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 (Bosch, Philadelphia) small hut (which has clear perspective errors), while the three Magi bring their gifts to Jesus. As common in these pictures, Balthazar is kneeling with his crown lying on the ground, while the other two speak to each other. The background is more original. It depicts Joseph scratching his head, with a table represented in a wide-angle perspective; behind the hut are the ox and the donkey and two men armed with arrows. Hungarian art historian Charles de Tolnay explained the more archaic elements as a citation of a miniature of the Utrecht Missal (1425–1430), which also includes, for example,