Francesco Barresi ( ruutura@hotmail.it) rate increasing, gag law, wiretaps are not allowed, indiscriminate cuts (Especially culture) and a government that is becoming increasingly obscurantist. Italian politics, you know, not a virtuous model in general. Too many laissez-faire , spintarelle, catch and secret agreements. The effects of bad governance have an impact on the quality of democracy, and the impression is a general strategy of destabilization aimed at making less transparent and virtuous Italian politics. But can the art by virtue of its "public function" show, in perspective, what are the effects of bad and good governance? Can art illustration shows the vices and virtues of a political allegory in a way, subtly rhetoric, but true?
look to Siena to query the policy. The former is probably able to give something back, to promote values \u200b\u200band virtues that reality is no longer able to explain. But they remain there, the virtues, in an ideal world, waiting to be reviewed and understood, introjected, perceived as a currency to spend in a lifetime. The art also has this feature: the memory of certain concepts must approach their salutatio , their veneration. When an image is not perceived as more value it loses meaning: the image becomes a sign, something that inspires awe without lighting. Blame the images then? Not at all: when non riusciamo a dare un giusto valore alle immagini, che sono delle finestre sulla realtà, forse è il reale in pericolo e la sua costruzione di senso. Estranee alla nostra percezione, le immagini rimangono chiuse nelle loro pareti in attesa di essere riviste con uno sguardo più consapevole, in un futuro indeterminato e magari più virtuoso.
Nella Sala della Pace del Palazzo Pubblico di Siena è conservato il ciclo di affreschi Allegoria ed Effetti del Buono e del Cattivo Governo di Ambrogio Lorenzetti, datati intorno alla terza decade del XIV secolo. Nel Registro Superiore della stanza rettangolare l’intento didascalico è chiaramente illustrato. Lì dove vige il Buon Governo i cittadini vivono nell’armonia, order. Above left you can glimpse the dome of the cathedral that stands out for its unique duotone, and it is only the starting point for a theory of architecture that dominates the floor. At the center of a circle of people suggests a concord and harmony of the city, where no infringement disturbs the quiet life of the Sienese. Horsemen, craftsmen in the shops, merchants and workers self-importance in their work. Nothing upsets the order reached, all suggest a calm reached with the intelligence of a political virtue.
In 'Allegory of Good Government justice is enthroned on the left, guided by wisdom, with a large scale, and two angels symbols Civil and Criminal Law. Under Justice is sitting at a desk Concordia, a direct consequence of the first, which gives citizens the strings to move the scales of Justice. Good governance is symbolized by the old man at arms, protected by the three theological virtues (Faith, Hope and Charity), while the sides of the throne, on a seat covered with beautiful fabrics, laid in various poses are the personifications of Justice, Temperance, magnanimity, prudence, fortitude and Peace. Famous is the figure of Peace, half-reclining languidly in a pose sinuous, with a sprig of olive in his hand. The scene is used to list, with a strong commitment didactic, all the virtues in a ruler dovrebbe disporre. Il messaggio di Lorenzetti è chiaro e fruibile: da un corretto esercizio delle virtù in politica dipende la felicità della cittadinanza.
Allegoria ed Effetti del Cattivo Governo è l’antitesi concettuale e visiva dell’affresco precedente. La superficie pittorica si presenta più danneggiata, come se l’usura del tempo avesse voluto cancellare le sue colpe. Un diavolo antropomorfo simboleggia la Tirannide, fiancheggiata dall’Avarizia, dalla Superbia e dalla Vanagloria. Alla sua corte partecipano il Furore, la Divisione, la Guerra, la Frode, il Tradimento e la Crudeltà. La città è crollante e piena di macerie, dove regnano le azioni più turpi and violence for its own sake. Everything is upside down, antitentico, mirrors the positivity of the fresco above, applies the law of the animal, the feud, the only valid law is one of the strongest. There is a positive space that can be identified: only fear flying in the countryside to witness the wretched souls of those who dwell in hovels. There is a government, a law, a state upright and honest: politics is a stagnant swamp.
Ambrogio Lorenzetti could breathe new air. He well educated, intellectual, secular, not religious houses the paroxysm of his brother Peter, but his art is an enduring civic monument. The technique is a technique that had already been extensively tested in Italy (think of the Scrovegni Chapel by Giotto) and lends itself to the personality of each artist, which employs all the spaces of the wall as the paint surface. Lorenzetti of Siena is a man, you know that the Government of the Nine in Siena seeks to illuminate their office at a prestigious and active politics. Siena wants to compete with Florence, the Gothic is an expression of his political power and duotone black and white is a colorful pattern that has its roots in the tradition of Tuscan Romanesque. Lorenzetti is a Sienese artist who breathes renewed civitas of his city, it interprets the desires and ambitions: Siena wants to dominate, Florence rivals, has the means to do so and wants to extend his rule, calls for the intercession of the Virgin as guardian of the policy and promotes the Gothic in Italy. There is no question then: Lorenzetti painted the city as an ideal model, he prevails in teaching and a willingness to objectively describe Siena, collective aspiration to manifest and to situate it in a broader vision. He is a painter who paints an object that has direct experience, describing it in the widest possible horizon (Note, for example, the contrast between the smallness of the figures and the vastness of space). The frescoes
strike us because of their size, for large conceptual and visual perspective but perhaps also for their contemporary, the actuality of the principles still valid and consistent. That any government has to govern with justice is a fact but we must look at the frescoes and denuded of their rhetoric, to grasp the profound message. The crisis which affects an entire society is never an isolated incident but it dates back to its roots when it is the fault of politics. Perhaps
watch this work of art will not serve to inspire the current leadership to rise to more healthy principles, but the vision of these frescoes is forward looking and present together: when politics degenerates effects are found and the company pays the consequences, because there is no effect without a cause, just as the fish stinks from the head. But an Italian in which of these two paintings would recognize the existing policy? Leading question, yes, but we should be assured that is not the fear that lingers in our countryside and not the harmony that governs our city. Two mirror visions of politics, two realities that confront policy: the frescoes of Lorenzetti will always be in their present and eternal truth, but remain invisible to those who would learn much from them.
But who will arrange a guided tour of our politicians, after we paid a lot of those things?
look to Siena to query the policy. The former is probably able to give something back, to promote values \u200b\u200band virtues that reality is no longer able to explain. But they remain there, the virtues, in an ideal world, waiting to be reviewed and understood, introjected, perceived as a currency to spend in a lifetime. The art also has this feature: the memory of certain concepts must approach their salutatio , their veneration. When an image is not perceived as more value it loses meaning: the image becomes a sign, something that inspires awe without lighting. Blame the images then? Not at all: when non riusciamo a dare un giusto valore alle immagini, che sono delle finestre sulla realtà, forse è il reale in pericolo e la sua costruzione di senso. Estranee alla nostra percezione, le immagini rimangono chiuse nelle loro pareti in attesa di essere riviste con uno sguardo più consapevole, in un futuro indeterminato e magari più virtuoso.
Nella Sala della Pace del Palazzo Pubblico di Siena è conservato il ciclo di affreschi Allegoria ed Effetti del Buono e del Cattivo Governo di Ambrogio Lorenzetti, datati intorno alla terza decade del XIV secolo. Nel Registro Superiore della stanza rettangolare l’intento didascalico è chiaramente illustrato. Lì dove vige il Buon Governo i cittadini vivono nell’armonia, order. Above left you can glimpse the dome of the cathedral that stands out for its unique duotone, and it is only the starting point for a theory of architecture that dominates the floor. At the center of a circle of people suggests a concord and harmony of the city, where no infringement disturbs the quiet life of the Sienese. Horsemen, craftsmen in the shops, merchants and workers self-importance in their work. Nothing upsets the order reached, all suggest a calm reached with the intelligence of a political virtue.
In 'Allegory of Good Government justice is enthroned on the left, guided by wisdom, with a large scale, and two angels symbols Civil and Criminal Law. Under Justice is sitting at a desk Concordia, a direct consequence of the first, which gives citizens the strings to move the scales of Justice. Good governance is symbolized by the old man at arms, protected by the three theological virtues (Faith, Hope and Charity), while the sides of the throne, on a seat covered with beautiful fabrics, laid in various poses are the personifications of Justice, Temperance, magnanimity, prudence, fortitude and Peace. Famous is the figure of Peace, half-reclining languidly in a pose sinuous, with a sprig of olive in his hand. The scene is used to list, with a strong commitment didactic, all the virtues in a ruler dovrebbe disporre. Il messaggio di Lorenzetti è chiaro e fruibile: da un corretto esercizio delle virtù in politica dipende la felicità della cittadinanza.
Allegoria ed Effetti del Cattivo Governo è l’antitesi concettuale e visiva dell’affresco precedente. La superficie pittorica si presenta più danneggiata, come se l’usura del tempo avesse voluto cancellare le sue colpe. Un diavolo antropomorfo simboleggia la Tirannide, fiancheggiata dall’Avarizia, dalla Superbia e dalla Vanagloria. Alla sua corte partecipano il Furore, la Divisione, la Guerra, la Frode, il Tradimento e la Crudeltà. La città è crollante e piena di macerie, dove regnano le azioni più turpi and violence for its own sake. Everything is upside down, antitentico, mirrors the positivity of the fresco above, applies the law of the animal, the feud, the only valid law is one of the strongest. There is a positive space that can be identified: only fear flying in the countryside to witness the wretched souls of those who dwell in hovels. There is a government, a law, a state upright and honest: politics is a stagnant swamp.
Ambrogio Lorenzetti could breathe new air. He well educated, intellectual, secular, not religious houses the paroxysm of his brother Peter, but his art is an enduring civic monument. The technique is a technique that had already been extensively tested in Italy (think of the Scrovegni Chapel by Giotto) and lends itself to the personality of each artist, which employs all the spaces of the wall as the paint surface. Lorenzetti of Siena is a man, you know that the Government of the Nine in Siena seeks to illuminate their office at a prestigious and active politics. Siena wants to compete with Florence, the Gothic is an expression of his political power and duotone black and white is a colorful pattern that has its roots in the tradition of Tuscan Romanesque. Lorenzetti is a Sienese artist who breathes renewed civitas of his city, it interprets the desires and ambitions: Siena wants to dominate, Florence rivals, has the means to do so and wants to extend his rule, calls for the intercession of the Virgin as guardian of the policy and promotes the Gothic in Italy. There is no question then: Lorenzetti painted the city as an ideal model, he prevails in teaching and a willingness to objectively describe Siena, collective aspiration to manifest and to situate it in a broader vision. He is a painter who paints an object that has direct experience, describing it in the widest possible horizon (Note, for example, the contrast between the smallness of the figures and the vastness of space). The frescoes
strike us because of their size, for large conceptual and visual perspective but perhaps also for their contemporary, the actuality of the principles still valid and consistent. That any government has to govern with justice is a fact but we must look at the frescoes and denuded of their rhetoric, to grasp the profound message. The crisis which affects an entire society is never an isolated incident but it dates back to its roots when it is the fault of politics. Perhaps
watch this work of art will not serve to inspire the current leadership to rise to more healthy principles, but the vision of these frescoes is forward looking and present together: when politics degenerates effects are found and the company pays the consequences, because there is no effect without a cause, just as the fish stinks from the head. But an Italian in which of these two paintings would recognize the existing policy? Leading question, yes, but we should be assured that is not the fear that lingers in our countryside and not the harmony that governs our city. Two mirror visions of politics, two realities that confront policy: the frescoes of Lorenzetti will always be in their present and eternal truth, but remain invisible to those who would learn much from them.
But who will arrange a guided tour of our politicians, after we paid a lot of those things?
This work is published under a Creative Commons License .
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