Painted in 1483 by Leonardo da Vinci with the brothers Evangelista and Ambrogio de Predis, the Madonna of the Rocks remains among the Louvre's most powerful works. Commissioned, then rejected by its patrons, it joined the French royal collections before quietly entering the museum. Extime Travel retraces its history.
Originally commissioned by the Franciscan Confraternity of the Immaculate Conception, the painting was meant to anchor a triptych in the chapel of San Francesco Grande church in Milan. The patrons set very precise dimensions, since the work had to fit a wooden alcove that had already been carved.
The subject leaves room for interpretation. Rather than illustrating an episode of the Gospels, the scene draws on a legend recounting the meeting of Mary, Jesus and John the Baptist during their exile from Egypt. Placed under the protection of the archangel Uriel, the orphaned John the Baptist is entrusted to Mary in a cave — a moment captured by Leonardo with discreet, dreamlike intensity.
The Confraternity was not satisfied with the delivered work. The size of John the Baptist, his position next to Mary and the placement of Jesus made it too easy to confuse the two children. The painting was therefore rejected and never installed in the chapel as planned.
Leonardo would take more than twenty years to oversee a second version, painted by Ambrogio de Predis between 1495 and 1508. This second canvas, on display at the National Gallery in London, makes the identities clearer: a halo over Jesus, a cross in John's hands, and Uriel's pointing gesture removed. It is this version that ultimately took its place in the Milanese chapel.
Because the original work had been turned down by its sponsors, Louis XII was able to acquire it between 1500 and 1503, bringing the painting into the French royal collections. Today, it occupies room 5 on the first floor of the Denon wing — a favored stop for visitors retracing Leonardo's path through the museum.
The work was created by Leonardo da Vinci with the brothers Evangelista and Ambrogio de Predis, on commission from 1483.
The first version, in Paris, was rejected by the patrons because the two children could be confused. A second, clearer version was produced between 1495 and 1508 and is now displayed at the National Gallery in London.
On the first floor of the Denon wing, in gallery 5.