This image depicts the Virgin seated on a golden throne, holding the Christ Child on her lap as if presenting him to the viewer. Dressed in white and holding a gold cross in his right hand, the haloed Saint Theodore, revered as a warrior saint and a martyr in the Orthodox church, stands to the Virgin's right, while Saint George in red, also haloed and holding a cross, flanks her left.

All four figures are depicted in colorful fine robes and face forward, stern and motionless, with prominent eyes confronting the viewer. The hierarchical composition elevates the Virgin slightly, and the gold edging of her chair sets her distinctly apart. With right knees bent as if to step forward, the saints reflect the influence of classical Roman art and convey the presence of a more human and material world in contrast to the Virgin's heavenly throne. Behind the figures, two haloed angels turn their heads in profile to gaze toward the hand of God, from which a triangular beam of light streams down, illuminating the Virgin's halo. The composition presents a complex interplay between the physical materiality of the saints and Mary and the near transparency of the angels and the divine, thus directing the viewer's meditation and prayer to the incarnation of God in Christ through Mary.

This icon is one of the earliest surviving examples of the Theotokos, or Mother of God, the image that dominated Byzantine art and influenced Western art, particularly in the Gothic era's cult of the Virgin. It is also one of the earliest depictions of Saint Theodore and Saint George, who became revered saints not only in the Byzantine Empire but also in the West. In the 4th century Theodore became the patron saint of Venice until the 9th century, and Saint George, believed to be a Roman soldier who was martyred for refusing to recant his faith, became the legendary dragon slayer of the medieval period, the patron saint of England, and the inspiration for countless artworks.