Giotto worked on other frescoes in Padua, some now lost, such as those that were in the
Basilica of St. Anthony and the
Palazzo della Ragione. Numerous painters from northern Italy were influenced by Giotto's work in Padua, including
Guariento,
Giusto de' Menabuoi,
Jacopo Avanzi, and
Altichiero. From 1306 from 1311 Giotto was in Assisi, where he painted the frescoes in the transept area of the Lower Church of the Basilica of St. Francis, including
The Life of Christ,
Franciscan Allegories and the Magdalene Chapel, drawing on stories from the
Golden Legend and including the portrait of Bishop Teobaldo Pontano, who commissioned the work. Several assistants are mentioned, including Palerino di Guido. The style demonstrates developments from Giotto's work at Padua. However, the style seems unlikely for either Giotto or his normal Florentine assistants so he may have had his design executed by an
ad hoc workshop of Romans. The cardinal also commissioned Giotto to decorate the apse of St. Peter's Basilica with a cycle of frescoes that were destroyed during the 16th-century renovation. According to Vasari, Giotto remained in Rome for six years, subsequently receiving numerous commissions in Italy, and in the Papal seat at
Avignon, but some of the works are now recognized to be by other artists. '' (). Tempera on wood, 325 × 204 cm,
Uffizi, Florence In Florence, where documents from 1314 to 1327 attest to his financial activities, Giotto painted an altarpiece, known as the
Ognissanti Madonna, which is now on display in the
Uffizi, where it is exhibited beside Cimabue's
Santa Trinita Madonna and
Duccio's
Rucellai Madonna. It is a large painting, , and scholars are divided on whether it was made for the main altar of the church, where it would have been viewed primarily by the brothers of the order, or for the choir screen, where it would have been more easily seen by a lay audience. He also painted around the time the
Dormition of the Virgin, now in the Berlin
Gemäldegalerie, and the
Crucifix in the Church of Ognissanti.
Peruzzi and Bardi Chapels at Santa Croce , Raleigh According to
Lorenzo Ghiberti, Giotto painted chapels for four different Florentine families in the
church of Santa Croce, but he does not identify which chapels. It is only with Vasari that the four chapels are identified: the
Bardi Chapel (
Life of St. Francis), the
Peruzzi Chapel (
Life of St. John the Baptist and
St. John the Evangelist, perhaps including a polyptych of
Madonna with Saints now in the
North Carolina Museum of Art of
Raleigh) and the lost Giugni Chapel (
Stories of the Apostles) and the Tosinghi Spinelli Chapel (
Stories of the Holy Virgin). As with almost everything in Giotto's career, the dates of the fresco decorations that survive in Santa Croce are disputed. The Bardi Chapel, immediately to the right of the main chapel of the church, was painted in true fresco, and to some scholars, the simplicity of its settings seems relatively close to those of Padua, but the Peruzzi Chapel's more complex settings suggest a later date. The Peruzzi Chapel is adjacent to the Bardi Chapel and was largely painted
a secco. The technique, quicker but less durable than a true fresco, has left the work in a seriously-deteriorated condition. Scholars who date the cycle earlier in Giotto's career see the growing interest in architectural expansion that it displays as close to the developments of the giottesque frescoes in the Lower Church at Assisi, but the Bardi frescoes have a new softness of colour that indicates the artist going in a different direction, probably under the influence of
Sienese art so it must be later. The Peruzzi Chapel pairs three frescoes from the life of
St. John the Baptist (''The Annunciation of John's Birth to his Father Zacharias; The Birth and Naming of John; The Feast of Herod
) on the left wall with three scenes from the life of St. John the Evangelist (The Visions of John on Ephesus
; The Raising of Drusiana
; The Ascension of John'') on the right wall. The choice of scenes has been related to both the patrons and the
Franciscans. Because of the deteriorated condition of the frescoes, it is difficult to discuss Giotto's style in the chapel, but the frescoes show signs of his typical interest in controlled naturalism and psychological penetration. The Peruzzi Chapel was especially renowned during Renaissance times. Giotto's compositions influenced
Masaccio's frescoes at the
Brancacci Chapel, and Michelangelo is also known to have studied them. The Bardi Chapel depicts the life of
Francis of Assisi, following a similar iconography to the frescoes in the Upper Church at Assisi, dating from 20 to 30 years earlier. A comparison shows the greater attention given by Giotto to expression in the human figures and the simpler, better-integrated architectural forms. Giotto represents only seven scenes from the saint's life, and the narrative is arranged somewhat unusually. The story starts on the upper left wall with
St. Francis Renounces his Father. It continues across the chapel to the upper right wall with the
Approval of the Franciscan Rule, moves down the right wall to the
Trial by Fire, across the chapel again to the left wall for the
Appearance at Arles, down the left wall to the
Death of St. Francis, and across once more to the posthumous
Visions of Fra Agostino and the Bishop of Assisi. The
Stigmatization of St. Francis, which chronologically belongs between the
Appearance at Arles and the
Death, is located outside the chapel, above the entrance arch. The arrangement encourages viewers to link scenes together: to pair frescoes across the chapel space or relate triads of frescoes along each wall. The linkings suggest meaningful symbolic relationships between different events in St. Francis's life. ==Later works and death==