Nativity at Night  The Nativity at Night or Night Nativity is an Early Netherlandish painting of about 1490 by Geertgen tot Sint Jans in the National Gallery, London (NG 4081). It is a panel painting in oil on oak, measuring 34 × 25.3 cm., though it has been cut down in size on all four sides. The painting shows the Nativity of Jesus, attended by angels, and with the Annunciation to the shepherds on the hillside behind seen through the window in the centre of the painting. It is a small painting presumably made for private devotional use, and Geertgen's version, with significant changes, of a lost work by Hugo van der Goes of about 1470. Like many paintings of the "Nativity", the depiction is influenced by the visions of Saint Bridget of Sweden (1303–1373), a very popular mystic. Shortly before her death, she described a vision of the infant Jesus as lying on the ground, and emitting light himself:  ... the virgin knelt down with great veneration in an attitude of prayer, and her back was turned to the manger ... And while she was standing thus in prayer, I saw the child in her womb move and suddenly in a moment she gave birth to her son, from whom radiated such an ineffable light and splendour, that the sun was not comparable to it, nor did the candle that St. Joseph had put there, give any light at all, the divine light totally annihilating the material light of the candle ... I saw the glorious infant lying on the ground naked and shining. His body was pure from any kind of soil and impurity. Then I heard also the singing of the angels, which was of miraculous sweetness and great beauty ... Many depictions reduced other light sources in the scene to emphasize this effect, and the Nativity remained very commonly treated with chiaroscuro through to the Baroque. Here the sources of light are the infant Jesus himself, in accordance with Bridget's vision, who is the sole source of illumination for the main scene inside the stable, the shepherds' fire on the hill behind, and the angel who appears to them. In fact this effect now goes beyond what was intended by the artist, as the painting was damaged in a fire in 1904, when it was in a private collection in Berlin. The different shades of blue given the upper and lower parts of the Virgin's clothing and the sky outside now appear as murky dark browns or blacks, and the painting is generally darker.