Stucco has also been used as a sculptural and artistic material. Stucco relief was used in the architectural decoration schemes of many ancient cultures. Examples of stucco reliefs from the Egyptian, Minoan and Etruscan periods are preserved. In Mesopotamian art and in ancient Persian art there was a long tradition of figurative and ornamental internal stucco reliefs, which continued in Islamic art, for example in Abbasid Samarra), now using geometric and vegetal ornaments. When the arabesque reached its full maturity, carved stucco remained a very common medium for decoration and calligraphic inscriptions. Indian Architecture used stucco as a material for sculpture in an architectural context. It is rare in the field.

In Roman art of the late Republic and early Empire, stucco was widely used for the decoration of vaults. Although marble was the preferred sculptural medium in most cases, stucco was better for use on vaults because it was lighter and conformed better to the curvature of the ceiling. Baroque and Rococo architecture uses stucco a lot. We can find examples in churches and palaces, where stucco is primarily used to provide a smooth and decorative transition from walls to ceiling, decorating and giving measurement to the ceiling surfaces. Stucco is part of the art of belcomposto"), the baroque concept that integrates the three classical arts, architecture, sculpture and painting.

The Greco-Buddhist art of modern Afghanistan and northern Pakistan widely used stucco in monasteries and temples for three-dimensional monumental sculpture as well as reliefs. These were usually carved from a rough model on a frame and then painted. Similar techniques are used for the life-size statues that decorate the gopurams of Hindu temples in modern South Asia.

Since stucco can be used for both decoration and figurative representation, it constitutes an ideal transitive link between architectural details and wall paintings, such as typically baroque trompe-l'œil ceilings, as in the work of the Wessobrunner School. real architecture that merges with painted architecture.

Due to its "aristocratic" appearance, baroque-looking stucco decoration was frequently used in upper-class apartments of the 18th and early 19th centuries.

Beginning in the 1920s, stucco, especially in its neo-Renaissance and neo-Baroque embodiment, became increasingly unpopular among modern architects in some countries, leading not only to new stucco-free buildings but also to a widespread movement to remove stucco from existing homes.

Stucco was still used in the 1950s in molded forms to decorate the joints between walls and ceilings inside homes. It was usually painted the same color as the ceiling and used in designs where picture molding or rat molding was used.

Within traditional stucco, mortars are composed of lime, marble sand and natural pigments, which are usually varnished with waxes or turpentine.[3]​ It can also be composed of gypsum or plaster, resins and natural glues.[4]​.

The difference in nomenclature between stucco, plaster and mortar&action=edit&redlink=1 "Mortar (masonry) (not yet drafted)") is based more on use than composition. Until the latter part of the century, it was common for plaster, which was used on the interior of a building, and stucco, which was used on the exterior, to be composed of the same primary materials: lime "Lime (material)") and sand (also used in mortar). Animal fiber or vegetable fibers were often added to give it greater strength. By the end of the century, Portland cement was added more frequently in an attempt to improve the durability of stucco. At the same time, traditional lime plasters were replaced by gypsum plasters.

Traditional stucco is made of lime, sand and water. Modern stucco is made from Portland cement, sand and water. Lime is added to increase the permeability and workability of modern stucco. Additives such as acrylics and glass fibers are sometimes added to improve the structural properties of stucco. This is typically done with what is considered a one-coat stucco system, as opposed to the traditional three-coat method.

Lime stucco is a relatively hard material that can be broken or chipped by hand without too much difficulty. Lime itself is usually white; the color comes from the aggregate or any added pigment. Lime stucco has the property of being self-healing to a limited degree due to the slight water solubility of lime (which in solution can settle in cracks, where it solidifies). Portland cement stucco is very hard and brittle and can crack easily if the base on which it is applied is not stable. Its color was normally grey, due to the innate color of most Portland cements, but white Portland cement is also used. Stucco manufacturers offer a very wide range of colors that can be integrally mixed into the finish coat. Other materials, such as stone and glass chips, are sometimes "sprinkled" over the finish coat before drying, and the final product is commonly known as "rock dash", "pebble dash", or also as roughcast) if the stones are incorporated directly into the stucco, used primarily from the turn of the century to the beginning of the .

On block

The surface is slightly moistened, and a layer of 2 to 4 mm is applied, covering the entire area with a smooth trowel. The application is allowed to dry for 12 hours and a second layer no larger than 3 mm is applied to give the final finish.

On a thin cement or plaster surface

The stucco is applied with a smooth trowel, covering the entire surface with a layer of no more than 4 mm. Once drying has begun, it can be given texture.

Causes of deterioration

Repairing historic stucco should begin by identifying the cause of the damage to the stucco finish. Historically, the application of stucco was quite similar to the process of applying lime plaster. Repairs should be carried out as soon as problems become visible, as the damage will only worsen over time. Cracks can form in the stucco due to settling of the building or direct damage to the exterior siding. Once water manages to penetrate the siding, either through an opening in the stucco itself or from beneath its surface, the fragile stucco can begin to bend and crumble. Wood is a common structural material that is often used as a substrate under stucco. It can absorb moisture from or below ground level and away from the original source of the problem. Stucco can also be applied to masonry, such as brick or stone, which can also be damaged by moisture infiltration.

Rising damp from groundwater or drainage problems is especially problematic. Stucco can delaminate from the wet wood beneath, and as the wood rots, the stucco can begin to deteriorate and separate from it and the building. Damage to the stucco itself leads to increased moisture infiltration which exacerbates deterioration of the finish as well as the substrate. Downspouts, gutters, flashing, and other means of directing water away from the building will prevent damage from getting worse.[5]​ Without proper gutter, water can splash onto stucco surfaces, staining and accelerating deterioration of the finish. [Grading the ground around the building may also be necessary to redirect moisture away from the structure and foundation.

Preparation and repair

Depending on the extent of damage to the finish, varying degrees of repair can be carried out. Small cracks can be sealed with an additional coat of finish or even just a coat of paint. Modern caulking materials are not the ideal means of repair. The choice of whether to patch or completely repair a coated surface depends on the texture of the finish coat. Repairs, especially numerous ones, made to a smooth finished surface will be more noticeable and resurfacing the entire surface with a new coat of finish may be more appropriate. Conversely, it may be easier to hide repair patches on a textured surface and a complete repaint may not be necessary.[5]​.

Preparation should begin with the removal of all damaged material in the area to be repaired. Any loose stucco should be removed as it has failed.[6] Removal of compromised materials may extend to wood lath or other substrates that may also have been damaged, although it may be preferable to install new mesh over the damaged lath. Care must be taken with this approach, as it can be especially critical when authenticity is a concern in a historic building. In these cases, replacing damaged slats is often considered more appropriate than installing new mesh. All surfaces should be cleaned to remove any paint, oil or plant growth. Stone or brick mortar joints may be scored to a depth of 5/8" to allow proper adhesion of the new stucco. New stucco patches should not overlap the old stucco.

The application of new stucco should not include metal mesh when repairing lime stucco on a masonry surface. The new stucco repair must adequately adhere to the non-mesh masonry substrate. The introduction of metal mesh can accelerate the deterioration of both the masonry and the stucco finish, as the slightest moisture will cause the metal mesh to rust, which expands as it rusts. This can lead to dislodgement not only of the new stucco, but also of the masonry itself.[5]​.

• - Albarium.

• - Whitewash.

• - Jabelga.

• - Lime mortar.

• - Concrete tabby.

• - Ignacio Garate Rojas, Luis Prieto Prieto and Demetrio Gaspar. Art of plasters.

• - Wikimedia Commons hosts a multimedia category on stucco.

• - Wiktionary has definitions and other information about stucco.

Stucco has also been used as a sculptural and artistic material. Stucco relief was used in the architectural decoration schemes of many ancient cultures. Examples of stucco reliefs from the Egyptian, Minoan and Etruscan periods are preserved. In Mesopotamian art and in ancient Persian art there was a long tradition of figurative and ornamental internal stucco reliefs, which continued in Islamic art, for example in Abbasid Samarra), now using geometric and vegetal ornaments. When the arabesque reached its full maturity, carved stucco remained a very common medium for decoration and calligraphic inscriptions. Indian Architecture used stucco as a material for sculpture in an architectural context. It is rare in the field.

In Roman art of the late Republic and early Empire, stucco was widely used for the decoration of vaults. Although marble was the preferred sculptural medium in most cases, stucco was better for use on vaults because it was lighter and conformed better to the curvature of the ceiling. Baroque and Rococo architecture uses stucco a lot. We can find examples in churches and palaces, where stucco is primarily used to provide a smooth and decorative transition from walls to ceiling, decorating and giving measurement to the ceiling surfaces. Stucco is part of the art of belcomposto"), the baroque concept that integrates the three classical arts, architecture, sculpture and painting.

The Greco-Buddhist art of modern Afghanistan and northern Pakistan widely used stucco in monasteries and temples for three-dimensional monumental sculpture as well as reliefs. These were usually carved from a rough model on a frame and then painted. Similar techniques are used for the life-size statues that decorate the gopurams of Hindu temples in modern South Asia.

Since stucco can be used for both decoration and figurative representation, it constitutes an ideal transitive link between architectural details and wall paintings, such as typically baroque trompe-l'œil ceilings, as in the work of the Wessobrunner School. real architecture that merges with painted architecture.

Due to its "aristocratic" appearance, baroque-looking stucco decoration was frequently used in upper-class apartments of the 18th and early 19th centuries.

Beginning in the 1920s, stucco, especially in its neo-Renaissance and neo-Baroque embodiment, became increasingly unpopular among modern architects in some countries, leading not only to new stucco-free buildings but also to a widespread movement to remove stucco from existing homes.

Stucco was still used in the 1950s in molded forms to decorate the joints between walls and ceilings inside homes. It was usually painted the same color as the ceiling and used in designs where picture molding or rat molding was used.

Within traditional stucco, mortars are composed of lime, marble sand and natural pigments, which are usually varnished with waxes or turpentine.[3]​ It can also be composed of gypsum or plaster, resins and natural glues.[4]​.

The difference in nomenclature between stucco, plaster and mortar&action=edit&redlink=1 "Mortar (masonry) (not yet drafted)") is based more on use than composition. Until the latter part of the century, it was common for plaster, which was used on the interior of a building, and stucco, which was used on the exterior, to be composed of the same primary materials: lime "Lime (material)") and sand (also used in mortar). Animal fiber or vegetable fibers were often added to give it greater strength. By the end of the century, Portland cement was added more frequently in an attempt to improve the durability of stucco. At the same time, traditional lime plasters were replaced by gypsum plasters.

Traditional stucco is made of lime, sand and water. Modern stucco is made from Portland cement, sand and water. Lime is added to increase the permeability and workability of modern stucco. Additives such as acrylics and glass fibers are sometimes added to improve the structural properties of stucco. This is typically done with what is considered a one-coat stucco system, as opposed to the traditional three-coat method.

Lime stucco is a relatively hard material that can be broken or chipped by hand without too much difficulty. Lime itself is usually white; the color comes from the aggregate or any added pigment. Lime stucco has the property of being self-healing to a limited degree due to the slight water solubility of lime (which in solution can settle in cracks, where it solidifies). Portland cement stucco is very hard and brittle and can crack easily if the base on which it is applied is not stable. Its color was normally grey, due to the innate color of most Portland cements, but white Portland cement is also used. Stucco manufacturers offer a very wide range of colors that can be integrally mixed into the finish coat. Other materials, such as stone and glass chips, are sometimes "sprinkled" over the finish coat before drying, and the final product is commonly known as "rock dash", "pebble dash", or also as roughcast) if the stones are incorporated directly into the stucco, used primarily from the turn of the century to the beginning of the .

On block

The surface is slightly moistened, and a layer of 2 to 4 mm is applied, covering the entire area with a smooth trowel. The application is allowed to dry for 12 hours and a second layer no larger than 3 mm is applied to give the final finish.

On a thin cement or plaster surface

The stucco is applied with a smooth trowel, covering the entire surface with a layer of no more than 4 mm. Once drying has begun, it can be given texture.

Causes of deterioration

Repairing historic stucco should begin by identifying the cause of the damage to the stucco finish. Historically, the application of stucco was quite similar to the process of applying lime plaster. Repairs should be carried out as soon as problems become visible, as the damage will only worsen over time. Cracks can form in the stucco due to settling of the building or direct damage to the exterior siding. Once water manages to penetrate the siding, either through an opening in the stucco itself or from beneath its surface, the fragile stucco can begin to bend and crumble. Wood is a common structural material that is often used as a substrate under stucco. It can absorb moisture from or below ground level and away from the original source of the problem. Stucco can also be applied to masonry, such as brick or stone, which can also be damaged by moisture infiltration.

Rising damp from groundwater or drainage problems is especially problematic. Stucco can delaminate from the wet wood beneath, and as the wood rots, the stucco can begin to deteriorate and separate from it and the building. Damage to the stucco itself leads to increased moisture infiltration which exacerbates deterioration of the finish as well as the substrate. Downspouts, gutters, flashing, and other means of directing water away from the building will prevent damage from getting worse.[5]​ Without proper gutter, water can splash onto stucco surfaces, staining and accelerating deterioration of the finish. [Grading the ground around the building may also be necessary to redirect moisture away from the structure and foundation.

Preparation and repair

Depending on the extent of damage to the finish, varying degrees of repair can be carried out. Small cracks can be sealed with an additional coat of finish or even just a coat of paint. Modern caulking materials are not the ideal means of repair. The choice of whether to patch or completely repair a coated surface depends on the texture of the finish coat. Repairs, especially numerous ones, made to a smooth finished surface will be more noticeable and resurfacing the entire surface with a new coat of finish may be more appropriate. Conversely, it may be easier to hide repair patches on a textured surface and a complete repaint may not be necessary.[5]​.

Preparation should begin with the removal of all damaged material in the area to be repaired. Any loose stucco should be removed as it has failed.[6] Removal of compromised materials may extend to wood lath or other substrates that may also have been damaged, although it may be preferable to install new mesh over the damaged lath. Care must be taken with this approach, as it can be especially critical when authenticity is a concern in a historic building. In these cases, replacing damaged slats is often considered more appropriate than installing new mesh. All surfaces should be cleaned to remove any paint, oil or plant growth. Stone or brick mortar joints may be scored to a depth of 5/8" to allow proper adhesion of the new stucco. New stucco patches should not overlap the old stucco.

The application of new stucco should not include metal mesh when repairing lime stucco on a masonry surface. The new stucco repair must adequately adhere to the non-mesh masonry substrate. The introduction of metal mesh can accelerate the deterioration of both the masonry and the stucco finish, as the slightest moisture will cause the metal mesh to rust, which expands as it rusts. This can lead to dislodgement not only of the new stucco, but also of the masonry itself.[5]​.

• - Albarium.

• - Whitewash.

• - Jabelga.

• - Lime mortar.

• - Concrete tabby.

• - Ignacio Garate Rojas, Luis Prieto Prieto and Demetrio Gaspar. Art of plasters.

• - Wikimedia Commons hosts a multimedia category on stucco.

• - Wiktionary has definitions and other information about stucco.