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 (Andrea della Robbia) Kings with attendants, offering their gifts to the Holy Family. Andrea's sculpture was similar in style to contemporary painting, but certain colours, such as red, could not be produced in tin-glaze. The coat-of-arms of the Albizzi, a prominent Florentine family, can be seen on the frame, and the relief was probably commissioned by them for a church not far from Florence. The shiny surface of the altarpiece would have reflected the candlelight in the chapel, bringing the image to life. Adoration of the Magi (Andrea della Robbia) This depiction of the Adoration of the Magi is an altarpiece by Florentine