While it may not be viable to begin painting frescoes on the office walls, Charles Handy argues that an inspired workplace will result in inspired workers.
One of the great advantages of art in Italy is that most of the paintings are still in the very places for which they were commissioned. They are frescoes, painted into the plaster as it dries, and frescoes are hard, if not completely impossible, to move, particularly if they are large. So when you walk into the old Council Chamber of Siena's town hall, the Palazzo Publico, you will see, on the end wall, the great image of the Madonna and her court of angels which the counsellors of the 14th century would have looked at as they conferred. The fact that it was painted by Simone Martini, their very own artist, would have been a cause of some justifiable pride, but the real point was that the Madonna also happened to be the patron of their city and, as she is painted, her gaze forever looked down on them and their doings. Her gaze is benign, but at the same time demanding.