For more on this painting, see Niccolò di Pietro Gerini, Madonna of Humility, One of Three Panels from a Triptych.
The Crucifixion and Virgin Annunciate are painted on a panel of a vertical wood grain that varies in thickness between 2.5 and 2.7 centimeters, including original engaged frame moldings on the front and modern applied moldings on the reverse; the main panel support appears to be approximately 1.4 centimeters thick. An irregular split runs the full height of the panel, roughly 15 centimeters from the left edge. All the front moldings and the spandrel have been regilt. A line of three nail heads, 15.5 centimeters from the bottom of the panel, indicate the placement there of an iron strap hinge, any further evidence of which is hidden by the modern (i.e., nineteenth century) paint and moldings on the reverse. The gilding and paint surfaces have been abraded throughout, and extensive pinpoint flaking losses have been liberally retouched. A larger damage caused by a knot in the panel has been repaired in the right half of the titulus of the Cross, as have losses to the gold ground at either side of Christ’s torso.