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
Master of the Khanenko Adoration of the Magi" in Saint-Omer, although both attributions have been disputed. Master of the Khanenko Adoration The Master of the Khanenko Adoration was a Flemish painter active at the end of the fifteenth century. His style is influenced by those of Hugo van der Goes, Hans Memling, and Robert Campin; additionally, echoes of the work of Joachim Patinir and Gerard David may be seen in some of his paintings. His name is derived from an "Adoration of the Magi", now in the Museum of Western and Oriental Art in Kiev, that once belonged to the Khanenko collection. Also ascribed to