What we’re looking at here is the panel but after the ground layers have been applied. So the panel, even when it’s sized, it’s not a very good surface for egg tempera painting. Egg tempera is a very translucent medium, it generally requires a beautifully, perfectly smooth white surface. And so what was done in the Renaissance is to apply multiple layers of what we call gesso, which is that same animal skin glue, but with a white inert filler in it, generally gypsum, that’s applied in many layers and then scraped to be smooth and receptive for the egg tempera paint. So there was no sandpaper in the Renaissance, if you wanted to smooth a layer of gesso—or many other surfaces—you would have to scrape it with a flat, metal, blade. So what was often done for panels is to rub charcoal over that white gesso surface and then scrape it until you don’t see any charcoal any more. At that point where you don’t see charcoal, it’s generally quite smooth. For this panel you see that there’s actually, there’s quite a bit of relief on here. So what had to be done is to create shaped scrapers for specific surfaces. So you see on here, the molding, had a specific shaped scraper so that it scraped it into that exact confirmation.