Adoration of Magi (c1482). Tempera, oil on panel. 246 x 243. The Adoration of the Magi is an early painting by Leonardo da Vinci. Leonardo was given the commission by the Augustinian monks of San Donato in Scopeto in Florence, but he departed for Milan the following year, leaving the painting unfinished. It has been in the Uffizi Gallery in Florence since 1670. The Virgin Mary and Child are depicted in the foreground and form a triangular shape with the Magi kneeling in adoration. Behind them is a semicircle of accompanying figures, including what may be a self-portrait of the young Leonardo. In the background on the left is the ruin of a pagan building, on which workmen can be seen, apparently repairing it. On the right are men on horseback fighting and a sketch of a rocky landscape. The ruins are a possible reference to the Basilica of Maxentius, which, according to Medieval legend, the Romans claimed would stand until a virgin gave birth. It is supposed to have collapsed on the night of Christ's birth. The ruins dominate a preparatory perspective drawing by Leonardo, which also includes the fighting horsemen. The palm tree in the center has associations with the Virgin Mary, partly due to the phrase You are stately as a palm tree from the Song of Solomon, which is believed to prefigure her. Another aspect of the palm tree can be the usage of the palm tree as a symbol of victory for ancient Rome, whereas in Christianity it is a representation of martyrdom, triumph over death, so in conclusion we can say that the palm in general represents triumph. The other tree in the painting is from the carob family, the seeds from the tree are used as a unit of measurement. They measure valuable stones and jewels. This tree and its seeds are associated with crowns, suggesting Christ as the king of kings or the Virgin as the future queen of heaven, as well as that this is nature's gift to the new born Christ. As with Michelangelo's Doni Tondo, the background is probably supposed to represent the Pagan world supplanted by the Christian world, as inaugurated by the events in the foreground. The artist uses bright colors to illuminate the figures in the foreground of the painting. Jesus and the Virgin Mary are, in fact, painted yellow, the color of light. The trees are painted blue, an unusual color for trees of any kind. On the right side the most credible self-portrait of Leonardo da Vinci as a 30-year-old can be seen, according to several critics. Much of the composition of this painting was influenced by an earlier work of the Northern artist Rogier van der Weyden. The relationship between figures, space and the viewer's standpoint, the high horizon, slightly raised viewpoint, space receding into the far distance, and a central figural group poised before a rock formation in the middle of the landscape are all copied from van der Weyden's Entombment of Christ. Owing to the painting's unfinished status in 1481, the commission was handed over to Filippino Lippi, who painted another Adoration of the Magi, completed in 1496, in substitution of the one commissioned to Leonardo. It is housed in the Uffizi in Florence. Domenico Ghirlandaio completed a separate painting, expanding upon Leonardo's theme, in 1488. In 2002, Dr. Maurizio Seracini, an art diagnostician alumnus of the University of California, San Diego and a native Florentine, was commissioned by the Uffizi to undertake a study of the paint surface to determine whether the painting could be restored without damaging it. Seracini, who heads Editech, a Florence-based company he founded in 1977 focused on the diagnostics of cultural heritage, used high-resolution digital scans as well as thermographic, ultrasound, ultraviolet and infrared diagnostic techniques to study the painting in ultra-fine detail. He concluded that the painting could not be restored without damaging it and that Leonardo only did the underdrawing. Another artist was responsible for all of the existing paintwork on top of the underdrawing. Seracini stated that none of the paint we see on the Adoration today was put there by Leonardo. As a part of his diagnostic survey on the Adoration of the Magi, Seracini completed more than 2,400 detailed infrared photographic records of the painting's elaborate underdrawing, and scientific analyses. The new images revealed by the diagnostic techniques used by Seracini were initially made public in 2002 in an interview with New York Times reporter Melinda Henneberger. In 2005, nearing the end of his investigation, Seracini gave another interview, this time to Guardian reporter John Hooper.