In 1459, the chapel of the then new Medici mansion in Florence was decorated with frescoes by Benozzo Gozzoli depicting the journey of the Magi mentioned in Matthew 2:1. Commissioned by the city’s wealthiest family, the frescoes stress the material splendour of the attire, mounts, and equipages of the Magi and of their entourage, situating the gifts of ‘gold, frankincense and myrrh’ in a context of magnificence in evident harmony with the sumptuous appointments of the Medici residence itself. 

At the same time, the original programme was remarkably faithful to the Gospel account and included an altarpiece representing the new-born Christ adored by his mother, and—above this—a small circular window symbolizing the star whose light guided the wise men. The Medici, who belonged to a lay confraternity which every year staged the Journey of the Magi in the streets of Florence, clearly knew all the details.

The chapel’s true iconographic key is above its outer door, however, where a fresco shows a Lamb on an altar, beneath whose recumbent body hang seven seals. It illustrates Revelation 5:6–12, which speaks of the Lamb who was sacrificed and with his blood bought for God people ‘of every race, language, people and nation’. This external image invites those entering the chapel to interpret the Wise Men’s rich offerings in light of the hymn raised in Revelation: ‘Worthy is the Lamb that was sacrificed to receive power, riches, wisdom, strength, honour, glory, and blessing’ (5:12 NJB). The Lamb of the hymn corresponds to the Child shown in the chapel’s altarpiece, object of the Wise Men’s quest; the sacrifice by which he bought for God people of every race was that of his body, made present in the Eucharist celebrated at the altar.