The author reflects on his experience of working on frescoes in Pokrovsky Church of the Moscow Novospassky Monastery using the technology developed by D. V. Basnin, reverend father Petr (Eryshalov), P. I. Zubov, J. A. Kosheleva. Such an experience appears to be of particular interest primarily for practicing artists given that fresco is a technically complex and labor-consuming technique. As it has gradually been replaced by simpler drywall painting methods, only a handful of contemporary artists have acquired first-hand knowledge and expertise in the art of fresco. Furthermore, the continuous decline of fresco painting has been attributed to the appearance of new construction technologies and utilization of materials that do not secure good adhesion of levkas (gesso), which serves as the basis of the technique. The article delineates main stages of working on a fresco: creation of cartoons, selection of pigments, application of a three-layer levkas, sequential layer-by-layer execution of the painting with the usage of coloration. Likewise, peculiarities of working with roughly and finely grounded pigments are revealed. The author provides a recipe for levkas, the list of necessary instruments and materials. He outlines methods of correct planning and work process explaining key difficulties that arise when one sets out to execute a piece of monumental art upon wet lime plaster in a strictly limited time. Finally, he touches upon the advantages of fresco painting as compared with other techniques of mural painting. The material is written from the point of view of a practicing artist which allows it to be used by all painters who are studying the technique and who aspire to master it. The information presented in the article can also be useful for everyone intending to decorate churches with monumental murals, as well as for art historians who are interested in practical aspects of fresco painting.