Only the yellow and red colours have been preserved. The pigments include yellow and red earth, which can be inferred from the granulation of the pigment grains visible in the cross-sections (Fig. 1). This has also been confirmed by XRF analyses, which have detected high iron content in both pigments. However, they have also revealed the presence of a specific lead pigment, which is most pronounced in the red colour of the decoration on Christopher’s yellow cloak but much less abundant in the other samples. All indications point to the possibility that a lead pigment of some sort (either lead white or red minium) was a part of the painter’s original palette, which is unusual for al fresco painting, as such pigments are not durable using that technique. This could also have resulted from a subsequent retouching before the end of the 19^th century when the toxic lead pigment was replaced by zinc white. The latter, together with titanium white and chrome green, can also be found on this same sample, though retouching was definitely involved in that case. The binder is lime from the plaster (high calcium peaks in the XRF spectra), but the painter must also have used some organic binder for the al secco parts.