Once the problem that had prompted the decision to intervene on Giotto's cycle had been resolved, it was thought only proper to respond to the need to restore the paintings as much as possible to their original state.

The result has been to render the revolutionary spatial layout of the work more legible, along with the formal values through which Giotto expressed himself, in particular the quality of his coloring, something that is usually (and inexplicably) undervalued.

At the end of a program of restoration that lasted an incredibly short time, but for which preparations had been made down to the smallest detail over twenty years of scientific investigation, historical research, laboratory experimentation, essays, trials and monitoring, one of the most fundamental cornerstones and certainly the most dazzling incunbala of modern European painting has been reopened to the public.

Preceded by long and complex preparatory work on the building and the surroundings, the intervention of conservation on the mural decoration has made it possible to arrest the acceleration of the process of decay. This decay was chiefly the result of the combined action of damp and pollution, but had been further aggravated by the use of unsuitable restoration materials during the intervention carried out in the early sixties.

Giotto after the Restoration

Francesca Flores d'Arcais

Giotto's Pictorial Cycle

Giuseppe Basile

The Restoration

Giuseppe Basile

Frescoes

entries by Valerio Da Gai

Architectonic Structure

Stories of Joachim and Anne

Stories of the Virgin

Stories of the Life of Christ

Passion of Christ

Vices and Virtues

The Last Judgement

Appendix

entries by Valerio Da Gai

Cross, Presbytery Decoration, Madonna and Deacons

Holding Candles by Giovanni Pisano, Scrovegni Tomb

Sources of the principal Episodes of the Pictorial Cycle

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