An analysis of the painting, 'Adoration of the Shepard with Donor' by Palma Vecchio in episode 2x04 of Interview With The Vampire.
Spoilers ahead
We have here the depiction of the story of the birth of Christ. Along with symbolism of rebirth through the lark in the background. I read these two things in the show interchangeably as Armand’s ‘past’ and ‘future’.
It isn’t really Armand, not as much as his past is in the idyllic way of being in everyone else’s service. The features are whitewashed, you’d never identify him as the same boy in the painting. But that is his body, as he tells it. Only his body, used. And anymore he’s nothing but a figurehead, playing his part in this whole production - the coven leader. This is how he paints himself, how others paint him, but that isn’t himself entirely. Painted on but not the one painted there.
Ultimately, he really doesn’t know much of who he is.
We can see some of this contention expressed in the painting. He looks longingly, almost sad, upon the holy family, and directly behind him is a dog symbolizing loyalty and obedience. Amadeo worships passionately but heavy-hearted. Arun, Amadeo then, Armand now, feels trapped in this same conflictedness, different circumstances, but he knows nothing else. He just goes on kneeling to it, stuck in this position. And he's done it so much, so long, that much like this figures pants, he's worn through.
As of present; leading the falteringly obedient without much will too? Without much will for even his own obedience to it? There are certainly cracks in this painting someone has to be up close to know of.
“I’m not sure I can keep obedience any longer.”
But in other words, Armand has always been in this state of looking on at all his life has been, much as he’s able to recall of it, and finds himself burdened by it. Emotionally, physically. He confides in this, and while their pasts counter each other in some ways, I’m sure Louis relates all to well. His past physically haunting him while Armand is telling his own.
I would say the showing of this painting to Louis marked a distinct ‘rebirth’ in both of them. Setting up for a future together. After this, they no longer look on at their old worships, their pasts, the same.
They no longer feel that obedience and hold to them as it once was. Recognizing what they need now is a lark. An amusement. Adventure. Each other - painted new. Painted for themselves.
This is why Louis was able to let Lestat go. This is why Armand so willingly bends to Louis suggestions. Or at least one of the reasons why.
They sit side by side, like the Madonna and Joseph - equals, as this takes place. Armand doesn’t need to kneel anymore. Louis' going to make sure he doesn't have to.
