An Unsolved Mystery: The Fate of Leonardo's Madonna of the Yarnwinder

The Madonna of the Yarnwinder (or Madonna of the Yarnwinder ), attributed to Leonardo da Vinci, is a work that exemplifies the technical and symbolic complexity typical of the Renaissance and the Florentine master's approach. This work addresses one of the central themes of Christian iconography, the Madonna and Child, but enriches it with new meanings through a dynamic composition and intricate symbolism. Represented in two main versions—the Buccleuch Madonna and the Lansdowne Madonna —the work was begun around 1499, at a time when Leonardo was deeply involved in the study of nature, science, and perspective.

Historical Context and Client

Leonardo worked on a version of the Madonna of the Yarnwinder in Florence in 1501 for Florimond Robertet, secretary to Louis XII of France. However, it remains uncertain whether the painting ever reached its destination, as it does not appear in the posthumous inventories of the Robertet collection, which has fueled scholarly debate. The first mention of the work dates back to a letter written on 14 April 1501 by Fra Pietro da Novellara, who refers to a painting in progress, describing a work on which Leonardo was still engaged while also pursuing his mathematical and scientific studies. This context reflects the duality typical of Leonardo's approach, which naturally combined art and science. 

At the same time, this period was also crucial for other works: the Madonna Litta , executed in Milan in the 1490s and now preserved at the Hermitage, shares with the Madonna of the Yarnwinder an intimate representation of motherhood, while the Cartoon of Saint Anne , representing the Virgin with Child and Saint Anne, also from the first decade of the sixteenth century, explores similar family dynamics.

Composition and Symbolism

In the Madonna of the Yarnwinder , the Virgin is seated in a natural landscape, with the Child staring at a distaff, a household tool used to collect spun yarn. This apparently simple object is loaded with a much deeper symbolic meaning: it represents the Cross, prefiguring the future sacrifice of Christ. In this way, Leonardo manages to merge the daily dimension of Mary with the premonition of her son's destiny.

This link between the domestic world and the sacred is a recurring theme in Renaissance representations of the Madonna and Child, but Leonardo takes it to a more complex level. The well-known Virgin of the Rocks , for example, presents a Madonna and Child in an equally evocative natural setting, but in that case the landscape gives way to a more mysterious and symbolic atmosphere. In the Madonna of the Yarnwinder , however, the symbolism is more subtle, embodied in the domestic object that becomes a harbinger of sacrifice. Even the position of the Child, who is actively moving towards the distaff, introduces a dynamic that contrasts with the more static representations of the Virgin and Child typical of the late fifteenth century.

Influences and Innovations

The compositional dynamism of the Madonna of the Yarnwinder profoundly influenced other Renaissance artists. Leonardo does not limit himself to representing Mary and Jesus in static and idealized poses, but manages to capture a moment of family intimacy and movement. The Child Jesus is not only a divine figure, but a real child who actively participates in the scene. This approach influenced artists such as Raphael , who in his works, such as the Madonna della Seggiola and the Madonna del Cardellino , expresses the same naturalness in the movements and interactions between the figures.

Andrea del Sarto , in his Madonna of the Harpies , also revisits the theme of the Madonna and Child with a setting that demonstrates a strong Leonardo influence in the treatment of light and volumes, but also in the dynamism of the figures.

The Evolution of Composition

The two major versions of the Madonna of the Yarnwinder — the Buccleuch Madonna and the Lansdowne Madonna —show experimental changes in composition, often visible through pentimenti (changes made during the creative process). Leonardo was accustomed to constantly revising and refining his works, as demonstrated in other famous works, such as the Mona Lisa and Saint John the Baptist . Pentimenti reflect the master's ongoing evolutionary process, as he made changes to postures and details to achieve the desired effect, often in line with his obsession with perfection.

In both versions of the Madonna of the Yarnwinder , the pentimenti reveal that Leonardo experimented with the Child's poses and the arrangement of the distaff, a sign that the master was searching for the ideal composition to balance symbolism and dynamism.

Influence on the Renaissance and Comparisons with Other Works

Leonardo's innovation in this work had a profound effect on Renaissance painting. His ability to insert subtle symbolism and a realistic representation of everyday life, without sacrificing the sacred element, became a model for many later artists. Even in the tradition of the Sacra Conversazione , a compositional structure widespread in the Quattrocento, the Madonna dei Fusi brought a new conception of movement and visual narrative, breaking with the iconic staticity of the Madonnas of the Middle Ages and the early Renaissance.

The theme of the Madonna and Child with hidden symbolism is also found in the Flemish painting of Jan van Eyck , who, with his attention to minute and symbolic details, influenced the development of Italian art. However, Leonardo stands out for his ability to maintain a balance between realism and symbolism, a characteristic that strengthens the narrative effectiveness of his work.

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Debates and Fate of the Work

Despite extensive historical documentation, the final fate of the Madonna of the Yarnwinder remains uncertain. Francesco Pandolfini, Florentine ambassador to the court of Louis XII, mentioned in 1507 a small painting by Leonardo recently brought to the court of Blois and considered "excellent," which could be the Madonna of the Yarnwinder . However, the lack of definitive evidence has led to much conjecture. Some scholars speculate that the work may have entered the French royal collections, but no documents clarify when or why it was removed.

This mystery is reminiscent of Leonardo's many works that have undergone similar paths, such as the Salvator Mundi , which disappeared for centuries before being rediscovered and attributed with debates still open. The troubled history of the Madonna dei Fusi further increases its allure, leaving open questions about its fate.

The structure

Leonardo da Vinci's Madonna of the Yarnwinder (or Madonna of the Yarnwinder ) features a carefully balanced compositional structure, with elements that reflect the master's typical search for harmony and dynamism. Here are the main elements of the work's structure:

The Virgin Mary

Mary is depicted seated in the foreground, at the center of the composition. She is positioned in a natural landscape, a typical background in Leonardo's works, who often uses natural settings to instill depth and perspective. Her position is slightly inclined towards the Child, in a gesture of maternal attention and care.

The Baby Jesus

The Child is at the center of the action, standing or leaning on his mother's lap. He looks with interest at a distaff, the instrument used to collect the thread, which he holds in his hands. His attitude is lively and dynamic, in contrast with the solemnity of the Virgin. Jesus' movement toward the distaff — as we have seen — prefigures his future sacrifice, since the object symbolically alludes to the Cross.

The Distaff

The distaff (or spindle) is a key element of the work, both compositionally and symbolically. Compositionally, it is placed in the foreground in the hands of the Child, who follows its shape with his gaze. This creates a diagonal axis that runs through the composition and directs the viewer's attention to this element. Symbolically, the distaff prefigures the Cross and the destiny of Christ, suggesting the link between Mary's domestic life and her Son's sacrificial future.

The Landscape

The landscape in the background is rendered with Leonardo's typical mastery of atmospheric perspective. The natural elements—distant mountains, hazy skies—create depth and bring a sense of tranquility to the scene, balancing the symbolic tension of the distaff. This background is not only decorative, but serves as a visual frame that enhances the central composition.

Dynamism and Interaction

Unlike many static representations of the Madonna and Child of the time, this Leonardo composition is dynamic. The Child's posture and his interest in the distaff create a sense of movement. Even the Virgin, although seated, appears actively engaged in holding the Child, as if in a moment of play or teaching.

Use of Light

The light in the painting has no defined source, but delicately illuminates the Virgin and Child, enhancing their volumes and anatomical details. The soft light creates soft contrasts and models the faces and hands, highlighting the crucial details of the composition.

Symmetry and Proportions

The composition respects a classical balance, with the central figure of Mary balancing the dynamism of the Child. The triangular shape that is created between Mary, the Child and the distaff is typical of Renaissance compositions, and gives a sense of stability and harmony.

The painting technique

Using the Sfumato

One of Leonardo's distinctive techniques is sfumato , which consists of creating extremely soft transitions between light and shadow, without sharp edges. In the Madonna of the Yarnwinder , this technique is evident in the Virgin's face and the Child's hands, which are delicately modeled and without marked lines. The sfumato allows Leonardo to create an effect of three-dimensionality and realism, with volumes that gradually emerge from the background.

Glazes

Leonardo used the technique of glazing, which involves applying thin layers of transparent paint to create greater depth of color and luminosity. In the Madonna of the Yarnwinder , this technique is visible in the smooth surfaces of the skin and the folds of Mary's cloak, where the colors seem to glow from within, giving an almost luminous quality to the fabrics.

Atmospheric perspective

Another fundamental technical element is the use of atmospheric perspective . This technique, typical of Leonardo, is used to create depth in the background. As the elements of the landscape move away, the colors become softer and more nuanced, and the details less defined. This not only creates a sense of vastness and realism in the space, but also emphasizes the central figure of the Virgin and Child.

Study of light

Light plays a crucial role in the Madonna of the Yarnwinder . Leonardo does not use a direct or clearly identifiable light, but rather a diffused light source that softly illuminates the protagonists, without creating harsh shadows. This use of light contributes to giving a sense of serenity and intimacy to the scene, accentuating the volumes through light tonal variations.

Attention to anatomical detail

Leonardo was a master of human body observation, as demonstrated by his anatomical studies. In the Madonna of the Yarnwinder , the Child is depicted with remarkable anatomical precision, showing the way the skin stretches over the muscles and bones. The Virgin's hands are also painted with great accuracy, highlighting Leonardo's ability to blend anatomical realism with an aesthetic sensibility.

Symbolism through drawing

The underdrawing of the figures, often visible through pentimenti (compositional changes during the work), demonstrates the importance Leonardo placed on structure and composition. These experimental changes reflect the process of evolution of the work, which was continually reworked and refined. In the Madonna of the Yarnwinder , it is clear that Leonardo made changes to the posture of the Child and the arrangement of the distaff, demonstrating his experimental approach.

Oil tempera technique

Leonardo used oil tempera on wood, an innovative technique for the time, which allowed him to obtain a wide range of chromatic and transparency effects. This technique combines the rapid drying of tempera with the flexibility and chromatic depth of oil, allowing him to create soft shades and complex transitions.

Curiosities about the Madonna dei Fusi

A Subject Tied to Domestic Life and the Cross

The subject of the distaff, the household tool for collecting thread, is both a representation of Mary's daily life as a mother and a powerful symbol of the Cross. This simple, everyday tool anticipates the destiny of Jesus, alluding to the sacrifice on the cross, but inserted in a context of apparent maternal serenity. The use of a household object to express such a profound concept is one of the distinctive features of Leonardo's art.

There are two main versions

There are several versions of the Madonna of the Yarnwinder , but two are considered to be partly attributable to the hand of Leonardo: the Buccleuch Madonna and the Lansdowne Madonna . These two versions share similar compositions, but have some variations in detail. Both are believed to have been developed simultaneously in Leonardo's workshop, as evidenced by the pentimenti visible in the preparatory drawings.

Pentimenti: A Work in Evolution

Pentimenti, or compositional changes visible beneath the surface of the painting, are hallmarks of Leonardo's working method. In the Madonna of the Yarnwinder , the underlying drawings show that Leonardo made significant changes to the composition, experimenting with variations in the Child's posture and the position of the distaff. These pentimenti reveal Leonardo's experimental approach, as he continually reworked the composition to achieve perfection.

An Opera for the French Court?

One of the most intriguing mysteries of the work concerns its patron. Florimond Robertet, secretary to King Louis XII of France, commissioned a version of the Madonna of the Yarnwinder in 1501, and it is believed that the painting may have been intended for the French court. However, it is unclear whether the painting was ever delivered. Some art historians speculate that the work may have entered the French royal collection, but no official document confirms its fate.

Isabella d'Este and the Hunt for the Painting

Isabella d'Este, one of the most influential figures of the Italian Renaissance, was eager to obtain a painting by Leonardo for her collection. In 1501, she sent Fra Pietro da Novellara to Florence to persuade Leonardo to complete a commission for her. In a letter, Fra Pietro described a small work that Leonardo was working on, which is believed to be the Madonna of the Yarnwinder . However, Isabella never succeeded in obtaining the painting for her collection.

The Connection with the Ambassador of Florence

In 1507, Francesco Pandolfini, Florentine ambassador to the French court, mentioned that a small painting by Leonardo had been brought to the court and hailed as an extraordinary work. It is speculated that it may be the Madonna of the Yarnwinder , but there is no definitive evidence to confirm this identification. The painting, however, does not appear in a posthumous inventory of Florimond Robertet's collection, leaving its fate still a mystery.

The Theft of the Buccleuch Madonna

The Buccleuch Madonna , one of the most famous versions of the Madonna of the Yarnwinder , was stolen in 2003 from Drumlanrig Castle in Scotland. The work, thought to be partly by Leonardo, was recovered only four years later, in 2007, and was returned to the collection of the Duke of Buccleuch. This event increased the media interest around the work, making it one of the most discussed in the collection.

The Recognizability of the Composition

The composition of the Madonna of the Yarnwinder had a lasting influence on later representations of the Madonna and Child, particularly in the High Renaissance. Artists such as Raphael and Andrea del Sarto took inspiration from the dynamism of the scene and the naturalness of the poses, breaking with the more static tradition of sacred depictions.