Using Guariento di Arpo’s The Coronation of the Virgin fresco in the Greater Council Hall of the Ducal Palace in Venice as a case study, this article argues that awareness of the city’s topography, specifically its churches and monasteries, formed an essential element of what Michael Baxandall called ‘the period eye’. Fourteenth-century Venetians were deeply attuned to their cityscape since some political offices both great and small were distributed on a geographical basis, and because parishes constituted an important part of citizens’ legal identity, served as the focus of one of the city’s most important civic festivals, and along with monasteries and confraternities were the beneficiaries of charity. Fourteenth-century viewers would have brought this geographical awareness to the fresco and when viewing the many saints and prophets depicted in it likely called to mind the churches, monasteries, and confraternities dedicated to them and their abundant relics. Seen in this light, the fresco offered a sacred map of the city. Paintings of congregations of saints in other towns, for example Simone Martini’s Maestà in Siena, may offer other depictions of saintly cityscapes.