sheet (on the back of which was a red Om symbol with yellow surround), this painting features Krishna with Arjuna, the legendary archer and warrior, in a chariot, being pulled by the enchanted seven-headed horse Uchchaihshravas. With the album arriving at the height of the glam or glitter rock musical trend, Clayson writes of this image: "a British teenager might have still dug the gear worn by Krishna in his chariot … Androgynous in beaded kaftan, jewelled fez and peacock feather, and strikingly pretty, the Supreme Personality of Godhead was not unlike some of the new breed of theatrical British chartbusters." For the album's striking front-cover image, Wilkes used a Kirlian photograph of Harrison's hand holding a Hindu medallion. The photo was taken at UCLA's parapsychology department, as was the shot used on the back cover, where Harrison instead holds three US coins: a couple of quarters and a silver dollar. The gatefold's inner left panel, opposite the album's production credits, showed Harrison and his fellow musicians – Starr, Horn, Voormann, Hopkins, Keltner and Wright – at a long table, laden with food and wine. A deliberate parody of da Vinci's The Last Supper, the picture was taken in California at the mock-Tudor home of entertainment lawyer Abe Somer, by Hollywood glamour photographer Ken Marcus. As with the US coinage used on the back cover, various details in the photo represent what Harrison termed the "gross" aspects of life in the material world. Clayson has speculated about the symbolism and hidden messages within the photo: whether the nurse with a pram, set back from and to the left of the table, was a reference to Boyd's inability to conceive a child; and the empty, distant wheelchair in memory of Harrison's late mother. Theologian Dale Allison observes the anti-Catholic sentiment within this inner-gatefold photo, following on from Harrison's lyrics to his 1970 song "Awaiting on You All". Harrison is dressed as a priest, all in black, sporting an Old West six-shooter – "a slam at the perceived materialism and violence of the Roman church", Allison writes. On the back cover, underneath the second hand-print design, text provides details of the fictitious Jim Keltner Fan Club, information on which was available by sending a "stamped undressed elephant" – for: self-addressed envelope – to a Los Angeles postal address. This detail was an affectionate thank-you to the popular drummer (Starr would repeat the