In Renaissance art, drawing on classical stories of Orpheus, the shepherds are sometimes depicted with musical instruments.
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The Adoration of the Shepherds is based on the account in the Luke 2, not reported by any other Canonical Gospel, which states that an angel appeared to a group of shepherds, saying that Christ had been born in Bethlehem, followed by a crowd of angels saying Glory to God in the highest, peace on earth to men of good will.
Adoration of the Magi | Sisters of St. Francis of Perpetual Adoration | Adoration | Eucharistic adoration | ''Adoration of the Magi | While Shepherds Watched Their Flocks | While Shepherds Watch'd Their Flocks by Night | ''The Annunciation to the Shepherds'', by Abraham Hondius | ''The Adoration of the Magi'' by Domenico Ghirlandaio | Shepherds Well railway station |
Their Adoration of the Shepherds in London (National Gallery) is an exception, and many other civic and church works may have been lost in the French Revolution.
The tower and other buildings were destroyed and others damaged, including the Uffizi Gallery, where three paintings were irretrievably destroyed, including an Adoration of the Shepherds (1620) by Gerard van Honthorst.
The Renaissance triptych altarpiece (1610), partly reconstructed from an earlier five-winged Late-Gothic work, contains a copy of Jacob Jordaens' Adoration of the Shepherds from 1618.
The sculpture appears on a pedestal, among other vestiges of shattered Classical pagan culture, in the Adoration of the Shepherds that was painted in 1515 by the Bolognese painter Amico Aspertini, now in the Uffizi.
Musée Vivenel holds his only surviving work, an Adoration of the Shepherds, rediscovered by that museum's curator Éric Blanchegorge - this painting inspired a work by Simon Vouet, later engraved by François Perrier.