Adoration of the Magi (Botticelli, 1475) described by Vasari as "the finest of all that are now extant for its life and vigour"), his sons Piero (the second Magus kneeling in the centre with the red mantle) and Giovanni (the third Magus), and his grandsons Giuliano and Lorenzo. The three Medici portrayed as Magi were all dead at the time the picture was painted, and Florence was effectively ruled by Lorenzo. Whether Botticelli's intimate relations with the Medici brothers allowed the wealthy Gaspare to introduce the portraits of their kinsmen in his altar-piece, or Gaspare was glad for this opportunity to pay a graceful compliment to
Adoration of the Magi (Stefano da Verona) donkey, holding the Child on her knees. The three Magi have different stances: the eldest has removed is crown and is kneeling; he is donating an elaborated golden object to the Child, who stretches his hands to accept it and bless him. The mature Magus is portrayed while putting down his crown and a gilt casket in the left hand; the youngest is observing the scene from behind. The two characters with halos, in the first row behind the Child, are St. Joseph and St. Anne. The servants of the Magi include numerous races, from the Mongols to the Moors.