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 (Rubens, Madrid) travelled to Spain for the second time, leaving on 29 September 1629. He had been summoned there to inform the king about his peace negotiations with Britain, but was also able to rework the painting while he was there. Francisco Pacheco relates in his work "El arte de la pintura" "[Rubens] changed some things in his painting of the Adoration of the Magi that was in the palace". This amounted to a complete re-working, with several details modified, strips added to the top and right hand edges (its original dimensions were 259 cm by 381 cm) and the style updated