Explore the The Virgin of the Rocks in the context of the "Apocalypsis nova" of this artwork.
Recently, new research emerges to put an end to the intense debate among art historians regarding the Virgin of the Rocks, especially concerning the creation date of the first version and the motif represented in the Louvre and National Gallery versions. This research, presented in the book "THE VISITATION by Leonardo da Vinci according to the Apocalypsis nova" (The true origin of "The Virgin of the Rocks") by Ramón Moreno López de Ayala, proposes a revolutionary interpretation that sheds light on the dating of the work and its spiritual significance.
The traditional theory maintains that the Louvre version was painted by Leonardo to fulfill a commission in 1483 by the Scuola della Concezione, followed by the sale of the painting to another client and the creation of the National Gallery version as a replacement. On the other hand, recent research argues that the work was completed after 1482, discarding theories that placed it before this date.
According to the new approach, the spiritual context of Leonardo's time is essential to understanding the painting. This context is directly related to the Franciscan hermit Amadeo da Silva or Blessed Amadeus of Portugal, who died in Milan on August 10, 1482; shortly afterward, Leonardo arrived from Florence to work at the Sforza Court. The religious man was buried in Santa Maria della Pace in Milan with a manuscript embraced to his chest, on which read the note "Aperietur in tempore" ('It will be opened in time'). This manuscript, prohibited to read until the one chosen by God revealed it to the world, titled "Apocalypsis nova", narrated the eight raptus or raptures to heaven that the blessed Amadeus experienced from the penitential cave of San Pietro in Montorio in Rome, now remembered by the monument erected by Donato Bramante, known as Tempietto.
Moreno López de Ayala demonstrates that the fifth rapture of Amadeo, describing a celestial encounter between John the Baptist and Jesus, served as inspiration for the Virgin of the Rocks. The key detail to associate both accounts is the unusual foreshortening of the Baby Jesus, who is seated and blesses the kneeling baby John, while the archangel Gabriel directs his complicit gaze toward the viewer, pointing to the servant chosen by Jesus. The key proof from the "Apocalypsis nova" extracted in the research is the following Latin text:Iesus vero quasi sedebat et, manu dextra erecta, versus ipsum Ioannem extensa, illum his verbis et eadem lingua benedicebat per modum cantici: ... ('Jesus, however, as if seated and, with his right hand raised and extended toward John, blessed him with these words and, in the same language, in the manner of a song': ...)This text from the "Apocalypsis nova" is preserved, among other libraries, in the Vatican Apostolic Library, with the reference "Vat.lat.3825" and corresponds to page 72r.
According to this theory, Leonardo painted a complex scene that transcends the conventional representation of the Visitation. In the new interpretation, the Virgin of the Rocks represents the biblical moment of the Visitation from a mystical vision, marking the beginning of humanity's path to salvation. The scene focuses on the spiritual dialogue between Jesus and John the Baptist, not yet conceived. The interaction between unborn figures adds a deep theological and mystical dimension to the painting, showing the main figures free from original sin. The work invites the viewer to contemplate the transcendence and mystery of faith. Therefore, the theological and mystical connection between both unborn figures during the Visitation becomes the core of the work, where their interaction reflects the vision of the "Apocalypsis nova" of the blessed Amadeo da Silva in his fifth rapture. 
Amadeo was the brother of Saint Beatrice of Silva, the founder of the Order of the Immaculate Conception.
In conclusion, this research sheds light on the origin and spiritual significance of Leonardo da Vinci's masterpiece, challenging traditional theories and enriching our understanding of this iconic Renaissance work.
Milan Jesus Amadeus of Portugal Leonardo da Vinci National Gallery Beatrice of Silva right Order of the Immaculate Conception John the Baptist John Santa Maria della Pace Louvre Visitation archangel Gabriel Gabriel Vatican Apostolic Library Donato Bramante mystical Sforza Court San Pietro in Montorio