The Madonna of the Yarnwinder (Madonna dei Fusi) is a subject depicted by Leonardo da Vinci in a painting begun in 1499 or some time later. It is known today from several versions, two of which are thought to be partly by his hand.

The composition shows Virgin Mary with the Christ child, who looks longingly at a yarnwinder used to collect spun yarn. The yarnwinder serves as a symbol both of Mary's domesticity and the Cross on which Christ was crucified, and may also suggest the Fates, understood in classical mythology as spinners. At least three versions are in private collections, two of them in the United States, including the one previously known as "The Landsdowne Madonna".

Leonardo was documented as being at work on the original picture in Florence in 1501. Its patron was Florimond Robertet, the Secretary of State to King Louis XII of France.

The version of this painting often regarded as the most likely to be by Leonardo is now in the National Gallery of Scotland in Edinburgh, on loan from the Duke of Buccleuch. It hung in his home in Drumlanrig Castle, Dumfries and Galloway, Scotland until it was stolen in 2003.

Leonardo di ser Piero da Vinci (Italian pronunciation: [leoˈnardo da ˈvintʃi]  pronunciation (help·info); April 15, 1452 – May 2, 1519, Old Style) was an Italian Renaissance polymath: painter, sculptor, architect, musician, scientist, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer whose genius, perhaps more than that of any other figure, epitomized the Renaissance humanist ideal. Leonardo has often been described as the archetype of the Renaissance Man, a man of "unquenchable curiosity" and "feverishly inventive imagination". He is widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived. According to art historian Helen Gardner, the scope and depth of his interests were without precedent and "his mind and personality seem to us superhuman, the man himself mysterious and remote". Marco Rosci points out, however, that while there is much speculation about Leonardo, his vision of the world is essentially logical rather than mysterious, and that the empirical methods he employed were unusual for his time.