The panel depicts the Virgin holding the blessing Child with her left hand and a mirror with her right; the throne on which she is seated is covered with a checkered fabric. Under the predella you can see the small figure of the client and the inscription: IN GREMIO MATIRS FULGET SAPIENTIA PATIRS. The icon can be considered one of the most significant in the region. The iconography of the Virgin, while connecting to the others present in Abruzzo for the linear layout of the image and a certain elongation of the figures, stands out due to the lack of any naturalistic and popular element. The search for a certain formal elegance is evident in the oval of Mary's face, on which the features are firmly outlined, and in the bundles of the folds of the dress, whose sober volume is underlined by gold highlights and a skilful combination of the colors, from the bright green of the veil, to the red-bordered brown of the robe, to the yellow of the Child's tunic. Attributed at first by Garrison to an Umbrian-Marche painter working between 1275 and 1285, close to the author of another Madonna kept in the Museum of Toledo, it was later recognized as the work of an Abruzzese artist, datable to around 1250. -1275. The panel can be compared to the manner of the Madonna di Mercatello signed by Bonaventura di Michele, from the second half of the 13th century. According to Federico Zeri (1988) this panel is one of the rare Italian paintings painted not directly on wood, but on a sheet of parchment, then polished and glazed ... The panel comes from a Benedictine refuge in Sivignano di Capitignano (AQ) on whose ruins the Church of S. Pietro was erected in 1702 (date documented by an inscription placed on the lintel of the door).