The halos of all the figures were incised and decorated with dense radially arranged pouncings (Figs. 4, 7). These incised lines are rather sloppy in places, as they cross the outer edge of some halos (Figs 4a, 7a). The heads of the saints were also outlined with incisions, as were some other objects such as the apostles’ attributes (the key, the sword), the jar held by Mary Magdalene (Fig. 7c), the crowns of St Dorothy and St Stephen on the window splays (Figs 4b, 8), Dorothy’s collar, and the hilt of the knight’s sword on the southern triumphal arch wall. Because the mural has been heavily retouched, it is difficult to make out the underdrawing. It seems that yellow and red colours were used. A thin yellow layer has been found on two cross-sections taken from the spots where the lines of the preparatory drawing can be expected, both in the chancel and on the exterior side of the triumphal arch (Figs. 1b, 3). A broad yellow line can also be seen in several places on the cloak of St John the Evangelist, especially where the subsequent colour layers have fallen away, for example on his right shoulder, along the folds of the cloak, and around both arms (Fig. 7b). On the other hand, we can also see a mostly dark red contour, especially for the modelling of the faces and hands (Figs. 4, 7, 8). In some places, the final black contour applied over the dark red colour is still preserved. However, interpreting the red contours calls for some caution, as the slightly brighter hue is probably the result of the reconstruction during the restoration works. The two colours of the underdrawing could indicate the work of two masters, but perhaps it was just a matter of work organisation – while the draperies were outlined in yellow, red was used for the faces and hands. The faces are quite specific, with accentuated, large eyes featuring long almond-shaped outer corners. The inner line of the eyelid arches above the eyes, topped by a long, thin eyebrow, which rises in the middle as it follows the shape of the eye until it falls in a slight curve towards the temple. A shorter, potato-shaped nose protrudes from the inner eyebrow, while the mouth is outlined mainly with a long central line with accentuated corners of the mouth to convey a smile and a short lower line defining the lower lip. The faces feature high foreheads and oval chins. The carnations have not been preserved everywhere. However, where they still exist, we can see colour modelling transitioning from light to dark tones, though applied with broad brushes so that there are no truly subtle transitions between the hues (Fig. 7). The basic carnation is light pink, with darker pink shading on the upper part of the forehead, along the nose, under the eyes, and on the lower cheeks, so that the bright cheekbones stand out plastically. The master also drew a strong pink shadow under the chin. He then applied ochre colour as a stronger shadow under the eyebrows and finished the shading with a grey varnish in some parts. He also painted the neck using broad horizontal and slightly rounded strokes, with alternating lighter and darker pink hues to create shading. The female carnations are lighter and mostly painted in pink tones (Figs. 7a, 7c), while the male ones are darker in colour, as the painter also added ochre shading to accentuate the lower eyelids, cheeks, and necks (Fig. 7b). In the case of St John the Evangelist, he also emphasised the space between the nose and the mouth. The modelling in the mural’s lower band (the apostles) appears better and more precisely executed (Fig. 7b, 7c) than the example in the upper band of the chancel termination (Figs. 4, 8) and on the vault. This could mean that the latter was painted by another, less skilled master, or perhaps it is simply due to the loss of colour modelling. A similar design can also be discerned on the stocky hands with thick fingers, which appear out of proportion with the body. Here, the colours were also applied from lightest to darkest, as the painter shaded the inner edges of the fingers and the upper part of the hand. A cross-section of the sample taken from the hand of St James the Less (Fig. 9) reveals the order of the colour layers used during the modelling of the carnations, with the thick basic pink colour layer standing out. The latter was made with a lot of white lime, which probably also served as limewash adding binding power to the subsequently applied pigments. However, such a thick colour layer can easily peel away from the painting base, which has resulted in many gaps in the mural. The figures wear various garments: most are dressed in tunics and cloaks, wrapped around their bodies and arms in various ways. Some of the figures are portrayed wearing fashionable clothes, with tight trousers and jackets reaching to their knees. All of the draperies were painted based on the chosen colour, on which the painter added folds using a broad brush and then subsequently modelled them, sometimes in a darker hue of the base colour and occasionally also in a different colour, such as red to shade a blue or green coat. Some coats, for example the one worn by St John the Evangelist (Fig. 7b), are adorned with a repeating pattern, suggesting the use of stamps or stencils. The patterns are flat and do not reflect the drapery’s movement. Stencils were also used to make the decorative bordures. As the garments’ colour layers have completely fallen off, they were probably applied to the already dry plaster. Let us also underline the exceedingly simple depictions of the four evangelists’ symbols on the vault, whose shapes appear exceedingly clumsy and were painted using broad brushes. The appearance of these symbols indicates that their author was not very skilled, which is already obvious from the modelling applied with broad brushes and without any subtle transitions between the hues. The figures on the vault and the triumphal arch were designed in the same manner as those on the chancel walls (Figs. 10). Their figures are slender, and their clothes follow the same fashion trends, featuring long, narrow sleeves reaching over the wrists and broad collars decorated with wide bands from which distinctively chunky necks protrude. The design of the heads, faces, and hairstyles is also the same as in the chancel. Based on this and the composition of the plaster, we can conclude that the murals are the work of a single painter or workshop rather than two separate murals.