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This oval painting is commonly known by the titles Happy Family or Happy Fecundity. Besides this painting, there are four other versions of this composition confirmed, all of which are identical (National Gallery of Art, Washington, D.C., etc.). The subject matter of this painting was very popular at the time. In the center of the painting, a young mother in a white blouse and red skirt is sitting holding a little child, with older children playing around her. From the outside of the window on the left, a father is looking into the house along with a donkey. Behind the mother could be a maid and her child, both of who are leaning on each other, portrayed like a silhouette. The domestic animals—a dog and a donkey—also appear as a part of the family. The figures, taking relaxed poses and casting a glance at each other, convey a friendly atmosphere and show their deeper connections with each other. Meanwhile, the upper part of the room is an old, large stone structure, looking like an ancient Italian ruin, which is unmatched with the scene of this happy family gathering. Onions and a lump of meat are placed on the top of the pedestal on the right (which could be an old altar due to that it is decorated with the sheep’s head and garland of flowers. If so, this building is a temple). A container like a metal deep pot can be seen on the top of the pedestal, as well. Besides a happy family that lives humbly but is blessed with many children, or young parents and their children depicted against the background of fantastic structure, some facts that are invisible to the eyes are still hidden in this painting. One is that this family implies an image of an “ideal family” conceived based on the philosophy—that the family is the basis of society and love in the family is the foundation of morality—of the 18th-century French thinker Rousseau. Another is that Fragonard himself was blessed with a very happy home life and displayed his talents in creating not only sensual Rococo-style paintings that were popular at the time, but also such a naïve painting as this one. And furthermore, this painting is a remake of traditional subjects of Christian art, such as the Virgin and Child, the Holy Family, and the Adoration of the Shepherds, using a contemporary style and stylish subject matter. This proves that Fragonard was not just a genre painter, but also had excellent knowledge and skills as a religious painter. The young woman in red and blue clothes holding her little child traditionally represents the Virgin Mary and the Christ child. Therefore, this work can be said to be a typical of Fragonard, who “embodied the free and new spirit of the 18th century while passing on the traditions of painting.”