In the case of the mural under consideration, we can discuss both at the same time. There is no sinopia in the sense of a drawing on the lower layer of plaster. Instead, it was drawn on a layer of whitewash over which new layers of whitewash, intended for colour applications, were added. Thus the drawing remained under the whitewash and, as long as the lime coating was fresh, showed through. It seems that in some cases, when the original preparatory drawing was no longer visible, the painter helped himself with additional preparatory drawings traced on the new layers of lime whitewash – for example in the case of the bishop’s attribute on the triumphal arch. He mostly used a very diluted red-brown paint, in some places also yellow, which is clearly visible in the damaged areas of the painting (fig. 3). There are no incisions, pouncing, or underpaintings. However, the painter did use local colours as a basis for subsequent modelling, most of which has fallen away.

The carnations of the faces are painted in grey, which was also the colour used for shading. The painter used this method particularly for the nose, which he did not outline with a contour, but instead drew a broad grey line thatalso functions as a shade for the sides. In the same manner, he also modelled the shades under the eyebrows and by the bridge of the nose. He shaded the cheek above the moustache with a stroke that reached the ears while shaping the mouth with an even darker shade of grey. Like the pupils, the eyes are accentuated with a black contour. The hands are mostly unpreserved: it is only possible to discern that the palms were narrow, while the fingers were long and awkwardly shaped. All we can see now is a white base and a dark red contour outlining the hands. The painter shaped the strands of hair on a grey or ochre-yellow base, on which he drew sinuous lines that have mostly fallen off. We can no longer assess how he shaped the folds of the draperies, as most of them have also peeled away. He decorated some of the garments with patterns: for example, Saint Bishop features a quatrefoil medallions pattern, probably made with a stencil because a slightly thicker layer of paint is visible at the edges of the patterns (where the brush touched the cut-out), while the saint on the southern wall has simple yellow circles arranged around his garment. Once the painter had applied the base colour, he would add more limewash for the subsequent paint layers, but always only in the size of the surface he intended to paint.