Welcome to Noeple Blood, a production of I Heart Radio and Grimm and Mild from Aaron Manky,

listener discretion advised.

Just a quick reminder for our listeners, this is part two of our two part series on the

Chivalier de San Georges. So if you haven't heard part one yet, go back to last week and give it a

listen before starting today's episode. Okay, now on to the show.

Somewhere in the United Kingdom, perhaps in Windsor Castle or even deep within the recesses of

Buckingham Palace, a portrait still sits in storage. Under the lock and key of the Royal Collection

Trust, this 25 by 30-inch canvas lays undisturbed in a room, likely with several other

priceless works of art, waiting for a curator's eyes to decide that these portraits are worthy enough

to be looked upon. The Royal Collection Trust has thousands of pieces in its collection,

so it makes sense that when not in exhibition, each piece is carefully stowed away

as to save it from sun damage or other potential museum mishaps. But in my opinion,

this portrait in question, the one we're talking about now, feels wasted in the confines of a

glorified storage unit. Amidst the countless pieces in the Royal Collection Trust featuring

single subjects, more often than not single subjects sitting in their homes,

draped in ornate displays of finery. This particular piece is different in more ways than one.

This portrait depicts not one subject, but two. The figures stand facing each other.

The person on the right is in a deep lunge. Their sword thrust dramatically toward their

counterpart on the left, whose foil is in the act of harrying at their rival. This isn't a portrait

so much as an action piece. The inherent action in the scene is enough to garner more than a

cursory glance, but it isn't just the scene itself that makes this portrait worthy of note.

Rather, it's who exactly these people are that might cause viewers to take a second glance.

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