There are no pouncings or incisions. The depiction of St Christopher clearly features a red underdrawing in several areas, covered in places by a darker red-brown final contour. The latter can be distinguished, for example, on Christopher’s belt and the knot in the middle (Fig. 6). A vertical red line dividing the two scenes, stamped with a string dipped in red colour (Fig. 7), is also clearly visible. The red underdrawing is not discernible in the case of the Virgin of Mercy with the mantle, except for the part of the mantle that extends to the depiction of St Christopher. The underdrawing for the portrayal of the Virgin Mary seems to have been painted in black (e.g. Mary’s arms, the upper part of her mantle, and the faces of the intercessors), while the final contour was also applied using a thick black colour rather than brown (Fig. 7). While Jesus’ face has not been preserved, Christopher has an elongated head with a broad and high forehead, his face narrowing slightly triangularly towards the chin. His eyes are large and wide open, while the eyebrows are unified with the line of the upper eyelid. This is a quite remarkable design, as in medieval mural painting, the eyebrows are usually separated from the eyes. A straight but broad nose, starting with a wide nasal ridge but ending in a narrower tip with narrow nostrils, continues from both eyebrows. The full mouth features a longer upper and shorter lower lip, while a diagonally placed moustache grows from under the nose. There is barely any colour modelling; the face has a basic light-coloured carnation with a bit of ochre shading applied only around the eyes and along the nose. The saint’s neck is shaped in a darker ochre colour, while the two V-shaped tendons – probably one of the features characteristic of this painter – stand out brightly. The dark-brown hair around Christopher’s head falls down his neck to his shoulders. Mary’s face seems to be different, though. It is more rounded, her chin is broad and emphasised with a line in the middle, while regarding her eyes, it is impossible to discern whether the preserved semi-circular line depicts eyebrows or similarly shaped large eyes as in the case of St Christopher. Given the broad nasal ridge and the barely perceptible large iris of Mary’s right eye, it seems more likely that her face was modelled like that of St Christopher. Unfortunately, her nose has not been preserved, while her mouth is smaller and more pouted. It has also blackened; perhaps it was painted with minium. The basic shape of the intercessors’ faces resembles Mary’s, as they are also circular. However, they have been heavily retouched and quite a few have been reconstructed, so we do not know what they were like originally. The intercessors’ eyebrows are set rather high and their eyes are mostly partly closed, featuring prominent upper eyelids and round irises, while the lower eyelids are practically non-existent. The noses come across as somewhat potato-shaped, while most mouths are smiling. The modelling of the hands and feet is only seen in the case of St Christopher. The saint has long, narrow hands with long, thin fingers. Over the basic light-pink colour of the carnation, the painter applied darker shading running along the back of the hands to the fingers, emphasising the tendons. He also shaded the insides of the palms in this manner. Jesus’ feet appear flat but are still beautifully modelled with their small, thin, parallel toes. They are shaded around the ankles and along the inner edge of the instep and toes. The draperies are modelled with darker folds, which the painter applied on top of the basic colours using a broad brush. The upper part of Christopher’s cloak, hanging over his shoulders, is painted rather schematically, as the folds are drawn with darker parallel lines without any discernible shading or soft transitions between colours. It is possible that the subsequent shading has fallen off. The saint’s coat, decorated with small squares all over its surface (probably with the help of a stencil), also looks flat, resembling armour. There is no softness to the fabric, nor can the saint’s body be discerned under the tunic. We should underline that the bodies of St Christopher and St Mary are designed in the same manner, with broad shoulders and narrower torsos tapering to slender waists and then widening with a curve at the hips, resulting in a particular sort of elegance. The halos of the two figures are different: while the saint has a simple one, painted with only the basic yellow colour and a single outer dark outline, Mary’s is red and shaped with a double outer line. The composition of what appears to be a single plaster underneath both scenes, the shape of the two main bodies, and perhaps their faces suggest that the mural is the work of the same master. On the other hand, the different colours of the underdrawing and the final contour, the diverse choice of pigments, and the varying halos support the two painters hypothesis. If they painted on the same layer of plaster, they must have belonged to the same workshop, as they worked simultaneously.