The Allegory of Good and Bad Government is a series of three fresco panels painted by Ambrogio Lorenzetti between February 1338 and May 1339.

The Republic of Siena was one of the most powerful of the fourteenth-century Italian city-states, an urban hub filled with bankers and merchants with many international contacts.

Around his head are the four letters "C S C V", which stand for "Commune Saenorum Civitatis Virginis", which explains his identity as the embodiment of the Siena Council.

The virtues of Good Government are represented by six crowned, stately female figures: Peace, Fortitude, and Prudence on the left, Magnanimity, Temperance, and Justice on the right.

The text within the lower border of the image reads: "This holy virtue [Justice], where she rules, induces to unity the many souls [of citizens], and they, gathered together for such a purpose, make the Common Good [ben comune] their Lord; and he, in order to govern his state, chooses never to turn his eyes from the resplendent faces of the Virtues who sit around him.

The traffic moves peacefully, guild members work at their trades, a wedding procession takes place, and maidens can be seen dancing gracefully.

There is text along the lower edge of the wall that reads: "Turn your eyes to behold her, you who are governing, who is portrayed here [Justice], crowned on account of her excellence, who always renders to everyone his due.

The new scene shows a bird's-eye view of the Tuscan countryside, with villas, castles, plowed farmlands, and peasants and farmers leisurely going about their bucolic responsibilities.

The winged allegorical figure of Security hovers above the landscape holding an unfurled scroll promising safety to all who live under the rule of law.

Written on the scroll is the text: “Without fear every many may travel freely and each may till and sow, so long as this commune shall maintain this lady [Justice] sovereign, for she has stripped the wicked of all power.” In the fresco cycle Lorenzetti expresses the idea that the cause of peace lays not only from the effects of good government, but also from the citizens acting in accordance "with the temporal and astral force that governs” them.

[8][9] Lorenzetti expresses this idea in part with the border along the three frescos, which display medallions featuring the personifications of the planets as well as the seasons.

[8] Above the mural depicting The Effects of Good Government, these medallions follow the natural order of the seasons and alignment of the planets.

The labors belonging to spring and summer are very clear; "fishing and tending to the vines (March), cultivation of the soil and planting (April), riding (May), ploughing and stock rising (June), cereal harvesting (July), threshing (August), and hunting (September)".

With both the depiction of the monthly labors and the children of the various planets, Lorenzetti shows the importance of performing the appropriate tasks in accordance to nature to ensure peace.

This point is made stronger by the fact that half the seasons and plants are shown depicted over the scene of war, reminding the viewer the faulty error of not acting in accordance.

Her children then in turn gain the representation of chastity, matrimonial love, friendship, and sociability, all aspects that flourish during daylight hours.

This hypothesis is supported by the fact that whereas the other virtues sit in an upright position, looking either into space or discreetly at each other, Justice's line of gaze is directed across to the corner of the room.

[8] When the viewer is placed into the mindset and understanding of a Sienese citizen of the day, it strengthens the argument that the perspective is from that of Justice, as her gaze then creates and illuminates this peaceful scene.

When viewers turn to examine this mural, they are confronted with a devious looking figure adorned with horns and fangs, and appearing to be cross-eyed.

This figure is identified as Tyrammides (Tyranny), who sits enthroned, resting his feet upon a goat (symbolic of luxury) while holding a dagger.

These figures, according to an advice book for city magistrates of the time, were considered to be the “leading enemies of human life”.

This is in part due to the fact that Lorenzetti presented the scene in such a manner that the viewer must read it right to left, automatically creating a sense of discomfort.

When looking at the scene the city appears to be in ruin, windows are wide open, houses are being demolished, and businesses are nonexistent, except that of the armourer.