【聖母瑪利亞、耶穌嬰兒與聖塞巴斯汀和聖洛可】為一典型「神聖對話」（Sacra conversazione）的表現形式，主要用來形容坐在寶座上的聖母子，在其兩旁分別站立二至多位聖人的圖像表現，圍繞聖母子的聖人多採對稱的形式。

畫家將場景設置室外空間，聖母位於雲端上，懷中抱著聖子，從聖母身後散發出一道由小天使群環繞的橢圓形光芒；聖塞巴斯汀和聖洛可站立於地面，分別以其受難的傳統形像出現，聖塞巴斯汀以側臉面向聖母子，雙手交疊於背後被綑綁在樹幹上，身上插有箭，從傷口中仍流出鮮血；聖洛可正面朝向觀者，他一手持掛有行囊的手杖及穿著朝聖者的服裝，象徵其行乞的朝聖者身份，其右手掀起衣服並指向左大腿上因黑死病而導致皮下出血變黑的瘡疤。

根據〈聖者行傳〉（Acta Sanctorum）及〈黃金傳記〉（The Legenda Aurea）等記載，聖塞巴斯汀和聖洛可皆為瘟疫患者的守護人，亦曾列為天主教十四位聖守護者（Fourteen Holy Helpers）之一，從兩位聖人的特殊身份可推斷本幅作品的委託案應與十六世紀黑死病的肆虐有關，而聖母子出現在天空的情景，傳達出聖母為罪人祈求天主赦免的中介者身份。

作品以對稱的三角形構圖強調畫面平穩、寧靜的視覺效果；同樣在人物的動作、姿態與表情亦傳達出莊嚴、肅穆的氛圍，沒有故事敘述性的開展，而是聖人儀式般的展現，說明畫作「祈願」的功能性。(蔡敏玲)

Virgin Mary, Jesus infant with Saint Sebastian and Saint Roch is a classic representation of the "Sacred Conversation" (Sacra Conversazione). It usually depicts the Holy Mother and Child sitting on a throne with two saints standing on either side of them. The saints are usually represented symmetrically.

The setting of the scene is outdoor with the Holy Mother sitting on a cloud with the Holy Child in her arms. Behind the Virgin Mary is an oval halo surrounded by cherubs. St. Sebastian and St. Roch are standing on the ground and appear in traditional poses of suffering. St. Sebastian is facing the Holy Mother and the Child, his hands are clasped and he is tied to a tree trunk, there are arrows in his body with blood issuing from the wounds. St. Roch faces the audience, in one hand he holds a staff with travel sack and is dressed in the attire of a pilgrim to symbolize his status as such. His right hand is lifting up his clothing and pointing to the bleeding, festering wound on his left thigh caused by the Black Death.

According to Acta Sanctorum and The Legenda Aurea, St. Sebastian and St. Roch are the guardians for the plague victims and were listed as part of the Fourteen Holy Helpers of Catholicism. From the unique status of the two saints, it can be deducted that the painting was very likely commissioned in connection with the Black Death. The scene of the Holy Mother and Child in the sky symbolizes their identity as mediators between sinners and God.

This painting has a symmetrical, triangular construction which imparts a sense of serenity and calmness. Similarly, the figures' actions, gestures and expressions lend an air of solemnity and gravity to the scene. There is no narrative development, but instead a ritualistic presentation of the saints, which emphasizes the "prayer" function of the painting.(Min Ling TSAI)