{'ObjectID' : '2088', 'ObjectCode' : 'N-1033-00', 'ObjectNumber' : 'NG1033', 'ObjectDateBegin' : '1468-01-01', 'ObjectDateEnd' : '1477-12-31', 'ObjectDisplayDate' : 'about 1470-5', 'ObjectDimensions' : '130.8 x 130.8 cm', 'ObjectMedium' : 'Tempera on poplar', 'ObjectAlphaSort' : 'Botticelli, Sandro', 'ObjectAuthor' : 'Sandro Botticelli, about 1445 - 1510', 'ObjectTitle' : 'The Adoration of the Kings', 'ObjectShortTitle' : 'The Adoration of the Kings', 'ObjectCreditLine' : 'Bought, 1878', 'ObjectString' : 'NG1033: Sandro Botticelli, about 1445 - 1510, The Adoration of the Kings, about 1470-5, Tempera on poplar, (130.8 x 130.8 cm), Bought, 1878.', 'ObjectLocation' : 'Room 57', 'ObjectPrivateLocation' : 'Gallery 57', 'ObjectPublicLocation' : 'Room 57', 'ObjectSchool' : 'Italian (Florentine)', 'ObjectCurator' : 'Luke Syson', 'ObjectDescription' : 'The Three Kings journeyed to Bethlehem to honour the new-born Jesus. They brought gifts of gold, frankincense and myrrh. New Testament (Matthew 2: 2-12; Luke 2: 8-17). The figures in the foreground are the kings\' retinues. The shepherds approach from behind. The ruined Roman temple probably alludes to the crumbling of the old pagan order.
Circular paintings (tondi) of the Adoration were popular in the palaces of wealthy Florentines, many of whom belonged to a lay association (the Compagnia dei Magi) which venerated the Three Kings. Portraits may be included among the foreground figures.
The architecture has been constructed on the panel with a system of incised lines and is used to marshall the composition; the format of a tondo was an obvious stimulus towards centralised compositions.
Possibly mentioned by Vasari (1568) in the Casa Pucci, Florence; in the Palazzo Guicciardini, Florence, 1807; collection of William Coningham by 1849; collection of W. Fuller Maitland by 1854; bought, 1878.
Davies 1961, pp. 101-2
Lightbown 1978, II, pp. 25-6
Dunkerton 1991, p. 312', 'ObjectStatusID' : '1', 'PublicAccess' : '1', 'GroupNumber' : '', 'GroupTitle' : '', 'GroupArtist' : '', 'GroupDate' : '', 'GroupParts' : '', 'ImageID' : '2019', 'ImageFile' : 'N-1033-00-000124-WZ-PYR.tif', 'ImageCode' : 'N-1033-00-000124-WZ', 'ImagePath' : '/pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/', 'ImageLevels' : '6', 'ImageXsize' : '5984', 'ImageYsize' : '6000', 'FileGroup_ID' : '14', 'impos' : '206'} /* Array ( [0] =>
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SELECT * FROM Object, Image WHERE Object.ObjectID = Image.ObjectID AND ImageID = '2019'

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206 --> 2019 N-1033-00 Sandro Botticelli, about 1445 - 1510
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    [ObjectID] => 2088
    [ObjectCode] => N-1033-00
    [ObjectNumber] => NG1033
    [ObjectDateBegin] => 1468-01-01
    [ObjectDateEnd] => 1477-12-31
    [ObjectDisplayDate] => about 1470-5
    [ObjectDimensions] => 130.8 x 130.8 cm
    [ObjectMedium] => Tempera on poplar
    [ObjectAlphaSort] => Botticelli, Sandro
    [ObjectAuthor] => Sandro Botticelli, about 1445 - 1510
    [ObjectTitle] => The Adoration of the Kings
    [ObjectShortTitle] => The Adoration of the Kings
    [ObjectCreditLine] => Bought, 1878
    [ObjectString] => NG1033: Sandro Botticelli, about 1445 - 1510, The Adoration of the Kings, about 1470-5, Tempera on poplar, (130.8 x 130.8 cm), Bought, 1878.
    [ObjectLocation] => Room 57
    [ObjectPrivateLocation] => Gallery 57
    [ObjectPublicLocation] => Room 57
    [ObjectSchool] => Italian (Florentine)
    [ObjectCurator] => Luke Syson
    [ObjectDescription] => The Three Kings journeyed to Bethlehem to honour the new-born Jesus. They brought gifts of gold, frankincense and myrrh. New Testament (Matthew 2: 2-12; Luke 2: 8-17). The figures in the foreground are the kings\' retinues. The shepherds approach from behind. The ruined Roman temple probably alludes to the crumbling of the old pagan order.
Circular paintings (tondi) of the Adoration were popular in the palaces of wealthy Florentines, many of whom belonged to a lay association (the Compagnia dei Magi) which venerated the Three Kings. Portraits may be included among the foreground figures.
The architecture has been constructed on the panel with a system of incised lines and is used to marshall the composition; the format of a tondo was an obvious stimulus towards centralised compositions.
Possibly mentioned by Vasari (1568) in the Casa Pucci, Florence; in the Palazzo Guicciardini, Florence, 1807; collection of William Coningham by 1849; collection of W. Fuller Maitland by 1854; bought, 1878.
Davies 1961, pp. 101-2
Lightbown 1978, II, pp. 25-6
Dunkerton 1991, p. 312 [ObjectStatusID] => 1 [PublicAccess] => 1 [GroupNumber] => [GroupTitle] => [GroupArtist] => [GroupDate] => [GroupParts] => [ImageID] => 2019 [ImageFile] => N-1033-00-000124-WZ-PYR.tif [ImageCode] => N-1033-00-000124-WZ [ImagePath] => /pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/ [ImageLevels] => 6 [ImageXsize] => 5984 [ImageYsize] => 6000 [FileGroup_ID] => 14 [impos] => 206 )
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