The differences are largely in the techniques used to create these artworks and in their distinct iconography. The techniques adopted by the Mysore artists are slightly different from those of the Tanjore School. While Tanjore School used white lime powder and powdered tamarind seeds with gum arabic on cloth stretched on wooden panels, Mysore artists used white lead powder ("Makhisafeda") or "Makhi Gamboge" (yellow) drawn from the juice of the indigenous tree ("Revana Chinni halu") on paper. The paper sometimes was pasted to a wooden board, but mostly was framed as it was. As against the high relief of the Tanjore 'Gesso' work used prominently across large areas of the painting, the Mysore school preferred low relief, in selected areas such as jewellery, clothing, and borders. The Mysore school used pure gold leaf in lesser quantity as against gold-coated silver leaf handled across larger areas in the painting by Tanjore artists. The use of glass beads, precious and semi precious stones is also very rare in Mysore paintings. More elaborate and detailed interior and exterior landscapes are featured in Mysore paintings, whereas Tanjore paintings tend to be more iconic and static. In Mysore paintings, the jewellery, costumes, architectural features, furniture, etc. reflect the contemporary style prevalent in the Mysore Palace. The throne on which Gods and Goddesses are shown seated is usually a replica of the Mysore throne in many Mysore paintings.