15thc perception on swallowtail merlons?

[Pierre Dumont Himself]

Here is one desciption of the mural:

The monthly sequence (Monatsfolge) begins on the northern end of the eastern wall, that is, on the section of the wall that a person entering from the castle via the parapet walkway (Wehrgang) would see to his right. It then continues in a clockwise direction. The January and February murals display architetcural motifs; in “January” there is a detailed depiction of the episcopal Burg Stenico. Here, the contrast between the snowy environs of the castle and the castle garden (Burggarten) is emphasized, the latter being painted green so that it may be clearly distinguished. Another recognizable detail is the clear break between the old residential quarters of the castle on the left, and the radiant white new quarters with cross-windows (Kreuzstockfenster) on the right, which were erected by Georg von Liechtenstein, whose flag flutters over the small outer ward (Vorburg) tower. [Diane E.] Booton was able to connect the figure knocking on the castle gate with depictions of Janus in calendars, where the door is opened to those who knock at the beginning of the year. This transient motif, accompanying the turn of the year (Jahreswechsel), can also be found on the January miniature of the “Très Riches Heures”, where a chamberlain (Kämmerer), with the words “Approche, approche” inscribed in gold, guides the guests towards the hearth, where some are already warming their hands. 

Harald Wolter-von dem Knesebeck - Die Wandmalereien des Adlerturms der bischöflichen Burg von Trento/Trient als Beispiel für den Umgang mit Zentrum und Peripherie in auf einen (königlichen) Gast bezogenen bzw. beziehbaren Wandmalereien [The Wall Paintings of the Eagle Tower of the Bishop’s Castle in Trento as an Example of the Handling of Center and Periphery in Wall Painttings related or relatable to a (Royal) Guest], translation mine. Georg (III.) von Liechtenstein was the Bishop of Trento between 1391 and 1407. He is the one who commissioned the murals in the Adlerturm/Eagle Tower. Accordinng to the article, he was a well-connected person who desired to raise the profile of his bishopric, which ultimately brought him into conflict with Frederick IV of the Tyrolean Habsburgs and the local population who bore the financial burden of his ambitions. In the author's view, he is primarily responsible for the introduction of international "impulses" to local artistic production.

You can see close-ups of the mural here:
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