Mary, pensive, holds baby Jesus in her lap, robust and erect like a little Hercules. Below, next to them, John the Baptist, just a little older than Jesus, scrutinizes his cousin spellbound, letting his milk teeth leak out. Around, like an architecture of bodies, are Saint Catherine of Alexandria and four other unidentified saints. The story of this panel seems to begin in June 1480: Bona di Savoia, widow of the Duke of Milan Galeazzo Maria Sforza since 1476, turns to Federico Gonzaga, Marquis of Mantua, in the hope that Mantegna, whose fame was at that time without equals, can translate into works of art certain drawings that you undertake to send him. Gonzaga diplomatically denies, but declares himself ready to let her have another table, most likely this one. The Duchess would then take her with her, once she returned to the Savoy land, to Fossano. Evidence of the presence of this painting in Piedmont already in the first decade of the 16th century is given by an altarpiece by an unknown Franco-Piedmontese artist, now preserved in Vienna, which copies the composition and enlarges it.