In the past, the painting was hammered and covered with a new layer of plaster, leaving it severely damaged. The hammered parts were filled in during the most recent restoration works, and the painting was heavily retouched. The painting process and modelling had already been partly evaluated before the retouching. Some of the halos were incised in fresh plaster and decorated with ray-shaped pouncings, while on some of the figures, incisions were also used to accentuate the collars and sleeve edges of the garments. The figures depicted on the vaulting ribs do not reveal any incisions; perhaps they were not made because of the thin plaster. The painter also outlined the entire composition on the fresh plaster, using black for the underdrawing. This is best seen on the northern wall, on the arches of the architecture (which coincide with the remains of the coloured arch on the right side of the wall) and on the lower centre part of the same wall between the three preserved apostles, where the columns of the architectural niches were outlined with quick, imprecise strokes (Fig. 6). The final mural does not always precisely coincide with the underdrawing, which was apparently used only as a draft. In many places, the underdrawing is covered by limewash. In some of the figures, it appears that the painter also used a red underdrawing, which he then covered with a strong black final contour (Fig. 7). Basic colour tones were mostly used, and no underpaintings have been detected as colour layers below the upper colour layer. Many of the faces have been destroyed as the colour layer has fallen off. We can also see a rather schematic face modelling with a black contour used to paint the strong, slightly semi-circular eyebrows, extending from the root of the nose to the edge of the head. Underneath are large, wide-open eyes with large pupils. The noses are straight, though some of them appear slightly potato-shaped. In the frontally portrayed faces, only one side of the nasal ridge is outlined, while the other is indicated with a pink shadow descending from below the eye. Small mouths with pointed tips of the upper lips are heart-shaped. In several places, their vivid red colour has been preserved. For the colour modelling of the carnation, the painter applied the colours in several layers, mostly on top of the basic orange colour, as can still be clearly seen in the figure of St Nicholas (Fig. 3a). He applied several thick layers over the basic colour, which seem like limewash but vary slightly in tone. The first one or two layers are white, followed by one or two layers of a slightly denser light pink colour, ending with yellow and pink modelling. A cross-section of a sample from the face of the abovementioned saint also reveals a sequence of colour layers (Fig. 3b). There are no fine strokes indicating the use of a thin brush. The highlighted nasal line with a vivid red line and the pink-coloured area around the eyes represent a particular feature of this painter. He also used the same pink colour to outline the cheekbones, the outer edges of the three-quarter profiles and the wrinkles on the forehead, as well as to finish the forehead just below the hairline. The strokes are uniform and decisive. Finally, he probably painted the bright red dots to liven up the cheeks and used the same colour for the mouths, which, however, have mostly fallen off – except in the case of the angel next to Christ in the mandorla on the eastern wall. He also modelled the necks, either with horizontal, slightly curved pink strokes on a white base or with white diagonal V-shaped lines on a pink base. He applied the black contour as a finishing touch. The hands are narrow and feature long fingers. They are modelled in a similar manner and with the same colours as the faces. The shading is applied using pink colour along the undersides of the fingers, on the wrists, and on the palms of the hands. The painter applied the colours with a broad brush. He finished the outer lines with a strong black contour. The outer edges of the hair and beard are painted with a black contour, while the inner modelling is grey or yellow, the latter made with ochre. The addition of white creates light reflections. For the modelling of the draperies, the painter sometimes used the bright basic colour of the plaster itself and painted the lines of the folds on it with a broad brush (Cain), while sometimes he modelled the folds on the basic local colour of the drapery, in this cases with a darker tone. He often applied the colours on a thin limewash and used a broad brush to paint the folds in a darker colour over them (Fig. 5). The limewash is peeling off the plaster, which means that the painter created the draperies during the final works when the plaster was already too dry to bind the pigments. He applied the modelling with an intermediate tone between the base and the folds, but there are no soft transitions. The garment of the left thief in the Crucifixion scene was certainly painted al secco, as can be seen on the lower edge: the colour has faded considerably, while underneath, we can see the vertical part of the cross. The painter initially planned to end the cross higher up but then decided to cover it with the drapery. The books of the apostles were also painted al secco; their colour is peeling off the base. The painter modelled the architecture and the crosses in the same manner. He created the outer outline with a wide red band (the architecture) or an orange band (the crosses) while filling the interior with red, pink, or white colours or with the colour of the painting base – the limewash. This way, the painter attempted to create a three-dimensional effect for the crosses and architectural niches. It appears that the author of this mural did not use fine brushes. He applied the colours in broad lines that did not allow fine modelling. On the ribs of the vault as well as on the walls and vault itself, the modelling, the composition of the plaster, and the choice of pigments are identical. Thus, the mural in the chancel appears to be a single work.