Serbian medieval frescoes in the Raška style set their saints against deep azurite-blue grounds, lit with warm gold halos and ochre earth. Painted onto wet lime intonaco at Studenica, Mileševa and Sopoćani, the surfaces have spalled and cracked over eight centuries, lending mineral pigment a weathered, reverent warmth. This system honours that wall painting: luminous gold against saturated lapis, matte and mineral, framed like an apse, never glossy and never pristine.