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Gothic Wonder. Art, Artifice and the Decorated Style 1290–1350

141 inherited the county of Avellino, Barral II became a knight hospitaller in charge of the commandery at Gap. It is entirely plausible, but there is no historically solid link, nor any record of family dispute during these years. The rest of the book moves the discussion away from the Tour Ferrande towards secular wall-painting in France as a whole. Pernes is lacking in scenes of hunting and music-making, and the author is sufficiently worried about patterns of survival to devote a chapter to absences — themes found in domestic settings outside France but seemingly unexplored within: astrology, labours of the months, the wheel of fortune, the senses, extensive old and new testament cycles. This last is a wise precaution. There is no French equivalent for the evidence that can be assembled for painting in English royal residences under Henry III and Edward I. Nor is there an intellectually minded cycle that one could turn to, such as survives at, say, Longthorpe Tower. The distribution of surviving schemes is also striking. Far fewer survive in the northern half of France than in the south and just two in the Ile-de-France. It is a rather sobering conclusion to a valuable and impressively well-informed study.