When observing ancient views or frescoes of European cities – such as the famous Pianta della Catena (1471-1482) or the fresco cycle Allegoria ed effetti del Buono e del Cattivo Governo (1338-1339), which depict Florence and Siena respectively – several observations arise quite naturally. First, the boundary between the city and the countryside (and, even if only briefly suggested, the forest – that is, what is neither city nor countryside) appears clear and well-defined, often marked by the city walls. The city is portrayed primarily as a dense and homogeneous agglomeration of buildings, with the occasional standout public structure (monuments), and very few unbuilt spaces are visible aside from streets and public squares. Overall, the city was perceived as a unified and coherent entity, where the built space corresponded to a collective of citizens who identified with that specific area and were subject to a shared set of regulations.

--