The basic outline of the composition was prepared and the colours were then added to the fresh plaster the colour pigments penetrating into the stucco material hence the painting would last longer. Interestingly calcium carbonate is the chemical that makes up natural marble. This greater resistance to the effects of time and wear is due to the protection of a transparent film of calcium carbonate formed by the chemical reaction between slaked lime in the plaster and the air. If the surface were wood then colours might be first dissolved in wax and added to the wall using a spatula known as encaustic painting. When the fresco had dried a secco (meaning on dry plaster) was applied in the form of soft pastel colours and they added details to the painting when the surface was dry ( tempera). After the wall had been inscribed a fresco was painted using bold primary colours.

After the polishing and before the wall was fully dry, the drawings were outlined using fine incisions to guide the artists. To make the surface very smooth and ready to take paint they polished the surface with glass, marble and cloth. The stucco forms a very dense solid that is durable, attractive smooth and weather-resistant. This technique was known as Stucco or render. The top layer of wet plaster, often containing powdered marble rather than sand, was moulded and painted while still wet to resemble pediments, capitals and doorframes. The slaked lime dried and reacted with the air forming calcium carbonate (CaCO 3) in which the aggregate was evenly distributed. On to this they added three other coats of a mixture of slaked lime and fine sand or crushed marble to give a smoother finish. This was often three layers thick and composed of slaked lime (calcium hydroxide (Ca(OH) 2.) and coarse sand (or volcanic pozzolana). On to the surface of the wall they applied a rough coat of mortar.

The wall paintings in Pompeii were executed using the fresco technique. There are many references to Roman art in other mediums such as wood, ivory, and other materials but the fact frescos are more durable and have survived well, even being buried under tons of ash, gives us a good reason to study them as a window to the other arts. It is clear the ancient Romans decorated the interior walls of their houses with paintings executed on wet plaster, a technique known as fresco (meaning on fresh plaster). Can fresco painting tell us anything about the development of art in the Ancient Roman Period?.Why is the wall art or fresco painting so important?.So despite the lack of physical evidence of other forms, it is reasonable to assume that many other art objects would have shown subjects similar to those found on the painted walls. Many of these motifs were derived from pattern books carried by the artists.

Depending on the function of the room, walls might be painted with imaginary architecture, still life, mythological scenes, or purely decorative motifs. Many of the wall paintings or frescos adorned walls not just inside rich villas, but also inside private houses and public buildings. It is perhaps the most obvious feature of Roman art. One thing that strikes all visitors to Pompeii and Herculaneum is the amount of colour on the walls of the buildings. Our knowledge has been enhanced by more systematic and scientific excavations in recent years. Organic materials were better preserved at Herculaneum as carbonised materials (see the wine shop figure 1) because of the pyroclastic surges.įigure 1: Wine shop at Herculaneum showing gallery and amphorae Houses and villas with their furniture, food, people, jewellery and pets have been preserved. Pompeii and Herculaneum have been described as towns frozen in time. RSC Yusuf Hamied Inspirational Science Programme.Introductory maths for higher education.The physics of restoration and conservation.

Ara maxima nova definition