ADORATION OF THE SHEPHERDS Inner side of the left wing of the Oberried Altar-piece UNIVERSITY CHAPEL, FREIBURG MINSTER ] [Illustration: ADORATION OF THE KINGS Inner side of the right wing of the Oberried Altar-piece UNIVERSITY CHAPEL, FREIBURG MINSTER ] [Sidenote: “THE NATIVITY”] Among those which escaped the fury of the iconoclasts only one or two are dated, but all of them were produced between the years 1519 and 1526. One of the earliest, “The Last Supper,” has been already described; two others of about the same date are now in the University Chapel of the minster at Freiburg-im-Breisgau. They are the two wings of an altar-piece, with curved tops, representing “The Nativity” and “The Adoration of the Kings” (Pl. 29).[203] In both panels the artist has striven to achieve striking contrasts of light and shade. In “The Nativity” the figures, which are very small, are placed amid the ruined splendours of some palace of Renaissance architecture, with tall marble pillars, carved capitals, and shattered arches, through which the light of the moon, cloud-obscured, glimmers faintly. The chief illumination emanates from the Infant Christ, who lies, a small nude figure, on his white-covered little bed. The soft, supernatural brilliance lights up the faces and figures of Mary and Joseph, who bend over the Child in adoration. This unusual effect of lighting is also to be found in a second painting of “The Nativity” in Freiburg Minster, a fine example of the work of Hans Baldung Grien, completed in 1516; and again in Correggio’s famous “Night,” painted some years later. In Holbein’s picture this light also plays over the small angels who surround the bed, and less brightly on the figure of one of the shepherds peering round a pillar on the left, and on the undersides of the arches overhead. The wings of the attendant angels, instead of springing from the shoulders, grow along and form part of the arms, apparently an original conception of the painter’s.[204] In the distance, forming a radiant patch of light amid the darkness of the background, is seen the angel who is hastening to carry the glad tidings to the shepherds. Above, in the sky, the moon also bends and does homage to the new-born Child; to suggest this, Holbein has represented its disc as turned down towards the bed, and foreshortened.[205] The source from which this arrangement was taken was the passage in the Apocrypha: “And behold the cave was filled with a light, surpassing the brilliancy of tapers and torches and greater than sunlight.” The effect of the gradually diminishing radiance, which finally loses itself amid the dimly seen ruins, where it mingles with the pale effulgence of the moon, has been finely rendered, and though the picture has suffered some damage, it still retains much of its charm, particularly in the small figures of the angels with their graceful gestures.