page_title: Fresco
section_title: Other types of wall painting
hierarchical_section_title: Fresco / Other types of wall painting
caption_attribution_description: English: Roman fresco with banquet scene from the Casa dei Casti Amanti (IX 12, 6-8) in Pompeii. Deutsch: Bankettszene. Römisches Fresko aus dem Haus der keuschen Liebenden (IX 12, 6-8) in Pompeji.
context_page_description: Fresco is a technique of mural painting executed upon freshly laid lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
context_section_description: A secco or fresco-secco painting is done on dry plaster (secco meaning "dry" in Italian).  The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.  It is important to distinguish between a secco work done on top of buon fresco, which according to most authorities was in fact standard from the Middle Ages onwards, and work done entirely a secco on a blank wall.  Generally, buon fresco works are more durable than any a secco work added on top of them, because a secco work lasts better with a roughened plaster surface, whilst true fresco should have a smooth one.  The additional a secco work would be done to make changes, and sometimes to add small details, but also because not all colours can be achieved in true fresco, because only some pigments work chemically in the very alkaline environment of fresh lime-based plaster.  Blue was a particular problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli, the only two blue pigments then available, works well in wet fresco.
  It has also become increasingly clear, thanks to modern analytical techniques, that even in the early Italian Renaissance painters quite frequently employed a secco techniques so as to allow the use of a broader range of pigments.  In most early examples this work has now entirely vanished, but a whole painting done a secco on a surface roughened to give a key for the paint may survive very well, although damp is more threatening to it than to buon fresco.
  A third type called a mezzo-fresco is painted on nearly dry intonaco—firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzo—so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced buon fresco, and was used by painters such as Gianbattista Tiepolo or Michelangelo.  This technique had, in reduced form, the advantages of a secco work.
  The three key advantages of work done entirely a secco were that it was quicker, mistakes could be corrected, and the colours varied less from when applied to when fully dry—in wet fresco there was a considerable change.
  For wholly a secco work, the intonaco is laid with a rougher finish, allowed to dry completely and then usually given a key by rubbing with sand. The painter then proceeds much as he would on a canvas or wood panel.
caption: An ancient Roman fresco with a banquet scene from the Casa dei Casti Amanti, Pompeii
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