The very particular composition, which opposes the softly falling mass of the Sleeping Child to the moving and dynamic thrust of the figure of the Virgin, elongated upwards, is very reminiscent of the painter's works of the Palermo period, such as the Madonna and Child of Palermo, Galleria National Museum of Sicily and the Santa Rosalia of New York, Metropolitan Museum, in which the suggestion of Titian is interpreted in the light of a baroque affection and emotion deriving from that frequentation of Rubensian religious works that remained fundamental in the formation of author.

It is far from unlikely that even this Madonna, of which we know only the recent history, has followed a path of this sort, especially since she shows the greatest affinities with the Madonna of the Rosary (Palermo, oratorio del Rosario), commissioned in Palermo on 22 August 1624, but finished and therefore sent only in 1627.