PROVENANCE: Christie's, London, March 18, 1960, lot 109 (purchased by Bells); Julius Weitzner, London, 1961; Gift of Mr. and Mrs. V. D. Rupp to BJU, 1961.

Although Stella's earliest training is unknown, he traveled to Florence , Italy , and received work from Cosimo II de' Medici, Grand Duke of Tuscany. In 1623 Stella began a ten-year stay in Rome and formed a lifelong friendship with his fellow countryman Nicholas Poussin. Besides Poussin, classical influences from the art of Raphael, the Carracci, and Domenichino impressed the artist. A successful Roman career followed him back to France in 1634, where he soon became official painter to Cardinal Richelieu. The subsequent appointment, Painter to the King, by Louis XIII provided the artist with unparalleled favor, including lodging in the Louvre.

David Steel cites that this Adoration of the Shepherds was likely inspired by a prototype by Correggio, whose work of the same subject (Gemäldegalerie, Dresden) influenced many 17th-century artists. Correggio was the first Italian to introduce the supernatural light emanating from Christ and illuminating the nocturnal scene. Here Stella emphasizes the mysterious and symbolic light by having one of the shepherds actually shield his eyes. The painting foreshadows Christ's declaration of Himself as the "light of the world" in glorious solemnity.