Virgin of Rocks (c1508). Oil on panel. 190 x 120. The Virgin of the Rocks is the name of two paintings by Leonardo da Vinci, of the same subject, and of a composition which is identical except for several significant details. The version generally considered the prime version, that is the earlier of the two, is unrestored and hangs in The Louvre in Paris. The other, which was restored between 2008-2010, hangs in the National Gallery, London. The paintings are both nearly 2 metres high and are painted in oils. Both were originally painted on wooden panel, but the Louvre version has been transferred to canvas. Both paintings show the Madonna and child Jesus with the infant John the Baptist and an angel, in a rocky setting which gives the paintings their usual name. The significant compositional differences are in the gaze and right hand of the angel. There are many minor ways in which the works differ, including the colours, the lighting, the flora, and the way in which sfumato has been used. Although the date of an associated commission is documented, the complete histories of the two paintings are unknown, and lead to speculation about which of the two is earlier. Two further paintings are associated with the commission: side panels each containing an angel playing a musical instrument and completed by associates of Leonardo. These are both in the National Gallery, London. The Virgin of the Rocks in the Louvre is considered by most art historians to be the earlier of the two and dates from around 1483-1486. Most authorities agree that the work is entirely by Leonardo. It is about 8 cm taller than the London version. The first certain record of this picture dates from 1625, when it was in the French royal collection. It is generally accepted that this painting was produced to fulfill a commission of 1483 in Milan. It is hypothesised that this painting was privately sold by Leonardo and that the London version was painted at a later date to fill the commission. There are a number of other theories to explain the existence of two paintings. This painting is regarded as a perfect example of Leonardo's sfumato technique. A very similar painting in the National Gallery, London, is also ascribed to Leonardo da Vinci, and ascribed a date before 1508. Originally thought to have been partially painted by Leonardo's assistants, close look of the painting during the recent restoration between 2008 and 2010 has led the conservators from the National Gallery to conclude that the greater part of the work is by the hand of Leonardo, but debate continues. The painting of the right hand of the Virgin, and the flowers and rocks, are cited by doubters. If not by Leonardo, it was most likely painted by Giovanni Ambrogio de Predis and perhaps Evangelista. It was painted for the chapel of the Confraternity of the Immaculate Conception, in the church of San Francesco Maggiore in Milan. It was sold by the church, very likely in 1781, and certainly by 1785, when it was bought by Gavin Hamilton, who took it to England. After passing through various collections, it was bought by the National Gallery in 1880. Two paintings of angels playing musical instruments are believed to have been part of the composition that was set into the altarpiece. These two pictures, now in the National Gallery, London, are thought to have been completed between 1490 and 1495. One, an angel in red, is thought to be the work of Ambrogio de Predis while the angel in green is thought to be the work of a different assistant of Leonardo, perhaps Francesco Napoletano. The Chapel of the Immaculate Conception was founded prior to 1335 by Beatrice d'Este, wife of Ludovico Sforza, Duke of Milan. The Chapel was attached to the church of S. Francesco Grande, Milan. In 1479 the Confraternity of the Immaculate Conception contracted Francesco Zavattari and Giorgio della Chiesa to decorate the vault of the chapel. In 1480 the Confraternity of the Immaculate Conception contracted Giacomo del Maino to create a large wooden altarpiece with spaces for paintings and with carvings and decoration, to be placed above the altar of the chapel. Final payment was to be made on August 7, 1482. On April 25, 1483, Prior Bartolomeo Scorlione and the Confraternity contracted Leonardo da Vinci, and the brothers Ambrogio and Evangelista de Predis to provide the painted panels for the altarpiece. The contract was not explicit about what each artist was to do. Leonardo was referred to in the contract as Master. Ambrogio de Predis was also a painter. It is presumed that Evangelista de Predis was a gilder and assisted in preparing the colours. The details of the painting, colouring and gilding are set out in the contract.