The entire Twelve Great Feasts that usually adorn a templon have been condensed into this small six-panel icon, each divided into two sections; this must have been an icon intended for private use.
The iconography follows upon types that became more prevalent during Palaeologan times, such as the exaggerated postures of the disciples in the scene of the Transfiguration, or the marked inclination of the body of Christ in the scene of the Crucifixion, both explicitly emotional approaches to these holy events. The elegance of the figures, their gold-embroidered garments, and their wavering postures all create the impression that they are suspended in ethereal light. The compositions are all clear, and harmonize perfectly with the landscape or the architecture in the background. The lack of detail renders these scenes almost monumental, and clearly refers to the monumental art of Constantinople.
