The Virgin is sitting, in frontal position, on a throne covered by a cushion. She holds with her two hands the Child who sits on her knees with his right hand raised, the thumb, index and middle fingers straight, with the ring finger and the little finger bent in sign of benediction. In his left hand, the Child holds a globe missing one of its parts, probably a cross. The Virgin is dressed in a long tunic, covered by a chasuble with large sleeves, which falls to her knees, and a long veil which passes behind her shoulders and then comes forward to frame the legs, revealing only a single lock of hair. The Child also wears a long tunic as well as a stole wrapped around his waist and his legs. The Virgin has a fairly large rectangular cavity in her back.

On each side of the Virgin's head her veil opens symmetrically before falling along the neck and widening over her shoulders. The chasuble is made of wide folds falling parallel on the torso and on the arms. The folds of the tunic, are rounded on the sleeves as well as on the legs. The Child's tunic presents sharp folds whilst the stole is arranged in parallel folds giving a layered impression at calf-level.

The throne has almost totally disappeared, and only the seat and the steps, both very worn, still exist. An added cabochon in the chasuble on the chest of the Virgin has disappeared leaving only a trace that it was once there.

The restoration of the statue allowed a study of the polychromy to be carried out in the Research Laboratory of the French Museum. The polychromy, corrected seven times, was probably as follows: blue for the chasuble of the Virgin, patterned green for her dress, possibly red for her veil, yellow for the Child's coat and white for his dress.

Representations of the Virgin holding the Child are found from the earliest Christian images, particularly in the frescoes of the catacombs of Priscilla and Sainte-Agnes as well as on the lid of a sarcophagus in the catacombs of Domitille. This iconography can be found later all over Europe but with a special resonance in the Roman sculpture of the Auvergne.

Chronologically, this statue dates from the height of the production of these Virgins in majesty. The work in the veil around the Virgin’s head as well as in the folds of her dress, the proportions of the face, and, the treatment of the lower portion of Christ’s dress recall quite precisely the Morgan Madonna of the New York Metropolitan Museum and, perhaps even, although not as closely, the Virgin of Our Lady of Roche-Charles near Issoire.