new political ideas of that age, indicating, for example, 
     that the royal Dignity never died and that in the image of 
     the dead king’s jurisdiction continued until the day he 
     was buried. Under the impact of those ideas—
     strengthened by influences deriving from the medieval 
     tableaux vivants , the Italian trionfi , and the study as well 
     as the application of classical texts—the ceremonial 
     connected with the effigy began to be filled with new 
     contents and to affect fundamentally the funerary mood 
     itself: a new triumphal element came into the ceremony 
     which was absent in earlier times. (p. 423)

     Kantorowicz here and in many other passages helps us to 
understand how the analytic separation of functions was 
steadily intensified by visual manifestation. The long passage 
that follows (from pages 436 and 437 of The King’s Two