A nineteenth-century engraving of the Good Shepherd, based on a design by Friedrich Overbeck and executed by E. Rittinghaus.

This engraving, titled Pastor Bonus, depicts the biblical figure of the Good Shepherd. The composition is based on an invention by Friedrich Overbeck, a central figure of the Nazarene movement, which sought to revive spiritual and moral values in art through a return to the clarity and simplicity of the early Renaissance. The print was executed by the German engraver E. Rittinghaus, who was active in the mid-nineteenth century.

The image shows the shepherd standing in a gentle, pastoral setting, carrying a lamb across his shoulders while holding a staff. Several other sheep gather near his feet, creating a scene of protection and guidance. The style is characterised by precise, controlled line work typical of the period's reproductive engraving techniques. The drapery of the shepherd's robes is rendered with careful attention to form and shadow, providing a sense of volume and weight to the figure. The background remains relatively simple, ensuring the focus stays on the central interaction between the shepherd and his flock.

This work was produced for the Verein zur Verbreitung religiöser Bilder in Düsseldorf, an organisation dedicated to the dissemination of devotional imagery. Such prints were common in nineteenth-century households, intended to provide visual aids for religious contemplation. The composition reflects the aesthetic priorities of the Nazarene school, favouring linear purity and a balanced, harmonious arrangement of figures. The print captures a moment of quietude, with the shepherd's expression conveying a sense of calm authority. As a piece of historical graphic art, it offers a window into the intersection of religious devotion and the printmaking industry in nineteenth-century Germany, where technical skill was applied to the reproduction of moral and spiritual narratives for a wider public audience.