The virtuoso rendering of the different textures of skin, hair, drapery and jewellery is unparalleled in nineteenth-century British sculpture, as is the empathetic carving of the sad, careworn and introverted expression of the ageing monarch, whose Jubilee also marked her return to public life after a period of prolonged mourning for Prince Albert, who had died 1861. This captivating likeness of Queen Victoria showcases the extraordinary skills of celebrated sculptor Alfred Gilbert. Where is the place? Can you see anything relating to the event, environment, architecture, time of day, or season?

When Queen Victoria married Prince Albert in 1840, she commissioned Honiton lace for her wedding ensemble, reviving a fading lace industry in Honiton, Devon. See < https://www.rct.uk/collection/themes/trails/royal-weddings/queen-victorias-wedding-dress> [accessed 28 November 2021]. Queen Victoria wore her wedding lace for the christenings of the Princess Royal (1841), Princess Alice (1843), Prince Alfred (1844), Princess Louisa (1848), Prince Arthur (1850), Prince Leopold (1853), and Princess Beatrice (1857). Royal Archives, Letters from Queen Victoria to King Leopold I of the Belgians, 12 July–24 December 1861, RA VIC/MAIN/Y/107/28. With the permission of Her Majesty Queen Elizabeth II. Sir Alfred Gilbert, a leading but mercurial light in the British ‘New Sculpture’ movement, is now regarded as one of the greatest European sculptors of the period. Den Watts ( Leslie Grantham) is murdered by his second wife Chrissie Watts ( Tracy-Ann Oberman) with Pauline Fowler's ( Wendy Richard) dog-shaped doorstop; she buries his body under concrete in the cellar of the pub. Various photographers, Windsor and Frogmore 1861–1862, leather bound photograph album, Royal Collection, RCIN 2103973.

Queen Victoria’s mourning provided an important point of emotional connection with other international royal houses. This can especially be seen in the kinship she felt with Queen Emma of Hawaii, consort to King Kamehameha IV, which is commemorated in an album within Victoria’s series of ‘Royal Portraits’ albums. In 1858 Queen Emma had given birth to a son, Prince Albert Edward Kamehameha, to whom Victoria was godmother (the boy’s English names were given in honour of Prince Albert). Tragically, Queen Emma’s son died in 1862 aged just four years old. A year later, King Kamehameha also died and his brother succeeded to the throne. After the death of her son, Queen Emma called herself Kaleleokalani (‘The flight of the heavenly chief’) and after the death of her husband, this was superseded by the plural name Kaleleonālani (‘The flight of the heavenly chiefs’). With these names Queen Emma arguably hoped to personally embody the two deceased chieftains. In many ways this sentiment was echoed by Victoria’s own earlier belief that her life would act as a continuation of Albert’s spirit. Writing to her uncle Leopold, less than a week after Albert’s death, she had expressed her desire to honour Albert’s wishes as if he were still alive: This lesson uses two photographs to explore Queen Victoria’s relationship with her family. In our census detective lesson there is a copy of Queen Victoria’s census in 1851. Students can compare this to the photograph in this lesson. The lesson could be extended to work with decoding other photographs or portraits, for example the photograph in the lesson on 19th people also shown in related resources. Why are people shown the way they are? Children could write about or draw their own family portrait. How would they like to be portrayed?

The sixtieth anniversary of her accession was celebrated on 20 June 1897 with a thanksgiving service at St George's Chapel, Windsor Castle. [1] Celebrations [ edit ] Indian Cavalry passing the Houses of Parliament, 22 June 1897 The decision to defer the export licence follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), administered by The Arts Council. Another version in ivory is known, as well as plaster versions signed and dated 1842 (information supplied by David Wilson, April and June 2015). During an argument with Grant Mitchell ( Ross Kemp) whilst confronting him about the affair, Tiffany Mitchell ( Martine McCutcheon) she attempts to leave but falls down the stairs and falsely accuses Grant of pushing her.The Hereditary Princess and Hereditary Prince of Hohenlohe-Langenburg, the Queen's granddaughter and grandson-in-law Victoria’s wedding – the white dress, the carriage ride through the streets, the very public nature of it – set the pattern for every subsequent marriage ceremony in the main line of descent within the royal family.

A draft letter in the Royal Archives from Victoria to Queen Emma, dated 16 June 1864, expresses Victoria’s sympathy and shares words of comfort and advice: Kat Moon ( Jessie Wallace) slaps Roxy Mitchell ( Rita Simons) twice resulting in the two having a catfight in the pub, with Alfie Moon ( Shane Richie) and Michael Moon ( Steve John Shepherd) having to break it up.

Married life

The Diamond Jubilee of Queen Victoria was officially celebrated on 22 June 1897 to mark the occasion of the 60th anniversary of Queen Victoria's accession on 20 June 1837. Queen Victoria was the first British monarch ever to celebrate a Diamond Jubilee. The presence of a small crown, which Victoria was actually fond of wearing, has often been cited as the chief flaw in the composition, but it was not the only weak link. Boehm, an accomplished sculptor, may have intended a faithful likeness but the elements of crown, widow's veil and extended truncation, drew attention to Victoria's pointed profile." [8] This monumental and majestic bust was commissioned by The Army and Navy Club in 1887 to celebrate Queen Victoria’s Golden Jubilee and the club’s own fiftieth anniversary. It was carved single-handedly by Alfred Gilbert, whose most famous work is ‘Eros' in Piccadilly Circus (1886–93). Phil Mitchell ( Steve McFadden) starts a fire that destroys the entire building to hurt his mother, Peggy Mitchell ( Barbara Windsor).

Seaby, Peter (1985). The Story of British Coinage. London: B. A. Seaby Ltd. ISBN 978-0-900652-74-5. The powerful sculpture of virtuoso carving is perhaps the most impressive portrait ever made of the elderly Queen-Empress. Description:Queen Victoria and Prince Albert were interested in modern technology and innovations, and we can see this in some of the features and collections at Osborne, like the house’s central heating system and the installation of telephones on the estate in 1878.Queen Victoria surpassed her grandfather King George III as the longest-reigning British monarch on 23 September 1896, an event that she marked privately at Balmoral Castle. She wrote in her journal, "People wished to make all sorts of demonstrations, which I asked them not to do until I had completed the sixty years next June." The Diamond Jubilee was therefore an opportunity to celebrate Victoria's status as the longest-reigning monarch, in addition to marking 60 years on the throne. [1] On 20 June 1897, the sixtieth anniversary of her accession, Victoria wrote in her journal: [2]