The essence of a successful historical novel is when ever and where ever it is possible to stick to the historical facts of the matter, or such as are known. In the case of the Norman Conquest much of the 'facts' are either circumstantial, anecdotal or highly colored by subsequent writers.

Learning history teaches us about who we are (and who we aren’t). It removes us from our own time to show us the mistakes of the past—the triumphes, too—lest we repeat them.

The fate of the painting is followed through the centuries, as it is almost lost, and then found, and then made notorious. How marvelous to be able to get a fictional snapshot into the life of a painting, from conception to legacy.