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Justice's feet, the personification of Virtue, also, unusually for the time, portrayed as a female figure, passes virtue among 24 faithfully rendered and recognizable images of prominent male citizens of Siena. The men face towards the largest figure in the image, a judge located in the center right. The judge is surrounded by additional personifications including Peace, who is represented as a fashionable, white-clad contemporary female figure with elaborate
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285:. Concordia joins the cords of peace and welfare that she receives from Justice and gives it to the citizens, who pull this rope together to bind the wrist of Sovereignty. Each personified virtue is titled in its place, so there is no doubt about what each figure represents. The meaning of this fresco is clear: good government will make the people prosper.
175:, of which the Palace is the focal point. At the top of this facade is a huge round flat bronze plate , the symbol used by Saint Bernardino. It was placed there by the government in 1425 in gratitude to the great preacher, a native Sienese, for his sermons aimed at quelling social and political factionalism and unrest.
346:. Hidden underneath this fresco is the New Fresco, plastered over and partly painted over. This fresco depicts two men standing alongside a town on a hill. The fresco is in poor condition from being painted over and its origin and intent remain unknown. It, also, is damaged by Lorenzetti's circular map of the world.
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The
Allegory of Good Government depicts the personification of Justice as a woman. She gestures to the scales of balance, held by the personification of Wisdom floating over her throne. On the viewer's left, a convicted criminal is beheaded; on the right, figures receive the rewards of justice. At
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Nearly every major room in the palace contains frescoes. These were unusual for the time in that they were commissioned by the governing body of the city, rather than by the Church or by a religious fraternity. They are also unusual in that many of them depict secular subjects instead of the
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The allegory carries a strong social message of the value of the stable republican government of Siena. It combines elements of secular life with references to the importance of religion: Justice resembles Mary, Queen of Heaven, the patron saint of Siena, on a throne; the Judge reflects the
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Many of the frescoes in the Palace, including these, are badly damaged potentially due to salt once stored in the basement of the building. It is theoretically possible that the salts wicked moisture down from the walls, causing the plaster to dry excessively and the frescoes to flake off.
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influences. The lower story is stone while the upper crenellated stories are made of brick. At a time when brick as a finished face was rare, Siena preferred it to stone because it was cheaper; this allowed architects to use more expensive detailing elsewhere. The
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religious subjects which are overwhelmingly typical of
Italian art of this era. Although these frescoes are secular in origin and overall theme, the ideas are expressed within a religious framework: scriptural verses are quoted on the frescoes.
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to have God or Christ judging the saved on the left and the damned on the right. While classified as medieval or proto (pre)-renaissance art, these paintings show a transition from earlier religious art.
217:; at the time it was the tallest structure in Italy. It was fitted with a mechanical clock during the mid-14th century. Its design has been used as the basis for several other campaniles, including the
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In the allegorical representation of Good
Government, the prosperous townspeople are trading and dancing in the streets. Beyond the city walls is a lush countryside in which crops are harvested.
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The upper-story windows of the
Palazzo are heavily ornamented trefoil arches, typical of Sienese architecture. The pointed arches of all of the windows are a clear example of Gothic influence.
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in 1348; approximately half of its population died in the plague. The republic's economy was destroyed and the state quickly declined from its position of prominence in Italy. The
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ones in secular matters). The palace is of medieval and Gothic architecture, and the interior is lined with frescoes--most importantly, the collection known as
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The most famous of the secular frescoes are three panels in the series on government in the Hall of the Nine (also known as Sala della Pace) by
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religious order rose to power in the city. The stagnation over the following centuries meant that while Siena did not develop during the
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Johns, Ann
Collins. "Defining the Gothic in Italy: The Cistercians of San Galgano and civic architecture in Siena, 1250–1350."
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of the palace is curved slightly inwards (concave) to reflect the outwards curve (convex) of the
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Frugoni, Chiara. "The Book of Wisdom and
Lorenzetti's Fresco in the Palazzo Pubblico at Siena."
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de
Wesselow, Thomas. "The Form and Imagery of the New Fresco in Siena's Palazzo Pubblico."
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Campbell, C Jean. "The city's new clothes: Ambrogio
Lorenzetti and the poetics of peace."
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This article is about the building in Siena. For the building in San Marino, see
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as did other
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The Square and the Tower: Networks and Power, from the
Freemasons to Facebook
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Wagener, Hans-Jurgen. "Good Governance, Welfare, and Transformation."
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Flanking the Allegory are two other paintings on perpendicular walls:
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The University of Texas at Austin ProQuest Dissertations Publishing
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and Council of Nine, the elected officials who performed
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The outside of the structure is an example of Italian
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332:Guidoriccio da Fogliano at the siege of Montemassi
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450:Journal of the Warburg and Courtauld Institutes
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476:The European Journal of Comparative Economics
338:). The fresco is traditionally attributed to
201:Palazzo Pubblico in Siena and the Clock tower
491:, 2009, Vol. 30, No. 59 (2009), pp. 195-217.
1014:Buildings and structures completed in 1344
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385:The Allegory of Good and Bad Government
274:The Allegory of Good and Bad Government
227:Joseph Chamberlain Memorial Clock Tower
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126:'s government, which consisted of the
30:Palazzo Pubblico and Torre del Mangia.
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92:Pope Alexander III returns to Rome
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956:Siena Baptistery of San Giovanni
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16:Palace in Siena, Tuscany, Italy
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349:Siena was decimated by the
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624:Oratorio di Sant'Antonio
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344:Ambrogio Lorenzetti
336:Sala del Mappamondo
311:In the allegory of
266:Ambrogio Lorenzetti
248:Cappella di Piazza.
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359:Renaissance
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211:Lippo Memmi
184:Christogram
1008:Categories
981:11°19′53″E
978:43°19′06″N
698:Fonte Gaia
593:Osservanza
393:References
355:Franciscan
219:Dock Tower
118:, central
81:Lorenzetti
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558:Cathedral
551:Religious
132:executive
108:town hall
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612:Churches
581:Basilica
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215:Florence
136:judicial
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223:Grimsby
128:PodestĂ
116:Tuscany
926:Pienza
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165:facade
160:Gothic
62:MaestĂ
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112:Siena
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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