Maronite Qadisha takes its surfaces from the hermitages cut into the limestone gorge of Lebanon's Holy Valley: cells and chapels hollowed from rock, skimmed with lime plaster, painted with ochre and hematite figures, and annotated in small Syriac letters that run beside the images.

The system works in mineral values only — buff-grey cut stone as ground, cedar heartwood brown for structure, lime wash for the plastered panels that carry text. Nothing floats. Every element is either cut into the wall or laid onto it, and the layout steps down the page like the valley's dry-stone terraces.