The left image compares Leonardo's Adoration of the Magi with Botticelli's Adoration of the Magi.

Unfinished reason - Adoration of the Magi

In this period, Leonardo was an independent artist and he painted this picture alone.

This picture is too big obviously for young Leonardo.

The left image compares Leonardo's Adoration of the Magi with Botticelli's Adoration of the Magi.

Leonardo's Magi has an area of around 4 times.
There is a need to hire some disciples to draw this size picture.

The contract itself is impossible.

Adoration of the Magi


Adoration of the Magi

Oil on wood, 243 x 246 cm Florence, Galleria degli Uffizi, Inv. 1594

Adoration of the Magi is the only one documented by a contract. Leonardo was given the commission by the monks of San Donato a Scopeto in March 1481, to paint a panel for their high alter, which was to be completed within 24 or at the most 30 months.
But Leonardo abandoned work on the Adoration in 1482/83, when he left Florence for Milan. It is uncertain whether the painting ever reached the monks of San Donato a Scopeto. The commission was handed over to Filippino Lippi, who painted another Adoration of the Magi, completed in 1496.

It was probably located from 1529 and certainly before 1568, in the home of Amerigo Beci in Florence, where Vasari saw it.
It is documented from 1621 as being in the possession of the Medici, until passing to the Uffizi in 1670. After 1753 it was transferred to the Medici villa in Castello before returning permanently to the Uffizi in 1794.

According to curent scholarship the painting reveals no traces of spolvero.
It doesn't appear to contain scored underdrawing such as that found in the background of the Madonna of the Carnation and in the perspective construction of the Annunciation.
in 1969, Brachert has also discovered several places in this painting where Leonardo has rubbed the painting with his hand and his fingers.
The many compositional details has been compromised by the coat of varnish that greatly yellowed since their application in the 18th or 19th century.

In 2002, Dr. Maurizio Seracini was commissioned by the Uffizi to undertake a study of the paint-surface to determine whether the painting could be restored without damaging it.
He concluded that the painting could not be restored without damaging it and that Leonardo only did the underdrawing.

This picture is consists of 10 boards glued together horizontally and reinforced by two crosspieces, and It has sverely crumbled in places around the edges of the panel.
The panel was primed and painted without first being mounted in a frame, and seven rectangular notches are located along the top edge of the panel.


The Uffizi Gallery Museum


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