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The study presented here does not simply use the translation of Skinner’s book into French as a chance or pretext to offer a new reading of Lorenzetti’s fresco.

This is why the 1320s and 1330s are characterized by intense political-communication activities, which Paolo Cammarosano has placed in an in an overall timeline.

And not only is this history in the second degree (representations of a representation), but it also reflects the figurative power of the work itself and its basic capacity to precipitate discourses.

As we shall see, the dual (realistic and allegorical) nature of this Sienese fresco is both essential to its functioning as a pictorial work and also the cause of an unfortunate historiographical strabismus, between those who only want to see an unequivocal political message in it and those who decipher its effects of reality one by one.

Among the political works of the late Middle Ages, the fresco of “Good Government,” painted by Ambrogio Lorenzetti between 13 to decorate the walls of the Sala della Pace of Siena’s Palazzo Pubblico, is likely the one that that has been most keenly detailed.

This is the case in terms of the two separate meanings found in the Italian language (), according to the distinction put forward by Daniel Arasse at the start of his important book on a “close-up history of painting.” With regard to this Sienese painting, careful scrutiny has been given to both the Daniel Arasse, Le Détail.

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