Wall paintings in Bajamonti-Dešković palace in Split are a representative example of secular spaces painting in the 19th century Dalmatia. This outstanding piece of Croatian cultural heritage, as a consequence of sustained damage and endangered stability, had to undergo a conservation-restoration treatment. Preliminary research revealed the scarcity of existing data and a lack of systematic analysis of wall painting in 19th century Dalmatia. Assessment, as the first step in the process of conservation, required the scientific research of wall paintings within the assumed historical-artistic framework in addition to the research of the concept and the context of their creation, as well as of the construction of the building accommodating them. The study coherently and systematically presents the findings of the research of 19th century wall painting in Dalmatia; giving an overview of sacral spaces painting, however, putting emphasis on secular spaces painting. The data gathered through research of literature, archival material as well as the interviews, has been revised and supplemented by field research accompanied by extensive photo documentation. At the end of the 18th and the beginning of the 19th century, Dubrovnik region stood at the forefront of wall painting producing artworks in late Baroque style fused with elements of Rococo and Classicism, by contrast, the first half of the 19th century was a period of low productivity in wall paintings. The preserved examples dating from the middle and the second half of the century point to an Italian artist Antonio Zuccaro whose abundance and variety of work left an indelible mark on this period. The research of wall painting presents the work and influence of this particular artist together with the group of painters and decorators of different levels of skill that formed around him. Zuccaro’s arrival to Dalmatia can be credited to the efforts of long-serving mayor of Split, Antonio Bajamonti whose relentless drive to modernize and advance Split was the driving force behind the construction of the valuable historic urban complex located in the western part of the Split waterfront. Urban complex consisting of St. Francis` church and the monastery, the theatre and Prokurative, Bajamonti palace and a nowdemolished fountain, made Split, in Bajamonti’s opinion, an integral part of the European cultural circle in the spirit of modern civic perception. The first floor of the Renaissance Revival-style Bajamonti palace, designed by G. B. Meduna, who also drew plans for the theatre, accommodated the mayor`s apartment furnished with lavish period furniture, intarsia parquet flooring and various pieces of art, nevertheless, the distinctive atmosphere was largely due to the wall paintings preserved on the ceilings of the three salons. Wall paintings were a representative style of interior design in Dalmatia during the turbulent and nation founding 19th century. They were painted drawing inspiration from the Venetian middle of the century trends, with Bajamonti’s influence present when it came to the choice of themes. The exceptionally elaborate and demanding conservation-restoration undertaking carried out on ceiling paintings involved almost every procedure performed in wall paintings conservation. The paper systematically presents each component of the works including a range of new and previously unused methods and techniques, emphasizing both, their advantages and disadvantages in comparison to similar projects. The focus is on comparing the two distinct conservation-restoration approaches, the method of in situ restoration and the method of dismantling the ceiling, restoring it and putting it back to its original location. Designing and building a new supporting construction of a ceiling painting make an unparalleled program in the field of conservation-restoration. The paper devises a model of conservation works in compliance with ethical, aesthetic and professional standards that can be applied not only in work context, but also in education of experts in the field of cultural heritage protection. This process begins with identification and assessment, followed by the protection of material properties to be concluded with presentation and establishment of permanent heritage protection.