The painter used thin, shallow, and barely noticeable incisions for the parallel coloured lines of the upper bordure. He outlined the halos in the same manner and designed them using a double parallel line. A pink underdrawing, particularly visible on Mary’s face (fig. 4), was used to outline the figures. The painter’s strokes are quick and decisive, as can be seen in the drapery of the figure on the left. The colour layers are too poorly preserved to distinguish potential underpaintings. None have been revealed by the cross-sections, nor are they noticeable under the azurite. The painter mainly used local primary colours. The layers are thick and peeling away. This is obvious on Mary’s face, where the underlying greenish colour layer (verdaccio?) clearly covers the underdrawing, which also features remnants of a yellowish carnation. The blackened areas of the eyes and cheeks coincide with potential white highlights (darkened lead white?). Thick layers of colour over the underdrawing can also be seen on Jesus’ feet. The faces are elongated and feature high semicircular eyebrows. Mary has a straight, long nose that continues with a line from both eyebrows, while Jesus has a shorter and more potato-shaped nose, drawn – at least on the preserved underdrawing – with a line proceeding from the inner eyebrow (fig. 4). The long-fingered hands look elegant, at least in their basic outlines. However, the modelling has not been preserved, and the legs are rather clumsy. The draperies are basically drawn with lines for the folds, but Jesus’ clothes suggest that the painter also modelled the folds with shades and highlights. He drew the final contours with a broad reddish-brown outline.