In this painting, after drawing out the initial forms in thick black strokes of paint, Husain proceeded to develop the muscular forms of the horses with thick impastos laid next to each other in pleasured strokes, resembling the homogeneity of the Byzantine tesserae tiles. His exposure to the stained glass work in local churches and cathedrals abroad had helped him to enhance this form of layered impasto marks. The strokes executed with a palette knife, glistens in light like the jewelled tesserae tiles or ceramic glass tiles.