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They are indoor statesmen; they ideal in intrigues; they have already learnt the meaning of the words ‘The balance of the Powers’ and in consequence they wield the sword no longer; they have become sedentary rulers.
In the context of this observation, from Ford’s Holbein book, it becomes easier to see why the archaic outdoor scenes are so moving. In the brief days of her happiness with Henry, Katharine is portrayed out of doors, hunting, in the North, amongst farmers and peasants. In the marvellous scene in the stable yard (designed by Holbein) the old knight, survivor of a world of chivalric action, amongst the already outdated armour, drops his lance. Roy Strong, in The Elizabethan Image, wrote of the importance to the Tudors of the nostalgia for chivalry. In When Did You Last See Your Father? he wrote of the genuine historical and human concerns of Victorian historical painting. Ford understood—and rendered—both.&l
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