Adoration of the Magi is an oil on panel painting from the early 1520s by the Dutch Renaissance artist Jan Mostaert in the collection of the Rijksmuseum, Amsterdam, where in 2020 it was on display in room 0.1.

Based on Matthew 2:1–12, Mary sits with her child in the ruins of an elaborate palace to receive the gifts of the three Biblical Magi, whose retinues are seen in the background, with a fantasy landscape.

To the left, Saint Joseph stands watching and talking with a well-dressed figure behind the main group, and the heads of the traditional ox and ass can be seen.

The relatively small size of the panel and intimacy of the central group suggest a painting commissioned for a private house rather than a donation to a church or other public setting.

[6] Compositions showing the main figures at half-length, across the front of the image space, were an innovation of Hugo van der Goes late in the 15th century; two versions survive in early copies.

[8] The two poorly dressed men in the mid-ground above Melchior's head probably represent the shepherds arriving at the scene, as do the similar figures in Jan Gossaert's Adoration of the Kings (National Gallery).

[10] The costumes are mostly exotic versions of "modern" styles, and Mary's unusually rich dress has a "fashionable neckline", not to mention pearls hanging from the sleeve.

(NIV)[12]This scene had sometimes been used in art as a typological prefiguration of the Adoration of the Magi, apparently based on the basic similarity of a visual composition of three men offering something to a royal figure regarded as an ancestor of Jesus, rather than any theological relationship.

[13] To the right of that, along the beam, is a horizontal version of the much better-known scene of the Tree of Jesse, from Isaiah 11:1–12, which viewers of the period would easily have recognised.

She replied by showing him a vision of a young woman with a baby boy, high in the sky, while a voice from the heavens said "This is the virgin who shall conceive the saviour of the world".

"[18] All these scenes are found in various versions of the Speculum humanae salvationis, an illustrated handbook of typological pairings, mostly between the Old and New Testaments, which was highly popular in illuminated manuscript, blockbook, and printed forms from the 14th to the early 16th centuries.

[3] The painting is documented as far back as the estate inventory of Anna van Renesse, Lady of Assendelft (1622–1667), at Assumburgh Castle near Heemskerk.