Its dating to Piero della Francesca's early career is evidenced by the strong relationship with the "light painting" of his master, Domenico Veneziano.

The figure of Christ, John's hand and the bowl, and the bird, form an axis which divides the painting in two symmetrical parts.

The Camaldolese monk and theologian, Saint Ambrose Traversari (+1439), who had been Prior General of the Camaladolese congregation, had been a strong supporter of the union.

Such symbolism is also suggested by the presence, behind the neophyte on the right, of figures dressed in an oriental fashion, usually interpreted as Byzantine dignitaries.

Piero della Francesca was renowned in his times as an authority on perspective and geometry: his attention to the theme is shown by John's arm and leg, which form two angles of the same size.