1418: In Lublin, the Gothic and Renaissance Chapel of the Holy Trinity is covered with Russo-Byzantine frescoes.
His works include frescoes in Sant'Apollonia in Florence and the painted equestrian monument of Niccolò da Tolentino (1456) in the Cathedral in Florence.
He had the opportunity during the latter period to work at the most illustrious courts of Central Europe for clients such as Prince Eugene of Savoy, Prince Adam von Liechtenstein and Count Kaunitz, as attested by major works such the frescoes in the Castle of Slavkov near Slavkov u Brna in the present day Czech Republic, and two canvases at the Schloss Galerie, Pommersfelden.
In 1507 Andrea Solari went to France with letters of introduction to the Cardinal of Amboise, and was employed for two years on frescoes in the chapel of his castle of Gaillon in Normandy.
Among his many frescoes is the main altarpiece depicting the Madonna of the Rosary with St Anthony and St Materno (1863) for the parish church of Melara.
Pusterla, as part of WPA-sponsored projects employing artists, directed much of the frescoes for the New York County Supreme Courthouse on Foley Square.
In Rome, he painted frescoes in the Pinelli chapel of Santa Maria in Vallicella, including Scenes from the life of the Virgin and Birth of Jesus on the arches, and the Dormition, Coronation, and Funeral of the Madonna on the vault.
Lorenzo Monaco's frescoes were inspired by the apocryphal Gospel of James, dealing with Mary's infancy and supporting the Vallumbrosan's view that she had been not naturally born by her father.
Parish Church of San Salvatore (Duomo), the seventeenth-century structure located in the center of the country, with frescoes by Antonio Guadagnini.
Interestingly, Vasari does not attribute the famed Pisan frescoes now associated with Buonamico to the painter, but rather, credits him with four frescoes at the Camposanto depicting the beginning of the world through the building of Noah's Ark, which later scholars have instead attributed to Piero di Puccio of Orvieto.
The cycle of frescoes continues with the Stories of the Old Testament by Benozzo Gozzoli (15th century) that were situated in the north gallery, while in the south arcade were the Stories of Pisan Saints, by Andrea Bonaiuti, Antonio Veneziano and Spinello Aretino (between 1377 and 1391), and the Stories of Job, by Taddeo Gaddi (end of 14th century).
Between 1905 and 1909 the Board of the Museums of Barcelona printed faithful reproductions of these Pyrenean frescoes, and the publication of these works unleashed a desire for their acquisition by museums and private collectors.
The major interior decoration consists of a cycle of 11 large frescoes round the monastic church on the Life of the Virgin painted between 1772 and 1774 by Francisco Goya.
In the main core of Chironico, with its typical block buildings, is the small church of S. Ambrogio with a medieval twin apsis and remarkable frescoes.
Its magnificent frescoes and icons were painted by masters of one of the most famous Bulgarian Icongraphic Schools: the Debar School.
He assisted Peter von Cornelius in his frescoes at the Glyptothek, and was also engaged on decorative work in the colonnades of the Hofgarten, in the corridor of the Alte Pinakothek, and in the dining-hall of the Residenz.
The chapel itself is decorated with 15th Century frescoes by the mannerist painter Gianserio Strafella.
From 13 January 1627 he collaborated with the painter Tyman Arentsz. Cracht on frescoes in the villa "Casino Pescatore" located in Frascati, owned by Giorgio Pescatori (aka Pieter de Vischere), a wealthy Italian banker and patron of Flemish descent.
In 1905, Vigeland traveled to Italy under a scholarship to study frescoes, a journey that also took him to Egypt and Jerusalem.
His initial training was likely in Venice, but later Benković apprenticed with Carlo Cignani in Bologna, assisting him in 1706 in completing the frescoes of the Assumption of the Virgin on the dome of the Forlì cathedral.
His works include frescoes in the Basilica di San Leone Luca, Santa Maria di Gesù, a Coronation of the Virgin for the church of Santa Maria degli Angeli, and a Marriage of St. Joseph for il Gesù.
He also painted two works for the main altar and the Cimini Chapel of Roman church of Sant'Antonio dei Portoghesi, a Virgin and Child with St Anne and Saints in frescoes and canvases in San Bonaventura (before 1686), a Holy Family with St Anne and St Anthony of Padua, both in San Paolo alla Regola (c. 1700), and frescoes in Santa Maria dell’Orto (c. 1700–05).
Additional frescoes attributed to Zaffoni are present in Azzano Decimo, and a Nativity, various Saints, and Patron in armor (1542) for the Church of Pescincanna in Friuli.
Giovanni's works – paintings, frescoes and large canvasses – were famously displayed in the galleries and churches of Messina, but due to earthquakes from Mount Etna and wartime bombings, few have survived to the present day.
He received commissions early on in his career from Ferdinand's grandfather, Maximilian I and was also commissioned in 1508 for frescoes depicting the Habsburg family tree in Ambras Castle.
In 1995 the abandoned villa was acquired by the artist Rainer Maria Latzke, who restored the villa and added new modern murals to the already existing frescoes.
He was a contemporary of Gentile da Fabriano, and with Lorenzo’s brother Jacopo, they painted frescoes of John the Baptist in Urbino.
Rattenberg—Parish Church of St. Virgil (ceiling frescoes and fresco in the sacristy) (1736)
Along with Giuseppe Galli Bibiena (of the Galli Bibiena family of artists) and Felice Biella, in 1746–48, Bortoloni helped complete ceiling frescoes in the Vicoforte Sanctuary.
Pacher spent much of his time during the 1470s in Neustift, where his work mainly consisted of painting frescoes.
The interior houses several frescoes from a 15th-century master artist from Seregno, as well as other newer paintings.
There is another series of frescoes of great emotive and narrative quality, representing Jesus among the Doctors, the Baptism, the Virgin and Child Enthroned, Saint Catherine of Alexandria upon the Wheel, Saint Martin and the Pauper, Jesus entering Jerusalem, and the Miracle of the reanimation of Napoleone Orsini by Saint Dominic, showing the young man falling from his horse.
Marinov has also done a great number of frescoes in churches in Plovdiv, Lovech, Biala Cherkva, Pernik and Alexander Nevsky Cathedral in Sofia.
Some of the rooms still have period decorations, the most famous of which is the gallery decorated with frescoes by Martin Knoller and stuccos by Giocondo Albertolli.
The rooms are frescoed by Paul Brill, and a loggia in a garden is decorated with frescoes by Orazio Gentileschi and Agostino Tassi.
It dates from the mid-18th century and contains a painting of the Last Supper by Janez Wolf (1825–1884) and frescoes by Matija Bradaška (1852–1915).
Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.
A zenith of Volga architecture was reached in the Church of St John the Baptist (built 1671-87)—the largest in Yaroslavl, with 15 cupolas and more than 500 frescoes.
The artistic careers of Lorenzo Salimbeni (San Severino Marche 1374-c1418) and Jacopo Salimbeni (c.1370/80-after 1426) brothers spanned in both relatively narrow area and short time, from the triptych painting of the altarpiece of the Mystical Marriage by Lorenzo alone in 1400 (Pinacoteca Civica, San Severino) to the frescoes of the Crucifixion and Scenes from the Life of St John the Baptist in the Oratory of San Giovanni, Urbino, in 1416.
The unique frescoes of the hall originate from that 17th century and are attributed to the painter Carpoforo Tencalla.
The Medici court was his main patron, and he designed a number of scenes for tapestries and frescoes to decorate the Palazzo Vecchio, the villa of Poggio a Caiano, and the Arazzeria Medicea in Florence.
The painter has given Sylvester the traits of Clement VII, the Pope who had ordered the frescoes to be finished, after the work was interrupted during the papacy of Hadrian VI.
Inside there are frescoes and paintings by Giovanni Battista Crosato, Daniel Seyter and Corrado Giaquinto in the main room, grotesques of Filippo Minei and paintings by the brothers Domenico and Giuseppe Valeriani in the near rooms; there are also precious Chinese Cabinets in lacquer and golden wood.
Although covered with metres of ash and other volcanic material, the villa sustained only minor damage in the eruption of Vesuvius in 79 AD, and the majority of its walls, ceilings, and most particularly its frescoes survived largely undamaged.
He painted several works, among them some frescoes and the portraits of cardinals Giulio Roma and Marcello Santacroce, for Tivoli Cathedral and a St. Xavier in the Jesuits' church, which no longer exists.
Moreover, all the individual elements are in harmony and seem to be connected in some way: the altars, the pulpit, the two organs, the choir stalls, the putti and the frescoes with numerous saints, with clouds and blue sky.