The book shines a light on the fresco cycles of Italian painter Matteo Giovannetti at the papal court of Avignon. After completing his first project in the Chapel of St. Martial, the painter became one of the highest-ranking artists at court. However, due to the unconventional placement of the cycles’ monumental scenes inside the court’s confined spaces, art history never fully recognized the potential of his paintings. Giovannetti’s strength lies in creating visual connections between individual scenes that underline specific messaging regarding papal authority. The book recognizes these visual clues for the first time by considering medieval reading practices, resulting in a new interpretation of these