The Adoration of the Magi
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
Caspar is placed closest to the Christ Child, dressed in white vestments like a priest at Mass, bearing the incense thurible toward him — Rubens's own invention, folding the Magi's gift into the Church's own incense at the altar. Mary stands rather than sits, actively presenting her son, placed off-centre.
A classical column stands beside the stable's ruined wall, echoing the marble altar frame the panel was built to fill — the painted architecture continues the real one around it. That altar stood in St Michael's Abbey, where Rubens's own mother lay buried.
Sources: KMSKA object page · Steven Zucker and Beth Harris, Smarthistory · Canon van Vlaanderen
And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.
Matthew 2:11 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 7,052 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.