As the mural is fragmentary and heavily retouched (fig. 1), it is difficult to discern the painting process. It is possible that incisions were used for the curved top of the crosier, the crown held by the two angels, and perhaps also for the angels’ wings, though we cannot say for sure, as they are almost imperceptible. The use of incisions can also be expected for the bordure and the triangular decorative elements in its central band. The underdrawing was outlined in yellow-orange colour. A small part of a yellow line shows from under the colour layer used for the carnation of the left angel’s right hand (fig. 1), and a similar drawing can also be seen on the collar of the right angel. The colours for the faces, draperies, and background are applied locally, and there may be a grey underpainting under the blue. The colour modelling, if any, has not survived: all that remains are flat colour surfaces. The modelling of the faces has been heavily restored, although the lines generally follow the original. The angels’ eyebrows are semicircular and placed high above the eyes. The eyes are large, semicircular on top, flat on the bottom, and featuring large black irises. A potato-shaped nose with a prominent nostril continues from the inner eyebrow. The mouth is fleshy, heart-shaped, and vivid red, while a line separates the lips in the middle. The lower lip is also emphasised with a line, and the left angel has two semicircular wrinkles at the corners of his mouth. The neck is stocky and the hands clumsy and too large compared to the head. The painter drew the final contour in a broad black line, which he also used to outline the face.