There are two more known versions of this work in Vienna (Kunsthistorisches Museum, inv. 1581) and a private collection in Padua. The former has always been attributed to Francesco, whereas Ballarin has assigned the second to Jacopo, dating it to about 1575. In Ballarin´s view, the Padua painting is the original from which the other versions were derived and on which Jacopo based his first Adoration of the Shepherds in a nocturnal setting, which marked the beginning of a sequence of works that ended with the large canvas for San Giorgio Maggiore in Venice. The figure of the shepherd with his hands held open in surprise as he gazes upon the Christ Child appears for the first time in the Padua painting. This felicitous creation of Jacopo´s was to become a common feature of his late oeuvre. Jacopo´s technique emphasises the emotional nature of the scene: the highlights, applied to the shepherds´ bodies in quick, vibrant brushstrokes, emanate from the Child, the only source of light in the composition. These characteristics are shared by the excellent replica in the Museo del Prado, which is painted on panel and is smaller than the Padua version (90 x 55 cm). This painting, which is pending restoration, possesses an undeniable quality, and although it does not display such a deft touch as the original, we should not rule out the participation of Jacopo in its execution (Text drawn from Falomir, M.: Los Bassano en la España del Siglo de Oro, Museo Nacional del Prado, 2001, p. 230).