The painter used deep and wide incisions for Christ’s halo, designed as a quatrefoil within a circle, while the head was not incised. The quatrefoil was decorated with parallel ray-shaped pouncings perpendicular to the head. The halo was additionally accentuated with a broad black contour, which, however, does not strictly follow the incised circle. The underdrawing was made using a dark red colour, visible on Christ’s right shoulder and right arm. While completing the works, the painter covered the underdrawing with a black contour, still preserved in some parts of the mural. There are no underpaintings, while the local tones are restricted to the background, draperies, and carnation as the bases on which the painter subsequently applied the modelling. Much of the colour modelling has been lost. Christ’s head is elongated, characterised by a high forehead, a long, straight nose, and an elongated cheek. The eye is wide open, with a notable, almost straight lower line and a strongly sloping upper eyelid, further emphasised by a line above it, while a slightly semicircular eyebrow arches over both. Between the eyebrow and the eyelid, ochre shading has been preserved (Fig. 4a), reminiscent of the shading of the eyelids of some of the figures in the succursal church of St Nicholas in Žužemberk (Fig. 4b), such as the depiction of St Nicholas on the interior triumphal arch wall and some of the figures in the scene of Christ’s miraculous walk on the Lake of Gennesaret with St Nicholas on the exterior wall. For the eye and the eyebrow, the painter used a dark brown colour, like the one found in hair modelling. The hair falls over the ears towards the shoulders and is designed with light- and dark-brown strands and a black outer contour. The dark strands were painted over a bright background, as seen in the cross-section of the sample taken from the hair (Fig. 3). The brown colour was also used to paint the hand with long fingers ending in semicircular nails. The colour modelling of the draperies can no longer be discerned, mainly because of the brown colour applied over the mural and because much of it has probably fallen away. The painter combined broad and thin brushes, which is particularly evident on Christ’s head. For the background and the bordure, the master only used broad brushes. Ochre circular decorations made with a stencil have been preserved on the left-hand bordure.