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
Biblical Magi separate scenes of the Adoration of the Shepherds on the birth night and the later Adoration of the Magi to be combined for convenience. The single biblical account in Matthew simply presents an event at an unspecified point after Christ's birth in which an unnumbered party of unnamed "wise men" ("μάγοι") visits him in a house ("οἰκίαν"), not a stable, with only "his mother" mentioned as present. The New Revised Standard Version of – describes the visit of the Magi in this manner: The text specifies no interval between the birth and the visit, and artistic depictions and the closeness