This study contextualizes the craft of stuccoing, offering the first synthetic history of the medium in Roman antiquity, broadly construed (ca. 200 BCE – 700 CE). Previous scholarship has overlooked stucco as a highly functional, imitative, and cheap alternative to other materials. By contrast, I argue that stucco was a super-medium in the Roman past – decorating buildings across functional categories – and was hugely influential in the formation of (early) modern aesthetics. I address the disparate statuses of stucco within subfields of art history by studying ancient stuccowork between Roman and Late Antiquity. The medium of stucco offers a capacious history of craft and interior designs which redefines “antiquity,” by bridging artistic categories, social roles, geographical boundaries, periodizations of Mediterranean history, and scholarly disciplines.Three core case studies examine what stucco could do and how it came to matter in the Roman past. Beginning in the late Republican period, I first trace the specialization of the craft in “Stucco Vaults between Expertise and Experience,” investigating how the intersection of concrete vaults and stucco on the Italian Peninsula generated a broader media ecology. The following chapter, “Wall Reliefs between Opacity and Transparency” recontextualizes stucco parietal reliefs as multifaceted designs of Roman interiors, rather than flat surfaces to “see through,” thus reframing Roman “wall painting” as a category of inquiry. My third chapter “Surfaces between Planes in Late Antiquity” examines case studies in Asia Minor and Cyprus to trace how stuccowork developed over time and across the late Roman empire. A focus on stucco “incrustations” demonstrates how craft materials, techniques, and labor added physical depth to surface assemblages, offering new dimensions to our understanding of medial value, exchange, and hierarchies in Late Antique interior design. A final Coda collects and reflects on the stucco trajectories traced in, and extending beyond, this project, meditating on stucco surfaces from Late Antique Ravenna. Ultimately, I argue that in the Roman context, stucco was a multimedia super-medium, valued and pervasive for its plasticity and transformative properties. Though taken for granted as a timeless, instrumental medium, stucco, in fact, shapes historically distinctive constellations.