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femme-de-lettres:

Large (Wikimedia)
Theodor Hildebrandt certainly wasn’t pulling any punches with The Murder of the Sons of Edward IV in 1835.
Emphasizing the brothers’ royal blood in richly textured fabrics of purple, red, and gold (not to mention a crown), their religion in a tiny velvet-bound book of hours and dangling rosary, and their innocence in their sleeping embrace, Hildebrandt leaves the viewer to wonder how the murderers will manage it.
Judging by their expressions, the murderers wonder the same thing.

femme-de-lettres:

Large (Wikimedia)

Theodor Hildebrandt certainly wasn’t pulling any punches with The Murder of the Sons of Edward IV in 1835.

Emphasizing the brothers’ royal blood in richly textured fabrics of purple, red, and gold (not to mention a crown), their religion in a tiny velvet-bound book of hours and dangling rosary, and their innocence in their sleeping embrace, Hildebrandt leaves the viewer to wonder how the murderers will manage it.

Judging by their expressions, the murderers wonder the same thing.