Mary sits at the left, cradling the Christ Child in her lap, her head gently inclined toward him in a gesture of quiet intimacy. Both figures are set against a green hanging that fills the left side of the background, its folds rendered with broad, visible brushstrokes. Behind them, a landscape opens to the right, with slender trees rising against a luminous blue sky and distant hills, their trunks painted in deep browns and their foliage lightly brushed in.

The light falls from the left, illuminating Mary’s pale face and the Child’s body, casting subtle shadows that model their forms and give volume to the drapery. Mary’s robe is a vivid red, edged with white at the sleeves, and covered by a blue mantle that sweeps across her lap and shoulder, its folds described with fluid, confident strokes. A transparent veil covers her auburn hair, catching the light and revealing delicate highlights along its edge.

The Child’s skin is softly modeled, with rosy tones at the cheeks and limbs, and his hair is rendered in loose, golden curls. The composition is intimate and informal, with the figures placed off-center and the landscape opening diagonally behind them, creating a sense of depth and gentle movement. In the lower right corner, the edge of a stone ledge or step is visible, painted in pale tones and partly shadowed.

The green hanging on the left is bordered at the bottom by a narrow strip of wood or stone, painted with rough, horizontal strokes. The sky in the background transitions from a deep blue at the top to a lighter, almost white hue near the horizon, suggesting atmospheric depth. The paint surface shows areas where the brushwork is loose and textured, especially along the folds of Mary’s blue mantle and the transparent veil draped over her arm. Following Bache’s death, the painting was acquired by the Metropolitan Museum of Art in 1949.