the project. Both of them successfully renovated the hall in a way that depicts realities of lively daily existence. As mentioned by Strehlke, no documentation of a commission for this hospital wall is known to exist. He also observes that although the frescoes done by Domenico di Bartolo (as well as Vecchietta) that have managed to survive until today present a unified pictorial scene, details such as changes in the framing and challenges with the architecture of the hospital show that adaptations were made during the execution of the artworks. It is unclear what position Domenico occupied in the hospital's decoration, and there are no records that he served at the planner or director of the project. Care of The Sick Domenico's first of his six frescoes is named the "Care of The Sick", which is signed by Domenico with Latin inscription and dated to 1440. The fresco shows, with impressive detail, the interior layout of the hospital ward. Doctors and nurses are depicted assisting the patients, as well as carrying out other generous deeds. The fresco also depicts in the center foreground the washing of the patient's feet, directly inferring to the well-known image of Christ washing the feet of his disciples. Throughout the whole painting, Domenico vividly brings out the color of the costume and its well-crafted décor. Because of such imitation to a real location, Domenico is said to have followed the works of Vecchietta, where both artists pave way into a whole new area of descriptive realism to the world of Sienese art. Other painters at the time such as Gentile da Fabriano and Pisanello might have depicted landscapes to be realistic or naturalistic, but they were consistently known to create images that came out of fantasy and creativity. It was therefore new to the art world for both Domenico and Vecchietta to produce images that seem to imitate a specific location. The frescoes by Domenico are also one of the first works done in Sienese art that includes visual clues for its viewers. Education and Betrothal of the Foundlings The second most recognized fresco produced by Domenico was named Education and Betrothal of the Foundlings. The entire basis of which the painting is orientated upon depends almost entirely on the architectural formation. The painting depicts foundlings being betrothed under a detailed, elaborate building with grand arches. Because of the dominating architectural layout, the figures within