The Art Bulletin, June 1st, 1996
All that remains of the Mappamondo that Ambrogio Lorenzetti painted in 1345 for the Palazzo Pubblico, Siena, are the markings left by its installation on the wall opposite Simone Martini's Maesta. Disturbingly absent/present, this ghost of a work does not have to remain a casualty of endless debate on the fresco of Guidoriccio above. Medieval cartographic genres and traditions of map display can be applied toward a fresh interpretation of the lost Lorenzetti. By the same token, the wheel map opens discussion of the processes by which a changing configuration of images articulated a mythology o...
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