The panel was purchased by the Italian State in 1959, after being granted in deposit from 1846 to the Parish of San Giorgio delle Pertiche by an anonymous owner. The original location is unknown, although it is legitimate to hypothesize, according to what an inscription of 1711 affixed on the back would suggest, that it was a devotional tablet placed in a public building. The painting, dated around 1441, enhances the series of Madonnas painted between 1440 and 1450 by Antonio Vivarini, halfway between the Byzantine influence and the new central Italian stylistic orientations, in particular those manifested in Florence in the first half of the 15th century. century. There are numerous stylistic references with the polyptychs today in Parenzo (Museum of the Euphrasian Basilica) in Vienna (Vienna, Kunsthistorisches Museum), even if in this case the Virgin is not represented in the usual iconic frontality, but slightly in three quarters, while gently bending the head and holds the Child in a blessing act. The gold background, heavily retouched in an eighteenth-century restoration, gives an unreal atmosphere to the painting, which shows, in the volumetric rendering of the figures, a modern spatial research, and brings the work closer to the great innovations of the Tuscan language of Masolino and Filippo Lippi . Innovative elements can be recognized in the plastic volumes of the faces and in the position of the legs and hands, as well as in the psychological refinement of the characters, also the result of the knowledge of the contemporary works of Jacopo Bellini.