The Infant Christ lies naked amid curtains and draperies, his left arm propped on a cushion, looking out at the viewer and holding a cross in his right hand. The type of plain wooden cross confirms that this is a depiction of the Infant Christ, and not of the Infant Baptist (who traditionally holds a reed cross). In the upper left the heads of two winged putti are shown gazing towards the Infant.

The picture is clearly influenced by Maratta's work and is of distinct quality. Although its exact authorship is undecided, possibilities include three of Maratta's pupils: Niccolo Berrettoni (1637-82); Andrea Procaccini (1671-1734); and early Masucci (1691-1758).

Probably acquired by Queen Anne, the picture is included on the back wall in Zoffany's painting of George, Prince of Wales and Frederick, later Duke of York, in the Queen's Second Drawing Room (or 'Warm Room') at Buckingham Palace (RCIN 404709). In this scene the painting is placed so the that the Child appears to bless the Royal couple, depicted in portraits below.