Details were excluded to ensure that the spectator would focus on the theme rather than visual appearance. Linear perspective was replaced by modifying colors, and the transitions between figures and landscapes became fluid. Space was not conveyed primarily by scientific perspective, but by lightening the colour and softening the outlines of figures. The Early and High Renaissance together was birth of new styles and notions of the anatomy.
The initial impression of the two pieces is that The Holy Family with The Infant St. John the Baptist is much more darker and gloomier than Madonna and Child Enthroned with Two Angels. The overall color scheme is the same, only differing in shade. The child in both paintings is draped similarly - a violet to blue cloth that reflects with the light source from the left. On the Madonna, Lippi's translucent headdress follows the contour of her head and drapes down to her chest. He paints waves and overlaps to show the natural wrinkles as if the headdress was one with Madonna. Del Sarto paints hurried brushstrokes in white to indicate a sense of transparency in his Madonna's headdress. Lippi seems more concerned with details. In Madonna and Child Enthroned with Two Angels, the figures and the background follow a strict line. Each piece stands on its own, never crossing into another space. In The Holy Family with The Infant St. John the Baptist, the bodylines and colors blend together smoothly. There are not sharp, abrupt ends between figures and the background as well. .
The Early Renaissance's trend was to use perspective to enhance their art. Lippi creates a linear perspective where all lines meet at a vanishing point behind the Madonna. The spectator is shown great depth in the interior space. The foreground is of Madonna and the child, the angels support the middle ground, and the background is of the apse. Madonna and the child sit on a three-level grand throne.