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Based on this event, a confraternity, the Compagnia de��� Magi, was responsible for staging a feast ���for the honour and glory of God and his most Holy Trinity, and then for the fame of the city and the consolation and joy of all citizens���.31 An eye-witness cited by Hatfield recalls: [���] They do a great procession and celebration, at which the entire populace is present; and in it they do prodigious things and almost miracles ��� or representations of miracles [���] and they dress up some men as Magi, and by means of men they represent the nativity of Christ with the shepherds, the star, the animals, and the manger [���].32 Another contemporary observed that ���many acted not indeed as Florentine citizens, but wholly as their images and shadows���.33 It comes as no surprise to learn that Botticelli, who grew up in these surroundings, painted at least seven different versions of an Adoration of the Magi. However, the fragments greatly differ from any preceding version as far as their style is concerned. Figures appear as if Botticelli intended to diminish physical beauty to increase the quotient of expression.34 This can be seen in the oldest king���s curved back which carries no neck but a head tilted back at an abnormal angle. Mary���s shoulder is similarly contorted as she looks down at the Christ child. This apparent awkwardness is somewhat stabilised by the composition of the figures which places Christ at the intersection of two diagonal lines. One line HYLAND 14