| Antonio Veneziano— | |
| Pisa.—Campo Santo: Frescoes—Life of S. Ranieri. | |
| Spinello Aretino— | |
| Florence.—S. Miniato al Monte: Frescoes—Life of St. Benedict; S. Maria Novella. Farmacia: Life of Christ. | |
| Pisa.—Campo Santo: Frescoes—Lives of S. Efeso and Potito. | |
| Siena.—Palazzo Pubblico: Frescoes—Wars of Barbarossa. | |
| Lorenzo Monaco— | |
| Florence.—Accademia aelle Belle Arti: | |
| 143. Annunciation. | |
| 144. Life of S. Onofrio. | |
| 145. Nativity. | |
| 146. Life of St Martin. | |
| Florence.—„ Uffizi: 39. Adoration of Magi. | |
| 40. Pietà. | |
| 41. Madonna and Saints. | |
| 1309. Coronation. | |
| Florence.—„ S. Trinità: Annunciation. | |
| Florence.—„ Bartolini Chapel: Frescoes—Life of Virgin. | |
| Bergamo.—Gallery: 10. Dead Christ. | |
| Prato.—Gallery: 3. Madonna and Saints. | |
| Berlin.—1119. Madonna and Saints. | |
| London.—National Gallery: 215, 216. Saints. | |
| Munich.—Pinacothek: 96. St. Peter. | |
| Paris.—Louvre: 1348. Triptych: Saints. | |
Fresco is a method of painting on a surface of wet plaster, made of lime and sand, spread over the wall. In buon fresco, the colours were laid on this coating or intonaco while it was still wet, and allowed to sink into the plaster. In fresco a secco the last coat of plaster was allowed to dry, scraped smooth, and wetted again before it was painted. Both processes were commonly used by early Florentine masters for mural painting, and are fully described by Cennino, but were considerably modified by later artists. Tempera, or distemper, the process commonly used by Italian masters in painting altar-pieces and other panels, consisted of mixing colours with water and yolk of egg, sometimes diluted with the milky juice of the fig-tree. Frescoes were often re-touched in tempera and fresco a secco, and oil varnishes, Cennino tells us, were applied both to fresco and tempera paintings as early as the fourteenth century.
