ABSTRACT
By the end of the Middle Ages a particular way of representing the image of warfare had developed in Europe, in which a narrative language was often employed in a monotonous way, imitating the literary genre of the chronicles of history. 1 When transferred to images this language proved a complex way to highlight a military campaign’s most relevant exploits, to call attention to specific individuals, or to underscore the role played by the heroes. This language of triumph achieved its greatest splendour in the frescoes with a martial theme that decorated European castles, palaces and residences. This language was particularly deployed in the tapestry series that were among the customary ways of decorating the large rooms in noble, religious and royal buildings.
