The preparatory steps are very well hidden behind the colour layers and the final contour. Thus, it is not entirely clear whether Christ’s halo and head were in fact incised with a thin line, as it appears in some places. If any incisions were actually used, they are definitely extremely thin and shallow. We can also not confirm whether the horizontal bordures were also incised as some parts of the upper bordure suggest or whether only a straight red line was used, made with a ruler or perhaps an impression of a string. Such an auxiliary line is still clearly visible under Christ’s foot (fig. 8). The painter may have designed the figures with a different colour, but the underdrawing is not clearly visible anywhere. Only above Christ’s left shoulder does a darker (greenish?) line emerge from beneath the light-coloured background: it was probably the original border of his shoulder, which the painter lowered subsequently (fig. 9). Due to the extensive retouching, the initial modelling is difficult to discern. However, the painter mostly based the designs on the local colour tones applied for carnations, draperies, and backgrounds. It is still possible to determine the use of both broad and thin brushes, which allowed the painter to achieve subtle transitions between light and shadow, thus adding volume modelling to the bodies. Only two male faces have been preserved. Both feature characteristic enlongated and narrow Vitalesque eyes, and the upper eyelids are emphasised with a thicker black line above the eye. Christ’s under-eye bags are accentuated as well. The eyebrows are low and almost straight, with a long nose projecting from the inner eyebrow and terminating in a pointed semi-circular nostril. The mouth is long and fleshy. The faces are modelled in pink, with accentuated brownish shading under the eyebrows, along the nose, under the cheekbones, and on the temples. The long-fingered hands, which appear a bit clumsy, are modelled in the same manner as the entire carnation: with various hues of pink, which is darker towards the edges of the fingers and on the upper side of the hands. The fingers and palm conclude in a dark brown contour, which the painter also used to outline the nails. He would often use the final contour to correct the modelling as well, as we can see, for example, on Christ’s foot or on the fingers of the hand which Christ holds in his right (figs. 8–9). The contour surrounds the entire body. All three preserved figures are rather thickset in the tradition of Trecento painting, carried out in beautiful pink hues transitioning towards brown in the darker areas, such as the edges of the bodies. Christ’s cloak is also modelled in the basic local colours – red and yellow – and with darker shades applied with a broad brush. The painter modelled the rocks on a light grey basic colour layer, adding dark grey shading applied with broad vertical strokes.