The work reached Acqui after 1510, as evidenced by the client's will which came to light in 1987, and was placed on the Della Chiesa altar in the cathedral, from which it was moved in the 1730s at the behest of Bishop Giovanni Battista Roero di Pralormo [it], who wanted to give it a central role in the new Chapter House he had built around 1734.

[8] Another important stage in its critical rediscovery was the restoration which took place in 1987, which eliminated, as mentioned, the repaintings and brought to light the splendid original colours, revealing it as a true masterpiece of the late fifteenth century in Spain.

[13] Inside, the central panel depicts the Virgin immersed in the landscape with the Child on her lap, who holds in one hand a thread to which a goldfinch is tied, a prefiguration of his Passion, towards which he turns his head with a strong twist of the body.

The donor is kneeling at the feet of the Virgin, who closely resembles, but surpasses in quality in the greater spatial ease and vividness of the portrait, the homologous figure present in the St. Michael of Bermejo in the National Gallery of London.

The lawn on which he rests his knees and on which the scroll with the painter's signature is placed in the foreground, represented in perspective like a folded letter, is strewn with the flowers of May, the Marian month, among which the poppy is recognisable, the wild sage, stock, eryngo and bindweed.

On the side façade, in addition to a street crucifix, there are two arches, one of the two accessible by a staircase, which symbolize the cloister of the convent and the contemplative life that takes place inside it, personified by an elderly friar reading a book leaning on the parapet.