Maria di Provenzano, a vast baroque building of some elegance, designed by Schifardini (1594) Sant' Agostino, rebuilt by Vanvitelli in 1755, containing a Crucifixion and Saints by Perugino, a Massacre of the Innocents by Matteo di Giovanni, the Coming of the Magi by Sodoma, and a St Anthony by Spagnoletto (?); the beautiful church of the Servites (15th century), which contains another Massacre of the Innocents by Matteo di Giovanni and other good examples of the Sienese school; San Francesco, designed by Agostino and Agnolo about 1326, and now restored, which once possessed many fine paintings by Duccio Buoninsegna, Lorenzetti, Sodoma and Beccafumi, some of which perished in the great fire of 1655; San Domenico, a fine 13th-century building with a single nave and transept, containing Sodoma's splendid fresco the Swoon of St Catherine, the Madonna of Guido da Siena, 1281, and a crucifix by Sano di Pietro.
Tradition ascribes to Leonardo an attractive fresco of a Madonna with a donor in the convent of St Onofrio, but this seems to be clearly the work of Boltraffio.
To commemorate his Sicilian victory, he caused it to be pictorially represented on the wall of the Curia Hostilia, the first example of an historical fresco at Rome.
The superstructure of a similar gate (Porta Marzia), which was removed in 1540 to make way for the citadel, but is depicted in a fresco by Benedetto Bonfigli (between 1461 and 1 477), was re-erected in the substruction walls of the citadel itself.
The only other existing fresco by Pisanello is an Annunciation in S.
Santa Chiara (14th century) is interesting for a fresco ascribed to Giotto (at one time there were many more), and monuments to Robert the Wise, his queen Mary of Valois and his daughter Mary, empress of Constantinople.
The church of the mother parish of South Bersted is Norman and Early English, and retains a fresco of the 16th century.
These forms are more agreeable to the fancy and imagination than fresco paintings or other the most expensive furniture.
In thickness, of clay, faced with brick, in the reception rooms wainscoted with stone slabs or tiles, elsewhere plastered, or, in the harem, adorned with fresco paintings and arabesques.
Most of the interior walls of the caves were covered with fresco paintings, of a considerable degree of merit, and somewhat in the style of the early Italian painters.