Painted towards the end of his career, Murillo idealises this sacred subject and yet imbues the mother and child with a remarkable humanity, particularly in the carefully combed hair of the child and the realistic way he plays with the rosary beads. Murillo was an active member of the Confraternity of the Rosary at his parish church of La Magdalena in Seville, and it is possible that the painting could be linked to such a brotherhood. The painting's fine linen canvas and the ultramarine pigment used for the intense blue of the Virgin's drapery, both expensive materials, suggest that the commission was important.