The two drawings belong to the preparatory studies that Pietro Vannucci performed for the large fresco lunette with the Adoration of the Shepherds, which was also transported in the Gallery in 1863 after being detached due to preservation reasons from the place of origin, the Franciscan Convent of Monteripido outside Porta Sant’Angelo in Perugia. The two figures precisely recall the two shepherds in adoration who are in the central portion of the painting, kneeling behind the Holy Family.

The absence of holes and coal dust, suggests that the drawings were not intended to be placed directly on the plaster but replicated, through the technique of squaring, on another sheet, in order not to be spoiled and deteriorated: having some drawings made by the Master could in fact have been of great value for the students in order to practice. Therefore, for the final composition of Monteripido, these drawings have played the function of very faithful models compared to the final fresco but with an “intermediate role”.