A very interesting side of the restoration campaign, coinciding to the exhibition on Duccio, consists in programmed actions on the remains of mural paintings. A well-estabilished historiographical tradition, took to believe the Sienese craftsman and his most direct followers didn't practice painting on wall, the fresco. Truth is that quite obscure pictorial series, recovered under old whitenings, in places rarely frequented by scholars and public, state the opposite.


To Duccio himself is attributed not only the late mural with the "Castello di Giuncarico" (dating back to 1314 circa), rediscovered about twenty years ago on a wall of the Sala del Mappamondo in the Palazzo pubblico in Siena, but also (as Miklos Boskovits and David Wilkins sensed) the even older serie of the Bardi chapel in Santa Maria Novella in Florence, stylistically very close to the 'Madonna Rucellai'. On the example of the craftsman, many artists of his group made fresco decorations both in Siena (San Martino, Santa Maria dei Servi) and in the countryside (San Lorenzo al Colle Ciupi, near Monteriggioni, Casole d'Elsa...).


Very recent is the sensational discover, in the rooms of the so called Crypt of the Sienese Cathedral, of a complete serie of frescoes, made by a group of Sienese artists which can be dated back to 1270-1275 circa.
Remained hidden in the dark for centuries this serie, which is going through a very hard and delicate restoration process, presents gold and colours in an excellent preservation state, highly superior to every coeval mural painting known.