Unfortunately, the mural in question is only a fragment that has not been well preserved. It is possible to discern thin incisions for the horizontal lines of the bordures. The underdrawing was traced with a semi-dry brush and in black colour, which can be seen in some places under the red draperies as well as under the yellow colour of the chalice (fig. 4). The basic colour layers were applied with broad colour brushes, which is particularly visible on the lower horizontal bordure. The colour modelling of the draperies, based on shading that conveys the depth of the folds and highlights on the tops of the folds, has been preserved. Despite the lack of subtle transitions between hues, it appears that the mural was painted by a good painter who mastered both, painting and the al fresco technique itself. The final contours are thick and reddish-brown, as we can still see on the edge of the drapery just above the chalice in the upper fragment. The vegetal decoration of the window splays was painted with a broad semi-dry brush in single strokes, outlining the leaves of the stylised plants. Thin but clearly visible diagonal incisions form a grid on which the varicoloured plants were placed. However, the grid, clearly serving mainly for orientation, does not always coincide with the black edges of the decorative diamonds. A ruler was used to incise the lines, which sometimes got misaligned and had to be corrected (fig. 5).