This image of the Lord was created on a linden wood board. Later, small keys were attached to it from the back. Moreover, it is interesting that the upper one is driven on the left side and passes almost through the picture. When it was driven into the board, the drawing was almost damaged, because the chips began to break away from the main part. So today a very large part of the board is split in two, but still it still holds in place. How long the picture will remain holistic is unknown. In some places, such cracks are connected by ordinary brackets so that the steam spilling the tree does not go further. In other parts of the image, such defects were sealed with an ordinary coarse cloth.
The back side is painted with resistant paint. This was done in order to keep the tree in good condition for a long time. There is also a sticker with a half-erased signature, which means that this picture is an image of the Transfiguration ... icons ...
As for the front side, unfortunately for art critics, it is in poor condition. In some places, the levkas completely disappeared, and the icon gapes with the voids of the bare board. In addition, there are a number of deep cracks.
It is also noticeable that much later individual pieces of gesso were inserted. It looks darker and this distorts the canvas. Particularly clearly visible inserts on the back of Moses. As for the image of Christ himself, we see that without oval inserts it could not do on the belt and back.
Portraying Christ, the artist tried to observe church canons, so he did not depict the ascent of Christ among the mountains in detail. This was strictly forbidden when drawing images of church subjects. We see only translucent silhouettes of these rocks, which creates a certain allusion, but no more. The main attention is paid to the figures of Christ, Moses and Elijah.