Abstract: (Travel, Montage, and Visuality: Ambrogio Lorenzettiʼs Sala della Pace) The historical ways of building but also of representing the city and his territory have always made use of the montage technique, be it in different ways. The montage is a fundamental principle of structuring the space – be it real, imaginary/ideal, or a represented one – in the modernity as well as in old cultures. Rooted specifically in visual arts – Roman or Chistian mosaics, medieval maps, renaissance frescoes or cabinets of curiosities –, the montage becomes in time a common denominator not only for image composition but also of the image placement in space. Present in forms of both continuity and discontinuity of space or territory, the montage reveals itself in all ways of perception and understanding the world. It is in fact a „symbolic form” essential to a pluriperspectivic way of constructing the representation while narrating any story, experience, travel or depicting any landscape. As the montage it seems to have in modernity a disruptive, dramatic, and contradictory effect, in Antiquity, Medieval Age, or Rennaisance it functioned rather as an internal focus of the image, a logical and integrative one. This paper underlines thus the importance of the montage and its disposals − texts, images/frescoes, architectural spaces, landscapes − in the construction of the political iconographic program realized by Ambrogio Lorenzetti between 1338-1339 in the Council Room (Sala della Pace) of the City Hall of Siena (Italy).