Buon’, or “true,” fresco is the most-durable method of painting murals, since the pigments are completely fused with a damp plaster ground to become an integral part of the wall surface. The stone or brick wall is first prepared with a brown trullisatio…
Buon, or “true,” fresco is the most durable technique and consists of the following process. Three successive coats of specially prepared plaster, sand, and sometimes marble dust are troweled onto a wall. Each of the first two rough coats is applied and then allowed to…
In buon (“true”) fresco, pigments mixed only in water are painted directly onto a freshly prepared layer of damp lime plaster. Pigments are permanently bound to the plaster as a result of a chemical change, as the fresh lime becomes calcium carbonate upon drying. In fresco…
The Toreador FrescoThe Toreador Fresco, restored wall painting from the Palace at Knossos, Crete, c. 1550 bce; in the Archaeological Museum, Iráklion, Crete. Height (including borders) 81 cm.
fresco painting, method of painting water-based pigments on freshly applied plaster, usually on wall surfaces. The colours, which are made by grinding dry-powder pigments in pure water, dry and set with the plaster to become a permanent part of the wall. Fresco painting is ideal for making murals because it lends itself to a monumental style, is durable, and has a matte surface.
Buon, or “true,” fresco is the most durable technique and consists of the following process. Three successive coats of specially prepared plaster, sand, and sometimes marble dust are troweled onto a wall. Each of the first two rough coats is applied and then allowed to set (dry and harden). In the meantime, the artist, who has made a full-scale cartoon (preparatory drawing) of the image to be painted, transfers the outlines of the design onto the wall from a tracing made of the cartoon. The final, smooth coat (intonaco) of plaster is then troweled onto as much of the wall as can be painted in one session. The boundaries of this area are confined carefully along contour lines, so that the edges, or joints, of each successive section of fresh plastering are imperceptible. These sections are called giornate, a “day’s work.” The tracing is then held against the fresh intonaco and lined up carefully with the adjacent sections of painted wall, and its pertinent contours and interior lines are traced onto the fresh plaster; this faint but accurate drawing serves as a guide for painting the image in colour.
Giotto: The NativityThe Nativity, fresco by Giotto, c. 1305–06, depicting the birth of Jesus; in the Scrovegni Chapel, Padua, Italy.
A correctly prepared intonaco will hold its moisture for many hours. When the painter dilutes his colours with water and applies them with brushstrokes to the plaster, the colours are imbibed into the surface, and as the wall dries and sets, the pigment particles become bound or cemented along with the lime and sand particles. This gives the colours great permanence and resistance to aging, since they are an integral part of the wall surface, rather than a superimposed layer of paint on it. The medium of fresco makes great demands on a painter’s technical skill, since he must work fast (while the plaster is wet) but cannot correct mistakes by overpainting; this must be done on a fresh coat of plaster or by using the secco method.
Fresco secco (“dry fresco”) is a process that dispenses with the complex preparation of the wall with wet plaster. Instead, dry, finished walls are soaked with limewater and painted while wet. The colours do not penetrate into the plaster but form a surface film, like any other paint. Secco is useful for detailed painting and for retouching true fresco.
Michelangelo: The Creation of AdamThe Creation of Adam, detail of the ceiling fresco by Michelangelo, 1508–12; in the Sistine Chapel, Vatican City.
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The Editors of Encyclopaedia Britannica. "fresco painting". Encyclopedia Britannica, 12 Feb. 2025, https://www.britannica.com/art/fresco-painting. Accessed 15 May 2025.
