The subject of this copper is taken from Matthew (2:1-11): wise men, presumably astrologers, follow a star which leads them from the East to Bethlehem where they encounter the newborn Christ child and offer him precious gifts.

Its attribution is the subject of some debate. It was first given one in the 1750 inventory of Windsor Castle, where it is ascribed to Rottenhammer. This is now accepted to be right as a 'ball-park' but no more than that. This copper is generally agreed to have been painted by a northern artist working in Venice around 1600, in the circle of Elsheimer, Rottenhammer and Paul Bril.

Malcolm Waddingham (writing in 1972) saw Elsheimer's hand, particularly in the similarity of the musculature the man’s back on the right to his The Flood. This attribution can be ruled out because of the cramped and yet disjointed composition and the slightly grotesque figure style, which has no parallel in Elsheimer’s work. Though obviously influenced by Rottenhammer, the figures here do not have the grace and clarity of modelling to allow them to be attributed to him.

A more probably candidate is Pietro Mera, known as Il Fiammingo (The Fleming, c. 1570-1644). Mera made a trip to Rome in c. 1596 before settling in Venice (apparently for the rest of his life), following in Rottenhammer’s footsteps. Mera’s Pan and Syrinx with River Gods and Nymphs (Museum of Fine Arts, Boston), previously attributed to Rottenhammer, gives a good impression of his slightly mannered sweetness, which may be compared with this copper.

There are other peculiarities here, which should be noted. Dotted contours show the painter must have used a drawing which had been pricked before transferring the design. On the bail in the bottom right-hand corner there is a cross and the letters M R in ligature - initials which do not correspond to any known painter. Another intriguing feature of this painting is the disjunction between figures and background landscape, which may suggests that it is the work of two hands.