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The origin of this large altarpiece is not known. Its composition follows a successful prototype by Cigoli, known in different versions. In these paintings, the diagonal position of the group formed by the Virgin and Child - Venetian in origin and then widely used by Carracci - allowed more movement, space and airiness as it allows the opening of large areas of landscape in the background. On Allori's canvas, the dense texture of the painting, the bold, dark colours and the deep, contained expressiveness of the faces of the Magi and of Mary, show an important passage in the painter's career, who, after his period in Rome, showed that he had reflected a good deal on the new Caravaggio style works and those of Rubens.
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