The dissertation examines the life and work of the baroque stucco plasterer Matteo Camin (around 1603-1673), who was one of the most significant Inner Austrian masters in his field between 1627 and 1673. An examination of Inner Austrian court art from around 1580 onwards, with a focus on baroque stucco decoration, as well as an insight into stucco technology are highlighted in the introduction; furthermore, the genesis of early baroque ornamental forms, which are distinctively recognisable in Camins work, is discussed in the opening. The subsequent chapter is devoted to the masters biography and workshop. The emphasis of the dissertation is the classification of Camins oeuvre into five categories. At the beginning, the five surviving stucco decorations with documentary evidence are discussed. They serve to define Camins personal style, which is the basis for the subsequent style criticism. The next chapter includes eleven stucco works which can be stylistically attributed to Camin and the following chapter discusses nine works whose origin cannot be clearly determined. Three stucco decorations are, as opposed to previous categorisations by experts, not attributed to Camin, since their style does not correspond with the style of the stucco decorations with documentary evidence. In the final section three no longer existent stucco ceilings are discussed. Apart from the seven works with documentary evidence, from which two no longer exist, Camins oeuvre can be extended to eighteen stucco decorations. In contrast to previous research done on Matteo Camin the author comes to the conclusion that nine formerly open works have to be added to and three works have to be taken off Camins oeuvre. Consequently, this leads to a rearrangement of his works.