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The surrounding panels are filled with smaller scenes, rendered in a similar style to the central figure. On the left panel, we see figures gathered around what appears to be a building or structure; on the right, another group congregates within an architectural setting that echoes the composition of the left side. The upper portion of the triptych features two additional small panels, each containing a single figure in profile against a gold background.
The color palette is restrained, relying heavily on reds, blues, pinks and golds. The use of gold leaf creates a luminous quality, emphasizing the sacred nature of the subject matter. The figures are depicted with elongated proportions and stylized features, characteristic of the artistic conventions prevalent during the period in which this work was created.
The arrangement suggests a hierarchical structure, placing emphasis on the central figure as an intermediary or source of knowledge. The smaller scenes likely illustrate episodes from his life or teachings, providing context for his significance. The architectural details within these scenes suggest a connection to institutional power and religious authority. The overall effect is one of reverence and solemnity, intended to inspire contemplation and devotion in the viewer.