'The Allegory of Good and Bad Government' (A. Lorenzetti): Why these 700-year-old fresco panels are more relevant than ever (part 3)
It is time to focus on the effects of a good government and conclude this series.
This is the third and final part from a series about ‘The Allegory of Good and Bad Government’ by Ambrogio Lorenzetti. Parts 1 and 2, which respectively cover the political context in Siena and the details of the “Good Government”, are available here and here.
We left the central panel, ‘The Allegory of Good Government’ with the figures of Peace looking towards the Eastern wall. There is a good reason for that gaze, as this wall section depicts the effects of good government previously described, in the city and in the countryside.
The Effects of Good Government in the City…
After reminding Siena's administrators of the virtues of good governance, Lorenzetti illustrates an ideal society - one that results from effective administration. This image was intended to inspire legislators to steer the city toward such a prosperous state.
Let's first examine what happens in the city. Art historians still debate whether the depicted city is actually Siena or a symbolic representation, though the bell tower and dome in the upper left corner suggest the first proposition.
Lorenzetti’s depiction of the city is a remarkable artistic achievement. He brings to life a bustling, vibrant urban space where all citizens coexist, regardless of their occupations. This dynamic representation contrasts with the more static religious scenes typical of the period.
Numerous shops are depicted, emphasizing their central role as the soul of the city and a testament to its prosperity. The effects of justice and peace are visible in the thriving commerce.
Thanks to the wealth generated by trade, citizens can flourish. They can marry, parade, learn, entertain themselves, and practice the arts. The exact significance of the nine (again) dancers in the scene remains uncertain.
There is no conflict or war to disrupt this harmonious society.
An ideal city is not static; it grows and evolves. Lorenzetti illustrates this through the activity of workers and the open city gate that leads to the countryside.
…and in the Countryside
The effects of good government extend beyond the city. Lorenzetti’s portrayal of the countryside is equally idyllic. Life is laborious and peaceful, and the city faces no enemies in sight.
The fertile fields and abundant harvests symbolize prosperity. Workers tend to the land, and caravans loaded with goods make their way to the city. Livestock help ease manual labor, and the animals are well-raised and ready for sale.
The dogs are well-trained and are accompanying wealthy masters on hunts. With no wars to fight, these nobles have ample time for leisure pursuits, maintaining their castles and villas perched on distant hills.
In the sky above the fortified walls, an angel reminds us why all of this is possible: "SECURITAS", the security that results from Peace and Justice.
Yet, in her left hand, she holds a gallows and a hangman—symbols warning that anyone threatening the stability of virtuous governance will face immediate punishment…
The Bad Government
If the values of good government are betrayed, society quickly falls into the hands of bad governance.
In this scene, Lorenzetti mirrors the nine virtues of good government, transforming them into their corresponding vices. The three theological virtues in the sky are replaced by the seven capital vices:
Charity becomes Avarice (“AVARITIA”)
Faith becomes Vainglory (“VANGLORIA”)
Wisdom becomes Pride (“SUPERBIA”)
The other virtues are similarly replaced with vices, each more horrific than the last, from left to right:
Cruelty (“CRUDELITAS”) strangles a baby while holding a snake;
Treason (“PRODITIO”) holds a lamb with a serpent's tail, symbolizing deception;
Fraud (“FRAUS”) looks peaceful but has bat wings and a monstrous foot protruding from her dress;
Fury (“FUROR”) is depicted as a centaur armed with a sword;
Division (“DIVISIO”) is about to mutilate herself between her right side labeled "SI" and her left side labeled "NO";
War (“GUERRA”) is armed for battle.
Lorenzetti, through symmetry, presents Bad Government as the inverse of Good Government. This panel thus serves both as a warning and a demonstration of the benefits of virtuous governance.
The consequences of ruling with vice and personal ambition, as represented by these nine vices, lead directly to Tyranny - the infamous monster that replaces the wise Old Man from the Good Government. Justice lies dejected at Tyranny's feet, completely subjugated.
Justice is at her feet, dejected, completely under Tyranny's control.
On the left side of the fresco partially erased, we see the consequence: a city with shuttered businesses, torn by division, violence, and war raging in the surrounding lands.
Conclusion: was Siena well-governed?
Lorenzetti’s frescoes resonate with contemporary relevance, as many of our democracies face governance crises, and autocracies grow increasingly belligerent. New media, particularly social networks, fan the flames of discord.
Although Lorenzetti could not have foreseen today’s political and technological developments, the universal themes in his work still invite reflection. Each viewer may draw their own parallels with their government, whether local or national. But what happened to Siena after these frescoes were completed in 1338?
In 1348, the Black Death struck Siena. Hygiene and sanitation were not central concerns in the frescoes - such issues were not a prominent topic during the Middle Ages. The plague was viewed as a divine punishment, and its impact was devastating, both in Siena and across Europe. The serene era of the Nine came to an abrupt end with the outbreak of the Black Death.
Siena lost about half of its population within months. Its thriving economy and flourishing arts scene never recovered, and the city was eventually outpaced by its rival, Florence.
The plague radically altered Siena's social structure. Some were left without families, while others lost their assets. At the same time, some people inherited wealth or took advantage of the chaos (many fled to the countryside) to steal. These new influential figures disregarded the Nine’s rules against concentrating wealth or used their positions to manipulate the city’s governance for personal gain.
The government ignored Lorenzetti’s warning against corruption and lost accountability, despite the grandeur of his frescoes, for lack of perspective regarding the unprecedented crisis.
The chamber responsible for finances was criticized for speculation, and the city never achieved the economic growth it once had. By 1354, Siena faced rampant thefts, fires, extortion, and murders, culminating in the collapse of the Government of the Nine in 1355. Finally, in 1555, Siena was absorbed into the Republic of Florence.
The Government of the Nine collapsed in 1355 and Siena was eventually integrated to the Republic of Florence in 1555.
Ambrogio Lorenzetti died of the bubonic plague in 1348 and never witnessed the fall of Siena. He lived during a time of prosperity, under one of the most advanced governmental systems of the era. While the Black Death was an overwhelming catastrophe, it’s clear that the rise of vices after the chaos hastened Siena’s decline.
A few days before Part 1 of the series was posted, I found myself marvelling at the Lorenzetti's artistry, especially The Effects of Good Government, a fresco I hold dear. Now, having read your three-part series, I marvel at the sophistication of these frescoes, and the political constructs at work in them. They deserve far more attention than they have received. Thank you for helping this happen.