The article considers the ancestry and characteristics of a particular genre of painting: that destined for Florentine domestic interiors in the late Middle Ages. Starting from the remains of a 14h-century camera picta which the famous antiquarian Stefano Bardini had had removed in 1894 in order to decorate one of the rooms of his own residence in Marignolle, the paper highlights the decidedly courtly and international character of this type of decoration. Examining and comparing data from stylistic analyses and the documentary, heraldic and historical research carried out on the room in question, a hypothesis is formulated regarding the circle of its possible commissioners, thus shedding a glimmer of light on the still little-known world of Florence in the age of magnates and knights.