The essay examines the style and materials used in the underdrawing and paint layers of Melchior Broederlam's painted wings for the Crucifixion Altarpiece (Dijon, Musée des Beaux-Arts), executed in the 1390s. It discusses the genesis of the two compositions from the initial design stage through to the final painted image. Extracts from the remarkably detailed ducal account records and from medieval recipe books for painters anchor Broederlam's techniques in their original context and give a glimpse into the workshop practice of a court artist in the late fourteenth century.