[1] The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar (now hosting Museu Picasso).

Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's Crònica.

The most important of these resulting works can be named as: the paintings at Tinell Hall (Saló Tinell), the Royal Palace (Palau Reial Mayor) and Palau Aguilar.The frescoes were in no doubt executed by a workshop which realised commissions for Kings Alfonso the Candid (Alfonso el Franc) and James the Just (Jaume el Just), the nobility and clergy from both Barcelona and Majorca.

Throughout the Iberian Peninsula these murals display a level of similarity and so have been compared to the paintings found in the Monastery of Santa Maria de Valbuena in Valladolid, which represents the Conquest of Arjona in 1244.

A group of Catalan dignitaries, led by James I (Jaume I), met at the home of Pere Martell in the city of [Tarragona] during the second half of November 1228, in order to prepare for the conquest of Majorca.

It is situated at number 15 Montcada Street in Barcelona, in one of the main locations of the medieval old town, in a district named Arenas or Santa Maria del Mar.

When the Palau became municipal property from the year 1953 and while it was under restoration in 1961, for its future use as the home of the Picasso Museum, the mural paintings were discovered in a room near the central patio of the palace.

The three panels of paintings realised in the fresco technique and now found in MNAC, where they were translated to canvas for their conservation, are of a style categorised as 'linear gothic' and dated between 1285 and 1290.

They were restored in 1961 and although there are fragments missing, it is recognised that the series depicts three scenes; ‘the meeting of the Counts of Barcelona’, ‘the Battle of Porto Pi’ and the ‘Royal Camp and assault on the city of Majorca¡.

The tent situated to the left of the King's, with the horizontal red stripes, is that of the Count of Empurias Hug V d’Empúries, who is found conversing with the Aragonese knight Pero Maça de Sangarrén.

A little later, during the beginning of the 14th century, there are other works in a similar style of linear gothic which are found in the tower of the castle of Alcanyís, which portray the Conquest of Valencia by James I.

The iconography which illustrated military chronicles or legendary tales was numerous in the 13th century, like that of Lancelot by Chrétien de Troyes or the fresco paintings which adorned the palaces of noble knights who wished to remain immortalised in their heroic exploits.

Moreover, in Barcelona, there is a narrative of the battle of William the Orange at the Tour Ferrando in Pernes (Valdusa) and another example from a little later being the mural painting in the Piazza Publico of Siena in which Capitan Guidoricco da Fogliano is represented as conqueror of the city – a work which was created by Simone Martini.