Why There Are Two Versions of Leonardo’s Virgin of the Rocks

Ever walked into a museum and wondered why the same scene appears twice, painted by the same hand? The answer lies in a blend of patron demands, artistic ambition, and a dash of political intrigue. Below we untangle the mystery behind the two Virgin of the Rocks paintings and reveal what makes each version unique.

The First Version: Louvre’s Virgin of the Rocks

In 1483, Leonardo da Vinci was commissioned by the French king LouisXI’s mother, Duchess Anne of Brittany, to create an altarpiece for the chapel of San Giovanni in Milan. The result was a striking oil on oak panel that now hangs in the Louvre Museum. This early version measures about 199×122cm and showcases a dark, craggy landscape that frames the holy family and an angel.

Key features include:

• Soft, almost invisible, background rocks that give the title its name.
• A toddler John the Baptist holding a reed cross, an iconography that ties the work to the patron’s desire for a symbolic reference to the French monarchy.
• Leonardo’s famous sfumato technique, where edges melt into each other, creating an ethereal mood.

Even after its completion, the work faced criticism from the original commissioners, who felt the composition didn’t highlight the Virgin enough. This complaint set the stage for a second version.

The Second Version: National Gallery’s Virgin of the Rocks

By 1508, the original contract had been nullified, and a new commission arrived-this time from the National Gallery in London. Leonardo produced a second rendition that is slightly larger (about 200×125cm) and brighter in tone. The composition was tweaked to satisfy the patron’s concerns: the Virgin now occupies a more central position, and the angel’s hand points directly at the infant Christ, emphasizing the theological message.

Noticeable changes include:

• A clearer sky with a hint of sunrise, suggesting divine illumination.
• A more pronounced gesture from the angel-her hand rests gently on the infant’s shoulder, guiding the viewer’s eye.
• An altered rock formation that appears smoother, creating a less ominous backdrop.

Leonardo also refined his anatomical studies, giving the children a more natural posture. The second version reflects the artist’s evolution over two decades.

Why Did Leonardo Paint Two?

Multiple forces converged to push Leonardo into creating a twin masterpiece. First, the original patrons-namely LouisXII and the Archbishop of Canterbury, who later owned the work-were dissatisfied with the balance of figures. Their written complaints forced a renegotiation of the contract.

Second, Leonardo’s own curiosity drove him to revisit the concept. He saw an opportunity to experiment with light, anatomy, and landscape composition. By the time he tackled the second version, he had refined his understanding of atmospheric perspective, allowing him to render the sky with a subtle gradient that wasn’t possible in the earlier work.

Lastly, the political climate mattered. The French court wanted a piece that underscored their claim to divine right, while the English patrons sought a more overtly devotional image suitable for a private chapel. Leonardo, ever the diplomat, accommodated both sets of expectations.

Spotting the Differences: A Quick Checklist

Comparison of the Two Virgin of the Rocks Paintings

Feature	Louvre (1483‑1486)	National Gallery (1508‑1510)
Date	1483‑1486	1508‑1510
Location	Louvre Museum, Paris	National Gallery, London
Size (cm)	199×122	200×125
Patron	Duchess Anne of Brittany / French royalty	English private collector (later National Gallery)
Background	Dark, craggy rocks	Brighter sky with sunrise
Virgin’s Position	Off‑center, slightly in shadow	More central, illuminated
Angel’s Gesture	Hands clasped, neutral	Hand on infant’s shoulder, guiding

When you stand before either canvas, ask yourself: where does the light come from? In the Louvre version, it seems to emerge from the rocks themselves; in the London version, it appears as a celestial glow.

How the Paintings Ended Up Where They Are Today

After Leonardo left Milan, the first panel slipped into the hands of French royalty during the Italian Wars and eventually entered the Louvre’s collection in the late 18th century. The second panel traveled a more winding path-sold to an English collector in the early 1600s, displayed in a private chapel, and finally donated to the National Gallery in 1864.

Both paintings survived the turbulence of war, looting, and changing tastes. Their preservation owes much to the thick oak panels Leonardo chose, which resisted warping better than canvas.

Understanding the Symbolism

Beyond the visual changes, the two works carry layered meanings. The infant John the Baptist, holding a reed cross, hints at the future martyrdom that would cement the saint’s role in French identity. The angel’s subtle smile in both pieces suggests a bridge between the earthly and the divine, a theme Leonardo revisited in his later works like the “Annunciation”.

Leonardo also hid scientific curiosity within the scenery. The rock formations echo his studies of geology, while the delicate play of water droplets on the foliage reflects his fascination with optics.