The Prague panel, its original style and primarily its iconography, stands out among the South Netherlandish (and Antwerp) Adoration paintings. In addition to some common motifs, for example the latticed window which refers to Christ’s future gaol or the placement of an owl sitting in the dark, which is also in Bosch’s Epiphany in Prado in Madrid, peculiarities are found that are unparalleled in the rich Netherlandish production of this topic at that time. First of all, Mary is seated on a bed, which is the motif that approximates The Adoration of the Magi to the eastern type of the Nativity. During the 15th century, a bed very rarely appeared in the Netherlandish Adoration paintings, yet it is found more often in German artworks, for example in the paintings by Master Francke and in the Triptych with the Adoration of the Magi by the West German Master of the first quarter of the 16th century. Moreover, the ruins are overgrown by a grapevine which is the symbol of Christ’s suffering. The green (laurel?) wreath on the column above the heads of Mary and Jesus is another important detail; perhaps, it is a symbol of Christ’s victory; cf. the late ancient Christograms enwound by laurel wreaths. The described motifs indicate that the panel's artist was active in the Southern Netherlands but probably came from a neighbouring area which is currently encompassed by Germany.
