Probably thanks to his father once again, leonardo obtained a commission in 1481 to paint an Adoration of the Magi for the monastic church of S. Donato a Scopeto, outside of Florence (fig. 54). Certainly, the odd financial circumstances of the project point to Ser Piero's notarial involvement; a saddle manufacturer bequeathed to S. Donato an endowment for a painting for the high altar and at the same time left a dowry for his granddaughter. The scrupulous Ser Piero would have foolishly staked his good name and standing, as the official notary of the patrons, in recommending his brilliant but unreliable son for the job. Ser Piero's tax records may be relevant. These indicate that he had moved with a new (fourth) wife to a house on the via Ghibellina and had stopped supporting Leonardo financially by 1480 – a reasonable decision in light of Leonardo's age (twenty-seven or twenty-eight) and the fact that Ser Piero had two other legitimate children to look after. Almost predictably, Leonardo's work on the monumental panel was left incomplete; he never progressed beyond the underpaint stage. Nevertheless, even in its unfinished state, the picture must be considered a conceptual masterpiece, and the many extant studies for the work reveal the enormous amount of energy – in concentrated and original thought – that Leonardo devoted to the composition.