Here are some of the earlier stages of the icon. We worked on a small surface made from ginko wood which was covered with a sheet of muslin soaked in rabbits' skin glue. After the glue had dried, a gesso, made from the glue and calcium carbonate, was applied, building up the surface til a polished painting surface was achieved. The first drawing was with a brush dipped into the yellow ochre (no egg, yet) and feathered on. After the area for the gold was determined, and the adherant for the gold applied, the feather-light sheets of gold were floated over the area and then pressed down. In the final photograph (which I wasn't able to turn--it was Juliana's photo, and, though I could turn the others, I failed with this one)--you can see the small shot glasses of colored powder, and a mix, in the mortar, of the egg yolk and the powdered color. A 'Wallace and Gromit-like' cow keeps watch of my progress. After this, a thin application of ox gall was applied to the areas of the gold that were to be painted over (edges of the ears, for example). Finally, I was ready to begin the mixing of colors, and the painting of layers.