The mural has been poorly preserved, and the painting process is difficult to discern. The northern wall reveals thin horizontal and parallel incisions; these may indicate the division of the areas for the figures, or the incisions may have resulted from the stripping of the upper layers as part of some earlier restoration works (Fig. 4). Given that the mural was painted using the lime technique, no other incisions are expected, as the plaster was most likely dry already before the limewash was applied. On the inner triumphal arch wall, the drapery of the female saint on the top band of the northern side features red drapery lines under the final black contour, indicating the possible use of a red underdrawing (Fig. 5). A thin, slightly semicircular red line can also be found on the fragment of the figure on the southern wall between the triumphal arch and the window (Fig. 6). Throughout the mural, only the basic colour surfaces have mostly been preserved, applied with broad brushstrokes and with no underpaintings to speak of. Moreover, most of the modelling has peeled off, and there are no fine transitions between the hues anywhere. The figures are portrayed in half profile, with round faces and high foreheads. The lines of the face have only been preserved in the case of the lower figure on the northern side of the triumphal arch. We can also discern semicircular eyebrows drawn in a thin black line, with the inner eyebrow continuing into an upturned nose. The eyes are large and feature black pupils (Fig. 7). The figures on the triumphal arch and the northern wall are completed with a broad reddish-brown contour, which separates them from the figures in the window splay, which are finished with a broad grey contour (Fig. 8). The colour layers in the window splays are also stronger and better preserved. This suggests at least another painter, though perhaps working for the same workshop.