I have endeavoured in this treatise to place before students some practical hints in the methods and processes of fresco painting, which are the outcome of my experience in the practice of the “buon-fresco,” and the “spirit-fresco” systems of wall decoration. As to the stereochrome, or German “water-glass,” and its later variety, the Keims process of fresco painting, I do not pretend to have a definite knowledge, having no practical experience in painting in these methods, but, on seeing the condition of some frescos in England which have been executed in stereochromy, I should prefer to trust to the buon-fresco or to the spirit-fresco mediums when it is a question of the permanency of wall paintings.

It is common enough to-day to hear and to read of the condemnation of fresco painting by critics, and even by some eminent artists, all of whom seem to echo each other in pointing out the failures in the examples executed on the walls of the Houses of Parliament and other places; and all agree, because of these failures, that fresco painting is impossible in this country, owing to the dampness of the climate. Our damp climate seems to have a deal to answer for, but it is hardly fair to blame it for the ignorance of some of our mid-Victorian artists as to the nature and behaviour of the materials used in fresco painting, and for their possibly limited knowledge of the chemistry of colours and the after action of caustic lime on the colours they used.

I trust that the technical notes and observations on some of the Italian frescos may be of interest and of some value to students of decorative art.

J. Ward.