The canvas is a fine linen weave. Although no sample could be taken, distemper is probably the technique used*. No gesso preparation could be found. Further, while this painting appears to be unvarnished, there is a very slight surface gloss that might indicate remains of a coating material or fixative. Finally, even though the painting is documented as being under glass since the beginning of the 19th century (Bossi, 1839) it displays a characteristic grey layer, and the colors have darkened.

The presence of vertical pointed stripes on either side of the composition is puzzling, yet in keeping with the painted porphyry frame around the St. Sebastian in the Louvre and the Presentation in Berlin, both by Mantegna (Christiansen, 1994). On the right side of the painting there is a thin black strip on the inside and dark grey one on the outside, while on the left only a white strip can be discerned. The halo of the Christ is painted in shell gold.

A careful examination of the edges shows pronounced stretch marks and tack holes with remnants of rust, which exclude the possibility of it being glues to the support by its edges like Mantegna’s Ecce Homo in Paris. Most likely the painting was mounted on a strainer, like the Presentation in Berlin, with a flat woven insert in the back, which gave the appearance of a panel (Boorsch, 1992).