NICHOLAS POUSSIN.
29
New Testament Subjects.
51. The Adoration of the Shepherds. The scene here
exhibits the interior of a spacious stable, on the left front
of which is seated the Virgin, clothed in ample robes and seen
in a profile view, with her attention fixed on the infant, who
is lying naked on some linen; one hand of the Virgin appears
to be passed under the straw to raise his shoulders. St.
Joseph stands beyond, with his hands extended, viewing with
rapture the divine babe. Six shepherds are paying him
adoration; four of them are on their knees, and a fifth is
prostrate on the ground. An ox and an ass are at the ex-
tremity of the stable. Engraved by Lombard and Pesne.
52. The Adoration of the Shepherds. The Virgin is here
represented in nearly a profile view, seated on a heap of straw,
holding the infant in a recumbent position on her lap, and
looking down on him with maternal affection. Four shepherds
have approached to worship the babe; one of these, wearing a
yellow vesture, bends on one knee with his hands crossed on
his breast; the second, also kneeling, is kissing the linen on
which the child lies; the third screens his eyes with his
hand; and the fourth bends forward, leaning on his staff.
St. Joseph stands on the farther side of the Virgin, pointing
to the infant. This picture is painted in a clear tone of
colour, and in the artist’s most esteemed manner. Engraved
by Nolin, and done in lithography.
3st. 1 in. by 4 st. 1 in.—0.
Now in the Royal Gallery at Munich. Worth 800Z.
53. The Adoration os the Shepherds. The subject is intro-
duced in the interior of a dilapidated temple, now used as a
stable. The Virgin is seen, in nearly a front view, on her
29
New Testament Subjects.
51. The Adoration of the Shepherds. The scene here
exhibits the interior of a spacious stable, on the left front
of which is seated the Virgin, clothed in ample robes and seen
in a profile view, with her attention fixed on the infant, who
is lying naked on some linen; one hand of the Virgin appears
to be passed under the straw to raise his shoulders. St.
Joseph stands beyond, with his hands extended, viewing with
rapture the divine babe. Six shepherds are paying him
adoration; four of them are on their knees, and a fifth is
prostrate on the ground. An ox and an ass are at the ex-
tremity of the stable. Engraved by Lombard and Pesne.
52. The Adoration of the Shepherds. The Virgin is here
represented in nearly a profile view, seated on a heap of straw,
holding the infant in a recumbent position on her lap, and
looking down on him with maternal affection. Four shepherds
have approached to worship the babe; one of these, wearing a
yellow vesture, bends on one knee with his hands crossed on
his breast; the second, also kneeling, is kissing the linen on
which the child lies; the third screens his eyes with his
hand; and the fourth bends forward, leaning on his staff.
St. Joseph stands on the farther side of the Virgin, pointing
to the infant. This picture is painted in a clear tone of
colour, and in the artist’s most esteemed manner. Engraved
by Nolin, and done in lithography.
3st. 1 in. by 4 st. 1 in.—0.
Now in the Royal Gallery at Munich. Worth 800Z.
53. The Adoration os the Shepherds. The subject is intro-
duced in the interior of a dilapidated temple, now used as a
stable. The Virgin is seen, in nearly a front view, on her