For more on this panel, see Master of Città di Castello, Saint John the Baptist.
The panel support, of a vertical wood grain, is 3.9 centimeters thick and appears not to have been thinned or cropped. It retains dowel holes 15 millimeters in diameter along both lateral edges: these are spaced approximately 54.5 centimeters apart on the right edge—5.3 centimeters from the top and 11 centimeters from the bottom, on center—and approximately 53 centimeters apart on the left edge, where the lower hole is 12 centimeters from the bottom and the upper, which has been all but obliterated by worm damage, appears to be 6.5 centimeters from the top. The spandrels and inner molding of the arched top are carved in an added layer of wood 12 millimeters deep, and the top molding of the arch is cut from a 7-millimeter-thick piece of wood superimposed on these. A fragment 3 centimeters tall and 1 centimeter wide at the top-right edge of the right spandrel is new wood and gilding, and a full 8 centimeters width of the left spandrel is also a modern repair, as is the length of top molding that covers it. The lowest 6 centimeters of the arch is original. The gilding and paint surfaces were harshly cleaned in a treatment of 1964 by Andrew Petryn. Dirt in the punch impressions around the halo was gouged out, destroying the profile of the tool marks. The canvas underlayer was exposed in an irregular strip approximately 2 centimeters wide across the bottom of the painted surface and in corbel-shaped areas beneath the spring of the arches. The gold is worn to the bolus underlayer at left and right. There are no significant areas of loss in the paint surface, except across the bottom of the composition, but all the colors are thin and flat due to abrasion.