It is possible that there is a sinopia under the mural – i.e. a preparatory drawing made on the lower layer of plaster, the arriccio. This can be assumed based on the Italian Trecento style of painting, in which this painting process was common, but, above all, because sinopie were discovered underneath the removed scene with Mary and the saints (which used to be located next to the lunette in question and is now stored at the Restoration Centre of the Institute for the Protection of Cultural Heritage of Slovenia) as well as on the Mary with Jesus scene in the former monastery church. In the case of the mural in the relevant lunette, the sinopia cannot be confirmed with certainty because no parts of the intonaco are missing to reveal the layer of plaster underneath. The lunette mural has been thoroughly retouched, making the evaluation of the painting process rather difficult. The halos were incised in fresh plaster with a double line and decorated with short ray-shaped pouncings around the head. The outlines of the heads were also incised (Fig. 4). Jesus’ halo is clover-shaped, featuring pouncings only on the leaves. The painting does not always precisely follow the incised lines, as can be seen on St Elijah’s head, where the hair depicted on the inside of the face does not exactly adhere to the incised line. The semi-circular top edge of the scene might also have been incised with a thin line. The underdrawing is probably red, but it is impossible to identify it with certainty anywhere, as it is hidden well under the colour layers. For example, a red line can be seen between the carnation and the hair on the upper edge of Mary’s forehead and the lower edge of her right eye, where the pink colour of the carnation extends over the red line (Fig. 4). There are no underpaintings, while the blue background and Mary’s mantle are painted with a mixture of a lot of black and just a little white, applied directly to the plaster (Fig. 3). The scene portrays four figures. There are notable differences in the designs of the male figures, the female figure, and the figure of the child, which was a common manner of depiction in the Middle Ages. The faces of both saints are elongated, featuring prominent cheekbones and long, narrow noses ending in small, beautifully shaped nostrils. While St Nazarius is depicted en face, St Elijah is portrayed in a three-quarter profile, so his inner nostril is almost entirely hidden behind the nasal ridge due to the perspective. The eyes are almond-shaped and end in elongated points towards the temples. A slightly blurred greyish-brown stroke defines the narrow lower and upper eyelids, while the edges of the eyes are accentuated with dark brown contours (a slightly thicker one for the upper eyelid, while we can also see short strokes for the eyelashes on the lower one). The almost straight eyebrows are placed not too high above the eyes. They are only slightly arched, while the area between the eyebrows and the upper eyelids is shaded with a dark ochre colour and, subsequently, also with grey. The mouth is hidden under a moustache, and it is only possible to see the fleshy lower lip, which used to be red, as can still be discerned in the depiction of St Elijah. The male figures’ carnation is darker, based on dark ochre and additionally shaded in ochre and reddish tones. Meanwhile, the deepest shades were painted in brown and grey, which is especially visible under the eyelids, along the nose, and on the lower part of the cheeks near the chin. Finally, the painter applied white highlights to the cheekbones, along the nose, and on the horizontal wrinkles on the forehead, while finishing the work with a red-brown final contour. Mary’s face (and probably also the face of Jesus, which has been destroyed and can no longer be seen) has a rounder, softer shape, while its carnation is lighter and more pink (Fig. 4), as was typical of female and children’s figures over the centuries. The eyes are also almond-shaped; the longer upper eyelid stands out, while the lower eyelid is shorter and semi-circularly accentuated. The upper eyelid is outlined with a thin red line, while the edge of the eyes is accentuated with a dark brown contour. The almost straight, thin eyebrows extend from the nose to the temples. The upper dark contour has fallen off almost entirely, and the bright red line of the initial colour layer is visible underneath. A long, straight nose, which continues from the eyebrows, has been severely damaged, but the same shape as in the case of both saints can still be discerned. The mouth has been almost completely destroyed, but it was probably bright red and fleshy. On the inside of the forehead and eyebrows, along the inside of the nose, and on the cheeks, the painter applied a darker pink, red, and ochre shading to the basic light pink carnation. Thus, the outer side of the forehead and the cheekbones remain bright. He completed the face with a red-brown contour. Identical modelling can be seen on the hands, which appear slightly too small for the body but are elegantly shaped with narrow palms and fingers. The modelling was clearly applied to dry plaster, as the boundary between the plaster and the basic pink colour layer is clear (Fig. 2a). This can be best seen in the relevant cross-section under UV light (Fig. 2b). On top of this basic pink colour layer, it is possible to see white highlights, corresponding to the colour modelling at the point where the sample was taken. St Nazarius wears white gloves, shaded with grey tones and outlined with a black contour. Some parts of the carnation on the figure of Jesus (his feet, the right knee, torso, upper arm, and hands) are still preserved. In those areas, we can also discern light pink basic modelling and shading with darker ochre and pink, while the final contour is reddish-brown. The drapery is modelled with broad strokes of light and shades formed by the folds. As with the carnations, the painter began by applying the chosen basic colour of the garment and then applied the folds using a semi-dry brush in a darker colour, sometimes even in two or three tones (a well-preserved example is the garment of St Nazarius, Fig. 5). He accentuated the tops of the folds with strong white highlights, which have mostly fallen off, though. He always modelled from light to dark, while at the very end, he would apply the white highlights and final dark contours.