Site Description
The Sala del Mappamondo, originally known as the Sala del Consiglio, is one of the most important civic spaces of Siena’s Palazzo Pubblico, a structure that stands as a monument to the city’s political and artistic ambition in the late Middle Ages. Built beginning in 1297, the Palazzo served as the seat of the Sienese government, the Nine (Nove), during the height of the city’s republican era. The Sala was intended for meetings of the Great Council and was richly decorated to project Siena’s power, prosperity, and divine favor.
The room derives its name from a large painted map of the world (Mappamondo) once installed there, attributed to Ambrogio Lorenzetti (now lost). Today, the Sala is especially noted for the surviving frescoes by Simone Martini, particularly the Maestà (c. 1315). This monumental fresco depicts the Virgin Mary enthroned in majesty, surrounded by angels and saints, a direct spiritual and political symbol of Siena’s devotion to the Virgin, who was believed to be the city's protectress.
Simone's Maestà brings together religious imagery with civic ideology. Mary, presented as Queen of Heaven, also embodies the ideal ruler, one whose virtues the governing officials were expected to emulate. The fresco’s extraordinary attention to decorative detail—seen in the intricate brocade patterns, gold embellishments, and fine calligraphic lines—speaks to Siena’s pride in its material wealth and cultural sophistication. Simone’s subtle expressions and the individualized faces of the saints reflect a new psychological realism, pushing Sienese painting beyond the more hieratic forms of earlier medieval art.
The Sala del Mappamondo represents a crucial intersection of art, politics, and religion. It was a space where visual grandeur reinforced the authority of the republic and the sacred role of civic governance. The combination of a worldly map and sacred imagery illustrates the Sienese vision of their city at the center of a divinely ordered universe. Today, the Sala remains a vital example of how Gothic art served both spiritual and secular purposes in civic contexts, blending aesthetic splendor with political messaging at the highest level.
Credit & Support
Rendered by:
Model Details
Number of Photographs
Year Photographed
2022
Camera Type
Sony a7Riv
Artist Biography
Simone Martini (c. 1284–1344) was one of the foremost painters of the early Italian Renaissance, known for his sophisticated adaptation of Gothic styles into a distinctly Sienese mode of painting. Born around 1284, likely in Siena, Simone received early training possibly under Duccio di Buoninsegna, Siena’s leading master. His work is distinguished by its lyrical elegance, rich color, and refined linearity. Simone introduced a new sense of courtly grace to religious painting, blending spiritual intensity with aristocratic polish. His masterpiece, the Annunciation (1333), painted with Lippo Memmi, exemplifies his ability to transform sacred subjects into ethereal visions of beauty and ornament. Throughout his career, Simone traveled extensively, working in Assisi, Naples, and Avignon, where he spent his final years in the papal court. His style profoundly influenced later generations of Sienese painters and helped spread the ideals of the International Gothic style across Europe. His frescoes in Siena’s Palazzo Pubblico, particularly in the Sala del Mappamondo, show his command of monumental public art designed to inspire civic pride and religious devotion.
Virtual Environment Scene
