Secrets of the gestures: decoding Leonardo da Vinci’s "Madonna of the Rocks"

This isn’t just a religious scene—it’s a psychological drama. It depicts the Holy Family fleeing to Egypt, sheltering in a grotto where infant Jesus meets his cousin John the Baptist.

In the first version (1483–1486), figures form a pyramid. Mary centers, embracing kneeling John, her hand over Christ’s head. Infant Jesus blesses John in return. The mystery lies with archangel Uriel in red—he points at John, creating overlapping arms that confused viewers: who is central? The monks commissioning it sensed an offensive hidden meaning, sparking a 20-year dispute. They forced Leonardo to paint a second version (1495–1508), clearly elevating Jesus.

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