Abstract
Little systematic analysis has been undertaken of late mediaeval wall painting in England, but the early fifteenth-century paintings at Farleigh Hungerford have recently been subjected to detailed examination. Despite previous invasive conservation treatments, this revealed a highly sophisticated use of translucent glazes over gold and silver leaf, a wide range of pigments including orpiment and lead-tin yellow, and oil as a medium. These materials, the techniques of their application and aspects of their alteration in situ are considered within the context of other English wall painting of the period, as well as the sophistication of the scheme attributed to the patronage of Sir Walter Hungerford.
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