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to align the fragment showing the holy family with the oldest king kissing the left foot of Christ to the centre of the depiction or (if we follow the Uffizi panel) at the golden section. The fragment showing horses and a group of people would be positioned on the left, while the other fragment now in the Fitzwilliam Museum would go on the right, the group of spectators pointing towards the holy family in the centre. In contrast to the processional arrangement of most fifteenth century Adoration compositions, with the Magi approaching the holy family from one side, the Uffizi Adoration breaks tradition, placing the Madonna in the centre.22 There has been much debate as to where the inspiration for this has come from. While Lisner emphasizes the importance of reliefs by Donatello and Bertoldo di Giovanni, Moskowitz regards a group of sculptures by Arnolfo di Cambio, which Botticelli must have seen in Rome, as fundamental.23 Hills suggests that the cultural exchange between Florence and the Netherlands might have fostered iconographic innovations. Rogier van der Weyden���s Columba altarpiece of c. 1455 is a much earlier example of a central arrangement. It is not unlikely that it was among the paintings that travelled through Italy.24 In addition, it seems plausible that Botticelli���s Adoration Tondo (National Gallery, London) of c. 1470-75 paved the way for a centralised composition. The depiction of an Adoration, whether central or processional, not only allows the artist to accommodate numerous figures but also demands the greatest subtlety of figuration. The conceptual core of Botticelli���s drawing HYLAND 11