Adoration of the Magi (1642) Guido Reni. The museum places this large altarpiece on the opposite wall from Caravaggio’s Crucifixion of St. Andrew. The Reni wall represents his version of idealism, where he draws from nature but enhances it to attempt to achieve an even more perfect representation of the subject. However, this was one of Reni’s last paintings and at this time in his career Reni had begun painting his subjects in a less concrete and naturalistic manner and instead creating a less defined. almost drawing like quality. This painting was found in Reni’s workshop after his death and it is obvious that it is unfinished, you can see baby Jesus’ leg has been repositioned with the original leg covered in blue and there is also a dog’s head by the angel.