Below the lofty gable crowning the centre panel, the Madonna is seen enthroned on a bench. The infant is wearing a long gown and is standing on her left thigh, touching her hand and breast. Mary is holding a blossoming sprig in her right hand. Behind the trefoil of the framing arcade we see an angel placing a crown on her head. In the wing panels, two more angels with candlesticks in their hands attend upon the central scene. In the work of the Master of the Berlin Madonna Triptych, who was named after this work, the courtly aspects that gave ivory carving of the High Gothic its characteristic appearance in Paris achieved a new peak. The shape and contours of the bodies, the gestures and the handling of cloth, are all especially elegant. The movements are all of a curving, flowing kind, supple and fluent. The dominant impression throughout is of graceful poses, from the striding posture and gestures of the child to the refined attitudes of the flanking angels. The beauty of the eloquent folds of cloth, crafted with the greatest precision, anticipates the Beautiful Style of the late fourteenth century.