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Medieval painters had access to several types of paint, depending mainly on what surface the paint was to be applied to. On parchment (for illustrating book manuscripts) the most common type was egg tempera which used ground-up colour pigments mixed with egg-whites (or sometimes egg yolks) and water.

For painting wood, such as on altar-screens and for decorating wooden ceilings in buildings, the same pigments were mixed with oil - this might be linseed oil (from the the same flax plant that produced linen), poppy oil or oil from almonds or walnuts.

Wall paintings on lime-mortared surfaces were of pigments mixed with lime and water, effectively becoming part of the wall itself; certain colours were also mixed with egg as a binder. Churches, cathedrals and monastic buildings had their interior walls covered in mural paintings, most of which have been deliberately destroyed.

Paintings on stone wall surfaces were executed (from the mid-thirteenth century onwards) with oil paint.

From the hairs that remain trapped in the layers of paint we know that brushes were made from the tail hair of red squirrels (now sadly endangered as a species).

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