The halos are neither incised nor decorated with pouncings. The only incisions that can be detected are very thin and barely visible horizontal (perhaps also vertical) bordure lines, for which a ruler must have been used (Fig. 4). The underdrawing was applied in a light red colour, which can still be clearly seen, especially in the modelling of the faces of the figures under Mary’s mantle. In some spots, the darker final contour painted over it is still visible (Fig. 5). There are no underpaintings: the broad uniform colour surfaces are in fact the basic colour tones of the floor, the background, and the draperies, on which the painter subsequently applied the modelling. The facial features of the main figures are mostly blurred. The manner in which the painter modelled the faces is best seen in the secondary figures of people huddling under Mary’s mantle in intercession. They indicate a less skilled folk painter who conceived of elongated but slightly rounded faces with broad round chins (Fig. 5). The eyes are relatively small and narrow, and in some places, only a slightly lighter red shading of the upper eyelid can still be discerned. The eyebrows are set high, slightly semicircular and drawn with the same broad line as the eyes. The nose, which continues from the inner eyebrow, has a rounded tip and is somewhat “potato-shaped”, featuring wide, casually shaped nostrils, further defined by an inner line. The mouth has mostly been preserved only as a central line, rounded upwards with accentuated corners, creating a slight smile. Characteristically of this painter, the figures on Mary’s right side feature three lines, starting from a point under the chin and diverging towards the neck. The hands are extraordinarily narrow and long, featuring thin parallel fingers, so they look rather unnatural. The supporting figures may be the work of an assistant, as Mary’s face, painted frontally, looks somewhat more elegant despite its poor preservation: it is more elongated, with a low forehead and a long nose that opens into wide nostrils (resembling a three-feathered clover), while the eyebrows are thin and set high above the narrow and elongated eyes. The preserved red colour indicates fleshy lips. Remnants of colour modelling with darker layers can be discerned around the eyes, along both sides of the nose, around the chin, and along the outer line of the face, while especially the forehead, the nasal ridge, and the cheekbones are brighter and thus stand out. On Mary’s hands, it is still possible to see the basic ochre layer with darker reddish modelling, applied in broad strokes along all the fingers and the upper part of the palm at the sleeve (Fig. 5). Colour modelling has also been partly preserved in the Baptism of Christ scene on the southern side of the triumphal arch. For both Jesus and St John the Baptist, the painter used the same pinkish-ochre basic tone as for Mary’s carnation. However, the shading appears darker in places (especially on John’s left cheek), which is otherwise characteristic of male carnations. The painter used a broad brush to apply shading along the outer edges of the torso, arms, and legs, leaving the central parts brighter. In this manner, he designed a three-dimensional body, though somewhat clumsily. However, despite the modelling, Christ’s body in particular comes across as schematic due to the awkwardly shaped ribs, drawn only as parallel horizontal lines almost reaching the waist; the painter was obviously not well-versed in anatomy. In both scenes, the figures are concluded with a strong and broad reddish-brown contour. The modelling of the draperies has only been preserved in the case of Mary, who wears a red-green dress and a red mantle with white lining over her shoulders. Her slim and long figure is presented en face, and she has broad round shoulders, so she appears disproportionate and stocky despite her slimness. The red and green colours were applied with a broad brush, while the additional modelling of the skirt’s folds can now barely be seen, as only the remnants of broad dark-green vertical strokes are still visible (Fig. 5). They were obviously applied to the plaster when it was already dry. The painter used broad brushes, and no fine modelling can be found.