delighted Virgin Mary sits to one side.〔Kren & McKendrick, 331 (illustrated)〕 Outside his painting, Domeninchino had a serious interest in musical instruments and their design, which his paintings sometimes reflect. He designed and himself constructed instruments intended to be suitable for playing ancient music.〔Cropper, S.3〕
The inclusion of the shepherd's dog, especially right by the crib, is unusual,〔It is not in the print of the work, perhaps because this was done from a drawing before it had been added. Brigstocke, 58〕 though the shepherds very often have one in scenes of their annunciation, and sometimes bring a lamb to the crib as a gift; here the dove held by the boy in the foreground is intended to represent a gift.〔Schiller, I, 87〕 In the 17th century the shepherds often crowd round the crib, as here, and Mary actively displays her child to them. However her gesture of lifting a cloth, revealing a full view of a naked Jesus, including his penis, is unusual in art by this date. In the late medieval period pictures of the infant Jesus often made a point of displaying his genitals for theological reasons,〔An influential book by Leo Steinberg, ''The Sexuality of Christ in Renaissance Art and in Modern Oblivion'' (1983, 2nd edition 1996), explores the explicit depiction of Christ's penis in art, which he argues became a new focus of attention in late medieval art, initially covered only by a transparent veil in the early 14th century, and by the second half of the century completely uncovered, and often being the subject of the gaze or gestures of other figures in the scene. This emphasis is, among other things, a demonstration of Christ's humanity when it appears in depictions of the ''Madonna and Child'' and other scenes of Christ's childhood, and also a foreshadowing of Christ's Passion to come in the context of the ''Circumcision''. See Kendrick, 11–15〕 but in the Counter-Reformation this was discouraged by clerical interpreters of the vague decrees on art of the Council of Trent, such as Saint Charles Borromeo.
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