Feuillade’s static compositions are lovely, splitting the difference between well-behaved painting and tableaux theatrics. The planes are particularly well calculated, and he goes so far as to shift his symmetries across the cuts. The playing of the shepherds is semaphoric, and pleasingly so. Is that reverence the viewer feels manger-side? I’ll bet that actual baby added some gravity to the occasion. The Herod parts please the modern sensibility a little less. Devotion is much more palatable than eye-rolling villainy, at least to my mind.