Researchers emphasize symbolical cosmological value of a composite circle into which laconically and naturally the image fits. In a circle see reflection of idea of the Universe, the world, unity, comprehensive themselves, space.
The Novgorod iconography of the XV century keeps traditional love to bright, light paints with prevalence of cinnabar. But earlier color had subject character, now it becomes lightful. For example, in "Georgy's miracle about the Serpent" the red background fills icon fields, limits a horse whiteness. In the XV century the red raincoat of Georgy as flash of a flame is born from a dazzling whiteness, from a golden background of an icon.
The icon painter sees origin of this drama at the very beginning of Evangelical annunciation, immediately after emergence of the first spring beam of the Lady Day. The drama happens in Iosif's soul - Maria's husband.
The semantic scale of icon-painting paints is vast. The important place was taken by various shades of the heavenly arch. The icon painter knew great variety of shades of the blue: both dark blue color of a starlit night, and bright shine blue go on, and a set of the tones which are turning pale to a decline light blue, turquoise and even the greenish.
In an icon the attention is concentrated on three angels, their state. They are represented sitting round a throne in which center the eucharistical bowl with the head of the sacrificial little body symbolizing the new treasured innocent person, that is Christ is represented. Sense of this image - sacrificial love.