Giotto completed this fresco cycle in just two years, from 1303 to 1305. It unfolds across the chapel’s entire interior, narrating the Story of Salvation through two distinct paths. The first path covers the Life of the Virgin and of Christ, depicted along the nave and triumphal arch; the second path begins with the depiction of Vices and Virtues along the lower portions of the main walls and culminates with the majestic Last Judgment on the counter-façade. Giotto’s first major innovation in Padua was his approach to spatial representation: the frescoes display examples of “perspective” and three-dimensionality that predate Renaissance theories by a century. The second innovation is his focus on human representation, both physically and emotionally. This is powerfully conveyed in the scenes of the Life of the Virgin and of Christ, where human joy and suffering emerge with striking intensity—examples include the tender kiss between Joachim and Anna in The Meeting at the Golden Gate and the grief-stricken mothers in The Massacre of the Innocents. The vaulted ceiling, painted a deep blue and dotted with stars, features medallions depicting Mary, Christ, and the Prophets. The presbytery houses Giovanni Pisano’s early 14th-century sculpture Madonna with Child between Two Angels. In 2021, the Scrovegni Chapel’s fresco cycle was inscribed on the UNESCO World Heritage List as part of the serial site “14th-Century Fresco Cycles of Padua.”