The Sala del Mappamondo (Hall of the Globe) takes its name from the lost work of Ambroggio Lorenzetti, a large rotational map of the then-known world. The former presence of the map is found in the remaining marks of a large circle on the west wall of the room. The hall served as the principal council chamber of the Palazzo Publico, where a large representative governing body (the General Council) met. The hall’s function was amplified by various frescos of civic and political significance, completed between c. 1315-35.

Lining the top of the west wall, one can find a fresco painted by Simone Martini, celebrating the Sienese siege and conquest of the castle of Montemassi, known as Guidoriccio da Fogliano at the Siege of Montemassi. Just below is the Submission of Giuncarico, attributed to Duccio — another tale of Siena’s political dominance in territory. 

The long upper register above the arches depicts two battle scenes: The Battle of Val di Chiana by Lippo Vanni and the Battle of Poggio Imperiale by Cristoforo Ghini and Francesco d'Andrea. The sustained theme of military strength along the west wall and the room’s entrance alludes to a purposive conveyance of power — emulating the political ambitions of the Republic of Siena during the 14th century.

Despite the saturation of such themes, the Sala del Mappamondo is most commonly recognized for Simone Martini’s religious narrative, which illuminates the east wall in gold highlights and insertions of colored glass. Considered one of the pinnacles of Western Gothic art, Martini’s Maestà (in majesty) depicts the Virgin Mary with the Christ Child sitting upon a throne. She is surrounded by a heavenly court of apostles, saints, and angels, taking her place as the Queen of Heaven. This courtly scene makes for an interesting reflection of the administrative processes that would have taken place in the room. This religious inclusion in an otherwise secular place was owed to the cultural significance of the Virgin Mary, who was understood to protect the city of Siena. As the Virgin Mary would have overseen council meetings, her presence was meant to act as a defense of Siena’s core political virtues. This meaning is familiar to the purpose of Ambrogio Lorenzetti’s Allegory of Good and Bad Government, which can be found next door in the Sala dei Nove (Hall of the Nine).

-MT