The drama of opening the shutters of the triptych is enhanced by the glittering central panel that is revealed. There we see an image of the Virgin and Child seated on a sumptuous throne, surrounded by saints. Her exalted status is emphasised by her large size (in comparison with the saints at her side), by the throne upon which she sits and by the celestial sky behind her throne. The magnificence of this setting contrasts with the poverty of the surroundings in the earlier scenes, where the Virgin sits on the ground.
In comparison with other well known representations of the Virgin and Child enthroned, such as Giotto's Ognissanti Madonna (fig.1) and Duccio's Rucellai Madonna (fig.2), Daddi creates a more intimate version with the Child looking towards the Virgin as he reaches out to touch her face. She in turn looks down at the Christ Child with a mixture of tenderness and sadness - a portent of her future sorrow with the death of her son. Both Giotto and Duccio portray a more formal image, with both the Virgin and the Christ Child gazing out towards the spectator, whilst the Christ Child gives his benediction.
