Fresco SeccoEdit
Fresco secco, or "dry fresco," is a wall painting technique in which pigments are applied to a surface that has already dried, as opposed to buon fresco, where pigment is applied onto fresh, still-wet plaster. The method has been used across Europe and the Mediterranean from late antiquity through the modern era, often to add details, retouch existing murals, or complete scenes that could not be painted on wet plaster. Its relative simplicity and flexibility made it a common choice for decorators, restorers, and artists seeking to extend or revise earlier work. For the broader context of wall painting, see fresco and wall painting; for the primary wet-plaster technique, see buon fresco.
In practice, fresco secco relies on binders and adhesives rather than the mineral-binding chemistry of buon fresco. Pigments are mixed with binding media such as limewater, animal glue, casein (milk protein), egg tempera, or other organic binders, and then brushed onto a dry plaster surface. Because the plaster has already set, the bond between pigment and substrate is less secure over time, which can lead to flaking or fading if present conditions shift or if the work is not properly consolidated. Despite these drawbacks, the technique offers advantages in terms of speed, detail, and the ability to adjust or overpaint specific zones after the plaster has dried. See lime plaster and casein for related materials and bindings.
History
Fresco secco appears in various forms across different periods, often playing a secondary or complementary role to the principal wet-plaster method. In medieval and early modern Europe, secco was frequently used to refine outlines, enhance architectural details, or perform retouching that could be executed more quickly than a new wet-plaster layer. In the Italian Renaissance, artists sometimes combined buon fresco for principal scenes with secco additions for fine lines or corrective touches, a practice that allowed greater control over finished appearances. For discussions of Renaissance painting in general, see Italian Renaissance and for the broader technical comparison with the wet method, see buon fresco.
The technique also continued into later periods and regions, including Northern Europe and the Islamic world, where secco-like retouching or additions were common on extant murals. In modern times, fresco secco has been used in restoration campaigns and in contemporary mural practice, where its practical advantages can be decisive for completing large surfaces or addressing prior damage. See restoration of murals for related conservation considerations.
Technique
- Surface preparation: A previously dried layer of plaster is cleaned and sometimes roughened to improve adhesion. The surface may receive a thin protective ground before pigment is applied, depending on local practice.
- Application of pigment: Pigments are ground and mixed with a binding medium chosen to suit the substrate, climate, and desired durability. Common media include limewater (a lime-based wash), animal glue, casein, or egg tempera. Some modern implementations use acrylic emulsions or synthetic binders, though these are outside traditional practice.
- Layering and details: Because the plaster is dry, painters can exert greater dexterity in detailing, glazing, or layering pigments to achieve subtle tonal effects that would be difficult on wet plaster.
- Fixing and protection: In some cases, a final protective coating or sealant is applied, or the surface is left as is to weather naturally. Conservation aims focus on preventing flaking and stabilizing the binding medium.
See lime plaster for the substrate and casein for one of the common binding media used in secco practice. For historical comparisons, see buon fresco.
Materials
- Plaster and support: The painted surface rests on a dry lime plaster or plastered wall. The quality of the plaster and the presence of any prior decoration influence adhesion and longevity.
- Binders: Casein, animal glue, egg tempera, limewater washes, or waxes have been used as binders in fresco secco. Each binder has its own implications for colorfastness, flexibility, and aging.
- Pigments: Mineral pigments (ochres, umbers, siennas, azures, malachite, cinnabar) and, in modern times, synthetic pigments, can be employed. Pigment selection interacts with the binder and the underlying plaster to determine brightness and durability.
- Conservation materials: In restoration contexts, consolidants and retouching media are used to stabilize flaking paint and to rebind loose layers, often with careful color matching.
See pigments for a broad overview of colorants and binding medium for a survey of media used in wall painting.
Preservation and scholarship
Fresco secco is generally more vulnerable to environmental conditions than buon fresco because the pigment is not chemically integrated into the plaster. Protecting such works from humidity swings, salts, and physical abrasion is a central concern of mural conservation. In scholarly practice, researchers examine historical documents, treatises, and surviving layers to understand how secco was used in different places and periods, and to differentiate it from wet-plaster techniques in the attribution and dating of wall paintings. See art conservation and fresco conservator for related topics.