The consecration crosses on the southern and northern walls and the remnant of the zig-zag bordure on the western wall were painted in a dark red colour on a white base (probably limewash), using broad brushstrokes. There are no discernible incisions, and neither can we establish whether the bordure was painted at the same time as the mural on the northern wall. Nevertheless, the red colour of the bordure appears to be the same as the strong red contour under both scenes. The dragon was outlined using very thin incisions (Fig. 1), as were probably also the bodies of both horses and St George’s sword. However, these characteristics must be interpreted carefully, as the lines of the modern reconstruction of the bodies were also incised over the infills used to repair the missing parts of the mural. Interestingly, it appears that the horse’s legs were first drawn using a grey underdrawing that the painter later emphasised with a black final contour. The latter does not always precisely adhere to the underdrawing, as can be seen in several parts, for example on the hind leg of the horse in the supposed scene of St Martin sharing his cloak (Fig. 1). Only the lower parts of the two horses in both scenes have been preserved, and they look unnatural with their long, thin and perfectly straight legs spreading out into broad hooves. The painter outlined the animals with black strokes without any discernible colour modelling. However, a bit of colour modelling remains on the body and the right foreleg of George’s horse, which appears to have been dark ochre. Meanwhile, the remnants of the red colour on the body could belong to the decorative cover of George’s horse, which terminates in a zig-zag. Both George’s and Martin’s horses feature yellow stripes, which are still partially visible under both animals’ legs and around the neck of George’s horse. The supposed beggar on the far right of the mural is also merely outlined with a black contour. While one of his feet ends in long parallel toes, only the big toe and a part of the next toe are visible on the other. However, it seems that the two feet were painted wrong – the left on the right and vice versa. The purpose of the circles at the level of the beggar’s knees may be to define the knees, from where a broad, straight yellow line runs to the ankles. At that point, it widens to colour the ankles and then continues along the soles of the feet. This could be a sort of extremely simple colour modelling. The garment is outlined with a broad yellow stroke and finished with a black contour. There is no interior modelling. More colours have only been preserved on the dragon in the St George scene, depicted using a combination of yellow and green. Both colours were applied flatly with broad brushes. The mural is a simple linear painting dominated by broad strokes and a thick black contour.