Giotto

===Sequence===
The cycle is divided into 37 scenes, arranged around the lateral walls in three tiers, starting in the upper register with the story of [[St. Joachim]] and [[St. Anne]], the parents of the Virgin, and continuing with her early life. The life of Jesus occupies two registers. The top south tier deals with the lives of Mary's parents, the top north with her early life and the entire middle tier with the early life and miracles of Christ. The bottom tier on both sides is concerned with the [[Passion of Jesus Christ|Passion of Christ]]. He is depicted mainly in profile, and his eyes point continuously to the right, perhaps to guide the viewer onwards in the episodes. The kiss of Judas near the end of the sequence signals the close of this left-to-right procession. Below the narrative scenes in colour, Giotto also painted allegories of seven Virtues and their counterparts in monochrome grey (''grisaille''). The ''grisaille'' frescoes are painted to look like marble statues that personify Virtues and Vices. The central allegories of ''Justice'' and ''Injustice'' oppose two specific types of government: peace leading to a festival of Love and tyranny resulting in wartime rape.<ref>{{cite book|editor1-last=Kérchy|editor1-first=Anna|editor2-last=Liss|editor2-first=Attila|editor3-last=Szönyi|editor3-first=György E.|title=The Iconology of Law and Order (Legal and Cosmic)|date=2012|publisher=JATEPress|location=Szeged|isbn=978-963-315-076-4}}</ref> Between the narrative scenes are quatrefoil paintings of [[Old Testament]] scenes, like [[Jonah and the Whale]], that allegorically correspond to and perhaps foretell the life of Christ.

Much of the blue in the frescoes has been worn away by time. The expense of the [[ultramarine]] blue pigment used required it to be painted on top of the already-dry fresco (''[[fresco secco|a secco]]'') to preserve its brilliance. That is why it has disintegrated faster than the other colours, which were painted on wet plaster and have bonded with the wall.<ref>Wolf, Norbert (2006). ''Giotto''. Hong Kong; Taschen. p. 34. {{ISBN|3822851604}}.</ref> An example of the decay can clearly be seen on the robe of the Virgin, in the fresco of the ''Nativity''.