It is a haunting vision of a knightly golden age swept away by civil strife and the betrayal of its ideals.

In the meantime Geoffrey of Monmouth's tome had not been forgotten, and Arthur was also seen as a political and historical figure. Nowhere was this more true than in the minds of 16th-century rulers of Britain, trying desperately to prove their equal worth with their sometimes-ally sometimes-foe Charles V, the great Holy Roman Emperor.

The young prince Arthur did not live to be crowned king and usher in a true new Arthurian age, but in 1509 his younger brother became Henry VIII and took in the message. He had the Winchester Round Table of Edward III repainted, with himself depicted at the top. Here he was shown as a latter-day Arthur, a Christian emperor and head of a new British empire, with claims once more to European glory, just as Geoffrey of Monmouth and Thomas Malory had described.

Victorian revival

The 19th century in Britain was a time of great change, and the Industrial Revolution was transforming the nation irrevocably. But this situation produced great doubt and uncertainty in people's minds - not just in the future direction of the world but in the very nature of man's soul. As we have seen, at times of great change the legend of King Arthur, with its unfaltering moral stability, has always proved popular, and so it proved again in the reign of Queen Victoria.

The Victorian Arthurian legends were a nostalgic commentary on a lost spirit world.

Thus, when the Houses of Parliament were rebuilt after the disastrous fire of 1834, Arthurian themes from Malory´s book were chosen for the decoration of the queen´s robing room in the House of Lords, the symbolic centre of the British empire. And poems such as Tennyson´s 'Idylls of the King' and William Morris´s 'The Defence of Guinevere', based on the myth, became extremely popular. In addition, the Pre-Raphaelite painters produced fantastically powerful re-creations of the Arthurian legend, as did Julia Margaret Cameron in the new medium of photography.

The Victorian Arthurian legends were a nostalgic commentary on a lost spirit world. The fragility of goodness, the burden of rule and the impermanence of empire (a deep psychological strain, this, in 19th-century British literary culture) were all resonant themes for the modern British imperialist knights, and gentlemen, on their own road to Camelot.

Modern myth

Today the tale has lost none of its appeal. Camelot was 'discovered' at Cadbury, in Somerset, in the 1960s, and many books on the subject have been written in the past few decades. Films such as John Boorman´s Excalibur (1981), Robert Bresson´s Lancelot (1972) and Jerry Zucker's First Knight (1995) were pre-cursors to Antoine Fuqua's 2004 Hollywood epic King Arthur. Historians have also identified a real fifth-century Arthur - a prince and recognised warrior who died fighting the warring Scottish Picts.

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