Lying Saint 

Andrea del Castagno painted this fresco, Lying Saint, using pigments applied directly to fresh plaster. The fresco technique demanded speed and precision. Because the paint bonds chemically with the wall as it dries, there was no room for error. This ‘buon fresco’ method suggests the pressure the artist was under, and the directness of his engagement with the wall itself as support. The pigment particles would have been ground laboriously by hand, combining natural materials with the artist's skill. Castagno used broad brushstrokes to create the drapery, and finer lines for the Saint's features. The overall effect is one of solemnity and quietude. Fresco as a medium was tied closely to the wall and architecture itself, and the artist had to be closely linked to the requirements of the commissioner and site. Considering the labor, the artistic skill, and the cultural context, we can see how materials and making processes are essential in understanding the social significance of a fresco like Lying Saint, which transcends the divide between art and craft.