Much of its inspiration was clearly derived from Botticelli's Adoration of the Magi, also in the Uffizi: this is evident in the disposition of the characters on the two sides, with the Holy Family portrayed in the centre under.

On the left, kneeling in a luxurious, fur-lined yellow robe and holding an astrolabe, is Pierfrancesco de' Medici, who had died 20 years before.

The general style is that of Filippino's late career, characterized by a greater care to details and by a nervous rhythm in the forms, influenced by the knowledge of foreign painting schools (as also in the landscape of the background).

Originally, the subject was commissioned by the monks of the monastery of San Donato in Scopeto in Florence, and begun by Leonardo da Vinci in 1481.

[6] Filippino's father, Filippo Lippi, also created a version of the Adoration of the Magi,[7][8] as had most successful painters of religious subject in the period.

The figures surrounding the Virgin represent the three Biblical Magi and their entourages, but some are believed to be donor portraits depicting members of the Medici family.

[1][2] Giovanni, together with his older brother, holds a large gold and silver vessel lidded goblet, to give to baby Jesus.

[3][6] The youngest Magus, Caspar, could either be the figure in red, Lorenzo, or perhaps, is the man kneeling on the right, who is extending his gift to the Holy Family.

[6][9] At the of the year 1441 during the Council of Florence, four Ethiopian monks were present, who attested that their ruler controlled a Christian kingdom in Ethiopia larger than all of Europe.

[6] The Europeans were intrigued by this large Christian kingdom and drew connections with their prior knowledge of the mythical figure of Prester John.

[6] This motivated European artists, especially those of the Italian Renaissance, to increasingly include dark skinned figures in kings in the Adoration of the Magi.

[6] Although it is difficult to pinpoint the reason as to why Lippi chose to do this, the trend is seen in similar Italian Renaissance art during the 1490s where an increasing amount of Africans, specifically Ethiopian Christins are included into the biblical scene of the Adoration of the Magi, in order to show that dark skinned people were also supporters of Christ.

[6] The general style of this painting is similar to Botticelli's Adoration of the Magi of 1475, which also shows great attention to details and extravagant use of colours.

[11] Lippi's use of a pyramidal structure is similar to that of both Leonardo da Vinci and Sandro Botticelli, as well as other Italian Renaissance painters at the time.

[9] Filippino including this in his painting shows how trade has connected different cultures, artistically and economically, as well as his knowledge and admiration of foreign artworks.

[6] Filippino Lippi was a prominent Italian painter of the Quattrocento (15th century) and a mentor to many artists, including Sandro Botticelli.

[13] He was born around 1457, in Prato, Tuscany, his father Fra Filippo Lippi; broken his clerical vows, and after Filippino's birth he received a papal dispensation to marry Lucrezia Buti.

[1] Renowned for his energetic and intricate compositions, warm color palettes, and naturalistic depictions of landscapes, Filippino Lippi contributed to numerous fresco cycles in the chapels of Florence and Rome and also created panel paintings.