Iconographically it follows the "Madonna of Mercy" type: while looking towards the spectator the Virgin holds back the edge of her robe the better to receive and protect the three kneeling friars, for whom the Child's blessing is intended.
This elaborate intermingling of echoes from Cimabue and Byzantine art, with the added softness of Duccio's personal touch, includes elements of the new artistic language from beyond the Alps.
The tiny square panels of the backcloth, an innovation substituting the usual gold ground, are of clear French derivation.
Thus, the measured breadth of contour, the sinuous curving of the robe's hem and the smooth masses of colour form part of a wider spatial dimension, where the Gothic predilection for linearity and flowing outlines reaches its maximum expression.
The features of the supplicating friars and the throne, a simple wooden seat placed obliquely to create an effect of perspective, reflect the teaching of Cimabue.
The unusual posture of the Child's legs belongs entirely to Duccio, however, who repeats the gestures of the early Madonna of Buonconvento and the Rucellai Madonna.
