The painting, executed in a vertical format, depicts a group of saints gathered around Mary, who holds the Christ Child on her lap. There are six figures in total. They are shown against a green, folded curtain, which reveals a narrow strip of sky on the left. The scene is viewed straight on. Light falls from above, from the left side. The artist used intense, vivid colors—especially green, blue, and red—creating a harmonious color composition.

At the center of the painting sits Mary with the small Jesus on her lap. The strongest light falls on their figures. Mary sits with her hands folded in prayer, turned slightly to the left. A nimbus is a luminous halo surrounding the head of a saint; Mary’s head is encircled by one and inclined downward. Her gaze is directed at the Child. Mary has dark hair, with side sections braided into a decorative plait wrapped around the back of her head. The lower part of her hair falls loose down her back. She wears a garment of intense red, and over it a blue mantle. The lining of the mantle is golden, visible where the material curls at her arms. Mary sits on a stone bench. At the edge of the bench is the artist’s signature: “LLO[T]US”.

On Mary’s lap lies the sleeping Christ Child. His back rests against her right thigh, with his legs supported by her other leg. His head is tilted and lifted upward, turned to the right. The Child has short, dark brown hair. On either side of his head, at the top and center, are golden rays. With his left hand he touches his chest. He lies on a white veil placed on Mary’s lap. The fabric is draped over her right shoulder and bent left arm, creating a cradle-like form.

On the left side, halfway down the vertical edge, stands Saint Francis of Assisi. He is turned slightly to the right, showing his right side to the viewer. His hair is dark, as is his beard. His head is surrounded by a nimbus. He has dark eyes, and his gaze is directed toward Mary. He wears a dark brown habit with a hood. His hands are clasped in prayer.

Next to St Francis, on the right, is an elderly man. Only his head is visible. He faces the viewer directly. He wears a dark hood over his head, which is also encircled by a nimbus. His eyes are closed. He has long, grey moustaches. This figure is interpreted either as St Jerome or St Joseph.

Beneath St Francis, to the left of the Christ Child, is a young boy—St John the Baptist. He is turned to the right. He has abundant, brown curly hair. A nimbus surrounds his head. He looks at Mary with half-closed eyes. With the index finger of his right hand, he points to the sleeping Child beside him. Young John the Baptist holds his left hand to his right shoulder, gripping a dark cross. He is dressed in a dark brown animal skin tied around his shoulders and waist.

Behind Mary, on the right side, stands St Catherine of Alexandria. The woman looks at the Child over Mary’s left shoulder. Her face is illuminated. Her hair is golden, braided into a thick plait and coiled around her head. She wears a wreath of leaves and a thin string-like headband. The string goes around her head and across her forehead. At its center is a blue flower, with two smaller red flowers on either side. A nimbus surrounds her head. She has a high forehead and a soft, rounded face with a double chin. Her eyes are directed downward, toward the Child. She wears golden necklaces. With her right hand she touches her neckline; in her left she holds a golden palm, the symbol of martyrdom. She wears a rich, dark gown with puffed red sleeves. Her left sleeve is fastened with a golden brooch and blue-pink ribbons. At her feet, behind Mary, lies a large wooden wheel—the instrument of torture used on St Catherine.

In the upper left corner a fragment of blue sky is visible, with light, fluffy clouds. The figures are set against a dark green, rippling drapery, which contrasts with the central red and blue tones. The green serves as a neutral backdrop, highlighting the symbolic colors of the figures. Harmony of composition is achieved through the use of complementary colors (red–green, blue–orange), creating dynamic contrasts and emphasizing the key elements of the painting. The subdued shades of the habits and drapery intensify the vibrancy of Mary’s red and blue garments, balancing the palette and making the scene colorful yet not overwhelming.

The work comes from the early period of the Venetian artist Lorenzo Lotto. The Adoration of the Christ Child was a frequent subject in sixteenth-century Venetian painting, yet the artist managed to present it in a unique way. The white cloth in which the Child rests not only creates the impression of a cradle, but also evokes the shroud in which Christ will be laid in the tomb. The Child’s sleep is an allusion to Jesus’ death on the cross. Mary holding the Child also recalls the pietà—the image of Mary holding the body of the dead Christ.

Audio description: Emilia Szymańska
Consultation: Adrian Wyka
Content consultation: Miłosz Kargol