This is one of two versions of the same subject associated with Leonardo. The artist was documented as working on a small picture of this subject in 1501, after his return to Milan from Florence, for the French Secretary of State, Florimond Robertet. It is not clear which of the two paintings went to Robertet, but he appears to have received his picture in Blois in 1507.

The theme of the painting, which is likely to have been made for private devotional purposes, focuses on the mother’s love for her child, showing her gazing down at her son, and on the future passion of Christ. Jesus is completely preoccupied with a yarn-winder which, by virtue of its similarity to a crucifix, is regarded as a symbol of his death.

Mary with her right hand raised in protection, seems to want to draw the child back from the yarn-winder. But the child turns away from his mother’s loving gaze, as his entire attention is focused on the symbol of his future passion.

The basic disposition and dimensions of the figure group in this painting correspond quite closely in both versions, but not so precisely as to suggest direct repetition. Technical examination has revealed strikingly complex and similar underdrawings in both these versions of the painting, indicating Leonardo’s direct involvement in the design of both pictures.

Given the disparity of the painting technique employed in the background, it seems likely that this picture was completed in the master’s studio by another artist sometime after the other Madonna of the Yarnwinder (Duke of Buccleuch) painting under Leonardo’s control, perhaps with his active participation in the final execution of the figure group.

The production of multiple versions of the same theme in Leonardo’s studio may have been a regular practice in response to the demand for images of this popular type.