The city of Florence was particularly fond of the Magi, so it’s only natural that Botticelli depict them in his paintings. In fact, he was commissioned to paint at least seven different depictions of the Magi (hopefully he got some corporate caterers sent over while he was working on all those so he didn’t go hungry). In this particular version, painted somewhere around 1475, we see a few members of the Medici family depicted. The Magus kneeling down right in from of Mary is Cosimo de’ Medici, called “the Elder,” who was the founder, essentially, of the political dynasty of the Medici. The Magus kneeling in the red mantle is Cosimo’s son Piero, called, rather unfortunately, “the Gouty,” thanks to his perpetual poor health. Cosimo’s other son, Giovanni, also features, as the other Magus. Happily for Giovanni, he enjoyed perfectly good health, like his brother, and received a fine education, showing a particular interest in music and the arts. Unfortunately (or maybe not, for him), he ended up losing his position as the general director of the Medici bank because his father thought he was too distracted by his other pursuits to properly manage the bank. Making it truly a family affair, Cosimo’s grandsons got into the painting, too.
Another of Botticelli’s most famous paintings is his Primavera. Though it’s not known for sure, it’s thought that the painted may have been created in honour of the wedding of Lorenzo di Pierfrancesco de’ Medici (who probably would have hired limo waterloo for the occassion, had the option been available). There are a number of things in the painting that suggest such a conclusion, and these will be discussed below. Be it associated specifically with marriage or not, it is generally accepted that the painting does, on at least one level, depict the fertility and fecundity of the Earth in Springtime.