"of the Medici family (including, possibly, Cosimo de' Medici himself) or, as he personally felt more likely, Antonio Botticelli, Botticelli's brother. This, he asserts, is based on the strength of the likeness of the youth to Botticelli himself, as portrayed in his ""Adoration of the Magi"". Antonio Botticelli had also recast and gilded medals, working in the court of the Medicis. However, he would have been about 40 at the time of the portrait. Frederick Hartt suggested it might be Lorenzo di Pierfrancesco de' Medici (""Il Poplano"", 1463–1503), whose two certain portraits, both profiles on medals, vary considerably, though one"
"a close associate of the family. A Botticelli Magi tondo in the National Gallery, London of around 1470–75 has a comparable screen of ruined antique buildings running behind the main figures (as well as a peacock). Cosimo's personal cell in San Marco has a fresco Magi scene by Fra Angelico. A number of aspects of the arrangement of the figures and the general composition are probably borrowed from a Magi scene of about 1370–71 by Jacopo di Cione that was then part of his large altarpiece at the nearby church (now destroyed) of San Pier Maggiore. The altarpiece is now"
"Adoration of the Magi (Stefano da Verona) The Adoration of the Magi is a Gothic painting by Stefano da Verona. Dating to 1434, it is currently housed in the Pinacoteca di Brera of Milan, northern Italy. The work is signed (""Stefanus"") and dated, although this has been disputed by several scholars. It is however mentioned by Vasari in his ""Lives"", and was anyway painted by the artist between his return to Verona (1425) and his death (1438). In the 19th century it was owned by the Ottolini family of Verona, who ceded it to Domenico Biasoli. The latter sold it"
"Adoration of the Magi (Perugino, Perugia) The Adoration of the Magi is a painting by the Italian Renaissance painter Pietro Perugino, housed in the Galleria Nazionale dell'Umbria of Perugia, Italy. According to Italian art historian Vittoria Garibaldi, it was one of the earliest commissions received by Perugino around the end of his apprenticeship in Florence (1472), while others date it to the late 1470s. The painting was originally executed for the church of Santa Maria dei Servi in Perugia, connected to the Baglioni family; in 1543 it was moved to the church of Santa Maria Nuova in the same city."
"by Savonarola, almost all destroyed after his fall. The Medici family were effective rulers of Florence, which was nominally a republic, throughout Botticelli's lifetime up to 1494, when the main branch were expelled. Lorenzo il Magnifico became the head of the family in 1469, just around the time Botticelli started his own workshop. He was a great patron of both the visual and literary arts, and encouraged and financed the humanist and Neoplatonist circle from which much of the character of Botticelli's mythological painting seems to come. In general Lorenzo does not seem to have commissioned much from Botticelli, preferring"
"Adoration of the Magi (Leonardo) The Adoration of the Magi is an early painting by Leonardo da Vinci. Leonardo was given the commission by the Augustinian monks of San Donato a Scopeto in Florence, but he departed for Milan the following year, leaving the painting unfinished. It has been in the Uffizi Gallery in Florence since 1670. The Virgin Mary and Child are depicted in the foreground and form a triangular shape with the Magi kneeling in adoration. Behind them is a semicircle of accompanying figures, including what may be a self-portrait of the young Leonardo (on the far right)."
"similar to works by Leonardo da Vinci. Adoration of the Magi (Perugino, Perugia) The Adoration of the Magi is a painting by the Italian Renaissance painter Pietro Perugino, housed in the Galleria Nazionale dell'Umbria of Perugia, Italy. According to Italian art historian Vittoria Garibaldi, it was one of the earliest commissions received by Perugino around the end of his apprenticeship in Florence (1472), while others date it to the late 1470s. The painting was originally executed for the church of Santa Maria dei Servi in Perugia, connected to the Baglioni family; in 1543 it was moved to the church of"
"Adoration of the Magi (Gentile da Fabriano) The Adoration of the Magi is a painting by the Italian painter Gentile da Fabriano. The work, housed in the Uffizi Gallery in Florence, Italy, is considered his finest work, and has been described as ""the culminating work of International Gothic painting"". The painting was commissioned by the Florentine literate and patron of the arts Palla Strozzi, at the arrival of the artist in the city in 1420. Palla paid 300 florins for the altarpiece, or about six times the annual salary of a skilled labourer. According to Baldwin both Palla Strozzi and"
"by the original predella (which had been separated in 1615) in 1971. This scene of the Adoration of the Magi expands upon earlier innovations by Sandro Botticelli ""Adoration of the Magi ""of Santa Maria Novella (c. 1475) and Leonardo da Vinci's ""Adoration of the Magi"" (1481-1482). The Madonna occupies a central position inside a pyramidal composition. The Child is held up to be seen by the Magi and the other spectators. Two Magi are positioned at the base of the composition, one kisses the child's foot, and another kneels with his hand on his chest. A third Magus stands on"
"Adoration of the Magi (Veronese) The Adoration of the Magi by the Venetian artist Paolo Veronese is a large oil painting on canvas dated to 1573 which has been in the National Gallery, London since 1855, shortly after it was sold by the Venetian church for which it was commissioned. It shows the common subject in the Nativity art of the visit by the Three Kings to the infant Jesus, here given a grandly theatrical treatment typical of Veronese's mature works. It was not an altarpiece, having been painted to hang beside rather than over a side altar in the"
"found in Persia by St Helena, but were later brought to Constantinople and then to Milan in Italy. From there they reached Germany, where they are now housed in the Cologne Cathedral. Though the feasts of the Magi are not celebrated liturgically, the Martyrology mentions Gaspar, on the first, Melchior, on the sixth, and Balthasar, on the eleventh of January. In some parishes, it is traditional to bless chalk for each family so that they may mark the first initial of each of the three Magi over their doors as a blessing for protection. Saint Caspar Saint Caspar (otherwise known"
"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"
"Adoration of the Magi (Mantegna) The Adoration of the Magi or Uffizi Triptych is a group of three tempera-on-panel paintings by Andrea Mantegna, dating to around 1460. Their three subjects are the ""Ascension of Christ"" (86 by 42.5 cm), ""Adoration of the Magi"" the largest and central panel (76 by 76.5 cm) and the ""Circumcision of Christ"" (86 by 42.5 cm). They were gathered as a trio in the 19th century, although some art historians doubt that they were created as a triptych set in the way they are now arranged. They are now in the Uffizi Gallery in Florence."
"Adoration of the Magi (Garofalo) Adoration of the Magi is a 1530s oil on panel painting by the Italian renaissance artist Benvenuto Tisi in the collection of the Rijksmuseum. Mary sits with her child in front of ruined columns receiving gifts in a fantasy landscape. On the right a man points to the Star of Bethlehem. This painting has been considered a highlight of the collection since it was acquired in 1823 by William I of the Netherlands from the estate of Edmund Bourke in Paris and given to the Trippenhuis museum. It has been included in all ""Highlights of"
"charcoal outline and marks clearly visible. The wood panels have also been restored, ensuring the stability of the work for generations to come. Adoration of the Magi (Leonardo) The Adoration of the Magi is an early painting by Leonardo da Vinci. Leonardo was given the commission by the Augustinian monks of San Donato a Scopeto in Florence, but he departed for Milan the following year, leaving the painting unfinished. It has been in the Uffizi Gallery in Florence since 1670. The Virgin Mary and Child are depicted in the foreground and form a triangular shape with the Magi kneeling in"
"Adoration of the Magi (Perugino, Città della Pieve) Adoration of the Magi is a 1504 fresco by Perugino in the Oratorio di Santa Maria dei Bianchi in Città della Pieve. It shows the Adoration of the Magi, with an idealised view from Città della Pieve towards Lake Trasimene and Val di Chiana in the background. It is often compared to the ""Adoration of the Magi"" in the Sala delle Udienze del Collegio del Cambio in Perugia by Perugino and his studio, which includes areas argued by some art historians to have been painted by a young Raphael. It was commissioned"
"Adoration of the Magi The Adoration of the Magi or Adoration of the Kings is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. It is related in the Bible by : ""On entering the house, they saw the child with Mary his mother; and they knelt down and paid him homage. Then, opening their treasure chests, they offered him gifts of gold, frankincense,"
"Adoration of the Magi (Lorenzo Monaco) The Adoration of the Magi is a tempera on panel painting by the Italian late Gothic artist Lorenzo Monaco, now housed in the Uffizi Gallery in Florence. The painting is known by a rather complete documentation. It was executed by Lorenzo with the help of three assistants, and, despite the reduced size, it was paid the huge sum of 182 florins. According to some hints in Giorgio Vasari's ""Lives of the Most Excellent Painters"", it could have been executed for the church of Sant'Egidio in Florence, when it was reconsecrated by Pope Martin V."
"Adoration of the Magi (Ospedale degli Innocenti) The Adoration of the Magi is a painting by the Italian Renaissance master Domenico Ghirlandaio, executed around 1485-1488 and housed in the Ospedale degli Innocenti gallery in Florence, Italy. The predella, painted by Bartolomeo di Giovanni, is in the same site. On 28 October 1485 Francesco di Giovanni Tesori, prior of the Ospedale degli Innocenti, Florence's orphanage, signed a detailed contract with Ghirlandaio regarding the commission of an altarpiece for the high altar of the annexed church of Santa Maria degli Innocenti. The subject chosen was the Adoration of the Magi, a common"
"Italian ""presepio"" or Nativity crèche. Further reading Biblical Magi The biblical Magi ( or ; singular: magus), also referred to as the (Three) Wise Men or (Three) Kings, were, in the Gospel of Matthew and Christian tradition, a group of distinguished foreigners who visited Jesus after his birth, bearing gifts of gold, frankincense and myrrh. They are regular figures in traditional accounts of the nativity celebrations of Christmas and are an important part of Christian tradition. Matthew is the only of the four canonical gospels to mention the Magi. Matthew reports that they came ""from the east"" to worship the"
"Adoration of the Magi (Bosch, Madrid) The Adoration of the Magi or The Epiphany is a triptych oil painting on wood panel by the Netherlandish artist Hieronymus Bosch, executed around 1485-1500. It is housed in the Museo del Prado of Madrid, Spain. The work was once identified with a canvas executed for the Cathedral of 's-Hertogenbosch, Bosch's hometown. However, it is now considered more likely that this one is the painting owned by Jehan de Kassembrood which was seized by Fernando Álvarez de Toledo, 3rd Duke of Alba in 1567. The paintings contains the coat of arms of the Bronchorst,"
"Adoration of the Magi (Dürer) The Adoration of the Magi is a 1504 oil-on-wood painting by Albrecht Dürer. It was commissioned by Frederick the Wise for the altar of the Schlosskirche in Wittenberg, and is considered one of Dürer's best and most important works from the period between his first and second trips to Italy (1494-5 and 1505). The second king is a selfportrait of Dürer .¨This painting was very influential for other Renaissance painters like Pieter Coecke van Aelst. In 1603 Christian II of Saxony presented the painting as a gift to the Holy Roman Emperor Rudolf II. It"
"who had tutored Soderini's son. Antonio Pucci, another Medici ally, probably commissioned the London ""Adoration of the Magi"", also around 1470. Giuliano de' Medici was assassinated in the Pazzi conspiracy of 1478 (Lorenzo narrowly escaped, saved by his bank manager), and a portrait said to be Giuliano which survives in several versions may be posthumous, or with at least one version from not long before his death. He is also a focus for theories that figures in the mythological paintings represent specific individuals from Florentine high society, usually paired with Simonetta Vespucci, who John Ruskin persuaded himself had posed nude"
"fatigue on the woman who is going to the chime as in the predella of the ""Annunciation of Cortona"". The ""Adoration of the Magi"" instead is completely original and shows an innovative frontal iconography years before the revolution of Botticelli (""Adoration of the Magi"" in the Uffizi, 1475), enhanced by the complex perspective of the hut's ruins. Here can be noticed the distinct use of lights by Beato Angelico, who creates a pure and crystal illumination which models volumes, enhances the chromatic harmony and unifies the scenes. The following scene of the ""Presentation"" is more innovative, with the ambient placed"
"The Adoration of the Magi (Geertgen tot Sint Jans) The Adoration of the Magi is a circa 1480-1485 oil on panel painting of the Adoration of the Magi by the Renaissance artist Geertgen tot Sint Jans in the collection of the Rijksmuseum. ""The Adoration of the Magi"" shows the three magi bearing gifts. In the background the retinue of each of the three magi can be seen. The magi themselves are shown twice, once in the foreground and again in the background, arriving with their retinue from Africa, Europe and Asia. X-ray examination of the underdrawing shows that originally the"
"Adoration of the Magi (tapestry) The Adoration of the Magi is a Morris & Co. tapestry depicting the story in Christianity of the Three Kings who were guided to the birthplace of Jesus by the star of Bethlehem. It is sometimes called ""The Star of Bethlehem"" or simply ""The Adoration."" The original tapestry was commissioned in 1886 by John Prideaux Lightfoot, rector of Exeter College, Oxford, for the Gothic revival chapel built for the college in the 1850s by George Gilbert Scott. Lightfoot approached William Morris and Edward Burne-Jones, both former students at Exeter, and suggested the subject matter for"
"with the other Magi, is purported to be buried in the Shrine of the Three Kings in Cologne Cathedral following his remains being moved from Constantinople by Eustorgius I in 344 AD to Milan. In 1164, Holy Roman Emperor Fredrick Barbarossa moved them to Cologne. Balthazar is commemorated on Epiphany with the other members of the Magi but in Catholicism, Balthazar's feast day is on the 11th of January. In Continental European countries where the Magi are portrayed, because of Saint Bede's description of him, Balthazar is often portrayed by a person in blackface in a tradition that dated back"
"the Rijksmuseum"" catalogs since. Adoration of the Magi (Garofalo) Adoration of the Magi is a 1530s oil on panel painting by the Italian renaissance artist Benvenuto Tisi in the collection of the Rijksmuseum. Mary sits with her child in front of ruined columns receiving gifts in a fantasy landscape. On the right a man points to the Star of Bethlehem. This painting has been considered a highlight of the collection since it was acquired in 1823 by William I of the Netherlands from the estate of Edmund Bourke in Paris and given to the Trippenhuis museum. It has been included"
"the ""Adoration of the Magi"", 1423, in the Uffizi is regarded as one of the greatest works of the style known as International Gothic. At the time it was painted, another young artist, known as Masaccio, was working on the frescoes for the Brancacci Chapel at the church of the Carmine. Masaccio had fully grasped the implications of the art of Giotto. Few painters in Florence saw his sturdy, lifelike and emotional figures and were not affected by them. His work partner was an older painter, Masolino, of the same generation as Fra Angelico. Masaccio died at 27, leaving the"
"Zavattari The Zavattari were a family of Italian painters active in Lombardy from the 14th to the 16th century. Cristoforo and Franceschino Zavattari are known as collaborators to the decoration of the Duomo of Milan in the early 15th century. The family's masterwork are the frescoes in the Theodelinda Chapel in Cathedral of Monza, work by Ambrogio and Gregorio Zavattari (1444). Unusually in fresco, the gold sky is patterned in relief ""pastiglia"" plasterwork. Some attribute this work to Troso da Monza. To the Zavattari are attributed some of the cards in the Visconti-Sforza tarot deck, usually referred to Bonifacio Bembo."
"Zavattari The Zavattari were a family of Italian painters active in Lombardy from the 14th to the 16th century. Cristoforo and Franceschino Zavattari are known as collaborators to the decoration of the Duomo of Milan in the early 15th century. The family's masterwork are the frescoes in the Theodelinda Chapel in Cathedral of Monza, work by Ambrogio and Gregorio Zavattari (1444). Unusually in fresco, the gold sky is patterned in relief ""pastiglia"" plasterwork. Some attribute this work to Troso da Monza. To the Zavattari are attributed some of the cards in the Visconti-Sforza tarot deck, usually referred to Bonifacio Bembo."
"Adoration of the Magi (Bosch, Philadelphia) The Adoration of the Magi is an oil painting on wood panel attributed to the workshop of Netherlandish artist Hieronymus Bosch, executed around 1499. It is housed in the Philadelphia Museum of Art, USA. The museum's catalog assign it to around 1518, as having been finished by Bosch's workshop. According to Dendochronologic research, it could have been painted in 1493-1499. The painting is a traditional representation of the Adoration of the Magi theme, similar to other Bosch ""Adoration of the Magi"" of New York, although reversed. Mary is at left, taking shelter under a"
"Adoration of the Magi (Velázquez) The Adoration of the Magi is a 1619 Baroque painting by the Spanish artist Diego Velázquez now held in the Museo del Prado. It shows three kings presenting gifts to the Christ child: Melchoir, who kneels in the foreground; Balthazar, who stands behind him wearing a red cape and a lace collar; and Caspar, who appears between the other two. An unidentified young man who stands behind Balthazar is looking on. Kneeling near the Virgin's left shoulder is Saint Joseph. The size and format of the painting indicate that it was made for an altarpiece."