The most startling is the discovery of three reflecting pieces in the halo of Christ the Judge, a unique case as far as our present knowledge goes. And here they allow us to give a fairly plausible explanation for the window where the panel depicting the Eternal Father is located, directly facing the Last Judgement. In the course of the work, this aspect took on a degree of importance. The chalk outline (synapse) of the figure probably shows that the painting was by Giotto himself. This finding has made it possible to appreciate the importance of a phenomenon first noted several years ago - on March 25 (the anniversary of the consecration of the Chapel), a ray of sunshine strikes the scene of the Virgin of the Annunciation and moves across the space between the hands of Enrico Scrovegni and the Madonna.

(Watch the effect in the video) .

From a strictly technical point of view, it should be noted that Giotto's approach to colour has been rediscovered (he had been "reduced" in the current manuals to a champion of plastic art and the play of masses). It has also been confirmed that he carried out all the work on the painted marble of the decorations himself, using a forgotten Roman technique - "marmorino" or "stucco romano". (Leonetto Tintori¸ the restorer, had already made mention of this). Completely new and from various aspects surprising, however, is the news that in decorating the Chapel, Giotto had also made use of oil techniques.