Similarly in painting in fresco the principal chapel of the church of S. Croce for the noble family of the Alberti, he represented the incidents which took place on the finding of the Cross, executing the work with much skill, though it is somewhat lacking in design, the colouring alone being meritorious. He succeeded much better afterwards in some other paintings in fresco in the chapel of the Bardi, and in some stories of St Louis in the same church. He worked capriciously, sometimes with great care and sometimes with little. Thus in S. Spirito at Florence, where he did the inside of a door leading from the piazza to the convent, and above another door a Madonna and child, with St Augustine and St Nicholas, all in fresco--they are all so well done that they look as if they had been painted yesterday. The secret of working in mosaic had as it were descended to Agnolo by inheritance, and in his house he had the instruments and other apparatus used by his grandfather Gaddo; accordingly to para the time, and for one reason or another, he did some things in mosaic when he had the whim. Thus since many of the marble facings of the exterior of S. Giovanni were wasted by time, and as the damp had pierced through and done considerable injury to the mosaics previously executed there by Andrea Tafi, the Consuls of the Art of the Merchants proposed to restore the greater part of this marble covering, in order that no further damage should be done, and also to repair the mosaics. The commission for this was given to Agnolo, and in the year 1346 he caused the building to be covered with new marble, overlaying the joints to a distance of two fingers with great care, notching the half of each stone as far as the middle. He then cemented them together with a mixture of mastic and wax, and completed the whole with such care that from that time forward neither the vaulting nor the roof has ever suffered any harm from the water. His subsequent restoration of the mosaics led by his advice to the reconstruction from his well-devised plans of the whole of the cornice of the church above the marble, under the roof, in its present form, whereas it was originally much smaller and by no means remarkable. He also directed the construction of the vaulting for the hall of the Podesta palace, where an ordinary roof had formerly existed, so that in addition to the added beauty which it gave the room, it rendered it proof against damage by fire, which it had frequently suffered before. By his advice the present battlements were added to the palace, where nothing of the kind had previously existed.