In this same room are five other masterpieces of early Tuscan painting. Don Lorenzo's Coronation of the Madonna (1309), though signed and dated 1413, may be regarded as the last great altar-piece of the school of Giotto and his followers. It has been terribly repainted. The presence in the most prominent position of St. Benedict and St. Romuald in their white robes shows that it was painted for a convent of Camaldolese monks. The predella, representing the Adoration of the Magi and scenes from the life of St. Benedict, includes a very sweet little picture of the last interview of the saint with his sister Scholastica, when, in answer to her prayers, God sent such a storm that her brother, although unwilling to break his monastic rule, was forced to spend the night with her. "I asked you a favour," she told him, "and you refused it me; I asked it of Almighty God, and He has granted it to me." In Browning's poem, Don Lorenzo is one of the models specially recommended to Lippo Lippi by his superiors:-- "You're not of the true painters, great and old; Brother Angelico's the man, you'll find; Brother Lorenzo stands his single peer; Fag on at flesh, you'll never make the third." The Madonna and Child with St. Francis and St. John Baptist, St. Zenobius and St. Lucy (1305), is one of the very few authentic works by Domenico Veneziano, one of the great innovators in the painting of the fifteenth century. Sandro Botticelli's Adoration of the Magi (1286), painted for Santa Maria Novella, is enthusiastically praised by Vasari. It is not a very characteristic work of the painter's, but contains admirable portraits of the Medici and their court. The first king, kneeling up alone before the Divine Child, is Cosimo the Elder himself, according to Vasari, "the most faithful and animated likeness of all now known to exist of him"; the other two kings are his two sons, Piero il Gottoso in the centre, Giovanni di Cosimo on the right. The black-haired youth with folded hands, standing behind Giovanni, is Giuliano, who fell in the Pazzi conspiracy. On the extreme left, standing with his hands resting upon the hilt of his sword, is Lorenzo the Magnificent, who avenged Giuliano's death; behind Lorenzo, apparently clinging to him as though in anticipation or recollection of the conspiracy, is Angelo Poliziano. The rather sullen-looking personage, with a certain dash of sensuality about him, on our extreme right, gazing out of the picture, is Sandro himself. This picture, which was probably painted slightly before or shortly after the murder of Giuliano, has been called "the Apotheosis of the Medici"; it should be contrasted with the very different Nativity, now in the National Gallery, which Sandro painted many years later, in 1500, and which is full of the mystical aspirations of the disciples of Savonarola.