This paper deals with the approach of the creative process which Michel Damaskinos observed in the execution of the work entitled “The Last Supper” from within a thorough physicochemical analysis of the work’s construction materials and the way in which they are used. The work is a portable icon 109cmx84cmx2,8cm in dimension and must have been painted around 1590. It belongs to St Catherine of the Sinaites Cristian Art Collection and it is exhibited in the church of St Catherine at Heraklion Crete.The methodology which was implemented includes the application of optical diagnostic methods with the use of visible, ultraviolet, infrared radiation and X-rays (black and white and colour infrared photography, ultraviolet photography, infrared reflectography, X-ray radiography and optical microscopy) as well as the application of physicochemical methods of analysis such as spot tests, microchemical technitjues, staining tests in cross sections, electron microprobe analysis, infrared spectroscopy, gas chromatography and X-ray diffraction. The comparative evaluation and study of all results which were considered and especially the identification of the work’s materials were based mainly on stadards composed of original reference samples which were created according to the bibliographical data. The conclusions which resulted from this elaboration are presented below: The wooden support is constructed of three boards of the coniferous fir tree which are joined by hand-made angled iron nails, while as supportive factors in the connection, three rods also made by fir tree are used. On the wooden support is plased the linen fabric.The retension of the fabric on the wood is accomplished with the help of animal glue and the preparation ground layer is prepared with gypsum and animal glue.The initial drawing appears to be constructed with the use of a brush and pigment green earth.The paint layers are created by the pigments which combose Michael Damaskinos’ palette: white lead, white chalk, ochre, sienna, yellow massicot, minium, cinnabar, red lake, azurite, blue indigo, malachite, green earth and animal black. The pigments are mixed with egg yolk, without excluling the use of a small amount of linseed oil in the mixture. The underlayer’s colour of the flesh is attributed by mixing ombre, ochre, green earth, cinnabar, minnium or the massicot, white lead and bone black. The flesh colour of the figures is created by mixing white lead, white chalk, ochre, cinnabar and malachite. The blue underlayer of the robes is rendered by a mixture of azurite, green-earth and white chalk, while the white lead is added to the lightenings. The colour of the orange-red tunics, the curtains and the clothes is rendered by cinnabar while the red surfaces are represented of a mixture of massicot, cinnabar, white lead, azurite and red lake. The yellowish brown tones of the garments can be attributed to a mixture of ocher or sienna with minium, red lake and green-earth, while the additional layers are composed of mixture of red lake and white lead. As far the chemical composition of the varnish layer of the icon is concerned, some preliminary gas chromatography analysis of varnish sample has shown that it does not contain colophony or mastic.