uth he painted the figure of Fortitude among
those pictures of the virtues which Antonio and Pietro Pollaiuolo were
executing in the Mercatanzia or Tribunal of Commerce in Florence. In
Santo Spirito (Vasari continues, naming a picture which is probably _The
Virgin Enthroned_, now at Berlin (No. 106)), he painted a picture for
the Bardi family; this work he executed with great diligence, and
finished it very successfully, depicting the olive and palm trees with
extraordinary care."

The influence of Pollaiuolo is more evident in his two next productions,
the two small panels of _Holofernes_ and the _Portrait of a Man with a
Medal_, in the Uffizi, and again in the _S. Sebastian_ now at Berlin,
which was painted in 1473.

About 1476 the second _Adoration of the Magi_ in the National Gallery
was painted, and a year or two later the famous and more splendid
picture of the same subject which is in the Uffizi. With this he
established his reputation, showing himself unmistakably as an artist of
profound feeling and noble character besides being a skilful painter. It
was commissioned for the church of Santa Maria Novella. "In the face of
the oldest of the kings," says Vasari, "there is the most lively
expression of tenderness as he kisses the foot of the Saviour, and of
satisfaction at the attainment of the purpose for which he had
undertaken his long journey. This figure is the portrait of Cosimo
de'Medici, the most faithful and animated likeness of all now known of
him. The second of the kings is the portrait of Giuliano de' Medici,
father of Pope Clement VII., and he is presenting his gift with an
expression of the most devout sincerity. The third, who is likewise
kneeling, seems to be offering thanksgiving as well as adoration; this
is the likeness of Giovanni, the son of Cosimo.

"The beauty which Sandro has imparted to these heads cannot be
adequately described; all the figures are in different attitudes, some
seen full face, others in profile, some almost entirely turned away,
others bent down; and to all the artist has given an appropriate
expression, whether old or young, showing numerous peculiarities, which
prove the mastery he possessed over his art. He has even distinguished
the followers of each king, so that one can see which belong to one and
which to another. It is indeed a most wonderful work; the composition,
the colouring, and the design are so beautiful that every artist to-day
is amazed at it, and at th