There are no incisions or pouncings. The red underdrawing is visible in several spots, but much of it has also been reconstructed. It can mostly be seen on the faces and hands, where it has been preserved as a final contour. However, in just a few places, it also shows from beneath the broad black contour outlining the figures (Fig. 5). Because of the many retouches, the original painter’s brush strokes are difficult to discern. The figures, shown from the hips upwards, are elegant and feature diverse gestures. They are all depicted frontally and with identically conceived faces, dominated by large, wide-open eyes resembling the shape of a water drop. The eyes narrow outwards in an elongated shape, surrounding the large, black pupils without touching them. Some of the upper borders still retain the broader stroke that creates the upper lid. Highly placed semicircular eyebrows arch over the eyes. Only the prominent nasal tips and wide nostrils have been preserved of the noses, though in some places, we can still sense the nasal line running up to the eyebrows. The mouths are outlined with a straight central line ending in accentuated corners. These create a slight smile, with the lower lip only indicated by a shorter lower line. It is possible that colour modelling was once used for the lips, but none of it has been preserved on any of the female saints. Also characteristic are small ears that protrude from the oval heads with broad cheekbones and pointed chins. Despite the various gestures, the hands, designed with broad parallel fingers, look clumsy and oversized. All the saints have the same hairstyle, with long blonde hair falling over their shoulders. Only a bit of modelling, slightly darker than the yellow base, can be detected. The garments, mostly decorated with emphasised collars and cuffs, are diverse, ranging from tunics and cloaks to fashionable dresses. There is no colour modelling, though the folds have been preserved, outlined using a firm stroke and a broad brush in various colours: black, yellow, red, and even light blue. All female saints stand under a trilobed architectural vault supported by side columns with simple two-coloured capitals. The painter attempted to create an immersive space of illusionistically shaped niches using various background colours. All the figures are outlined with broad black contours, just like the Lamb of God at the very top of the triumphal arch, whose torso was also painted using short and thick black strokes.