Adoration of the Shepherds
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
The sign given the shepherds was plain: an infant in swaddling clothes, laid in a manger, nothing brighter. They went, saw, and told; Cleveland's note calls the picture the shepherds' witness account of the birth of Christ.
The note, by Charles Eppley, reads the plainness as a decision: a Florentine who dismissed many Baroque trends as superfluous and kept an unobtrusive, placid style in the manner of those before him; a devout follower of St Benedict's brotherhood, drawing on strict Christian iconography. Slow and meticulous, London's National Gallery adds. A plain sign, and witnesses who say what they saw.
Sources: The Cleveland Museum of Art, 'Adoration of the Shepherds', Carlo Dolci, acc. 1968.22, description (print view, with author credit). · The Cleveland Museum of Art Open Access API, record 1968.22. · The National Gallery, London, artist page, Carlo Dolci. · Luke 2:12-17, Douay-Rheims (Challoner).
And they came with haste: and they found Mary and Joseph, and the infant lying in the manger.
Luke 2:16 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 14,364 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.