The personages in the art piece are elongated, and the artist has emphasized linear decoration as well as remote facial expressions.
The artist also uses decoration technique that was common in the 14th century known as punched decoration. This is evidence in the painting where one can see flattened pieces of metalwork with designs embedded in the piece. To the viewers’ one could say that this painting is unusual and unique. The audience can see that the child is wearing a coral necklace depicting that it will protect him from evil while also he is holding a goldfinch in his hand symbolizing his future sacrifice. The donor Knight on the left can be said to possess an affluent, aristocratic background because of the Cross of Malta that he wears on his sleeve (Soares 1).
The other man on the right dressed in red can be said to be a high-ranking church official because of the style and colour of his clothing. These two instances of portraiture represent the increasing grandness of the individual in the Renaissance era. The child and Madonna are painted in tempera on wood, and the viewer can see the different armaments of the painting’s dimensions. The aspect of the painting is 48.75 by 21 inches and was painted in Late Medieval. According to Soares, the inscriptions and markings of the painting are Cecchus Petri de Pisis Mepisit AD MCCCLXXXVI, which are painted along the bottom of the painting frame (1).
The use of punched decoration by Pietro is one of the painting’s characteristic that was used in the Early Italian Renaissance painting. This technical innovation used is depicted by the use of flattened pieces of metalwork with designs embedded in the art piece (Soares 1). The Renaissance paintings had engaged frames, which were made of wooden strips affiliated to the outside edge of the panel, which is the case in Madonna and Child painting. This is also evident in the painting Saint Francis Receiving the Stigmata