The Young Martyr represents both Delaroche's emphasis on historical accuracy and flair for drama and emotionality in painting as it depicts the historical martyrdom of a Christian woman, while, at the same time, an otherworldly halo, emanating above the Martyr's forehead, emphasizes the painting's dramatic, emotional effect.

Oil was Paul Delaroche's medium of choice when painting The Young Martyr, as oil allowed him to manipulate the precise details in the painting over a long period of time, and, therefore, capture a high level of detail for “the appearance of the highest finish.”[3] As such, “the dignity of forms, the striking effect of the chiaroscuro, and those bluish grey tones which seemed to suit so well the touching sadness of the subject,”[4] in The Young Martyr begins in the upper left-hand corner of the painting, where the figures of a man and a woman, embracing each other in terror upon seeing the drowned Christian, are barely visible.

As the sun sets behind the couple, the last rays of light point directly across the painting towards the Martyr.

Also in the upper left-hand corner of the painting, a faint white star can be seen in the sky, just above the grieving couple.

With her body erect (potentially suggesting the rigor mortis),[citation needed] the Martyr, appears both dead and alive.

Although Delaroche is known to have “introduced the genii or muses, who symbolize or reign over the arts,”[8] and to have often idealized female figures, the choice to depict the martyrdom of a young woman may, more truly, have been part of Delaroche's response to the death of his wife, Louise Vernet,[citation needed] in 1845, whom he was known to have included as a figure in many of his paintings, for homage.