The altarpiece seems to have been dated between 1520 and 1523. The composition has some original features: inserted in an elegant marble frame, the altarpiece is marked by the imposing flattened architecture open onto the landscape and the tiled floor. The Virgin presents herself in prayer apt to receive the divine message through an absolute twist of the composition while on the right side the angel breaks in, accompanied by the divine light, and catches it behind. Thus, it is reduced by the artist to be a secondary character, having shrunk from the depth in which it is inserted. The Virgin is dressed in two symbolic colors: red indicating humanity and blue, the color of transcendence. The angel, on the other hand, is dressed in white, a color typical of figures that do not have the weight of the body to indicate the spirituality of the celestial figure.

The character who is seen in the background, in the center of the painting, personifies the client. It arises almost on the perspective point of view, attracting the observer’s gaze on himself and thus assuming considerable visual relevance. In the work we perceive a theatrical fiction justified both by the architectural details and by the spectator who faces the background.