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Giotto worked in Rome in 1297-1300, but few traces of his presence there remain today. The [[Basilica of San Giovanni in Laterano]] houses a small portion of a fresco cycle, painted for 1300 Jubilee called in by [[Boniface VIII]]. In this period he also painted the ''[[Badia Polyptych]]'' (Uffizi, Florence), and was called to work in [[Rimini]] and [[Padua]]. In the former city, today only a ''Crucifix'' remain in the [[Tempio Malatestiano|Church of St. Francis]], painted before 1309. This work influenced the rise of the Riminese school of Giovanni and Pietro da Rimini.
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In Padua Giotto executed his most influential work, the cycle with the ''Stories of Mary and Jesus'', the ''Allegories of the Vices'' and the ''Last Judgment'' in the [[Cappella degli Scrovegni]] (1303-1305). This work is considered amongst the masterworks of all time paintings.
[[Image:Giotto - Scrovegni - -36- - Lamentation (The Mourning of Christ).jpg|''The Mourning of Christ'', Cappella degli Scrovegni.|thumb|250px]]
The work, which is signed, is inspiread to the [[Golden Legend]] of [[Jacopo da Varazze]] and the ''Meditations of the Life of Jesus'' by the Pseudo-Bonaventura. The cycle is divided into 37 scenes pivoting on the theme of salvation, starting from the story of Joachim and Anna, continuing with those of Mary and Jesus and ending with the Last Judgment on the counter-façade.
The scheme has 100 major scenes with the heavily sculptural figures set in compressed but naturalistic settings often using forced perspective devices. Giotto's major innovation was to conceive of a painted architectural framework or [[grisaille]] using trompe-l'oeil effects that directly influenced [[Masaccio]] and in turn [[Michelangelo]] in his scheme for the [[Sistine Chapel]]. Famous panels in the series include the [[Adoration of the Magi in Art|Adoration of the Magi]] in which a comet like [[Star of Bethlehem]] streaks across the sky and the Flight from Egypt in which Giotto broke many traditions for the depiction of the scene. The scenes from the Passion were much admired by artists of the Renaissance for their concentrated emotional and dramatic force, especially the ''Mourning of Christ'', and studies of the sequence by [[Michelangelo]] exist. ▼
The scenes show heavily sculptural figures set in compressed but naturalistic settings often using forced perspective devices. In comparison to Assisi's frescoes, they show a great progress in Giotto's art, with more solid figures whose concreteness is increased by a well devised uses of chromatic variations.
Lost are instead the frescoes in the [[Basilica of Saint Anthony of Padua|Basilica of. St. Anthony]] and the [[Palazzo della Ragione]], which are however from a later sojourn in Padua. Numerous painters from northern Italy were influenced by Giotto: [[Guariento]], [[Giusto de' Menabuoi]], [[Jacopo Avanzi]] and [[Altichiero]], who founded his style with the more naturalistic trends of the local tradition.▼
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Lost are instead the frescoes in the [[Basilica of Saint Anthony of Padua|Basilica of. St. Anthony]]<ref>The remaining parts (''Stigmata of St. Francis'', ''Martyrdom of Franciscans at Ceuta'', ''Cruficixion'' and ''Heads of Prophets'' are most likely from assistants.</ref> and the [[Palazzo della Ragione]]<ref>Finished in 1309 and mentioned in a text from 1350 by Giovanni da Nono. They had an astrological theme, inspired to a the ''Lucidator'', a treatise famous in the 14th century.</ref>, which are however from a later sojourn in Padua.
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===Mature works===
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