This 16th-century Flemish painting arrived at the CAEM yellowed by oxidized varnish and with small losses, especially in the lower area, as well as with some minor overpainting that made its aesthetic appreciation difficult. In addition, due to a marked deficiency, the work showed small traces of purpurin around its perimeter. After solvent tests, the overpaintings were removed, with the surprise of revealing a fur collar on the neck of the Virgin and a pelt, hidden beneath the overpainting of a plain red sleeve. This detail served to underline the Flemish origin of the work and its unequivocal closeness to the master Joos van Cleve (active in Antwerp between 1511 and 1540), creator of this highly successful iconographic formula. After studying with natural materials in imitation of the original, the missing areas of the work were reintegrated using watercolours (reversible in water) through the delicate tratteggio technique. The restoration process has not only restored the work to its original splendour, but has also made it possible to refine its technical and stylistic understanding and to better specify the attribution of this piece of exceptional quality.