Much of the painting was outlined with thin incised lines, suggesting the use of a template for the figures. We can thus discern thin, shallow, and barely visible incisions for the upper pointed bordure, the cross, and a double line for the round halos. The figures of Mary and St John the Evangelist were incised as well, as in some places, we can make out thin lines indicating the figure’s edging, parts of the drapery such as the folds of the mantle, and some other drapery folds. Nevertheless, a red underdrawing was also used, especially for the body of Christ. It can be seen, for example, on Christ’s left hand or on the lower edge of the INRI inscription band (Fig. 3). The underdrawing is mostly covered by layers of colour and a black final contour. The basic colour layers were applied as primary colour tones. An underpainting was used for the entire Mary’s halo; in some places, a red colour layer shows from under the black layer. Originally, the halo was probably yellow and painted with lead yellow, which has eventually blackened. The draperies still feature a bit of modelling, especially shading and highlighting of the folds that once created volume. Only Christ’s white tunic was designed with only black lines for the folds. The figures are elegant, slender, and presented in a three-quarter profile. The faces are round and very precisely shaped. The painter’s work around the eyes, placed under semicircular eyebrows, was meticulous (Fig. 3). He used a thicker black stroke for the upper line of the eyelid, a thinner one for the lower line, and placed an elongated but not particularly large eye between them. A small nose with semicircular nostrils protrudes from the inner eyebrow. The mouth is fleshy, and the lips are divided by a black horizontal line. The same design was used for all three figures, while Christ is the only one whose eyes are closed. His entire body features an even black contour, emphasising his chest and ribs. The carnation of the faces is pink, though this layer of colour has barely been preserved. The hair of both male figures is ochre and modelled with broad dark brown streaks to create waves and curls. The hands of all three figures are elegant, featuring long fingers and various positions, though they are disproportionately large. The same is true of the bare feet (St John the Evangelist), which appear spatula-like. The colour modelling of the carnations has not been preserved. The flowers filling the bright background were probably made using a stamp, while a stencil may have been used for the heart-shaped tendril decorating the upper bordure.