Painted for St Longinus Chapel in the church of Sant'Andrea in Mantua.
The adoration of the shepherds by Giulio Ramona is a rendition of the cosmic celebration of the birth of Christ, which is based on the narrative of the Gospel. So in the composition, Virgin Mary has been placed in the centre with calm expressions, gazing towards Christ. The infant Christ is in a focused rendition, acting as a source of light in the painting, with an illuminated presence further symbolising the divine energy. Also, as per the title of the painting, shepherds are common people, and their presence at the divine moment reflects the nobility of Christ, who belongs to everyone. The composition is set in a very dynamic yet crowded environment where the high Renaissance compositional balance is missing. Besides the compositional clustering, Raphael's influence on his students work is visible in the form of soft expressions and quite idealised faces. Then the touch of mannerism is also there, which could be identified by the elongated figures and momentary poses. Furthermore, the touch of chiaroscuro, the play of light and shadow, has created an emotional depth with focus here. The masterstroke of using a dense and dark background makes the figures appear in focus. Also, each figure has its own moment, which is reflected in hand gestures showing reverence and adoration for the movement. This painting could be considered a scene of intimacy where common people became part of the same. Hence, it is a classic work reflecting Renaissance studio practice, where the transition from harmony to the mannerist complex depiction could be seen. At last, the adoration of the shepherds is a combination of devotional artistic experimentation, which bridges the mannerist experimentation and Raphael's influence, where Ramona's style could be analysed beyond monumental frescoes with quite expressive paintings as a panel work.
The painting by Giulio Romano depicts a nativity scene, the birth of Christ. The onlookers can’t help but notice the interplay of light and dark, the effect of chiaroscuro played at its best. It not only renders a dramatic effect to the painting but also puts emphasis on the most important figures, followed by the least. In this case, the cloth-draped Jesus seems to be standing out against the relative blackness and colored silouhettes of others around him. The expression of Mother Mary is also offered most light as she sits holding hands, thanking the Lord for the blessings. In the backdrop, other shepherds crowd behind her to see the miracle that has taken place. While St. Longinus, the one who pierced Christ, looks the other way, as if refraining from showing his astonishment at the birth. At the back of the painting, in a stormy sky, an angel is seen presenting itself to the local folks who are struck in daze at the figure. The angel, once again, is a sign of the Son of god being sent to earth.
