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Conversely, any rereading is a discovery, since a classic never finishes saying what it has to say.
All this, however, should not make us lose sight of the most important thing, namely the extraordinary relevance of the fresco in the form of its continual capacity to remain contemporary and the fact that even beyond its context of production, it continues to be captivating, disturbing, and poignant.
One could apply to it the remark made by Italo Calvino about the classics; a text can be recognized as such by the fact that you never read it, but instead you always reread it, even the first time round—such is its presence in the recesses of our memory.
There was permanent social tension, and the specter of tyranny stalked Siena.
The governo largo of the commune of Siena was then... Tuscan towns fell into the hands of the lords: Orvieto, San Gimignano, Grosseto.
In other words, the ideal of the common good in Siena under the Government of the Nine was not a meaningless slogan; it corresponded to a particular political experiment whose longevity seemed exceptional to contemporaries in the context of an Italy shaken by a move toward manorialism.