mentions in his dissertations that such frescoes in the cathedral were in such poor state of maintenance that its subjects and story could not be identified. It is said that Domenico produced an average of one fresco per year, in which he seems to have produced little other work during this time. For these frescoes, however, Domenico seemed to turn away from his Florentine influences and interests, as he began to reflect more traditional Gothic styles. This is especially apparently for an altarpiece painted in 1438 for St. Giuliana, Perugia. From 1440 to 1444, Domenico produced one of his most significant works, another masterpiece, which were a series of frescoes for the pilgrims' hotel in the Ospedale di Santa Maria della Scala (Siena). The frescoes were said to have been commissioned by Giovanni Buzzichelli, who was the hotel's rector. The frescoes illustrate daily life as well as the history of the Sienese hospital. Domenico was assigned five scenes: three with everyday life episode and the other two with events that have occurred from the history of the hospital. Siena Cathedral Sacristy Frescoes Whilst Domenico is best known for his frescoes for the Santa Maria della Scala Hospital in Siena, the Sacristy frescoes he had completed for the Siena Cathedral played an integral part of establishing Domenico's name as a rising fresco painter in Siena. Domenico began to work on the sacristy frescoes one month after his mentor sculptor Jacopo della Quercia was named the operational director of the cathedral's artistic restoration project. As mentioned previously, it is clear that some form of a partnership had existed prior to Jacopo della Quercia's election, because of the efficient timing in which Domenico had been summoned to complete artworks for the cathedral. However, Domenico was only able to produce to the cathedral one fresco a year, for Strehlke and other researchers observe that Domenico must have been occupied with other commissioned works. Almost none of these frescoes in the cathedral have been able to survive until today. Madonna and Child Enthroned (1437) In 1437, four years after the Madonna of Humility, Domenico di Bartolo painted a Madonna and Child. Giorgio Vasari identifies the panel painting "Madonna and Child Enthroned" as a fragment of an altarpiece for the high altar of the Santa Maria del Carmine, Florence e. As observed by art historian Carl Strehlke, the pointed shortening of the upper edges and the