FRESCO, FRESCO-PAINTING, or PAINTING IN FRESCO, the term applied to paintings executed upon plaster while it is still wet or fresh (Ital. fresco). Many celebrated artists and well-known writers have maintained that fresco is the only way in which the high est efforts in art should be embodied. A very large proportion of the best works of the Italian schools, particularly those of Rome and Florence, are done in this manner; and during the present century it has been revived, and many of the chief paintings of the modern German school are executed in fresco. The practice has to some extent been introduced into Britain, and certain works of that kind have been executed in the new houses of parliament.. Munich has been the chief home of this revived art.
Before noticing more particularly the various properties claimed for fresco-painting, it is proper first to describe the process. A cartoon or drawing on paper is first made of the subject. This must be executed with a correct outline, and the shading and effect fully made out: The finished cartoon may either be of the same size as the intended fresco, or it may be done on a smaller scale; but, at all events, an outline of the same size as the fresco-painting is necessary. When the finished cartoon is made the same size as the fresco, it is generally executed in black and white, with chalk or charcoal, but it is essential to have also a careful study of the subject in colors, and this is in most cases done on a small scale. The colors used are mostly earths or minerals, as few others will stand the action of lime: these areground and applied with pure water. The ground to be painted on is the last or smooth coating of plaster that is laid over the rough plaster-work with which walls are prepared. This last coating, or ground, or rather as much of it as the artist calculates on being able to cover in one day, is laid on immediately before he commences work. The surface wet, but firm and the tracing is laid over the portion prepared, and the artist, with a point of hard wood or bone, goes over the lines of the tracing, and slightly indents them on the plaster. He
then proceeds with his work, the finished cartoon and colored sketch being hung or placed near him for his guidance. After his day's work is over, any portion of the plaster that has not been painted on, or that may remain beyond or at the edge of his work, is cut away; day, When the painter is ready to commence work, the plasterer is at hand, and joins closely another portion.of plaster to the edge of the tion painted on the previous day, which, when cut, had been slightly sloped. The lime, in drying, throws out a kind of crystal surface, which protects the color, and imparts a degree of clearness much superior to, and easily distinguishable from, that of a work in tempera or size paint. This process, although apparently simple, nevertheless requires great dexterity and certainty of hand; for the surface of the plaster is delicate, and must not be overworked, besides, the limd only imbibes a certain quantity of additional moisture in the form of liquid colors, after which it loses its crystallizing quality, and the surface, or a portion of it, becomes what painters call rotten. Many frescos are defective in this way. It is only after the lime Las dried that such flaws are discovered; i the proper plan, in such a case, is to cut away the defective portion, have fresh plaster laid on, and do the work over again. But the flaws are too often retouched with tempera or size colors; and though they may escape notice fora time, the parts touched will change or conic off in the course of a few years. Another difficulty in fresco is, that the colors become much lighter after the plaster dries, and for this allowance must be made. However, by practice, the painter may soon get over this difficulty ;' and he can test the difference between the color as wet and aA dry, by putting a touch on a piece of umber he has generally at hand, which instantly dries the color, and shows it as it will be when the lime has dried.