Enormous popularity of лThe Adoration of the Shepherds╗
(1567) by Cornelis Cort, which is unconditionally evidenced by the large
quantity of replicas and copies, is to be explained through not only its
masterly execution but, first of all, its especially impressive interpretation
of the Biblical events. The miracle occurs inside a majestic ruin of some
ancient stone building, with a huge window opening and two arched entrances on
either sides of the construction. Through all the three bays, the sight opens
onto endless expanses. There is no overhead cover. The dome of heaven serves as
a cupola, illuminated with the divine light by night and filled with an assembly
of hovering angels singing glory to the child.
Working on prints, Cornelis Cort, as a rule, did not replicate the paintings of
artists but got inspiration from their preliminary compositions. There is no
ground to believe that this very fresco or picture by Taddeo Zuccaro was
actually produced by him, and perished later with time. There are few
preliminary drawings preserved, that show his idea, formed as John A. Gere
thinks not long before the masterТs death. Those sketches are kept now in
different collections. Two of them are in the National Museum, Stockholm; the
other two are in the Cabinet des Dessins, Musee du Louvre, Paris. The latter are
thought to be copies from the lost sheets by Taddeo Zuccaro. Besides, the
general scene of лThe Adoration of the Shepherds╗ was rendered by him in the
drawing kept nowadays in the Collection of the Devonshire Duke in the Chatsworth
Settlement, Great Britain. One canТt help agreeing with those studying the works
by Taddeo Zuccaro that some of figures or details of the sketches were shown in
лThe Adoration of the Shepherds╗ by Cornelis Cort, 1567. But, if one compares
the engraving with the drawing outlining the composition completely (The
Devonshire Collection), it makes the fact absolutely clear that Cornelis Cort is
the co-author of the general intention; the idea to put лThe Adoration of the
Shepherds╗ into a huge collapsed building, where angels appear from the light of
heaven flowing through the openings, entirely belongs to him, Cornelis Cort.
The Gospel according to Saint Luke is the only one describing the Adoration of
the shepherds: лAnd there were in the same country shepherds abiding in the
field, keeping watch over their flock by night. And, lo, the angel of the Lord
came upon them, and the glory of the Lord shone round about them: and they were
sore afraid. And the angel said unto them, Fear not: for, behold, I bring you
good tidings of great joy, which shall be to all people. For unto you is born
this day in the city of David a Saviour, which is Christ the Lord. And this
shall be a sign unto you; Ye shall find the babe wrapped in swaddling clothes,
lying in a manger. And suddenly there was with the angel a multitude of the
heavenly host praising God, and saying, Glory to God in the highest, and on
earth peace, good will toward men╗ (Luke 2,8Ц14). The tradition attributed to
the shepherds the gifts which they prepared for the Saviour born in the city of
David. In лThe Adoration of the Shepherds╗ by Taddeo Zuccaro and Cornelis Cort,
they brought the newborn Christ lambs, a shepherdТs flute, and a staff: He was
to be the Good Shepherd. With time, the story of the Evangelic event gets more
new details. Legenda aurea (The Golden Legend) by Jacobus de Voragine (ca.
1228Ц1298) says that Christ was born in a shed among the ruins of the Palace of
David. It was even believed that Mary had placed the Child into a cradle in the
Temple of Solomon which had collapsed when He had been born, as we read in the
Gospel of Mark, лAh, thou that destroyest the temple, and buildest it in three
days╗ (Mark 15,29). The Palace of David in Bethlehem as the Temple of Solomon in
Jerusalem, both united as a single whole, represent the concept of the world
before the birth of Christ; their destruction symbolizes the downfall of the
power of earthly kings and the end of the old religion. It is evident that where
the mighty Judaic king lived and his God ruled his own people, there are now
only ruins of the collapsed house covered with grass. The Child radiating light
is lying on straw in the cradle. Beyond him, an ox and an ass are seen bowing to
him, as the words run, лthe ox knoweth his owner, and the ass his masterТs crib╗
while the people of Israel, on the contrary, never recognized Him as the Messiah
(Isaiah 1,3). It is visible in the engraving that the temple of a new faith
appeared to shine on the ruins, a faith that opened for man the way to heaven
through the window and doors, for it was said лDestroy this temple, and in three
days I will raise it up╗ (John 2,19).
In лThe Adoration of the Shepherds╗ by Cornelis Cort, one can see the remains of
an ancient edifice unusual in form. But here, the question turns out to be: what
edifice did the master mean? The iconography of the engraving was analyzed by
Arkady. V. Ippolitov. He states that лthe Holy Family are in a round hall╗, лwhose
architecture does not bear any allusions to antique ruins or the Palace of David╗,
and perceives here the mere лhint at the idea of a round temple popular since
the times of the early Renaissance, the idea so much loved by architecture
theorists ╗, but embodied, as it seems to him, by Bramante in his Tempietto
(1502) in Rome only. Such inferences cause vivid objections. The massiveness of
the doorways and even the buildingТs decorative details, not to mention the
whole grand construction of the space, are characteristic for architecture of
ancient Rome. Since the time of Republic, Rome was famed for its domed edifices
for cult and public purposes, i. e. temples, mausoleums, sepulchres, theatres,
circuses, and baptisteries in Christian times. But we should note at once that
the engraving by Cornelis Cort has the depicted ruins, not of a rotunda, but a
polygonal construction. In connection with it, one can recollect the remains of
the Temple of Romulus (4th c. A D) on the Forum Romanum whose portal opens onto
the Via Sacra. This edifice could serve as a prototype of the one depicted by
Cornelis Cort. More probabely is the idea that the engraver meant the ruins of
Nymphaeum in the Licinian Gardens (Horti Liciniani) also called the Temple of
Minerva Medica, i. e. the Healer (4th c. A D), in Rome, near the Stazione
Termini. The articulation of the walls, the placement of the window openings and
doorways of the construction shown on the sheet very much resemble those of the
immense, half-ruined decagon covered with a round cupola Ц all indicate the
Temple of Minerva Medica. For the Dutch artist living in Rome then, it seems to
have been a pre-figuration of the collapsed temple where the shepherds had found
the Child lying in the cradle. The luxury Nymphaeum in the Licinian Gardens
would testify to the resounding glory of the Roman Ceasors. Destroyed, it
confirms the transience of earthly pleasures. The ancient ruins were often
connected with the Christian conception of Vanitas. This is a visible expression
of the impermanence of outward glory when accompanied by emptiness of spirit.
The ancient ruins symbolized the uselessness and vanity of pride of this worldТs
rulers before the birth of Christ: лVanity of vanities, saith the Preacher,
vanity of vanities; all is vanity╗ (Eccles 1, 2).
What is the hidden meaning of the window and doorways in лThe Adoration of the
Shepherds╗ engraving? An impressive contrast between deep shadow Ц the hopeless
darkness of ignorance, and bright light Ц the radiant joy of vision that makes
the surrounding world spiritually perceptible, that all is behind the parable.
It is explained with a Latin inscription on the lower margins which is repeated
in the copies of the 16th century. The text runs as follows: Quid nox est? Adam.
Quid lux in nocte? RedemptorЕ (What is the night? This is Adam. What is the
light in the night? This is RedeemerЕ). Thus, the deep shadow inside the ruins
was perceived as a symbol of the Fall of the forefathers, as the world before
Christ suffered for us, and the window and doorways through which the light
streams into the dead of night as a symbol of Messiah coming, as a sign of the
Redemption of the mankind. With the birth of Christ, the Sun of the Justice
rises, pouring out radiance, the trembling, living light that is the true faith,
onto the shepherds. лFor ye were sometimes darkness, but now are ye light in the
Lord: walk as children of light╗ (Eph 5,8). Through the doorways, the
Annunciation to the shepherds in the field╗ and a sheep-fold can be seen. The
shepherds who had received the good news found the Child by walking through the
doorways on both sides, the same doorways which лthe Lord, the God of Israel
hath entered in by it╗ (Ezek 44,2), through the doorways which are the symbol of
Christ: лI am the door: by me if any man enter in, he shall be saved╗ (John
10,9). Two women can be seen through the window opening behind it. In the late
Middle Ages, the two midwives coming to the Christmas used to be depicted.
Legenda aurea lets us get to know their names Ц Ezabel and Salomia. After
examining Mary, they announced to everybody that the Child had been born by a
Virgin. Thereby, the idea of Immaculata Conceptio Mariae (the Immaculate
Conception) came into being thanks to these figures of two eye-witnesses of the
miracle standing behind the central window, the idea which in the
Counter-Reformation period was filled with religious affectation. Sanctified by
the birth of Christ, the architecture is full of pathos. The covering of the
pagan temple is broken through with the divine light. The window is connected
with heaven, from which the angels are descending. The majestic triumphal arch
of the Roman Catholic Church rushing towards the skies creates a beaming
radiance. For Christians, the great and sacred event recurs every year and
everywhere. As for this masterpiece, it takes place in the Eternal City with its
Holy Altar. лThe Adoration of the Shepherds╗ engraving by Cornelis Cort was
executed by him not long after Taddeo ZuccaroТs death. This is the death
memorial, a kind of epitaph to the highly gifted Italian artist upon his
untimely death.