The term painting includes a large category of works of pictorial art, differentiated by the techniques used (frescoes, half frescoes, graffiti, tempera), which have as their common denominator the wall support. The restoration is almost always done in site, unless it is a case of detached frescoes or frescoes torn from their original support.
The specialists working directly on the artwork avail themselves of the chemical-physical investigations of small samples taken to verify at the microscopic level the executive techniques and the conservation status. Sometimes multispectral investigations are applied for recognition of preparatory drawings, or layers of “scialbatura” that hidden the canvas previously.
Then it proceeds with the preliminary steps securing parts of material in detachment, following by cleaning from deposits, or substances over putted or “scialbo” layers which covered the previous work.

The “de-scialbo” is almost always at dry conditions, mechanically with a scalpel, being a very delicate and dangerous operation: sometimes it is lost the original layer, being very sticking with that of repainting.

If there are problems of desegregation between the wall support and painted part, or between preparing layers, it performs the consolidation by injection. The de-cohesion of the film paint is treated by impregnating with consolidating substances. Gaps and defects are plastered and then reintegrated with different techniques, depending on the extent and on the school of thought (by gap, by effect, by selection of colour, by colour abstraction and others). The final protection is performed with chemicals, preliminary tested, which also work to balance chromatically the general visual effect.