The full-length portrait of Cosimo the Elder (1267), the Pater Patriae (so the flattery of the age hailed the man who said that a city destroyed was better than a city lost), was painted by Pontormo from some fifteenth century source, as a companion piece to his portrait here of Duke Cosimo I. (1270). The admirable portrait of Lorenzo the Magnificent by Vasari (1269) is similarly constructed from contemporary materials, and is probably the most valuable thing that Vasari has left to us in the way of painting. The unfinished picture by Fra Bartolommeo (1265), representing our Lady enthroned with St. Anne, the guardian of the Republic, watching over her and interceding for Florence, while the patrons of the city gather round for her defence, was intended for the altar in the Sala del Maggior Consiglio of the Palazzo Vecchio; it is conceived in something of the same spirit that made the last inheritors of Savonarola's tradition and teaching fondly believe that Angels would man the walls of Florence, rather than that she should again fall into the hands of her former tyrants, the Medici. The great Madonna and Child with four Saints and two Angels scattering flowers, by Filippino Lippi (1268), was painted in 1485 for the room in the Palazzo Vecchio in which the Otto di Pratica held their meetings. The Adoration of the Magi (1257), also by Filippino Lippi, painted in 1496, apart from its great value as a work of art, has a curious historical significance; the Magi and their principal attendants, who are thus pushing forwards to display their devotion to Our Lady of Florence and the Child whom the Florentines were to elect their King, are the members of the younger branch of the Medici, who have returned to the city now that Piero has been expelled, and are waiting their chance. See how they have already replaced the family of the elder Cosimo, who occupy this same position in a similar picture painted some eighteen years before by Sandro Botticelli, Filippino's master. At this epoch they had ostentatiously altered their name of Medici and called themselves Popolani, but were certainly intriguing against Fra Girolamo. The old astronomer kneeling to our extreme left is the elder Piero Francesco, watching the adventurous game for a throne that his children are preparing; the most prominent figure in the picture, from whose head a page is lifting the crown, is Pier Francesco's son, Giovanni, who will soon woo Caterina Sforza, the lady of Forlì, and make her the mother of Giovanni delle Bande Nere; and the precious vessel which he is to offer to the divine Child is handed to him by the younger Pier Francesco, the father of Lorenzaccio, that "Tuscan Brutus" whose dagger was to make Giovanni's grandson, Cosimo, the sole lord of Florence and her empire.[30]