The painting, enclosed in a triple frame (with a wide red band on the outside, white in the middle and black on the inside), is not easy to read due to its precarious condition.
The Virgin is seated on a throne without backrest embellished with red fusiform cushions, adorned at the ends with gilded chevrons.
She wears a blue sleeveless tunic with a red maphoprion on top, which wraps around her head and descends down the length of her person; with her left arm she holds the Child, to whom she turns her right hand; her feet are wearing red shoes.
The face, slightly tilted to the left towards the Child is oval; it appears marked by highlights that thicken around the eyes and follow the movement of the arched eyebrows and eyelids; the eyes are almond-shaped; the nose is long, well profiled and curved at the tip; the small mouth gives the face a sweet and sad air.
The Child sits on the left arm of the Mother, who supports him with her hand; he blesses with his right hand and with his left clutches a closed scroll.
He wears a red tunic. The face is characterised by short curly brown hair, a well-shaped ear, a high forehead, a small mouth, a thin nose and arched eyebrows that lend composure to the image.
Saint John the Baptist is depicted standing, three-quarter-length and facing to the left.
The head, surrounded by a halo, is difficult to interpret: one can make out the slightly long white hair, the high forehead.
The Forerunner wears a red sleeved robe and a blue cloak; with his right hand he blesses and with his left holds an open scroll, unfortunately illegible.
The right foot wears an open sandal of the Roman type.
In the parts where part of the fresco has fallen away, an older pictorial layer can be glimpsed, which is difficult to interpret.
St. John the Baptist is depicted standing, placed three-quarter-length and facing to the left.
The head, surrounded by the halo, is difficult to read: it is possible to make out the slightly long white hair and the high forehead.
The Forerunner wears a red mantled robe and a blue cloak; with his right hand he blesses and with his left holds an open scroll, unfortunately illegible.
His right foot wears an open sandal of the Roman type.
In the parts where part of the fresco has fallen away, an older pictorial layer can be glimpsed, which is difficult to interpret.
The Archangel Michael, identified thanks to the remains of the exegetical inscription in Latin S(anctus) MI located in the upper left-hand corner, is depicted standing, three-quarter-length and facing to the right; with his right hand he clasps the chains of a censer with which he sprinkles incense on the Madonna and Child.
An image that contrasts with the terrifying one enclosed in the niche, of the ‘warrior’ piercing the dragon. He has laid down his weapons, as if to convey a sense of confidence and serenity to the pilgrim who, having reached the end of his mystical journey, would no longer fear the darkness. This vision marks the exit from the dark cavern of the cave.