It was originally in the Pieve di Santa Cecilia in Crevole and now its held in the Museo dell'Opera metropolitana del Duomo in Siena.

[1] Based on his investigation, Vittorio Lusini believes that the panel was probably made for the Church of Santi Pietro e Paolo of Montepescini and then moved to the Augustinian hermitage of Montespecchio.

The setting is that of the Madonna Odigitria of the Byzantine tradition, with the variant of the tender gesture of the son caressing his mother, whose sad expression is due to the premonition of the destiny of sacrifice and death of Jesus, symbolized by the apparition of angels.

Maria's face is more elongated and her eyes are closer to each other, but it is also the greater pictorial delicacy that makes the difference (compare the dimples above the mouth and the backs of the two noses).

The veiled transparency of his robe and the intimate gesture with his right arm towards his mother, very different from the rude fussing of Cimabue's, contribute to making his figure more delicate.