A Romanesque wooden polychrome sculpture from the church of Hemse, Gotland, dated 1170-1190, is examined (see also P. Tangeberg, same periodical). Layer structure, pigments, and medium are studied and identified by cross-sectioning, optical microscopy, scanning electron microscopy and electron microprobe. Wet chemical analysis and x-ray powder diffraction analysis were carried out, fatty acid composition was determined by gas chromotography. Analyses of paint were also done by infrared spectrometry. Both Christ and cross are painted in an oil technique. No general chalk glue ground was applied. Pigments: lapis lazuli (natural ultramarine), verdigris, organic yellow?, red lead, vermilion, organic red, lead white and black charred material. Gold foil is applied to an oil mordant. Oil medium both in ground and paint layers on 12th-century art may seem astonishing. A survey of 12thand 13th-century paint manuals suggests that this was a normal proccdure. (Reg. Editor's note: This article represents a peak in the more than 20 years of study and research at the University of Oslo in Northern Romanesque and Gothic painting technique. Information provided is an expansion of 21-1922).