This magazine memorializes a fascinating slice of British history when the Blitz was over, but the outcome of World War II was far from apparent. British citizens were trying to maintain normal lives despite the threats and austerity measures of wartime. For instance, the interior cover advertisement for the Gor-Ray clothing brand promises that their dresses don't look cheap. "See how stylish they are. There is nothing in their appearance to suggest that they are war-time production." Another article "To-morrow we build" assumes that the war will soon be over, and a post-war construction economy will commence.

In that context comes this medieval war feature "Old Tales Re-told: A Queen in 'Battledress,'" both written and illustrated by Fortunino Matania. It concerns Eleanor of Aquitaine (1137-1204), wife of the French king Louis VII. She joined him on a failed Crusade, subsequently divorced him, and married Henry II, future king of England. Her son Richard I "Lionheart" had his own more successful campaign in the Holy Land.

Eleanor recruited a phalanx of young women who trained (in futility) for war and accompanied her on the Crusade. They never participated in battle, but their presence shamed many men into joining Louis VII's ill-considered campaign. Many of those men never returned home, unlike Louis and Eleanor. One wonders what Matania, an Italian, thought of his homeland’s participation in the similarly unfruitful Axis attack on Britain. Or perhaps it is more a statement about French military incompetence?

This illustration takes up most of the first page in the story, depicting one of Eleanor's ladies attempting to learn horsemanship. The text in the margin says, "The courtyard of the palace and the Royal Park became the scenes of riding exercise, to the constant amusement and delight of the citizens." This changed to "amazement and amusement" in the published text.

The reference to "Amazons" in the title on the back of the art board is an ironic jibe by Matania; the text makes clear that neither Eleanor's ladies nor their observers had ever heard of Amazons.

Matania understands the anatomy of both man and beast, as the would-be rider struggles to stay in place despite leaving both the saddle and the stirrups. Matania was known for his nudes and does illustrate a gratuitous bathing scene elsewhere in the narrative, but in this action scene, he contents himself with a shapely thigh and calf. Note that she rides astride the horse rather than side-saddle as ladies were expected to do. I wonder what the sigil on the shield represents. Even the blocks in the distant stone wall get loving attention.

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