The two-panel folding icon with the depiction of the main Christian feasts originally belonged to Nikita Grigoryevich Stroganov, as evidenced by the owner’s inscription on the back of the icon. It was donated to the Annunciation Cathedral by Dmitry Andreyevich, Fyodor Petrovich, and Danila Ivanovich Stroganovs on May 2, 1650.

The two panels have a similar composition, both featuring a variety of scenes. The left panel includes “The Nativity of Jesus” and “Fatherhood” surrounded by “Epiphany”, “The Presentation of Jesus Christ”, “The Synaxis of the Most Holy Mother of God”, “The Assembly of the Archangels”, “The Intercession of the Theotokos”, “The Beheading of John the Baptist”, “The Nativity of the Virgin Mary”, “The Dormition of the Virgin Mary”, and “The Exaltation of the Precious and Life-Giving Cross”.

On the right panel, above the centerpiece “Harrowing of Hell”, there is an image of the Old Testament Trinity. To the sides of the centerpiece are the following scenes: “Ascension”, “Doubting Thomas”, “The Myrrh-Bearing Women at the Tomb of Christ”, “Jesus Heals a Paralyzed Man in Capernaum”, “Mid-Pentecost”, “The Assembly of the Apostles”, “Christ and His Disciples”, “Christ and the Samaritan Woman”, and “The Descent of the Holy Spirit upon the Apostles”.

Apart from having outstanding artistic merits, the diptych is unique in that it is unfinished. Its entire left panel lacks detail. The artist did not carve the faces or complete the windows and other architectural details, the trees do not have foliage, and the fabrics and vestments lack folds. Only the silhouettes are present.

The segments prepared for the inscriptions are not divided into letters, which is why the names of the scenes can only be guessed from the images. The unfinished nature of the folding icon provides a unique insight into the process of creating the miniature relief.

Experts believe that separate stages of the process were often assigned to different artists. For example, some artists depicted the main features of compositions and figures, while others specialized in backgrounds or faces. In this case, however, it is obvious that one artist was responsible for the entire process.

Even the unfinished panel is distinguished by exquisite technique and unity of style — both in the general composition and in the arrangement of forms and views. The artist worked in composition styles characteristic of the late 16th and early 17th centuries.