VENICE.- Giovanni Girolamo Savoldo first appears in Venetian records in 1521, and was known in Venice as Girolamo from Brescia, after his birthplace. He spent approximately two decades in Venice, both living and working there. His sole surviving painting in the city, the Adoration of the Shepherds in the church of San Giobbe, stands as one of the finest examples of his mature artistic style. This painting, with its nocturnal setting and striking realism, would go on to influence a new generation of artists, most notably Caravaggio. Due to its exceptional qualities, the San Giobbe Adoration of the Shepherds is regarded as one of Venice’s most treasured masterpieces.

The altarpiece is still preserved in its original location—in the Franciscan church of San Giobbe on the altar of Saint Joseph in the anti-sacristy. The room is notable for its pronounced Gothic architecture, dating back to approximately 1378-1380. This period coincided with the construction of an oratory by Priest Giovanni Contarini in honor of Saint Job, where he himself was later interred upon his death in 1407. In the early 1430s, when the Franciscans began constructing a new church, they decided to incorporate the existing oratory into the design. Over time, this oratory was transformed into the anti-sacristy of San Giobbe. Alvise “Millecroci” Contarini, another member of the Contarini family, was associated with San Giobbe, where he was laid to rest in 1557. His burial attire included the penitential tunic and doublet he wore during his 1516 pilgrimage to the Holy Land. Titian’s Supper at Emmaus at the Walker Art Gallery in Liverpool, sheds light on Alvise’s pilgrimage garments, as the elderly, white-bearded man standing devoutly beside Christ is thought to be a disguised portrait of Millecroci himself. Alvise documented his religious journey in a journal, vividly recounting his visits to sites linked with the Nativity and “the tears he shed while kissing the very place where God was born.” Given Alvise’s affiliation with San Giobbe and his keen interest in religious art as a means of commemorating his pilgrimage, scholars speculate that he may have been the patron behind Savoldo’s Adoration of the Shepherds.

The altarpiece is one of three known nocturnal renditions of this subject by Savoldo. The other two paintings are housed in the church of Santa Maria la Nova, Terlizzi (Bari), and the Pinacoteca Tosio Martinengo in Brescia. These works were likely created around the same period, although they vary slightly in dimensions, shapes, and iconographic details.

Especially noteworthy in the San Giobbe version is the figure of the shepherd emerging from a weathered parapet in the middle ground. His hands clasped in prayer as he gazes at the Virgin and Joseph adoring the Child, this figure displays distinctive facial features, suggesting it may be a disguised portrait. Indeed, some scholars identify it as the likeness of Alvise Contarini “Millecroci,” while others argue Saint Joseph is the intended portrait of Alvise. In either case, including Alvise in the scene suggests a desire to relive his pilgrimage to Bethlehem during a journey to the Holy Land. Another intriguing element is the window through which two additional shepherds witness the miraculous event. This detail is significant as it mirrors the act of the actual viewer observing the scene through the altarpiece’s frame. In this way, Savoldo creates a parallel between the fictional viewers within the painting and the real onlookers, inviting the viewer to engage as a participant in the sacred event.

One of the painting’s most astonishing features is Savoldo’s masterful use of lighting. The primary light source emanates from the right, aligning with the actual sunlight filtering into the anti-sacristy through the door. Simultaneously, the shadow cast by the Virgin on the stone parapet illuminates the Child’s skin, creating a radiant effect that suggests a secondary, supernatural source of light. In this way, Savoldo not only brings the Nativity to life but also transforms the birth of the Son of God into a palpable event—an everyday manifestation of the divine.

Conservation

The painting was last restored in 1985 by Antonio Lazzarin. Currently, it is obscured by a thick layer of dust and grime, along with oxidized varnish and altered paint from maintenance work likely done after the 1985 restoration. The upcoming conservation treatment will begin with preserving the textile support and wooden frame, involving tasks such as disinfestation and inspecting the systems that secure the painting to the frame. In the second phase, the stability of the paint layers will be assessed, followed by a delicate cleaning to remove accumulated grime and discolored varnish. The third phase will focus on restoring the painting’s aesthetics, including filling gaps, retouching areas where the paint is missing or worn, and applying both intermediate and final varnishes to protect and enhance the artwork’s appearance.