A young woman stands nude at the center of the composition, her body illuminated against a muted, shadowy background. She raises her right arm high, holding a two-handled cup aloft, while her left hand grasps a tall staff topped with a pine cone and entwined with fluttering white ribbons. A crown of green leaves encircles her long, flowing hair, echoing the foliage that decorates the marble bust beside her.

The bust, set on a pedestal to the left, depicts a bearded male figure with a wreath, and a plume of smoke rises from a bronze brazier in front of it. The woman’s gaze is directed upward toward the cup, her expression serene and absorbed, as if engaged in ritual or celebration. Her bare feet rest on a pelt marked with dark spots, suggesting animal skin, which adds a tactile element to the foreground.

The background is painted in cool, subdued tones of blue and grey, with indistinct forms that hint at a wooded or outdoor setting. Light falls softly across her skin, modeling her figure with subtle gradations of color and delicate brushwork. The paint surface reveals smooth transitions and careful blending, especially in the rendering of flesh and drapery-like ribbons.

The composition is anchored by the strong vertical of the staff and the upright figure, balanced by the horizontal line of the altar and the bust. Details such as the intricate ironwork of the brazier’s stand and the curling smoke contribute to the sense of ceremony and atmosphere. A faint suggestion of bare tree branches is visible in the upper right background, rendered in thin, sketchy lines against the blue-grey sky.

The lower left corner shows the ornate, scrolling legs of the brazier’s stand, which cast subtle shadows on the stone surface beneath. The woman’s left foot is slightly lifted, with her toes curling against the pelt, emphasizing the tactile quality of the animal skin. The paint is applied more loosely in the background, with visible brushstrokes and less defined forms, creating a contrast with the careful modeling of the central figure.