On other occasions Mr Ó Flaithbheartach renders two or more scenes separately and then includes a certain detail in each as a means of linking them. For instance, hung in Saint Luke’s (it is meet and right that a church dedicated to this saint should function as a gallery) is a quartet of representations of rural activities –nutting, ploughing, haymaking and harvesting–, all featuring the Star of Bethlehem, in the usual form of a cross (a memento mori?), shining above the countryside even though it is the middle of the day. This illustrates the idea that the Lord is with us constantly, not just when we think of Him, as the vicar puts it.

A third way in which Mr Ó Flaithbheartach executes his artwork is by applying a different colour with each of the simultaneously utilised brushes. These might be widely disparate, or they might be neighbours on the spectrum, distinguished by subtleties of hue. He once exhibited a sextet of monochromes that incorporated three hundred and sixty tones of red. Sometimes he selects colours randomly; othertimes he employs a form of gradation, or some other factor influences his choice. An obvious example would be having the landscape green for spring, yellowing for summer, brown for autumn and white for winter, though this simplistic scheme is not one he has ever followed.

Mr Ó Flaithbheartach has experimented with affixing different brushes to the prongs and Mr Boffin has tried to develop a version suitable for comparable work with charcoal or pastels, but it is the original that has yielded the most success.