Wikiversity enwikiversity https://en.wikiversity.org/wiki/Wikiversity:Main_Page MediaWiki 1.47.0-wmf.9 first-letter Media Special Talk User User talk Wikiversity Wikiversity talk File File talk MediaWiki MediaWiki talk Template Template talk Help Help talk Category Category talk School School talk Portal Portal talk Topic Topic talk Collection Collection talk Draft Draft talk TimedText TimedText talk Module Module talk Event Event talk 2 96983 2817753 2817632 2026-07-05T22:28:28Z Jtneill 10242 On break 2817753 wikitext text/x-wiki __NOTOC__ {{notice|I'm currently on leave and will be back later in July.}} <div style="background:white; border:2px SteelBlue solid; padding:12px;"> My name is James Neill (''he/him''). I'm an Assistant Professor in the [https://www.canberra.edu.au/about-uc/faculties/health/study/psychology Discipline of Psychology] at the [[University of Canberra]], Australia. I'm passionate about [[open academia]]—I like to share knowledge openly. On English Wikiversity, I'm a [[WV:Custodianship|custodian]] and [[WV:Bureaucratship|bureaucrat]]<small>^{[https://en.wikiversity.org/w/index.php?title=Special:ListUsers&limit=1&username=Jtneill (verify)]}</small>. Since 2005, I've made: * ~[https://xtools.wmcloud.org/ec/en.wikiversity.org/Jtneill 80,000 edits] on [[Main page|Wikiversity]] * ~[https://xtools.wmcloud.org/ec/en.wikipedia/Jtneill 4,900 edits] on [[w:|Wikipedia]] * ~[https://xtools.wmcloud.org/ec/commons.wikimedia.org/Jtneill 2,200 edits] on [[c:|Wikimedia Commons]]. My [[User:Jtneill/Teaching/Philosophy|teaching philosophy]] is based on experiential learning. [[/Teaching|I teach]] a 3rd-year undergraduate [[psychology]] unit, [[motivation and emotion]], and a 4th-year Honours unit about [[research methods in psychology]]. {{/Research}} [[/Presentations|I also present]] about open education, wikis in higher education, and collaborative development of [[open educational resources]]. Currently, I'm working on: [[User:Jtneill/Presentations/Open wiki assignments for authentic learning|Open wiki assignments for authentic learning]]. <!-- Most recently, I presented on: [[User:Jtneill/Presentations/Interactive classroom exercises using Google Forms and Sheets|Interactive classroom exercises using Google Forms and Sheets]]. --> I like exploring outdoors, including [[w:guerilla gardening|guerilla gardening]] — which is much like wiki editing. [[/Contact|Feel free to connect.]] </div> {{center top}}<inputbox> type=search width=20 namespaces=User prefix={{FULLPAGENAME}} searchbuttonlabel=Search User:Jtneill bgcolor=transparent break=no </inputbox> {{center bottom}} <!-- SUBPAGES --> {{Collapse box|1=[[/Subpages/]]|2=<nowiki></nowiki> {{/Subpages}} }} <!-- Gateways Box --> {{Collapse box|1=[[Template:Gateways|Wikiversity Gateways]]|2= {{center top}} <div style="float:right; width:100%"> {{gateways}} </div> {{center bottom}} }} <!-- SISTERPROJECTS --> {{Collapse box|1=[[Template:Sisterprojects/Projects|Sister projects]]|2= {{center top}} {{Sisterprojects/Projects}} {{center bottom}} }} <!--DIT PAGE BOX --> <div style="font-size: 1pt"><br /></div> {{edit page box}} <!-- LOCAL TIME --> {{center top}}<small>Local <!-- day/ -->time: <!-- {{ #time: l | {{CURRENTDAYNAME}} +10 hours}} --> {{ #time: H:i | {{CURRENTTIME}} +11 hours }} ([[w:UTC|UTC]]+10)</small>{{center bottom}} [[Category:User en|{{PAGENAME}}]] [[Category:User en-N|{{PAGENAME}}]] [[Category:User es-0|{{PAGENAME}}]] [[Category:Wikiversity custodians|Jtneill]] [[Category:Wikiversitan academic psychologists]] [[Category:Wikiversitans in Australia]] [[Category:{{FULLPAGENAME}}| ]] [[Category:University of Canberra/Staff]] [[Category:Wiki participants with committed identities]] [[Category:Teachers of Health Professionals]] [[Category:Wikiversity bureaucrats]] r6fs0mwjahm4mlmx4raez4lm6zigwog 0 103121 2817771 2113740 2026-07-06T04:41:49Z Evan Mercer 3071189 2817771 wikitext text/x-wiki {{dr}} <!-- This portal was created using subst:box portal skeleton --> <div style="float:right; width:100%"> {{box-transclude|Intro|<big>A Course in {{PAGENAME}}</big>}} </div> <div style="float:left; width:60%;"> <!-- This width added to the the margin below to equal 99%--> <!-- Lesson sequence, include estimated time for each lesson --> {{box-transclude|Lesson Sequence}} <!-- Provide timeframe, summary formula tables, links to self study help --> {{box-transclude|Personal Organization}} <!-- Similar but not same courses, as well as subsequent courses --> <!-- Consider adding upwards navigation information here as well --> {{box-transclude|Related Courses}} </div> <!-- Right margin, % should add up to 99% --> <div style="float:right; width:39%"> <!-- Link to course prerequisites and possibly a readiness check --> {{box-transclude|Prerequisites}} <!-- Objectives should be stated in an audience appropriate manner here --> <!-- Put the formal objectives in the Talk page --> {{box-transclude|Course Objectives}} <!-- Include Course Coordinator, Help Desk, IRC --> {{box-transclude|Help}} </div> {{Clear}} == See Also == * [[Algebra]] {{maths}} {{tertiary}} {{yawn}} [[Category:{{PAGENAME}}|*{{FULLPAGENAME}}]] [[Category:Algebra]] [[Category:Mathematics courses]] 0t1lydpkmbx0me5n3uu4fhtuawwrg2x 0 119422 2817788 2816647 2026-07-06T10:40:04Z Young1lim 21186 /* Timing Analysis */ 2817788 wikitext text/x-wiki == ''' Number Systems '''== === ''' Binary Representation '''=== * Binary Numbers ([[Media:DD1.1.A.BinaryNum.20130918.pdf|A.pdf]]) * Hexadecimal Numbers ([[Media:DD1.2.A.HexaNum.20130918.pdf|A.pdf]]) * Other Codes ([[Media:DD1.3A.Code.20250329.pdf|A.pdf]]) === ''' Binary Arithmetic '''=== * Binary Arithmetic ([[Media:DD1.4.A.BinaryArith.20150425.pdf|A.pdf]]) * BCD Arithmetic ([[Media:DD1.5.A.BCDArith.20130918.pdf|A.pdf]]) === ''' C Program Examples '''=== * Binary Numbers in C programs ([[Media:DD1.6.A.BNumInC.20140103.pdf|A.pdf]]) * Binary Addition in C programs ([[Media:DD1.7.A.BArithInC.20140103.pdf|A.pdf]]) </br> * Helpful Wikipedia Pages ([[Media:DD.WP.NumberSystem.20130309.pdf|C.pdf]]) </br> === ''' Floating Point Numbers '''=== * Floating Point Representations ([[Media:CDesign.5.A.FPoint.20140121.pdf|5A.pdf]])</br> :: See [http://www.iro.umontreal.ca/~aboulham/F1214/Session%206Arithm/Floating_Point_Numbers.pdf Floating Point Overview] :: See [http://www.cs.auckland.ac.nz/~patrice/210-2006/210%20LN04_2.pdf Offset Binary Overview] :: See [http://www.intersil.com/content/dam/Intersil/documents/an96/an9657.pdf Offset Binary & Sin / Cosine] :: See [http://www.ee.ic.ac.uk/hp/staff/dmb/courses/dig2/4_Analog.pdf Offset Binary & ADC / DAC] </br> === ''' Interfacing Digital and Analog Signals '''=== * Sampling and Quantization ([[Media:DD1.10.A.SampleQuant.20150425.pdf|A.pdf]]) * Digital-to-Analog Conversion ([[Media:DD1.8.A.DAC.20140208.pdf|A.pdf]]) * Analog-to-Digital Conversion ([[Media:DD1.9.A.DAC.20140208.pdf|A.pdf]]) </br> == '''Combinational Circuits'''== === ''' Design '''=== * Boolean Algebra ([[Media:DD2.A1.BAlgebra.20250503.pdf|A1.pdf]]) * Truth Tables ([[Media:DD2.A2.TTable.20250424.pdf|A2.pdf]]) * K-Map ([[Media:DD2.A3.KMap.20250424.pdf|A3.pdf]]) * Design Examples ([[Media:DD2.A4.CombEx.20250414.pdf|A4.pdf]]) </br> === ''' Components '''=== * Decoder ([[Media:DD2.B.1.Decoder.20130928.pdf|B1.pdf]]) * Encoder ([[Media:DD2.B.2.Encoder.20130917.pdf|B2.pdf]]) * Multiplexer ([[Media:DD2.B.3.Multiplexer.20130928.pdf|B3.pdf]]) * Adder ([[Media:DD2.B.4..Adder.20131007.pdf|B4.pdf]], [[Media:Fa.sch.20131002.pdf|fa.sch.pdf]], [[Media:Adder4.sch.20131002.pdf|adder4.sch.pdf]]) </br> === ''' Design Metric '''=== * Noise Margin ([[Media:DD2.C1.NoiseMargin.20250415.pdf|C1.pdf]]) </br> == '''Sequential Circuits'''== === ''' Design '''=== * Types of Flip-Flops ([[Media:CDesign.1.A.FF.20130412.pdf |1A.pdf]])</br> * Latches and Flipflops ([[Media:DD3.A.1.LatchFF.20160308.pdf|A1.pdf]]) * State Transition Table ([[Media:DD3.A.2.pdf|A2.pdf]]) * FSM (Finite State Machine) ([[Media:DD3.A.3.FSM.20131030.pdf|A3.pdf]]) </br> * The Classic FF Design ([[Media:DD3.A.6.ClassicFF.20131126.pdf|A7.pdf]]) * The Modern FF Design ([[Media:DD3.A.6.ClassicFF.20131204.2.pdf|A8.pdf]]) </br> === ''' Components '''=== * Latches and Flip-flops ([[Media:DD3.B.1.LatchFF.20131008.pdf|B1.pdf]]) * Registers ([[Media:DD3.B.2.Register.20150326.pdf|B2.pdf]], [[Media:Register.20131118.pdf|register.pdf]]) * Counters ([[Media:DD3.B.2.Counter.20150420.pdf|B3.pdf]]) </br> === ''' Timing Analysis '''=== * Metastability ([[Media:DD3.A.4.MetaState.20131030.pdf|A4.pdf]]) * Flip-flop Timing ([[Media:DD3.A5.FFTiming.20260629.pdf|A5.pdf]]) * SR Latch Forbidden State ([[Media:DD3.A.5.ForbiddenState.20131030.pdf|A6.pdf]]) </br> * FF Min Max Timing Constraints ([[Media:CArch.MinMaxTiming.20131121.pdf |pdf]]) * FF Clock Skew Timing Constraints ([[Media:CArch.ClockSkew.20131121.pdf |pdf]]) * Synchronizer ([[Media:CArch.Synchronizer.20131216.pdf |pdf]]) * Resolution Time Analysis ([[Media:CArch.Resolution.20131216.pdf |pdf]]) </br> == '''Finite State Machine'''== * FSM State Encoding * FSM Types : Mealy and Moore Machines * FSM Example ([[Media:CArch.2.A.FSMExample.20141018.pdf |pdf]]) </br> == '''Array Devices''' == === ''' Memory Arrays '''=== * RAM ** RAM Structure ([[Media:DD4.A.1.RAM.20131111.pdf|A.pdf]]) ** RAM Timing ([[Media:DD4.B.1.RAMTiming.20131130.pdf|B.pdf]]) ** FPGA RAM ([[Media:DD4.C.1.FPGARAM.20160513.pdf|C.pdf]]) * ROM </br> === ''' Logic Arrays '''=== * PLA * PAL * PLD * FPGA ** FPGA Structure ** FPGA Configuration ([[Media:DD4.C.1.FPGAConf.20131130.pdf|B.pdf]]) </br> </br> [http://www.ece.cmu.edu/~ece548/localcpy/sramop.pdf Synchronous SRAM Timing] </br> [http://www.micron.com/~/media/Documents/Products/Technical%20Note/DRAM/tn4529.pdf Asynchronous SRAM Timing]</br> [http://www.ece.cmu.edu/~ece548/localcpy/dramop.pdf DRAM Timing] </br> [http://www.ece.unm.edu/~jimp/415/slides/fpga_arch1.pdf FPGA Architectures] </br> [http://www.engr.siu.edu/~haibo/ece428/notes/ece428_fpgaarch.pdf CPLD & FPGA] </br> </br> == ''' RTL Design Techniques''' == </br> ''' Design Methodology ''' </br> ''' Synthesis ''' </br> </br> </br> == '''Logic Families and IOs''' == * BJT Based :: DTL (Diode-Transistor Logic) :: TTL (Transistor-Transistor Logic) :: ECL (Emitter-Coupled Logic) * MOS Based :: CMOS (Complementary MOS) :: Pseudo-nMOS :: Transmission Gate :: BiCMOS (Bipolr + CMOS) * Dynamic CMOS :: Domino :: Clocked-CMOS (C²MOS) </br> * Modern I/O Standards :: TTL and LVTTL (Low Voltage TTL) :: CMOS and LVCMOS (Low Voltage CMOS) :: SSTL (Stub Series Terminated Logic) :: HSTL (High Speed Tranceiver Logic) :: LVDS (Low Voltage Differential Signaling) </br> * Wikipedia Pages for Logic Families ([[Media:Logic Families.wiki.20140812.pdf|A.pdf]]) </br> </br> See also </br> <[[The necessities in Computer Design]]> </br> <[[The necessities in Computer Architecture]]> </br> <[[The necessities in Computer Organization]]> </br> </br> </br> </br> go to [ [[Electrical_%26_Computer_Engineering_Studies]] ] == '''Old''' == '''Until 2011.12''' '''Chapter 1. Binary Numbers''' * 1.1 Binary Numbers([[Media:BinaryNumbers.1.A.pdf|pdf]]) ''' Minterm, Maxterm, HW ''' * 1.1 Lecture01([[Media:DigitalDesign.20110922.pdf|pdf]]) ''' Overflow HW ''' * Overflow Table([[Media:Overflow table.20110924.pdf|pdf]]) ''' K-Map ''' * K-Map([[Media:DigitalDesign.20110926.pdf|pdf]]) ''' Binary Adder ''' * Binary Adder (C, S) ([[Media:DigitalDesign.20110929.pdf|pdf]]) * Overflow detection circuit (V) ([[Media:HW Overflow20111001.pdf|pdf]]) ''' BCD to Ex3 Code Coversion, Dont' Care ''' * BCD to Ex3 Code Conversion ([[Media:DigitalDesign.20111006.pdf|pdf]]) ''' Prime Implicant, Dont' Care ''' * Prime Implicant, Don't Care ([[Media:DigitalDesign.20111010.pdf|pdf]]) * HW 3.6 - explain the method of combining 0's and X's ''' Multiplexer / Demultiplexer ''' * Multiplexer ([[Media:DigitalDesign.20111024.pdf|pdf]]) * HW (TBD) ''' Flip Flop / Latch ''' * FF & Latch ([[Media:DigitalDesign.20111027.pdf|pdf]]) * FF & Latch HW ([[Media:DigitalDesign (HW).20111027.pdf|pdf]]) * Gated D Latch & Master-Slave D FlipFlop ([[Media:DigitalDesign.20111031.pdf|pdf]]) * HW (Forbidden state and Indeterminate state) ([[Media:DigitalDesign (HW).20111102.pdf|pdf]]) (note in #2, S' R' instead of S R) * Classical Edge Triggered D FlipFlop ([[Media:DigitalDesign.20111112.pdf|pdf]]) * HW (addition in SW and HW) ([[Media:DigitalDesign (HW).20111112.pdf|pdf]]) * FSM1 ([[Media:DigitalDesign.FSM1.20111117.pdf|pdf]]) * FSM2 ([[Media:DigitalDesign.FSM2.20111117.pdf|pdf]]) * HW (FSM Waveforms) ([[Media:DigitalDesign (HW).20111118.pdf|pdf]]) ''' Counter ''' * Sychronous Counter ([[Media:DigitalDesign.20111121.pdf|pdf]]) * Ripple Counter, Multiplexer, Tri-state buffer([[Media:DigitalDesign.20111124.pdf|pdf]]) * Register ([[Media:DigitalDesign.register.20111201.pdf|pdf]]) * Timing ([[Media:DigitalDesign.timing.20111201.pdf|pdf]]) * HW (Multiplexer, Shift Register) ([[Media:DigitalDesign (HW).20111201.pdf|pdf]]) * Universal Shift Register, Memory Cell ([[Media:DigitalDesign.20111206.pdf|pdf]]) * HW (Bit Serial Adder) ([[Media:DigitalDesign (HW).20111206.pdf|pdf]]) ''' Memory ''' * Memory ([[Media:DigitalDesign.20111208.pdf|pdf]]) ''' Comparator, Multiplier ''' * Comparator, Multiplier ([[Media:DigitalDesign.20111219.spread.pdf|1.pdf]], [[Media:DigitalDesign.20111219.draw.pdf|2.pdf]]) '''Multiplexer based design method ''' * Multiplexer Design Method ([[Media:DigitalDesign.20111221.spread.pdf|1.pdf]], [[Media:DigitalDesign.20111221.draw.pdf|2.pdf]]) midterm result ([[Media:MidReult.20111027.pdf|pdf]]) * Edge Triggered Flip Flop ([[Media:EdgeTrigFF.20111224.pdf|pdf]]) * FF Timing ([[Media:FFTiming.20111203.pdf|pdf]]) </br> </br> '''Until 2013.07''' ''' Number Systems ''' * Binary Numbers ([[Media:DD.1.A.BinNum.20130309.pdf|A.pdf]]) * Hexadecimal Numbers ([[Media:DD.1.B.HexaNum.20130417.pdf|B.pdf]]) * Numbers in C programs ([[Media:DD.1.C.CNum.20130309.pdf|C.pdf]]) * Codes ([[Media:DD.1.D.Coding.20130319.pdf|pdf]]) </br> </br> * Helpful Wikipedia Pages ([[Media:DD.WP.NumberSystem.20130309.pdf|pdf]]) </br> ''' Combinational Circuits ''' * Truth Tables and Boolean Functions ([[Media:DD.2.A.TTable.20130325.pdf|2A.pdf]])</br> * K-Map ([[Media:DD.2.A.KMap.20130329.pdf|2B.pdf]])</br> * Binary Addition in C ([[Media:DD.2.C.BAinC.20130329.pdf|2.C.pdf]])</br> * Binary Arithmetic ([[Media:DD.2.D.BAri.2013.pdf|2.D.pdf]])</br> * Boolean Algebra ([[Media:DD.2.E.BAlgebra.20130419.pdf|2.E.pdf]])</br> </br> ''' Sequential Circuits ''' * Latches and Flip-flops ([[Media:DD.3.A.LatchFF.20130413.pdf|3A.pdf]])</br> * FSM (Finite State Machine) ([[Media:DD.3.B.FSM.20130417.pdf|3B.pdf]])</br> * SR Latch Forbidden State ([[Media:DD.3.C.FState.20130413.pdf|3C.pdf]])</br> * Flip-flop Timing ([[Media:DD.3.D.Timing.20130413.pdf|3D.pdf]])</br> * Metastability ([[Media:DD.3.E.MetaState.20130628.pdf|3E.pdf]])</br> </br> </br> </br> See also </br> "[[The necessities in Computer Design]]" </br> "[[The necessities in Computer Architecture]]" </br> [[Category:Digital Circuit Design]] [[Category:FPGA]] p7aazy8xtw4zxfzwvf2u1l4n367qbkv 2817790 2817788 2026-07-06T10:41:07Z Young1lim 21186 /* Timing Analysis */ 2817790 wikitext text/x-wiki == ''' Number Systems '''== === ''' Binary Representation '''=== * Binary Numbers ([[Media:DD1.1.A.BinaryNum.20130918.pdf|A.pdf]]) * Hexadecimal Numbers ([[Media:DD1.2.A.HexaNum.20130918.pdf|A.pdf]]) * Other Codes ([[Media:DD1.3A.Code.20250329.pdf|A.pdf]]) === ''' Binary Arithmetic '''=== * Binary Arithmetic ([[Media:DD1.4.A.BinaryArith.20150425.pdf|A.pdf]]) * BCD Arithmetic ([[Media:DD1.5.A.BCDArith.20130918.pdf|A.pdf]]) === ''' C Program Examples '''=== * Binary Numbers in C programs ([[Media:DD1.6.A.BNumInC.20140103.pdf|A.pdf]]) * Binary Addition in C programs ([[Media:DD1.7.A.BArithInC.20140103.pdf|A.pdf]]) </br> * Helpful Wikipedia Pages ([[Media:DD.WP.NumberSystem.20130309.pdf|C.pdf]]) </br> === ''' Floating Point Numbers '''=== * Floating Point Representations ([[Media:CDesign.5.A.FPoint.20140121.pdf|5A.pdf]])</br> :: See [http://www.iro.umontreal.ca/~aboulham/F1214/Session%206Arithm/Floating_Point_Numbers.pdf Floating Point Overview] :: See [http://www.cs.auckland.ac.nz/~patrice/210-2006/210%20LN04_2.pdf Offset Binary Overview] :: See [http://www.intersil.com/content/dam/Intersil/documents/an96/an9657.pdf Offset Binary & Sin / Cosine] :: See [http://www.ee.ic.ac.uk/hp/staff/dmb/courses/dig2/4_Analog.pdf Offset Binary & ADC / DAC] </br> === ''' Interfacing Digital and Analog Signals '''=== * Sampling and Quantization ([[Media:DD1.10.A.SampleQuant.20150425.pdf|A.pdf]]) * Digital-to-Analog Conversion ([[Media:DD1.8.A.DAC.20140208.pdf|A.pdf]]) * Analog-to-Digital Conversion ([[Media:DD1.9.A.DAC.20140208.pdf|A.pdf]]) </br> == '''Combinational Circuits'''== === ''' Design '''=== * Boolean Algebra ([[Media:DD2.A1.BAlgebra.20250503.pdf|A1.pdf]]) * Truth Tables ([[Media:DD2.A2.TTable.20250424.pdf|A2.pdf]]) * K-Map ([[Media:DD2.A3.KMap.20250424.pdf|A3.pdf]]) * Design Examples ([[Media:DD2.A4.CombEx.20250414.pdf|A4.pdf]]) </br> === ''' Components '''=== * Decoder ([[Media:DD2.B.1.Decoder.20130928.pdf|B1.pdf]]) * Encoder ([[Media:DD2.B.2.Encoder.20130917.pdf|B2.pdf]]) * Multiplexer ([[Media:DD2.B.3.Multiplexer.20130928.pdf|B3.pdf]]) * Adder ([[Media:DD2.B.4..Adder.20131007.pdf|B4.pdf]], [[Media:Fa.sch.20131002.pdf|fa.sch.pdf]], [[Media:Adder4.sch.20131002.pdf|adder4.sch.pdf]]) </br> === ''' Design Metric '''=== * Noise Margin ([[Media:DD2.C1.NoiseMargin.20250415.pdf|C1.pdf]]) </br> == '''Sequential Circuits'''== === ''' Design '''=== * Types of Flip-Flops ([[Media:CDesign.1.A.FF.20130412.pdf |1A.pdf]])</br> * Latches and Flipflops ([[Media:DD3.A.1.LatchFF.20160308.pdf|A1.pdf]]) * State Transition Table ([[Media:DD3.A.2.pdf|A2.pdf]]) * FSM (Finite State Machine) ([[Media:DD3.A.3.FSM.20131030.pdf|A3.pdf]]) </br> * The Classic FF Design ([[Media:DD3.A.6.ClassicFF.20131126.pdf|A7.pdf]]) * The Modern FF Design ([[Media:DD3.A.6.ClassicFF.20131204.2.pdf|A8.pdf]]) </br> === ''' Components '''=== * Latches and Flip-flops ([[Media:DD3.B.1.LatchFF.20131008.pdf|B1.pdf]]) * Registers ([[Media:DD3.B.2.Register.20150326.pdf|B2.pdf]], [[Media:Register.20131118.pdf|register.pdf]]) * Counters ([[Media:DD3.B.2.Counter.20150420.pdf|B3.pdf]]) </br> === ''' Timing Analysis '''=== * Metastability ([[Media:DD3.A.4.MetaState.20131030.pdf|A4.pdf]]) * Flip-flop Timing ([[Media:DD3.A5.FFTiming.20260630.pdf|A5.pdf]]) * SR Latch Forbidden State ([[Media:DD3.A.5.ForbiddenState.20131030.pdf|A6.pdf]]) </br> * FF Min Max Timing Constraints ([[Media:CArch.MinMaxTiming.20131121.pdf |pdf]]) * FF Clock Skew Timing Constraints ([[Media:CArch.ClockSkew.20131121.pdf |pdf]]) * Synchronizer ([[Media:CArch.Synchronizer.20131216.pdf |pdf]]) * Resolution Time Analysis ([[Media:CArch.Resolution.20131216.pdf |pdf]]) </br> == '''Finite State Machine'''== * FSM State Encoding * FSM Types : Mealy and Moore Machines * FSM Example ([[Media:CArch.2.A.FSMExample.20141018.pdf |pdf]]) </br> == '''Array Devices''' == === ''' Memory Arrays '''=== * RAM ** RAM Structure ([[Media:DD4.A.1.RAM.20131111.pdf|A.pdf]]) ** RAM Timing ([[Media:DD4.B.1.RAMTiming.20131130.pdf|B.pdf]]) ** FPGA RAM ([[Media:DD4.C.1.FPGARAM.20160513.pdf|C.pdf]]) * ROM </br> === ''' Logic Arrays '''=== * PLA * PAL * PLD * FPGA ** FPGA Structure ** FPGA Configuration ([[Media:DD4.C.1.FPGAConf.20131130.pdf|B.pdf]]) </br> </br> [http://www.ece.cmu.edu/~ece548/localcpy/sramop.pdf Synchronous SRAM Timing] </br> [http://www.micron.com/~/media/Documents/Products/Technical%20Note/DRAM/tn4529.pdf Asynchronous SRAM Timing]</br> [http://www.ece.cmu.edu/~ece548/localcpy/dramop.pdf DRAM Timing] </br> [http://www.ece.unm.edu/~jimp/415/slides/fpga_arch1.pdf FPGA Architectures] </br> [http://www.engr.siu.edu/~haibo/ece428/notes/ece428_fpgaarch.pdf CPLD & FPGA] </br> </br> == ''' RTL Design Techniques''' == </br> ''' Design Methodology ''' </br> ''' Synthesis ''' </br> </br> </br> == '''Logic Families and IOs''' == * BJT Based :: DTL (Diode-Transistor Logic) :: TTL (Transistor-Transistor Logic) :: ECL (Emitter-Coupled Logic) * MOS Based :: CMOS (Complementary MOS) :: Pseudo-nMOS :: Transmission Gate :: BiCMOS (Bipolr + CMOS) * Dynamic CMOS :: Domino :: Clocked-CMOS (C²MOS) </br> * Modern I/O Standards :: TTL and LVTTL (Low Voltage TTL) :: CMOS and LVCMOS (Low Voltage CMOS) :: SSTL (Stub Series Terminated Logic) :: HSTL (High Speed Tranceiver Logic) :: LVDS (Low Voltage Differential Signaling) </br> * Wikipedia Pages for Logic Families ([[Media:Logic Families.wiki.20140812.pdf|A.pdf]]) </br> </br> See also </br> <[[The necessities in Computer Design]]> </br> <[[The necessities in Computer Architecture]]> </br> <[[The necessities in Computer Organization]]> </br> </br> </br> </br> go to [ [[Electrical_%26_Computer_Engineering_Studies]] ] == '''Old''' == '''Until 2011.12''' '''Chapter 1. Binary Numbers''' * 1.1 Binary Numbers([[Media:BinaryNumbers.1.A.pdf|pdf]]) ''' Minterm, Maxterm, HW ''' * 1.1 Lecture01([[Media:DigitalDesign.20110922.pdf|pdf]]) ''' Overflow HW ''' * Overflow Table([[Media:Overflow table.20110924.pdf|pdf]]) ''' K-Map ''' * K-Map([[Media:DigitalDesign.20110926.pdf|pdf]]) ''' Binary Adder ''' * Binary Adder (C, S) ([[Media:DigitalDesign.20110929.pdf|pdf]]) * Overflow detection circuit (V) ([[Media:HW Overflow20111001.pdf|pdf]]) ''' BCD to Ex3 Code Coversion, Dont' Care ''' * BCD to Ex3 Code Conversion ([[Media:DigitalDesign.20111006.pdf|pdf]]) ''' Prime Implicant, Dont' Care ''' * Prime Implicant, Don't Care ([[Media:DigitalDesign.20111010.pdf|pdf]]) * HW 3.6 - explain the method of combining 0's and X's ''' Multiplexer / Demultiplexer ''' * Multiplexer ([[Media:DigitalDesign.20111024.pdf|pdf]]) * HW (TBD) ''' Flip Flop / Latch ''' * FF & Latch ([[Media:DigitalDesign.20111027.pdf|pdf]]) * FF & Latch HW ([[Media:DigitalDesign (HW).20111027.pdf|pdf]]) * Gated D Latch & Master-Slave D FlipFlop ([[Media:DigitalDesign.20111031.pdf|pdf]]) * HW (Forbidden state and Indeterminate state) ([[Media:DigitalDesign (HW).20111102.pdf|pdf]]) (note in #2, S' R' instead of S R) * Classical Edge Triggered D FlipFlop ([[Media:DigitalDesign.20111112.pdf|pdf]]) * HW (addition in SW and HW) ([[Media:DigitalDesign (HW).20111112.pdf|pdf]]) * FSM1 ([[Media:DigitalDesign.FSM1.20111117.pdf|pdf]]) * FSM2 ([[Media:DigitalDesign.FSM2.20111117.pdf|pdf]]) * HW (FSM Waveforms) ([[Media:DigitalDesign (HW).20111118.pdf|pdf]]) ''' Counter ''' * Sychronous Counter ([[Media:DigitalDesign.20111121.pdf|pdf]]) * Ripple Counter, Multiplexer, Tri-state buffer([[Media:DigitalDesign.20111124.pdf|pdf]]) * Register ([[Media:DigitalDesign.register.20111201.pdf|pdf]]) * Timing ([[Media:DigitalDesign.timing.20111201.pdf|pdf]]) * HW (Multiplexer, Shift Register) ([[Media:DigitalDesign (HW).20111201.pdf|pdf]]) * Universal Shift Register, Memory Cell ([[Media:DigitalDesign.20111206.pdf|pdf]]) * HW (Bit Serial Adder) ([[Media:DigitalDesign (HW).20111206.pdf|pdf]]) ''' Memory ''' * Memory ([[Media:DigitalDesign.20111208.pdf|pdf]]) ''' Comparator, Multiplier ''' * Comparator, Multiplier ([[Media:DigitalDesign.20111219.spread.pdf|1.pdf]], [[Media:DigitalDesign.20111219.draw.pdf|2.pdf]]) '''Multiplexer based design method ''' * Multiplexer Design Method ([[Media:DigitalDesign.20111221.spread.pdf|1.pdf]], [[Media:DigitalDesign.20111221.draw.pdf|2.pdf]]) midterm result ([[Media:MidReult.20111027.pdf|pdf]]) * Edge Triggered Flip Flop ([[Media:EdgeTrigFF.20111224.pdf|pdf]]) * FF Timing ([[Media:FFTiming.20111203.pdf|pdf]]) </br> </br> '''Until 2013.07''' ''' Number Systems ''' * Binary Numbers ([[Media:DD.1.A.BinNum.20130309.pdf|A.pdf]]) * Hexadecimal Numbers ([[Media:DD.1.B.HexaNum.20130417.pdf|B.pdf]]) * Numbers in C programs ([[Media:DD.1.C.CNum.20130309.pdf|C.pdf]]) * Codes ([[Media:DD.1.D.Coding.20130319.pdf|pdf]]) </br> </br> * Helpful Wikipedia Pages ([[Media:DD.WP.NumberSystem.20130309.pdf|pdf]]) </br> ''' Combinational Circuits ''' * Truth Tables and Boolean Functions ([[Media:DD.2.A.TTable.20130325.pdf|2A.pdf]])</br> * K-Map ([[Media:DD.2.A.KMap.20130329.pdf|2B.pdf]])</br> * Binary Addition in C ([[Media:DD.2.C.BAinC.20130329.pdf|2.C.pdf]])</br> * Binary Arithmetic ([[Media:DD.2.D.BAri.2013.pdf|2.D.pdf]])</br> * Boolean Algebra ([[Media:DD.2.E.BAlgebra.20130419.pdf|2.E.pdf]])</br> </br> ''' Sequential Circuits ''' * Latches and Flip-flops ([[Media:DD.3.A.LatchFF.20130413.pdf|3A.pdf]])</br> * FSM (Finite State Machine) ([[Media:DD.3.B.FSM.20130417.pdf|3B.pdf]])</br> * SR Latch Forbidden State ([[Media:DD.3.C.FState.20130413.pdf|3C.pdf]])</br> * Flip-flop Timing ([[Media:DD.3.D.Timing.20130413.pdf|3D.pdf]])</br> * Metastability ([[Media:DD.3.E.MetaState.20130628.pdf|3E.pdf]])</br> </br> </br> </br> See also </br> "[[The necessities in Computer Design]]" </br> "[[The necessities in Computer Architecture]]" </br> [[Category:Digital Circuit Design]] [[Category:FPGA]] oxpbh5tzqptrdo5t3udg7ud01vx8jwa 2817792 2817790 2026-07-06T10:42:07Z Young1lim 21186 /* Timing Analysis */ 2817792 wikitext text/x-wiki == ''' Number Systems '''== === ''' Binary Representation '''=== * Binary Numbers ([[Media:DD1.1.A.BinaryNum.20130918.pdf|A.pdf]]) * Hexadecimal Numbers ([[Media:DD1.2.A.HexaNum.20130918.pdf|A.pdf]]) * Other Codes ([[Media:DD1.3A.Code.20250329.pdf|A.pdf]]) === ''' Binary Arithmetic '''=== * Binary Arithmetic ([[Media:DD1.4.A.BinaryArith.20150425.pdf|A.pdf]]) * BCD Arithmetic ([[Media:DD1.5.A.BCDArith.20130918.pdf|A.pdf]]) === ''' C Program Examples '''=== * Binary Numbers in C programs ([[Media:DD1.6.A.BNumInC.20140103.pdf|A.pdf]]) * Binary Addition in C programs ([[Media:DD1.7.A.BArithInC.20140103.pdf|A.pdf]]) </br> * Helpful Wikipedia Pages ([[Media:DD.WP.NumberSystem.20130309.pdf|C.pdf]]) </br> === ''' Floating Point Numbers '''=== * Floating Point Representations ([[Media:CDesign.5.A.FPoint.20140121.pdf|5A.pdf]])</br> :: See [http://www.iro.umontreal.ca/~aboulham/F1214/Session%206Arithm/Floating_Point_Numbers.pdf Floating Point Overview] :: See [http://www.cs.auckland.ac.nz/~patrice/210-2006/210%20LN04_2.pdf Offset Binary Overview] :: See [http://www.intersil.com/content/dam/Intersil/documents/an96/an9657.pdf Offset Binary & Sin / Cosine] :: See [http://www.ee.ic.ac.uk/hp/staff/dmb/courses/dig2/4_Analog.pdf Offset Binary & ADC / DAC] </br> === ''' Interfacing Digital and Analog Signals '''=== * Sampling and Quantization ([[Media:DD1.10.A.SampleQuant.20150425.pdf|A.pdf]]) * Digital-to-Analog Conversion ([[Media:DD1.8.A.DAC.20140208.pdf|A.pdf]]) * Analog-to-Digital Conversion ([[Media:DD1.9.A.DAC.20140208.pdf|A.pdf]]) </br> == '''Combinational Circuits'''== === ''' Design '''=== * Boolean Algebra ([[Media:DD2.A1.BAlgebra.20250503.pdf|A1.pdf]]) * Truth Tables ([[Media:DD2.A2.TTable.20250424.pdf|A2.pdf]]) * K-Map ([[Media:DD2.A3.KMap.20250424.pdf|A3.pdf]]) * Design Examples ([[Media:DD2.A4.CombEx.20250414.pdf|A4.pdf]]) </br> === ''' Components '''=== * Decoder ([[Media:DD2.B.1.Decoder.20130928.pdf|B1.pdf]]) * Encoder ([[Media:DD2.B.2.Encoder.20130917.pdf|B2.pdf]]) * Multiplexer ([[Media:DD2.B.3.Multiplexer.20130928.pdf|B3.pdf]]) * Adder ([[Media:DD2.B.4..Adder.20131007.pdf|B4.pdf]], [[Media:Fa.sch.20131002.pdf|fa.sch.pdf]], [[Media:Adder4.sch.20131002.pdf|adder4.sch.pdf]]) </br> === ''' Design Metric '''=== * Noise Margin ([[Media:DD2.C1.NoiseMargin.20250415.pdf|C1.pdf]]) </br> == '''Sequential Circuits'''== === ''' Design '''=== * Types of Flip-Flops ([[Media:CDesign.1.A.FF.20130412.pdf |1A.pdf]])</br> * Latches and Flipflops ([[Media:DD3.A.1.LatchFF.20160308.pdf|A1.pdf]]) * State Transition Table ([[Media:DD3.A.2.pdf|A2.pdf]]) * FSM (Finite State Machine) ([[Media:DD3.A.3.FSM.20131030.pdf|A3.pdf]]) </br> * The Classic FF Design ([[Media:DD3.A.6.ClassicFF.20131126.pdf|A7.pdf]]) * The Modern FF Design ([[Media:DD3.A.6.ClassicFF.20131204.2.pdf|A8.pdf]]) </br> === ''' Components '''=== * Latches and Flip-flops ([[Media:DD3.B.1.LatchFF.20131008.pdf|B1.pdf]]) * Registers ([[Media:DD3.B.2.Register.20150326.pdf|B2.pdf]], [[Media:Register.20131118.pdf|register.pdf]]) * Counters ([[Media:DD3.B.2.Counter.20150420.pdf|B3.pdf]]) </br> === ''' Timing Analysis '''=== * Metastability ([[Media:DD3.A.4.MetaState.20131030.pdf|A4.pdf]]) * Flip-flop Timing ([[Media:DD3.A5.FFTiming.20260706.pdf|A5.pdf]]) * SR Latch Forbidden State ([[Media:DD3.A.5.ForbiddenState.20131030.pdf|A6.pdf]]) </br> * FF Min Max Timing Constraints ([[Media:CArch.MinMaxTiming.20131121.pdf |pdf]]) * FF Clock Skew Timing Constraints ([[Media:CArch.ClockSkew.20131121.pdf |pdf]]) * Synchronizer ([[Media:CArch.Synchronizer.20131216.pdf |pdf]]) * Resolution Time Analysis ([[Media:CArch.Resolution.20131216.pdf |pdf]]) </br> == '''Finite State Machine'''== * FSM State Encoding * FSM Types : Mealy and Moore Machines * FSM Example ([[Media:CArch.2.A.FSMExample.20141018.pdf |pdf]]) </br> == '''Array Devices''' == === ''' Memory Arrays '''=== * RAM ** RAM Structure ([[Media:DD4.A.1.RAM.20131111.pdf|A.pdf]]) ** RAM Timing ([[Media:DD4.B.1.RAMTiming.20131130.pdf|B.pdf]]) ** FPGA RAM ([[Media:DD4.C.1.FPGARAM.20160513.pdf|C.pdf]]) * ROM </br> === ''' Logic Arrays '''=== * PLA * PAL * PLD * FPGA ** FPGA Structure ** FPGA Configuration ([[Media:DD4.C.1.FPGAConf.20131130.pdf|B.pdf]]) </br> </br> [http://www.ece.cmu.edu/~ece548/localcpy/sramop.pdf Synchronous SRAM Timing] </br> [http://www.micron.com/~/media/Documents/Products/Technical%20Note/DRAM/tn4529.pdf Asynchronous SRAM Timing]</br> [http://www.ece.cmu.edu/~ece548/localcpy/dramop.pdf DRAM Timing] </br> [http://www.ece.unm.edu/~jimp/415/slides/fpga_arch1.pdf FPGA Architectures] </br> [http://www.engr.siu.edu/~haibo/ece428/notes/ece428_fpgaarch.pdf CPLD & FPGA] </br> </br> == ''' RTL Design Techniques''' == </br> ''' Design Methodology ''' </br> ''' Synthesis ''' </br> </br> </br> == '''Logic Families and IOs''' == * BJT Based :: DTL (Diode-Transistor Logic) :: TTL (Transistor-Transistor Logic) :: ECL (Emitter-Coupled Logic) * MOS Based :: CMOS (Complementary MOS) :: Pseudo-nMOS :: Transmission Gate :: BiCMOS (Bipolr + CMOS) * Dynamic CMOS :: Domino :: Clocked-CMOS (C²MOS) </br> * Modern I/O Standards :: TTL and LVTTL (Low Voltage TTL) :: CMOS and LVCMOS (Low Voltage CMOS) :: SSTL (Stub Series Terminated Logic) :: HSTL (High Speed Tranceiver Logic) :: LVDS (Low Voltage Differential Signaling) </br> * Wikipedia Pages for Logic Families ([[Media:Logic Families.wiki.20140812.pdf|A.pdf]]) </br> </br> See also </br> <[[The necessities in Computer Design]]> </br> <[[The necessities in Computer Architecture]]> </br> <[[The necessities in Computer Organization]]> </br> </br> </br> </br> go to [ [[Electrical_%26_Computer_Engineering_Studies]] ] == '''Old''' == '''Until 2011.12''' '''Chapter 1. Binary Numbers''' * 1.1 Binary Numbers([[Media:BinaryNumbers.1.A.pdf|pdf]]) ''' Minterm, Maxterm, HW ''' * 1.1 Lecture01([[Media:DigitalDesign.20110922.pdf|pdf]]) ''' Overflow HW ''' * Overflow Table([[Media:Overflow table.20110924.pdf|pdf]]) ''' K-Map ''' * K-Map([[Media:DigitalDesign.20110926.pdf|pdf]]) ''' Binary Adder ''' * Binary Adder (C, S) ([[Media:DigitalDesign.20110929.pdf|pdf]]) * Overflow detection circuit (V) ([[Media:HW Overflow20111001.pdf|pdf]]) ''' BCD to Ex3 Code Coversion, Dont' Care ''' * BCD to Ex3 Code Conversion ([[Media:DigitalDesign.20111006.pdf|pdf]]) ''' Prime Implicant, Dont' Care ''' * Prime Implicant, Don't Care ([[Media:DigitalDesign.20111010.pdf|pdf]]) * HW 3.6 - explain the method of combining 0's and X's ''' Multiplexer / Demultiplexer ''' * Multiplexer ([[Media:DigitalDesign.20111024.pdf|pdf]]) * HW (TBD) ''' Flip Flop / Latch ''' * FF & Latch ([[Media:DigitalDesign.20111027.pdf|pdf]]) * FF & Latch HW ([[Media:DigitalDesign (HW).20111027.pdf|pdf]]) * Gated D Latch & Master-Slave D FlipFlop ([[Media:DigitalDesign.20111031.pdf|pdf]]) * HW (Forbidden state and Indeterminate state) ([[Media:DigitalDesign (HW).20111102.pdf|pdf]]) (note in #2, S' R' instead of S R) * Classical Edge Triggered D FlipFlop ([[Media:DigitalDesign.20111112.pdf|pdf]]) * HW (addition in SW and HW) ([[Media:DigitalDesign (HW).20111112.pdf|pdf]]) * FSM1 ([[Media:DigitalDesign.FSM1.20111117.pdf|pdf]]) * FSM2 ([[Media:DigitalDesign.FSM2.20111117.pdf|pdf]]) * HW (FSM Waveforms) ([[Media:DigitalDesign (HW).20111118.pdf|pdf]]) ''' Counter ''' * Sychronous Counter ([[Media:DigitalDesign.20111121.pdf|pdf]]) * Ripple Counter, Multiplexer, Tri-state buffer([[Media:DigitalDesign.20111124.pdf|pdf]]) * Register ([[Media:DigitalDesign.register.20111201.pdf|pdf]]) * Timing ([[Media:DigitalDesign.timing.20111201.pdf|pdf]]) * HW (Multiplexer, Shift Register) ([[Media:DigitalDesign (HW).20111201.pdf|pdf]]) * Universal Shift Register, Memory Cell ([[Media:DigitalDesign.20111206.pdf|pdf]]) * HW (Bit Serial Adder) ([[Media:DigitalDesign (HW).20111206.pdf|pdf]]) ''' Memory ''' * Memory ([[Media:DigitalDesign.20111208.pdf|pdf]]) ''' Comparator, Multiplier ''' * Comparator, Multiplier ([[Media:DigitalDesign.20111219.spread.pdf|1.pdf]], [[Media:DigitalDesign.20111219.draw.pdf|2.pdf]]) '''Multiplexer based design method ''' * Multiplexer Design Method ([[Media:DigitalDesign.20111221.spread.pdf|1.pdf]], [[Media:DigitalDesign.20111221.draw.pdf|2.pdf]]) midterm result ([[Media:MidReult.20111027.pdf|pdf]]) * Edge Triggered Flip Flop ([[Media:EdgeTrigFF.20111224.pdf|pdf]]) * FF Timing ([[Media:FFTiming.20111203.pdf|pdf]]) </br> </br> '''Until 2013.07''' ''' Number Systems ''' * Binary Numbers ([[Media:DD.1.A.BinNum.20130309.pdf|A.pdf]]) * Hexadecimal Numbers ([[Media:DD.1.B.HexaNum.20130417.pdf|B.pdf]]) * Numbers in C programs ([[Media:DD.1.C.CNum.20130309.pdf|C.pdf]]) * Codes ([[Media:DD.1.D.Coding.20130319.pdf|pdf]]) </br> </br> * Helpful Wikipedia Pages ([[Media:DD.WP.NumberSystem.20130309.pdf|pdf]]) </br> ''' Combinational Circuits ''' * Truth Tables and Boolean Functions ([[Media:DD.2.A.TTable.20130325.pdf|2A.pdf]])</br> * K-Map ([[Media:DD.2.A.KMap.20130329.pdf|2B.pdf]])</br> * Binary Addition in C ([[Media:DD.2.C.BAinC.20130329.pdf|2.C.pdf]])</br> * Binary Arithmetic ([[Media:DD.2.D.BAri.2013.pdf|2.D.pdf]])</br> * Boolean Algebra ([[Media:DD.2.E.BAlgebra.20130419.pdf|2.E.pdf]])</br> </br> ''' Sequential Circuits ''' * Latches and Flip-flops ([[Media:DD.3.A.LatchFF.20130413.pdf|3A.pdf]])</br> * FSM (Finite State Machine) ([[Media:DD.3.B.FSM.20130417.pdf|3B.pdf]])</br> * SR Latch Forbidden State ([[Media:DD.3.C.FState.20130413.pdf|3C.pdf]])</br> * Flip-flop Timing ([[Media:DD.3.D.Timing.20130413.pdf|3D.pdf]])</br> * Metastability ([[Media:DD.3.E.MetaState.20130628.pdf|3E.pdf]])</br> </br> </br> </br> See also </br> "[[The necessities in Computer Design]]" </br> "[[The necessities in Computer Architecture]]" </br> [[Category:Digital Circuit Design]] [[Category:FPGA]] 042hme327bj0vu6dnobxn0p40kqksht 0 136794 2817780 2817423 2026-07-06T09:35:53Z Young1lim 21186 /* File System */ 2817780 wikitext text/x-wiki This course belongs to the [[Electrical & Computer Engineering Studies]] == Introduction == * Introduction ([[Media:SysP.Intro.20161128.pdf|pdf]]) == File System == * File System ([[Media:SysP.FileSystem.20251023.pdf|pdf]]) * File Pointer ([[Media:SysP..FilePointer.20161103.pdf|pdf]]) * System Calls ([[Media:SysP.File.SysCall.20161128.pdf|pdf]]) * File IO ([[Media:SysP.FileIO.20251023.pdf|pdf]]) * Copilot: File System ([[Media:glibcFileSystem.20251029-2.pdf|pdf]]) * Copilot: File Buffer ([[Media:glibcFileBuffer.20251025-2.pdf|pdf]]) * Copilot: File IO ([[Media:glibcFileIO.20251025-2.pdf|pdf]]) * Copilot: File Permission ([[Media:glibcFilePerm.20260121.pdf|pdf]]) * Copilot: File Control ([[Media:CP.FileCntl.20260428.pdf|pdf]], [[Media:CP.FileCntl.A.20260706.pdf|A]], [[Media:CP.FileCntl.B.20260504.pdf|B]], [[Media:CP.FileCntl.C.20260501.pdf|C]]) <br> <br> == Process == * Process ([[Media:SysP.Process.20251120.pdf|pdf]]) * Fork ([[Media:SysP.Fork.20251126.pdf|pdf]]) * Copilot: Process Information ([[Media:glibc.Process.1Info.20251101.pdf|pdf]]) * Copilot: Process Control ([[Media:glibc.Process.2Control.20251103.pdf|pdf]]) * Copilot: Process Execution ([[Media:glibc.Proc.3Exec.20251105.pdf|pdf]]) * Copilot: Process Fork ([[Media:glibc.Proc.4Fork.20251106.pdf|pdf]]) * Copilot: Process Context Switching ([[Media:glibc.Proc.5Context.20251107.pdf|pdf]]) * Copilot: Process Exec family of functions ([[Media:glibc.Proc.6ExecCall.20251112.pdf|pdf]]) * Copilot: Process Wait family of functions ([[Media:glibc.Proc.7WaitCall.20251112.pdf|pdf]]) * Copilot: Process Exit ([[Media:glibc.Proc.8Exit.20251113.pdf|pdf]]) </br> == Inter Process Communication== === Signal === * Signal ([[Media:SysP.7.A.Signal.20121206.pdf|pdf]]) * Copilot: Signal 1. Alarm ([[Media:glibc.Signal.Alarm.20251201.pdf|pdf]]) * Copilot: Signal 2. Other Functions ([[Media:glibc.Signal.2Other.20251205.pdf|pdf]]) </br> === Pipe === * Pipe ([[Media:SysP.3.A.IPC.20121115.pdf|pdf]]) * Copilot: Pipe 1. A Special File ([[Media:glibc.Pipe.File.20260307.pdf|pdf]]) </br> === System V IPC === * Message Queue ([[Media:SysP.5.A.MessageQ.20121213.pdf|pdf]]) * Shared Memory ([[Media:SysP.8.A.SharedMem.20121227.pdf|pdf]]) * Semaphore ([[Media:SysP.6.A.Semaphore.20251215.pdf|pdf]]) </br> * Copilot: Message Queue ([[Media:glibc.MessageQ.20251202.pdf|pdf]]) * Copilot: Shared Memory ([[Media:glibc.SharedMem.20251203.pdf|pdf]]) * Copilot: Semaphore ([[Media:glibc.Semaphore.20251215.pdf|pdf]]) </br> === Socket === * Socket ([[Media:SysP.4.A.Socket.20121122.pdf|pdf]]) </br> == Thread == * POSIX thread (pthread) ([[Media:SysP.9.A.Pthread.20130225.pdf|pdf]]) ==External links== * [http://www.tldp.org/LDP/tlk/tlk.html The Linux Kernel] * [http://www.tldp.org/LDP/lpg/lpg.html The Linux Programmer's Guide] * [http://www.cs.cf.ac.uk/Dave/C/ Programming in C - UNIX System Calls and Subroutines using C.] * [http://www.cs.cmu.edu/afs/cs/academic/class/15492-f07/www/pthreads.html POSIX thread (pthread) libraries] * [https://computing.llnl.gov/tutorials/pthreads/#Thread POSIX Threads Programming] [[Category:Linux]] [[Category:Computer programming]] [[Category:C programming language]] rr5js2whbpx6jg0yqxxm5gtflfcqhl7 0 199550 2817784 2817540 2026-07-06T09:58:48Z Young1lim 21186 /* Sample Processing Methods */ 2817784 wikitext text/x-wiki ==''' Background '''== === Bode plot === See [http://lpsa.swarthmore.edu/Bode/Bode.html swarthmore] </br> === OP Amp === Overview ([[Media:OPAmp.A.1.20151203.pdf |pdf]]) See [http://hyperphysics.phy-astr.gsu.edu/hbase/electronic/opampcon.html#c1 Hyperphysics] </br> ==''' Analog Filter Analysis (Continuous Time) '''== === First Order Filters === </br> === Second Order Filters === </br> ==''' Digital Filter Analysis (Discrete Time) '''== === Sample Processing Methods === * Tapped Delays ([[Media:Sample.TappedDelay.20260706.pdf |A.pdf]]) * Programming Considerations * Circular Buffers === FIR Filter Realizations === * Direct Form FIR Filter * Canonical Form FIR Filter * Cascade Form FIR Filter === IIR Filter Realizations === * Direct Form IIR Filter ([[Media:IIR.DirectForm.20231209.pdf |A.pdf]]) * Canonical Form IIR Filter * Cascade Form IIR Filter </br> === FIR (Finite Impulse Response) Filters === * Block Processing Methods * Sample Processing Methods * Window Method * Kaiser Window * Frequency Sampling Method </br> === IIR (Infinite Impulse Response) Filters === * Bilinear Transform * 1st Order Lowpass and Highpass Filters * 2nd Order Lowpass and Highpass Filters * Parametric Equalizer Filters * Comb Filters * High Order Filters </br> === Example Octave Codes for Digital Filters === ==== Octave Functions for Filters ==== * Octave Functions for Filters ([[Media:Octave.1.Function.1.A.20180219.pdf |A.pdf]]) </br> </br> go to [ [[Electrical_%26_Computer_Engineering_Studies]] ] h0jumc38hktus8si7uqqu70lqt8you6 102 207552 2817767 2811560 2026-07-06T04:19:29Z Evan Mercer 3071189 2817767 wikitext text/x-wiki <!-- This is a dynamic list. To change displayed content, edit categories for the underlying content pages. --> <DynamicPageList> category={{#titleparts:{{PAGENAME}}|1}} category=Courses namespace = ordermethod=sortkey order=ascending </DynamicPageList> [[HTML]] </br> [[Web design]]<br> [[CSS]]<br> [[JavaScript Programming]]</br> [[JavaScript]]<br> [[Web Foundations]]<br> [[C Programming]]</br> [[C++]]</br> [[Python Programming]] </br> [[Python Concepts]] <br> [[Python]]<br> [[Lua]]<br> [[IC3]]</br> [[Computer Skills]]</br> [[Java Programming]]</br> [[Artificial Consciousness]]</br> [[PowerShell]]</br> [[Visual Basic for Applications]]</br> [[Windows Server Administration]]</br> [[Introduction to Networking]]<br> [[IT Security]]<br> [[Ruby]]<br> [[Disk Operating System]]<br> [[Assembly language]]<br> Also See:<br> [[Portal:Computer programming]]<br> [[Portal:Java]] rpv4dga158u9rumdkhbp1zjjg8vssc4 0 217152 2817795 2811448 2026-07-06T11:40:26Z ~2026-38626-75 3099197 In this book there was a number (100) but it as to be 10 , therefore I changed it 2817795 wikitext text/x-wiki [[File:Quadratic formula.svg|thumb|right|An example of a Algebra formula (quadratic formula)]] {{mathematics}} {{secondary education}} {{lesson}} {{complete}} '''Algebra''' (from the Arabic word "al-jabr" (الجبر), meaning "reunion of broken parts") can feel like quite a complicated language of mathematics. However, as time goes on, completing Algebra will get easier and easier until it's a breeze. Completing Algebra takes true dedication with a worthwhile reward. This week, we will get into what Algebra is, and some warm ups (on arithmetic). Even though this may seem pointless, it is <small>IMPORTANT</small> that you review through these warm ups and get comfortable in solving them to lay a strong foundation for understanding larger topics later on. Without further do, let's dig right into this! ==Algebra== ===What is Algebra?=== [[File:AlgebraJournalWork11-14-16.jpg|thumb|left|You might have to do this much work for a small answer!]]In Algebra, we use letters to represent number or a amount of something that is not known yet. This called a '''pronumeral''' or a '''variable.''' Imagine you have a bag full of jellybeans on a table; with 10 green jelly beans and a unknown amount of blue jellybeans. Let's call the blue jellybeans x. Well done, this is a pronumeral they are that simple. Now, your friend comes over, tells you there is 20 total jellybeans in the bag. How many blue jellybeans are there? The core concept of algebra is the equal sign (=). Think of an equation as a balanced scale. Whatever you do to one side, you must do to the other side to keep it balanced. To find the unknown number, you need to get the letter completely by itself. You do this by using inverse operations (doing the opposite). * Addition (+) and Subtraction (-) are opposites. * Multiplication (times*, ×) and Division÷, /) are opposites. To work out the number of blue jellybeans follow these steps: x+10=20 # Identify the goal: We want x by itself. # See the obstacle: There is a +10 next to the x. # Now take away ten and add the opposite to the other side of the equation. x=20-10 4. Do 20-10 x=10 Good job. Checking Your Work In maths, you should always check your work. You can do this by working if the original equation equals the same number now that you know the pronumeral or variable. Does (10 + x (10) = 20)? Yes! Your answer is correct. '''Example two''' In algebra, a fraction line means division. So, this equation means "x (unknown number) divided by 4 equals 3." <math>\tfrac{x}{4}</math> = 3 # Identify the goal: Get x by itself. # See the obstacle: The x is being divided by 4. # Do the opposite: The opposite of division is multiplication. Multiply both sides by 4, because whatever you do to one side you must do to the other to balance the equation x = 3*4 x=12 Check Your Work Put 12 back into the original equation: * Does 12 / 4 = 3? Yes! The answer is correct. ===== '''Important notes:''' ===== * Can be called variable OR pronumeral. * And can be any letter from a to z. * Solving for (pronumeral here) e.g., "solving for x" means finding the pronumeral. ====== '''Fun Fact''' ====== The letter that is most commonly used for variables is x and the reason for this dates back to the origin of Algebra itself; Muhammad ibn Musa al-Khwarizmi, often called one of the main "founders" of Algebra you could say, used to call the unknown pronumeral "'''shay'''". "'''Shay"''' comes from the Arabic word '''شَيْء''', which essentially means "thing". When Al-Khwarizmi's works were translated to Latin in medieval Spain, "shay" was translated as '''"xay",''' since the letter x was pronounced as "sh" in Spain. Later on, this word "'''xay"''' got abbreviated to "'''x"''' to represent the symbol of the unknown, so we normally use x for standard questions. For more information, visit this [https://www.pbs.org/empires/islam/innoalgebra.html PBS] page. = Algebra problems = Solve for x.<quiz display="simple" points="1/1"> {''x'' − 9 = 20 |type="{}"} ''x''={ 29_3 } {''x'' − 3 = 6 |type="{}"} ''x''={ 9_3 } {''x'' + 5 = 15 |type="{}"} ''x''={ 10_3 } {''x'' + 17 = 23 |type="{}"} ''x''={ 6_3 } {4''x'' = 12 |type="{}"} ''x''={ 3_3 } {''x''/2 = 0.5 |type="{}"} ''x''={ 1_3 } {''x''/50 = 2 |type="{}"} ''x''={ 100_3 } {''x''/9 = 5 |type="{}"} ''x''={ 45_3 } </quiz> Seems simple, huh? Well, it will get complicated, which is why it is important for you to do some review of your arithmetic! Let's dig into that... ==Arithmetic== [[File:Multiply 4 bags 3 marbles.svg|thumb|right|4 x 3 = 12 (multiplication)]] '''Arithmetic''' has to deal with elementary/basic levels of math, such as division, multiplication, subtraction, and addition. Basically, just working with numbers. This SHOULD be a level familiar with you. If you are not familiar with arithmetic math/rules, then PLEASE review through Arithmetic, as you won't survive even the 1st step of Algebra. Trust me, the basics are THAT important. ===Fractions=== [[File:Cake quarters.svg|thumb|left|A Cake with fractions]] '''Fractions''' (from Latin ''fractus'', "broken") are parts of a whole. On the left side in the image of the cake, there is only <math>3/4</math>'s of the cake showing, the other <math>1/4</math> has been eaten/taken away. The number, ''3'', in <math>3/4</math>, is what is known as a '''numerator''' (Numerator: Number at the top, tells us of how much of the number is being talked about/being used). The number, ''4'', in <math>3/4</math>, is what is known as a '''denominator''' (Denominator: Number showing the all time total). ; ;Simplest form/reduced form A reduced form of a fraction is a fraction that cannot be divided by any number other than 1, and the denominator is greater than 1. So <math>2/4</math> is NOT in simplest form, since we can divide 2 and 4, by 2... which results in the following number: <math>1/2</math>. Though, not every fraction can be divided by 2, there are fractions, such as: <math>5/35</math>, <math>7/21</math>, and <math>30/5</math>. The two first fractions are not divisible by 2, and <math>30/5</math> can not be divided by 2 on both sides, but only on <math>30</math>. It's important to simplify as if you were in a test, your teacher will mark your problems as incorrect if you didn't simplify your fractions. Keep in mind that simplifying a fraction into its simplest/reduced form doesn't change its value, both the original (unsimplified) fraction and its reduced form represent the same exact value/quantity. So, <math>\tfrac{2}{4}</math> and <math>\tfrac{1}{2}</math> represents the same quantity, a half! Here, we will present a few fractions for you to simplify. ====Sample problems for ''simplifying fractions'' (use ''/'' as the fraction line)==== <quiz display=simple points="1/1"> { |type="{}"} <math>\tfrac{6}{8}=</math>{ 3/4_7 } { |type="{}"} <math>\tfrac{4}{60}=</math>{ 1/15_7 } { |type="{}"} <math>\tfrac{30}{90}=</math>{ 1/3_7 } { |type="{}"} <math>\tfrac{8}{18}=</math>{ 4/9_7 } { |type="{}"} <math>\tfrac{9}{72}=</math>{ 1/8_7 } { |type="{}"} <math>\tfrac{64}{46}=</math>{ 32/23|1 9/23_7 } { |type="{}"} <math>\tfrac{206}{340}=</math>{ 103/170_7 } </quiz> ===== Adding or Subtracting Fractions ===== [[File:Fractionsworkalgebra.PNG|thumb|right|What we just worked on, summarized]] To simply add or subtract fractions, make sure the denominators of the fractions you are adding or subtracting are the same. If they are not, find the least common denominator (LCD). For example, if you want to add <math>\tfrac{4}{2}</math> and <math>\tfrac{4}{6}</math>, you first have to multiply the 2 in <math>\tfrac{4}{2}</math> by '''3''', which equals '''6'''... BUT you cannot just multiply 2 only, you also have to multiply 4 by 3, since that's what you did to 2, the denominator. If you change the denominator, you have to change the numerator. ('''This step is crucial as it allows you to preserve the same value of the fraction''' but with just a different representation) Alright, we got that out of the way, so once we have <math>\tfrac{12}{6}</math> + <math>\tfrac{4}{6}</math>, we can simply add. So <math>12</math> + <math>4</math> = <math>16</math>, but don't add the denominators, they stay the same. So the answer is <math>\tfrac{16}{6}</math>, and then we simplify down to <math>\tfrac{8}{3}</math> dividing by 2 on both the numerator and denominator. But... did you notice something? <math>\tfrac{8}{3}</math>? That doesn't seem right, does it? The denominator is smaller than the numerator. When you have a fraction like this, you have to convert it to a '''mixed fraction''' (skip to [[Speak_Math_Now!/Week_1:_Introduction_To_Algebra#Improper_Fraction_--.3E_Mixed_Fraction|section 2.1.1.4]]). ===== Multiplying Fractions ===== To multiply fractions, its easiest to first simplify your fraction to simplest terms. Once you have done that, you can simply multiply the numerators and the denominators. And obviously, simplify your final product, if you can. So, we have <math>\tfrac{6}{8}</math> and <math>\tfrac{2}{6}</math>. You could multiply the numerators and denominators straight away and simplify at the end if you are comfortable, but to make it easier and clearer, we should simplify the fractions first. We simplify 6 and 8 by dividing both by 2, we also divide 2 and 6 by 2. So the fractions are now <math>\tfrac{3}{4}</math> and <math>\tfrac{1}{3}</math>. You simply multiply those two fractions by multiplying the numerator by the numerator, and doing the same for the denominators. After completing this process, you will get a solution (in fraction form). <math>\tfrac{3}{4}</math> × <math>\tfrac{1}{3}</math> <math>=</math> <math>\tfrac{3}{12}</math>. <math>\tfrac{3}{12}</math> is not going to be our final product, though, since we can simplify the fraction by dividing the fraction by 3, which results in <math>\tfrac{1}{4}</math>. ===== Dividing Fractions ===== There is an interesting twist when it comes to dividing fractions. You have to turn the fraction you want to divide by (second fraction) upside-down, also known as "Keep, Change, Flip" where you keep the first fraction the same, change the operation to multiplication, and replace the second fractions numerator with the denominator and the denominator with the numerator. Not only that, you have to turn the division symbol (÷) into a multiplication symbol (× or •). After that, you use your skills you learned in multiplying a fraction, and you multiply both of the fractions. Simplify if you need to. So, <math>\tfrac{6}{8}</math> ÷ <math>\tfrac{7}{12}</math>. Change the division symbol to a multiplication symbol, and turn the fraction you want to divide by upside-down (the upside-down fraction is known as a '''reciprocal'''). So <math>\tfrac{6}{8}</math> × (or •) <math>\tfrac{12}{7}</math>. Multiply the numerators and denominators. The answer is <math>\tfrac{72}{56}</math>, simplified down to <math>\tfrac{9}{7}</math>. ===== Improper Fraction --> Mixed Fraction ===== Divide the numerator by the denominator. The '''quotient''' (result of the division taking place/number above the division line) will be the whole number of the mixed fraction, while the numerator will be the remainder. The denominator remains unchanged, so don't change the denominator at all! {{notice|If you would like to take the quiz on Fractions, please go to '''[[Speak Math Now!/Week 1: Introduction To Algebra/Fractions Quiz]]'''}} See also: https://www.tes.com/lessons/bJieZ4sFPJbSTw/fractions-4-mixed-numbers-and-improper-fractions ===Decimals=== Ever wondered how to write 8<math>\tfrac{47}{100}</math> as a decimal? Well, you've got the answer: 8.47! How did we get that answer? Let's look at a few more and maybe you'll see the pattern: # 6<math>\tfrac{98}{100}</math> = 6.98 # 2<math>\tfrac{56}{100}</math> = 2.56 # 9<math>\tfrac{27}{100}</math> = 9.27 # 5<math>\tfrac{83}{100}</math> = 5.83 You see? We simply put the mixed number in front of the dot, and with the numerator, we slap that behind the dot! Throw out the 100, it's not important when building your decimal. Decimals are all about place value, the value of a number in a specific place in a number. So, when we have <math>6.72</math>, the <math>6</math> is in the Ones place. Now, let's throw <math>9</math> in the tens place, which is 10 times bigger than the Ones place: <math>96.72</math>. But... that's doesn't seem enough, does it? Let's throw in a <math>6, 2, 8</math> and a <math>3</math> in there! And now, we have: <math>628,396.72</math>. Woah! That's a pretty big number, but we can easily break this number down to it's place value. Let's do it! So, our number, <math>628,396.72</math>, is the number we need to break down. Let's start from the decimal point, and move left: * The number <math>6</math> is in the Ones place. '''x10''' * The number <math>9</math> is in the Tens place. '''x10''' * The number <math>3</math> is in the Hundreds place. '''x10''' * The number <math>8</math> is in the Thousands place. '''x10''' * The number <math>2</math> is in the Ten thousands place. '''x10''' * The number <math>6</math> is in the Hundred Thousands place. Now we have broken up the numbers left of the decimal--What about the numbers on the ''right''? Let's throw in a <math>5, 2, 4</math> and a <math>7</math>. Now, we have <math>628,396.725,247</math>. Let's break this number up like we did above. So, our number, <math>628,396.725,247</math>, is the number we need to break down. This time, we need to start on the decimal point, and move ''right'': * The number <math>7</math> is in the Tenths place. '''x-10''' * The number <math>2</math> is in the Hundredths place. '''x-10''' * The number <math>5</math> is in the Thousandths place. '''x-10''' * The number <math>2</math> is in the Ten Thousandths place. '''x-10''' * The number <math>4</math> is in the Hundred Thousandths place. '''x-10''' * The number <math>7</math> is in the Millionths place. We have just now gone over the importance of Place Value in the Decimal World. Now, we will go into how to work with decimals, in the Decimal World! See also: http://www.shmoop.com/fractions-decimals/place-value-naming-decimals.html ==== Adding/Subtracting Decimals ==== To add decimals, in addition column-style, put the decimals in its place with the decimals lined up. Then simply add on. So, for <math>1.5</math> + <math>2.5</math> we'd line up the decimal points. But, if we had a problem like <math>1.15</math> + <math>2.0</math>, we'd add a <math>0</math> after the <math>0</math> that is behind the decimal. Adding a zero to a place in a decimal means "no value". So <math>10</math> basically means no ones, and <math>100</math>, means no ones or hundreds. Same things goes for subtracting as well folks. =====Sample problems for ''adding/subtracting decimals''===== <quiz display="simple" points="1/1"> { |type="{}"} 6.8 - 2.5 = { 4.3_6 } { |type="{}"} 3.4 + 5.6 = { 9_6 } { |type="{}"} 9 + 4.50 = { 13.5_6 } { |type="{}"} 41.89 + 25.00 = { 66.89_6 } { |type="{}"} 9.01 + 3.089 = { 12.099_6 } { |type="{}"} 10.90 + 11.1 = { 22_6 } { |type="{}"} 9.5 + 3.44 = { 12.94_6 } { |type="{}" coef="2.5"} 9.00 x 2.00 = { 18_6 } </quiz> ==== Multiplying Decimals ==== [[File:9.82x5.73 multiplication image.svg|thumb|A visual representation of the multiplication example]] Multiplying decimals isn't as hard as it really seems to be. So, we have <math>9.83</math> × <math>5.73</math>. For most people, column multiplication is a lot easier than side-by-side multiplication. That being mentioned, let us column these numbers: <math>9.83</math><br>× <math>5.73</math> ------- Now that we have our problem, we should simply ignore the decimal points and just multiply as usual, so you should get this answer once you are done with that (remember to add a zero (and grow with zeros in each line) to each and every line of addition): <math>9.83</math><br> × <math>5.73</math> ------- <math>2949</math> <br> <math>+</math> <math>68810</math> <br> <math>+</math> <math>491500 </math> ------- With the simple usage of addition, we should get: <math>9.83</math><br> × <math>5.73</math> ------- <math>2949</math><br> <math>+</math> <math>68810</math><br> <math>+ </math> <math>491500</math> ------- <math>563259</math> Now, we need to bring back our handy dandy decimal point, but where? In <math>9.83</math> and <math>5.73</math>, there are FOUR numbers in these 2 numbers overall that are behind the decimal point (in each number, there are two numbers behind the decimal points). So, we have <math>9.83</math> and <math>5.73</math>. Now, that totals up to four numbers overall behind the decimal point. So in <math>563259</math>, we need to move the decimal point four times (beginning from the right). So watch as follows: <math>563259.</math><br> <math>56325.9</math><br> <math>5632.59</math><br> <math>563.259</math><br> <math>56.3259</math> That simple. Now, review your work, your whole work should look like this: <math>9.83</math><br> × <math>5.73</math> ------- <math>2949</math><br> <math>+</math><math>68810</math><br> <math>+</math><math>491500</math> ------- <math>56.3259</math> ==== Dividing Decimals ==== ;Dividing a decimal by a whole number If you want to divide a decimal by a whole number, you should divide the 2 numbers, omitting the decimal point. After you are done dividing, add the decimal point to the '''quotient''' (final product/answer at the top of the long division symbol). The decimal should be right above the decimal point in the '''dividend''' (number in the box/number that is being divided). It's quite easy and simple, as long as you know how to do long division and if you are still familiar with long division. Hey, this seems ''too'' easy--Let's figure out how to divide a decimal by a decimal! ;Dividing a decimal by a decimal The trick to dividing a decimal by a decimal is to shift the decimal point as many times as it gets to a whole number, so follow along: <math>69.45</math> ÷ <math>5.78</math>. Now, we simply move the decimal point as many times as we need to make the number we are going to use to divide 69.45 a whole number, so watch as followed:<br> <math>69.45</math> ÷ <math>5.78</math> →<br> <math>694.5</math> ÷ <math>57.8</math> →<br> <math>6945</math>. ÷ <math>578</math>. Now that we have finally got our dividend a whole number (and now our first number that we are going to divide), we can go ahead and divide normally (using long division). In the end, <math>69.45</math> divided by <math>5.78</math> should get you <math>12.0155709</math>! A pretty simple one we could go is <math>6.4</math> ÷ <math>0.4</math>, here, we simply move our dots like so:<br> <math>6.4</math> ÷ <math>0.4</math><br> <math>64</math> ÷ <math>04.</math><br> <math>64</math> ÷ <math>4</math><br> Then, we can simply divide, heck... we don't even need to do long division! The answer should pop in your head, which is <math>16</math>. {{notice|If you would like to take the quiz on Decimals, please go to '''[[Speak Math Now!/Week 1: Introduction To Algebra/Decimals Quiz]]'''}} ===Percentages=== A good definition of "percent" is a fraction in which the denominator is the number <math>100</math>. For example, the numbers <math>59%</math>, <math>63%</math>, <math>91%</math>, and <math>85%</math>, are the same as just saying <math>\tfrac{59}{100}</math>, <math>\tfrac{63}{100}</math>, <math>\tfrac{91}{100}</math>, and <math>\tfrac{85}{100}</math>. You could also say 59 out of 100 parts, 63 out of 100 parts, 91 out of 100 parts, and 85 out of 100 parts. ====Converting Percentages==== Now that we got the basis of percentages and how they operate, we should look into changing percentages. ===== Percentage → Decimal ===== Let's look in turning a percentage into a decimal point first. It's very simple. Let's say you have <math>\tfrac{9}{100}</math>, which, in percentage form, is <math>9%</math>. So, we have 9%. Now, we want to change it to a decimal (I don't know, think of a reason). We simply convert the percentage symbol into a decimal point, so like this: <math>9.</math>. Now, we have <math>9.</math>, so then we move the decimal number two places to the left, like so: <math>9.</math> → <math>.9</math> → <math>.09</math>. So now, we have <math>0.09</math>. We added the 2 zeros in because there is no value in the tenths place, and because <math>.09</math> does not look quite right. Looks a bit off. ===== Samples problems for ''converting percentages to decimals'' ===== <quiz display="simple" points="1/1"> { |type="{}"} 59% = { 0.59_5 } { |type="{}"} 63% = { 0.63_5 } { |type="{}"} 91% = { 0.91_5 } { |type="{}"} 85% = { 0.85_5 } { |type="{}"} 9% = { 0.09_5 } { |type="{}"} 9834% = { 98.34_5 } { |type="{}"} 20% = { 0.2_5 } { |type="{}"} 4% = { 0.04_5 } { |type="{}"} 7.6% = { 0.076_5 } { |type="{}"} 6% = { 0.06_5 } </quiz> ===== Decimal → Percentage ===== Now to convert a decimal into percentage we essentially do the complete opposite. We have <math>98.34</math>. We need this to be a percentage (easier to read). Move the decimal point two places to the right. So, watch: <math>98.34</math> → <math>983.4</math> → <math>9834.</math> --Now, we have <math>9834.</math>, but the decimal point, since it's now a percentage, should not be there, but instead, a percentage should talk the decimal point's place. Now, we have our final result of <math>9834%</math>. ==== Finding percent of a number ==== [[File:Universität Bonn.jpg|thumb|right|Would this be the fictional university these students were trying to get accepted to?]] So, 95 students applied to a university (the fictional [[User:Atcovi/Mustafa Einhoonansebadoi University|Mustafa Einhoonansebadoi University]], for example), and only 20% of the students made it. 20%? What? With this in mind, we want to find <math>20%</math> of <math>95</math>. We take the percentage, <math>20%</math>, and divide it by <math>100</math>. So we get <math>20/100</math> = <math>.2</math>. Then, we multiply <math>.2</math> by <math>95</math>, in which we get <math>19</math>. So <math>20%</math> of <math>95</math> is <math>19</math>. Therefore, only 19 students out of 95 students made it into the fictional Mustafa Einhoonansebadoi University. {{subpage navbar}} [[Category:Speak Math Now!]] p931l12vgfln8hxo0f0tlngr4gkpnjk 0 239098 2817762 2721320 2026-07-06T03:21:40Z DragonflySixtyseven 21251 ([[c:GR|GR]]) [[c:COM:FR|File renamed]]: [[File:ITS.jpg]] → [[File:Interpersonal Theory of Suicide (venn diagram).jpg]] old name is not meaningful 2817762 wikitext text/x-wiki {{title|Assisted dying and motivation:<br>What are the motivations for requesting assisted dying in people with terminal illness?}} {{MECR3|1=https://www.youtube.com/watch?v=wrbRW9X1lgY}} __TOC__ == Overview == [[File:David - The Death of Socrates.jpg|alt=The painting depicts the suicide of Socrates. |thumb|368x368px|''Figure 1.'' The Death of Socrates (David, 1787) depicting Socrates calmly taking his own life by drinking the poison hemlock. ]] {{quote|<big>"At my age, or less than my age, one wants to be free to choose the death when the death is an appropriate time."</big><br>- [[q:author| Dr. David Goodall]]}} Those are the powerful last words of Dr. [[wikipedia:David_Goodall_(botanist)|David Goodall]], Australian's oldest scientist who decided to end his own life at 104 in Switzerland through the use of euthanasia in [https://www.theguardian.com/australia-news/2018/apr/30/david-goodall-australia-oldest-scientist-to-end-own-life-in-switzerland May 2018]. His story has since then attracted international headlines as well as further enflamed the highly controversial debates around euthanasia and the rights to die. The issue of assisted dying has been at the centre of many heated debates for many years and is surrounded by religious, ethical and practical considerations and implications.Therefore, in order to shed light on the current topic, this chapter aims to explore the underlying motivations of the wish to control one's death. The chapter begins with an overview of the definitions and the different types of assisted dying. The main section discusses the physical aspect that would impact an individual's wish to hasten death (WTHD) as well as two main theories explaining the psychological factors of WTHD: the Interpersonal psychological of suicide and the Self-determination theory. The chapter ends with discussion on future implications for understanding the motivations of assisted dying. {{RoundBoxTop}} ''' Focus questions ''' * What is assisted dying? * What are the motivations that influence the desire to hasten death? * What are the psychological implications for future research and for future healthcare systems? {{RoundBoxBottom}} ==Assisted dying== '''Assisted dying''', commonly known as [[euthanasia]] or physician-assisted suicide (PAS), can be understood as the practice of intentionally ending a life in order to relieve pain and suffering (Owusu-Dapaa, 2013). Etymologically, 'euthanasia' derives from the Greek word ''eu,'' meaning goodly or well and ''thanatos,'' meaning death, hence ''euthanasia'' could be understood as a ''good death'' (McMillan, 2001)''.'' Euthanasia is most common in clinical settings, especially in palliative care, such as for people with terminal illnesses or advanced diseases. While the terms could be use interchangeably, there are some slight differences between euthanasia and PAS, mainly in the degree of involvement and behaviour. *<u>Physician-assisted suicide:</u> A doctor assists a patient to commit suicide by providing a drug for self-administration. *<u>Voluntary active euthanasia:</u> A doctor '''intentionally''' kill a patient by the administration of a drug. This would occur when a patient is too scared to carry out the act himself/ herself. == Physical factors for WTHD == Studies conducted in the early 2000s have reported that physical suffering played a large influence in patients' WTHD (Kinsella & Verhoef, 1993). A study done by Mystakidou et al. (2006) found that patients with high desire to die (DTD) reported to suffer a higher level of pain compared to patients with low DTD. Schroepfer (2007) highlighted that unbearable physical pain was regarded as a "critical event" that motivates WTHD. In terms of physical suffering, pain was not the only factor that motivates WTHD but also other physical signs and symptoms such as apnea, prolonged fatigue were also significantly associated with the emergence of a WTHD (Rietjens et al., 2007). However, more recent studies have found that while physical symptoms play a role in the WTHD, its role is not as prominent as several underlying psychological factors in explaining the roots of one's consideration for a hastened death (Monforte-Royo, Villavicencio-Chávez, Tomás-Sábado, Mahtani-Chugani, & Balaguer, 2012) ==Psychological motivations for WTHD == A growing body of literature in clinical population has identified multiple motivational factors that might foster the WTHD (Nissim, Gagliese, & Rodin, 2009; Breitbart et al., 2000). Since the WTHD represents an individual’s subjective wish to end his/her life, its recurring themes showed close associations with theoretical frameworks of suicidal behaviour (Van Orden, Witte, Gordon, Bender, & Joiner, 2009). This section will focus on several theories and research explaining different motivational aspects of assisted dying. === The interpersonal psychological theory of suicide === {{expand}} ==== Theoretical perspectives ==== [[File:Interpersonal Theory of Suicide (venn diagram).jpg|thumb|400px|''Figure 3.'' Joiner's Interpersonal Psychological Theory of Suicide describing the interaction of the three components.|alt=|left]] [[wikipedia:Interpersonal_theory_of_suicide|The Interpersonal Psychological Theory of Suicide]] (IPTS) was first conceptualised by Joiner (2009) and further expanded upon by Van Orden and colleagues (2010). According to the theory, there are several chains of causation in suicidal behaviour, but there seems to be one common pathway to suicide that all varying trajectories travel through (Joiner, 2009). Therefore, the theory proposes that the development of suicidal desire derived from the coexistence of these following factors: *'''Perceived burdensomeness:''' The feeling of dependence that would result in frustration and feelings of guilt among care-recipient (Van Orden et al., 2010). *'''Thwarted belongingness:''' The psychological - painful mental state resulted from a lack of interpersonal connections (Van Orden et al., 2010). The theory also emphasises that suicidal ideation only emerges when both of these variables are present (Van Orden et al, 2010). Additionally, acquired capability was presented as a third component explaining the transition from suicidal ideation to serious/ lethal suicide attempts. '''Acquired capability''' is characterised by reduced fear of death and increased tolerance for physical pain (Joiner, 2009). Indeed, a systematic review on the validity and reliability of the theory has showed significant three-way interaction of IPT constructs in predicting suicidal behaviour in spanning diverse samples (Chu et al., 2016). ==== Empirical research ==== Numerous research over the past decades have been investigating the influence of perceived burdensomeness and thwarted belongingness on suicide ideation and the WTHD in various settings. ===== Perceived burdensomeness ===== {{RoundBoxTop|theme={{{theme|6}}}|}} ''"I have Alzheimer's disease and I do not want to let it progress any further. I do not want to put my family or myself through the agony of this terrible disease". - in the suicide note of [https://www.nytimes.com/1990/06/06/us/doctor-tells-of-first-death-using-his-suicide-device.html Janet Adkins], who died of a self-administered lethal injection, given by Dr. [https://en.wikipedia.org/wiki/Jack_Kevorkian Jack Kevorkian].'' {{RoundBoxBottom}} In recent years, several published studies have demonstrated statistically significant associations between self-perceived burdensomeness (SPB) and suicidal ideation, particularly in clinical populations such as [[wikipedia:Chronic_pain|chronic pain]] patients (Kowal et al., 2012), terminally ill cancer patients (Wilson et al., 2005), and psychiatric inpatients (de Catanzaro et al., 1995). A sense of inequity was argued to be the roots of SPB. According to McPherson et al. (2010), patients or care-recipients may perceive that they were over-benefiting from the relationship with caregivers or loved ones, hence making them suffer. As expected, due to the progressive deterioration in functionality, many patients with advanced diseases rely on others for instrumental and emotional support, which then in hand could create a sense of imbalance. The link the between SPB and euthanasia request among individuals with incurable illnesses is evident in various studies. A retrospective study done by Ganzini, Silveira, & Johnston (2002) sought to identify the factors associated with requests to assist suicide among [[wikipedia:Amyotrophic_lateral_sclerosis|amyotrophic lateral sclerosis]] (ASL) patients by interviewing 50 caregivers in Oregon and Washington, where euthanasia is legal (''see further:'' Oregon's [https://statelaws.findlaw.com/oregon-law/oregon-euthanasia-laws.html Death with dignity act]). The study found that the feeling of being a burden to others was present in 58% of patients who expressed WTHD. Consistent with this finding, the theme of SPB also emerged from studies in cancer patients. A large sample size study of 379 cancer patients receiving palliative care in Canada, of which 22 patients reported that they might consider request PAS has shown that SPB was reported to be significantly higher among 13 of them (59%). Interestingly, cultural factors seems to also play a role in the level of SPB. While studies in Western countries identified SPB to have a moderate contribution in the WTHD (Breitbart et al., 2000), the feeling of being a burden to others seems to play a critical role in the desires to die among Japanese patients. In a survey of 290 family members of patients who had died of cancer in Japan, a 'moderate-to-extreme" sense of burden were presented in 98% of patients who expressed the WTHD (Morita, Sakaguchi, Hirai, Tsuneto, & Shima, 2004). Therefore, not only SPB is among the principal factors related to the desire for death, but also its role remains significant across cultures. ===== Thwarted belongingness ===== While researching on interpersonal attachments, Baumeister and Leary (1995) proposed that humans have a fundamental need to belong and it would serve as a powerful and pervasive motivation. Consequently, numerous adverse effects on health and well-being would arise if this need is unmet. <div style="float:left; background-color:#C0C0C0; width:20em; border:1px solid #999; padding:2px 2px 2px 4px; margin:2px; ">{{quote|<small>I think it’s very important for every single person to feel that they belong, and, and that they fit in a community, in a city, in a country [...] once you perceive that your relationships, all the links with other living things have deteriorated, and they’re not valued, then you’ve lost face.</small><br>- [[q:author|- quote from HIV patients (cited in Laverty et al., 2001)]]}} </div> Research has found that the concept of thwarted belongingness (TB) such as social isolation, loss of community (Van Orden et al., 2010) is correlated with suicide ideation (Cacioppo & Cacioppo, 2014). Compared to other stages of life, elderly people are particularly vulnerable to the effects of social reduction, hence, many studies have linked the effects of social disconnectedness with suicidal behaviour (Fassberg et al., 2012). In a review of case control studies using psychological autopsy method, Connell, Duberstein, & Caine (2002) concluded that social isolation increased the risk for completed suicide along with poor social integration and family conflicts. Following this line, Bailey & McLaren (2005) also yielded similar results with using a community-dwelling sample of 194 older adults in Australia. In this study, suicide ideation was strongly and negatively correlated with sense of belonging (''r= -.59''). The researchers then hypothesised that thwarted belongingness serves as a risk factor for suicidality and the desire for an early death in elderly population. Additionally, the pervasive relations between TB and the WTHD were also present among adults diagnosed with HIV. This was established by numerous studies produced in the 1990s, when HIV/AIDS was considered as a global epidemic (Chin, Sato, & Mann, 1990). A study by Lavery, Boyle, Dickens, MacLean, & Singer (2001) investigated the desires for assisted suicide among 985 patients with HIV. The study found that loss of community played the biggest part in leading to WTHD (Lavery et al., 2001). Not only individuals with HIV suffered extreme physical pain, they also experienced a significant amount of stigmas and scrutinizes by the public and even by their families. As a result, these experiences give raises to avoidance of community and a sense of social isolation, which ultimately fueled the WTHD (Lavery et al., 2011). === Self-determination theory === An alternative theoretical perspective focuses on the human need to achieve optimal growth, and how it motivates people to behave in a certain way (Ryan & Deci, 2000). ==== Theoretical perspectives ==== [[File:SelfDeterminationTheory.png|thumb|325x325px|''Figure 4.'' Deci and Ryan (2000)'s self determination theory ]] [https://en.wikiversity.org/wiki/Motivation_and_emotion/Book/2011/Self-determination_theory?veaction=edit Self-determination theory] (SDT) was first developed by Edward Deci and Richard Ryan and is regarded as an important motivational theory linking personality and optimal functioning. According to SDT, there are two main types of motivation - intrinsic and extrinsic - and that the interactions between these two components shape individual's actions and behaviours (Ryan & Deci, 2000). The theory is based on the premise that individuals pursue self-determined goals to satisfy and gain fulfilment. Just as a plant needs several nutrients (soil, sunlight, water) to maintain its life and continue to grow, human also need to satisfy several needs in order to gracefully grow. Three fundamental and psychological needs identified by the researchers are autonomy, competence, and relatedness. If these universal needs are met, the theory argues that that people will function and grow optimally (Ryan & Deci, 2000). Table 1 ''Three fundamental psychological needs'' {| class="wikitable" align="center" border="1" cellspacing="0" cellpadding="5" | AUTONOMY |The need to control the course of one's life |- | COMPETENCE | The need to be effective in dealing with the environment |- | RELATEDNESS | The need to have a close, affectionate relationship with others |} {{Robelbox|theme={{{theme|2}}}|title=Video break}} A fun, interesting infographic video to help gaining a better understanding in "Self-determination theory": https://www.youtube.com/watch?v=3sRBBNkSXpY&t=4s {{Robelbox/close}} ==== Empirical research ==== In a study done by Kelly et al. (2002), it was found that elements of the self-determination theory, particularly autonomy need, were significantly associated with the wish to hasten death among cancer patients. ===== Autonomy ===== The need of '''autonomy''' concerns the need to feel volitional in one's actions, to act willingly on self-endorse beliefs and decisions (Chirkov et al., 2003). Over decades of theoretical development have established the association between psychological needs fulfilment and individual's well-being (Sheldon, Ryan & Reis, 1996). Cross-cultural examinations across eight countries also supported the positive effects of autonomous behaviours on well-being (Tay & Diener, 2011). Sheldon et al. (1996) conducted a well-known study investigating the different factors that contributes to "a good day". Researches have found that satisfaction of competence and autonomy would greatly influenced emotional well-being in that given day. While facing life adverse events, being able to make autonomous decisions could assist individuals in making self-determined choices that would help alleviate the stress, which in hand make them feel empowered. While fulfilment of autonomy need contributes to well-being, failed satisfaction of this need has been related to several suicide risk factors in specific settings such as depressive symptoms in nursing home residents and undergraduate students (Tucker & Wingate, 2014). Using a sample of 336 students, Tucker and Wingate (2014) examined the relationship between psychological needs and predictors of suicidal desire. the study noted that thwarting basic needs would likely increase the risk of suicidal behaviour among students. Loss of autonomy due to the gradual deterioration caused by illnesses was one of the most prevalent fears among terminally ill patients who expressed desires for an early death (Nissim et al., 2009). An early retrospective study was carried out in Oregon, one year after PAS was legalised in the United States, involving 43 cases (Chin et al., 1999). Through using structured interviews with family members of patients who had gone through with PAS, the report found that patients expressed concerns over the loss of autonomy as well as the loss of bodily functions upon requesting PAS (Chin et al., 1999). Similarly, one year later, Ganzini et al. (2000)'s study on cancer patients in Oregon also reported that loss of autonomy was frequently listed as a reason for receiving PAS (79% of the patients). Morita et al. (2004) proposed that the prevalence in patients' answers was due to the significant role of autonomy emphasised in Western cultures. Thus, this explanation was consistent with past studies on the facilitating role of autonomy on psychological well-being. Moreover, studies on physicians' attitudes toward PAS also reported the remarkable fear of losing autonomy in patients requesting PAS (Emmanuel, 2002). While some studies focused on the perspectives of family members and physicians towards the patients' wish for an early death, other research have explored the multifactorial aetiology of the WTHD from patients' perspectives. In a recent systematic reviews of 16 qualitative studies and 94 surveys, Hendry et al. (2013) reviewed the attitudes of patients on assisted dying and have highlighted the theme of autonomy presented across numerous international papers. Alongside loss of autonomy, participants with the WTHD also expressed the desire for autonomy regarding to their death. The review noted that patients want to take control of their deaths while they were still mentally able to do so (Hendry et al., 2013). While the studies included in this review occurred in different countries, the results still demonstrated a strong effect of autonomy presented in patients' WTHD. ===== Integrating the IPTS and SDT ===== Loss of autonomy was found to be closely related to the feeling of perceived burdensomeness as the loss of bodily functions due to the illness would result in dependency on others (Monforte-Royo et al., 2011). For this reason, while examining the role of autonomy in suicide ideations, Hill and Petit (2013) have suggested two theoretical frameworks that integrate SDT with IPTS. The study also highlighted the shared associations between the constructs in each theory: PB with competence need; TB with relatedness need. The results have shown that autonomy has an indirect effect on suicide ideation via its influence on TB and PB, suggesting a relationship between the components of SDT and those of IPTS (Hill & Petit, 2013). While this study was still in its early development, the framework could be used to be better explain the patterns of suicidal behaviours among high-risk population. {{Robelbox|theme={{{theme|10}}}|title=Case study}}[https://en.wikipedia.org/wiki/Brittany_Maynard Brittany Maynard] was 29 when she was diagnosed wit a malignant brain tumour that would kill her in six months. Facing an inevitable forthcoming death, she could not bear prolonging her life suffering from tremendous headaches, seizures, loss of control over her bodily functions, she chose to move from California to Oregon and died under Oregon's Death with Dignity Act. With the help of donations, Brittany was able to check all the items off her bucket list such as visiting Alaska, and the Grand Canyon. In her last post on Facebook, she wrote: "I somehow have my autonomy taken away from me by my disease because of the nature of my cancer"... "Today is the day I have chosen to pass away with dignity in the face of my terminal illness, this terrible brain cancer that has taken so much from me...but would have taken so much more." It could be seen from her case is that the gradual loss of autonomy and dignity were one of the main reasons that pushed her to her final decision. {{Robelbox/close}} ==Psychological implications == Understanding the motivations for why a person would request euthanasia could assist physicians' next steps{{gr}}. Psychological implications for this matter could be divided in to three categories:{{missing}} {| cellspacing="0" cellpadding="0" style="margin:0em 0em 1em 0em; width:100%" | style="padding:0em 0.5em 0em 0.5em;" | | rowspan="2" style="width:60%; vertical-align:top; border:1px solid Gold; background-color: LightYellow;" |<div style="border-bottom:1px solid Gold; background-color:Yellow; padding:0.2em 0.5em 0.2em 0.5em; font-size:110%; font-weight:bold;">Implications for health professionals </div>In particular, it is worth noting that the theme of suffering emerges across studies. Through understanding why people express the WTHD, health care professionals would have better assessments on their final decision. While purely physical aspects could provide the initial basis for such a wish, it was suggested that the underlying psychosocial factors of the WTHD that plays a key role. Therefore, healthcare professionals need to identify different aspects of the patient's suffering in order to better address them and provide suitable methods. In this regard, placing an emphasis on non-medical care such as inner autonomy and personal regard may create enormous effect in the patient. | style="width:40%; vertical-align:top; border:1px solid #8488DC; background-color:#F5F5FF;" |<div style="border-bottom:1px solid #8488DC; background-color:CornflowerBlue; padding:0.2em 0.5em 0.2em 0.5em; font-size:110%; font-weight:bold;">Implications for future research </div>Further research into the factors associated with the WTHD is required. Firstly, researchers need to address the use of a standardised measure of assisted dying attitudes, such as the Euthanasia Attitudes (Holloway et al, 1994) to improve methodologies. Secondly, a possible expand to studies examining the factors of WTHD in minority groups could help enriching current understanding on the matter. <div style="padding:0.4em 1em 0.3em 1em;"> : </div> |- | style="padding:0em 0.5em 0em 0.5em;" | | style="width:40%; vertical-align:top; border:1px solid #8488DC; background-color:#F5F5FF;" |<div style="border-bottom:1px solid #8488DC; background-color:CornflowerBlue; padding:0.2em 0.5em 0.2em 0.5em; font-size:110%; font-weight:bold;">Implications for policy making </div><div style="padding:0.4em 1em 0.3em 1em;"> Studying about the motivations for requesting assisted dying could provide insights for law and policy making process in countries where this practice is legal and enhance political debate in countries that currently discuss its legalisation. : </div> |} == Conclusion == The wish to hasten death is a complex phenomenon comprising of a multifactorial aetiology. While noting that physical suffering plays a part in the WTHD among patients, this chapter also has addressed {{huh}} for requesting assisted dying by drawing on two main theoretical frameworks. The interpersonal-psychological theory of suicide proposes two components explaining suicidal ideation as well as the acquired capability to execute it. From this perspective, perceived burdensomeness and thwarted belongingness are what motivates people in the clinical population to consider an early death. At the same time, the Self-determination theory was regarded as a classic theory of motivation that emphasises the satisfaction of several psychological needs in order to achieve optimal functioning. The need for autonomy plays a key role in the WTHD as it is closely related to the concept of control and dignity towards the end of one's life. Therefore, through the identification of aspects of suffering among the patients, health professionals could have a better chance at providing optimal and necessary care for the patients in the palliative care setting. Future research as well as policy making could benefit from this study by improving the research methodologies on this matter and by enhancing the debate around assisted dying. == See also == * [[wikipedia:Philip_Nitschke|Phillip Nitschke]] (Wikipedia) * [[Motivation and emotion/Book/2018/Suicidality across the lifespan|Suicidality across the lifespan]] (Book chapter, 2018) * [[Motivation and emotion/Book/2018/Suicidality in the elderly|Suicidality in the elderly]] (Book chapter, 2018) * [[wikipedia:Suicide_tourism|Suicide tourism]] (Wikipedia) == References == {{Hanging indent|1= Bailey, M., & McLaren, S. (2005). Physical activity alone and with others as predictors of sense of belonging and mental health in retirees. 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Personality and Social Psychology Bulletin, 22(12), 1270-1279. doi:10.1177/01461672962212007 Tay, L., & Diener, E. (2011). Needs and subjective well-being around the world. Journal of Personality and Social Psychology, 101(2), 354-365. doi:10.1037/a0023779 Tucker, R. P., & Wingate, L. R. (2014). Basic need satisfaction and suicidal ideation: A self-determination perspective on interpersonal suicide risk and suicidal thinking. Archives of Suicide Research : Official Journal of the International Academy for Suicide Research, 18(3), 282-294. doi:10.1080/13811118.2013.824839 Van Orden, K. A., Witte, T. K., Cukrowicz, K. C., Braithwaite, S. R., Selby, E. A., & Joiner, T. E. (2010). The interpersonal theory of suicide. Psychological Review, 117(2), 575-600. doi:10.1037/a0018697 Van Orden, K. A., Witte, T. K., Gordon, K. H., Bender, T. W., & Joiner, T. E. (2008). Suicidal desire and the capability for suicide: Tests of the interpersonal-psychological theory of suicidal behavior among adults. Journal of Consulting and Clinical Psychology, 76(1), 72-83. doi:10.1037/0022-006X.76.1.72 }} ==External links== *[https://www.youtube.com/watch?v=3IsloHmKvWA Assisted Death & The Value of Life: Crash Course Philosophy #45] (CrashCourse, Youtube) *[https://www.youtube.com/watch?v=i9Q3ohzB25I&t=10s Death with Dignity | Grace Pastine | TEDxStanleyPark (TEDx Talks, Youtube)] *Death with Diginity - [https://www.cga.ct.gov/2002/rpt/2002-R-0077.htm Oregon's Assisted Suicide Law] *[https://www.washingtonpost.com/opinions/the-brittany-maynard-effect-how-she-is-changing-the-debate-on-assisted-dying/2014/10/31/efc75078-5df0-11e4-8b9e-2ccdac31a031_story.html?noredirect=on&utm_term=.367eeb068c11 The Brittany Maynard effect] and its impacts on legislation in California [[Category:Motivation and emotion/Book/2018]] [[Category:Motivation and emotion/Book/Death]] [[Category:Motivation and emotion/Book/Relationships]] [[Category:Motivation and emotion/Book/Suicide]] 1dky56g0sqoj30oc6t0fus0njti2mkb 0 263754 2817749 2602249 2026-07-05T15:20:43Z Ziv 2996189 ([[c:GR|GR]]) [[File:Jacques-Louis David 016.jpg]] → [[File:Juliette Récamier, née Bernard - Jacques-Louis David - Musée duLouvre Peintures INV 3708.jpg]] → File replacement: Updating from an old version to a newer version with better quality ([[c:c:GR]]) 2817749 wikitext text/x-wiki == Also Known As == *Family name: Boscawen *Viscount Falmouth **Evelyn Boscawen, 6th Viscount Falmouth (29 August 1852 – 6 November 1889) **Evelyn Edward Thomas Boscawen, 7th Viscount Falmouth (6 November 1889 – 1 October 1918)<ref name=":0">"Evelyn Edward Thomas Boscawen, 7th Viscount Falmouth." {{Cite web|url=https://thepeerage.com/p5033.htm#i50323|title=Person Page|website=thepeerage.com|access-date=2020-11-26}}</ref> *Viscountess Falmouth **Mary Frances Elizabeth Stapleton Boscawen (29 August 1852 – 6 November 1889) **Kathleen Douglas-Pennant Boscawen (6 November 1889 – ) *Dowager Viscountess **Mary Frances Elizabeth Stapleton Boscawen (6 November 1889 – 20 November 1891) == Acquaintances, Friends and Enemies == == Timeline == '''1886 October 19''', Evelyn Edward Thomas Boscawen and the Hon. Kathleen Douglas-Pennant married.<ref name=":1">"Hon. Kathleen Douglas-Pennant." {{Cite web|url=https://thepeerage.com/p5033.htm#i50324|title=Person Page|website=thepeerage.com|access-date=2020-11-26}}</ref> '''1889 November 6''', Evelyn Edward Thomas Boscawen succeeded to the title Viscount Falmouth.<ref name=":0" /> '''1897 July 2, Friday''', Lord and Lady Falmouth attended the [[Social Victorians/1897 Fancy Dress Ball | Duchess of Devonshire's fancy-dress ball]] at Devonshire House. (Evelyn, Viscount Falmouth is #172 on the [[Social Victorians/1897 Fancy Dress Ball#List of People Who Attended|list of people who were present]]; Kathleen, Lady Falmouth is #471.) [[File:Kathleen-ne-Douglas-Pennant-Viscountess-Falmouth-as-Madame-Recamier.jpg|thumb|left|alt=Black-and-white photograph of a standing woman richly dressed in an historical costume|Kathleen, Viscountess Falmouth as Madame Recamier. ©National Portrait Gallery, London.]][[File:Juliette Récamier, née Bernard - Jacques-Louis David - Musée duLouvre Peintures INV 3708.jpg|thumb|alt=woman seated on a chaise looking over her shoulder at the viewer|Madame Recamier, by Jacques-Louis David, 1800]] == Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball == The ''Times'' lists Lord and Lady Falmouth as present at the [[Social Victorians/1897 Fancy Dress Ball | Duchess of Devonshire's fancy-dress ball]].<ref>"Ball at Devonshire House." The ''Times'' Saturday 3 July 1897: 12 [of 20], Cols. 1a–4c [of 6] The ''Times Digital Archive''. Web. 28 Nov. 2015.</ref> === Kathleen, Lady Falmouth === Alice Hughes's portrait of "Kathleen (née Douglas-Pennant), Viscountess Falmouth as Madame Recamier" in costume is photogravure #95 in the album presented to the Duchess of Devonshire and now in the National Portrait Gallery.<ref>"Devonshire House Fancy Dress Ball (1897): photogravures by Walker & Boutall after various photographers." 1899. National Portrait Gallery https://www.npg.org.uk/collections/search/portrait-list.php?set=515.</ref> The printing on the portrait says, "Viscountess Falmouth as Madame Recamier," with a Long S in ''Viscountess''.<ref>"Kathleen (née Douglas-Pennant), Viscountess Falmouth as Madame Recamier." ''Diamond Jubilee Fancy Dress Ball''. National Portrait Gallery https://www.npg.org.uk/collections/search/portrait/mw158455/Kathleen-ne-Douglas-Pennant-Viscountess-Falmouth-as-Madame-Recamier.</ref> The famous 1800 portrait of Madame Juliet Récamier (right) by Jacques-Louis David hangs in the Louvre. Kathleen, Viscountess Falmouth's dress and hair look like they might have been inspired by this painting, although the shawl and jewelry are quite different. [[File:Evelyn Edward Thomas Boscawen, 7th Viscount Falmouth Vanity Fair 6 January 1898.jpg|thumb|alt=Old drawing of an elegant elderly 19th-century man in a frock coat and spats holding a top hat and gloves in his left hand and a walking stick in the other, facing 3/4 to his right|''The Star'' — Evelyn Boscawen, 7th Viscount Falmouth — by "Spy," ''Vanity Fair'' 6 January 1898]] === Evelyn, 7th Viscount Falmouth === Evelyn, Viscount Falmouth sat at Table 6 in the first seating for supper, suggesting prominence among this group of very prominent people. No description of his costume was published in any newspaper account of the ball. His caricature portrait (right) by Leslie Ward ("Spy") was published in the 6 January 1898 issue of ''Vanity Fair'' as Number 700 in its "Men of the Day" series,<ref>{{Cite journal|date=2024-01-14|title=List of Vanity Fair (British magazine) caricatures (1895–1899)|url=https://en.wikipedia.org/w/index.php?title=List_of_Vanity_Fair_(British_magazine)_caricatures_(1895%E2%80%931899)&oldid=1195518024|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/List_of_Vanity_Fair_(British_magazine)_caricatures_(1895%E2%80%931899).</ref> giving at least a sense of what he looked like. == Demographics == *Nationality: British<ref>{{Cite journal|date=2020-06-23|title=Evelyn Boscawen, 7th Viscount Falmouth|url=https://en.wikipedia.org/w/index.php?title=Evelyn_Boscawen,_7th_Viscount_Falmouth&oldid=964086163|journal=Wikipedia|language=en}}</ref> == Family == *Evelyn Boscawen, 6th Viscount Falmouth (18 March 1819 – 6 November 1889)<ref>"Evelyn Boscawen, 6th Viscount Falmouth." {{Cite web|url=https://thepeerage.com/p3629.htm#i36281|title=Person Page|website=thepeerage.com|access-date=2020-11-26}}</ref> *Mary Frances Elizabeth Stapleton Boscawen, Baroness le Despenser (– 20 November 1891)<ref>"Mary Frances Elizabeth Stapleton, Baroness le Despenser." {{Cite web|url=https://thepeerage.com/p3629.htm#i36282|title=Person Page|website=thepeerage.com|access-date=2020-11-26}}</ref> #Mary Elizabeth Frances Catherine Boscawen (1846 – 21 January 1916) #'''Evelyn Edward Thomas Boscawen, 7th Viscount Falmouth''' (24 July 1847 – 1 October 1918) #Hugh le Despenser Boscawen (28 February 1849 – 8 April 1908) #Edith Maria Boscawen (1851 – 24 September 1906) #Mabel Emma Boscawen (1855 – 26 October 1927) #John Richard de Clare Boscawen (19 December 1860 – 12 December 1915) *Evelyn Edward Thomas Boscawen, 7th Viscount Falmouth (24 July 1847 – 1 October 1918)<ref name=":0" /> *Kathleen Douglas-Pennant Boscawen (1861 – 29 December 1953)<ref name=":1" /> #Evelyn Hugh John Boscawen, 8th Viscount Falmouth (5 August 1887 – 18 February 1962) #George Edward Boscawen (6 December 1888 – 6 June 1918) #Vere Douglas Boscawen (3 August 1890 – 29 October 1914) #Mildmay Thomas Boscawen (5 February 1892 – 13 November 1958) #Kathleen Pamela Mary Corona Boscawen (29 April 1902 – 25 June 1995) == Notes and Questions == == Footnotes == <references /> m5ofz7u961qcjyxplkv25f36ag4cf3l 0 263978 2817757 2817665 2026-07-05T22:44:12Z Scogdill 1331941 2817757 wikitext text/x-wiki == Overview == The Dukedom of Abercorn is the last non-royal dukedom created. Queen Victoria created it in 1869. This page includes the Earl of Wicklow, the family of which married into the Abercorn family in 1816 when William Howard, 4th Earl of Wicklow married Lady Cecil Frances Hamilton — the daughter and only child of John Hamilton, 1st Marquess of Abercorn.<ref>{{Cite journal|date=2026-06-24|title=William Howard, 4th Earl of Wicklow|url=https://en.wikipedia.org/w/index.php?title=William_Howard,_4th_Earl_of_Wicklow&oldid=1360966619|journal=Wikipedia|language=en}}</ref> William Howard, 4th Earl of Wicklow was succeeded by his nephew, Charles Howard, 5th Earl of Wicklow (5 November 1839 – 20 June 1881).<ref>{{Cite journal|date=2024-08-26|title=Charles Howard, 5th Earl of Wicklow|url=https://en.wikipedia.org/w/index.php?title=Charles_Howard,_5th_Earl_of_Wicklow&oldid=1242455245|journal=Wikipedia|language=en}}</ref> Also Ralph Howard, 7th Earl of Wicklow married Lady Gladys Mary Hamilton (daughter of the 2nd Duke of Abercorn) in 1902.<ref name=":18">{{Cite journal|date=2025-08-05|title=Cecil Howard, 6th Earl of Wicklow|url=https://en.wikipedia.org/w/index.php?title=Cecil_Howard,_6th_Earl_of_Wicklow&oldid=1304372795|journal=Wikipedia|language=en}}</ref> The National Library of Ireland has papers from Sarah Howard and her children, including Lady Caroline Howard. == Also Known As == *Family name: Hamilton *the Duke of Abercorn **James Hamilton, 1st Duke of Abercorn (10 August 1868 – 31 October 1885)<ref name=":0">"James Hamilton, 1st Duke of Abercorn." {{Cite web|url=http://www.thepeerage.com/p10144.htm#i101433|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> **James Hamilton, 2nd Duke of Abercorn (31 October 1885 – 3 January 1913)<ref name=":12">"James Hamilton, 2nd Duke of Abercorn." {{Cite web|url=http://www.thepeerage.com/p10104.htm#i101033|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> **James Albert Edward Hamilton, 3rd Duke of Abercorn (3 January 1913 – 12 September 1953)<ref name=":13">"James Albert Edward Hamilton, 3rd Duke of Abercorn." {{Cite web|url=http://www.thepeerage.com/p10104.htm#i101031|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> *the Duchess of Abercorn **Louisa Russell Hamilton, Duchess of Abercorn (10 August 1868 – 31 October 1885) **Maria Anna Curzon-Howe Hamilton (31 October 1885 – 3 January 1913) *Dowager Duchess of Hamilton **Louisa Russell Hamilton, Duchess of Abercorn (31 October 1885 – March 1905) **Maria Anna Curzon-Howe Hamilton (3 January 1913 – ) *Subsidiary titles: **Marquess of Hamilton (courtesy title for the heir apparent) ***James Albert Edward Hamilton, 3rd Duke of Abercorn (31 October 1885 – 12 September 1953) **Viscount Strabane (courtesy title for the heir apparent of the Marquess of Hamilton) == Acquaintances, Friends and Enemies == === Friends === *The Royal Family, especially [[Social Victorians/People/Albert Edward, Prince of Wales | Albert Edward, Prince]] and [[Social Victorians/People/Alexandra, Princess of Wales | Alexandra, Princess]] of Wales, in the generation of the 2nd duke. == Timeline == A lot of people are treated on this page, so this timeline will be somewhat chaotic to read. These events probably didn't directly affect every single person treated on this page, but discussions about them probably circulated through the families. The detail about Lady Caroline Howard and her mother, the Hon. Susan Howard, is to make these people, whose papers are in the National Library of Ireland, more concrete and known. '''1832 October 25''', James Hamilton and Louisa Russell married at Gordon Castle, Fochabers, Morayshire, in Scotland.<ref name=":0" /> '''1854 May 23''', Beatrix Frances Hamilton and George Frederick D'Arcy Lambton married.<ref>"Lady Beatrix Frances Hamilton." {{Cite web|url=http://www.thepeerage.com/p1147.htm#i11470|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1855 April 10''', Harriet Georgiana Louisa Hamilton and Thomas George Anson married.<ref name=":2">"Lady Harriett Georgiana Louisa Hamilton." {{Cite web|url=http://www.thepeerage.com/p1034.htm#i10332|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1858 October 26''', Katherine Elizabeth Hamilton and William Henry Edgcumbe married.<ref>"Lady Katherine Elizabeth Hamilton." {{Cite web|url=http://www.thepeerage.com/p1135.htm#i11344|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1859 November 22''', Louisa Jane Hamilton and William Montagu Douglass Scott married.<ref>"Lady Louisa Jane Hamilton." {{Cite web|url=http://www.thepeerage.com/p10359.htm#i103583|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1868''', the title the Duke of Abercorn was created.<ref>{{Cite journal|date=2020-07-06|title=James Hamilton, 1st Duke of Abercorn|url=https://en.wikipedia.org/w/index.php?title=James_Hamilton,_1st_Duke_of_Abercorn&oldid=966293304|journal=Wikipedia|language=en}}</ref> '''1869 January 7''', James Hamilton (2nd Duke) and Maria Anna Curzon-Howe married at St. George's Church, St. George Street, Hanover Square, in London.<ref name=":3">"Lady Mary Anna Curzon." {{Cite web|url=http://www.thepeerage.com/p10104.htm#i101034|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1869 November 8''', there may have been a double wedding: Albertha Frances Anne Hamilton and George Charles Spencer-Churchill married<ref name=":8">"Lady Albertha Frances Anne Hamilton." {{Cite web|url=http://www.thepeerage.com/p10595.htm#i105942|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref>, and Maud Evelyn Hamilton and Henry Petty-Fitzmaurice married.<ref name=":1">"Lady Maud Evelyn Hamilton." {{Cite web|url=http://www.thepeerage.com/p1163.htm#i11629|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1871 January''' '''4, Wednesday''', Lady Caroline Howard was invited to a [[Social Victorians/Timeline/1870s#4 January 1871, Wednesday|ball hosted by Major Goodman and the Officers of the 5th Dragoon Guards]] (probably in Coventry?). '''1871 February 17, Friday''', Lady Caroline Howard attended a [[Social Victorians/Timeline/1870s#Birmingham Tennis Court Club Ball|ball hosted by the "bachelors of the Tennis Court Club" in Birmingham]]. '''1871 May 9, Tuesday''', Lady Caroline Howard, Lady Alice Howard and Lady Louisa Howard were [[Social Victorians/Timeline/1870s#9 May 1871, Tuesday, Queen's Drawing-Room|presented to Queen Victoria at a Drawing-room]] by their mother, the Hon. Mrs. Sarah Howard. '''1871 August 31, Thursday''', The Freeman's Journal reported that "The Hon. Mrs. Howard, Lady Caroline Howard and suite have arrived at the Morrisson Hotel."<blockquote>The following are amongst the latest arrivals at the Morrisson Hotel: — Mrs. Percival Maxwell and the Misses Maxwell and suite, Mr and Mrs Herbert Read and suite, Rev H R Heywood, and Master H A Heywood, Mr F H Downing, Mr M Neil, Mr and Mrs Herbert and suite, Mr Abbott, Mr D'Arcy, Mr and Mrs G Woods and suite.<ref>"Fashion and Varieties." ''Freeman's Journal'' 31 August 1871, Thursday: 4 [of 4], Col. 1a [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000056/18710831/012/0004. Same print title, n.p.</ref></blockquote>'''1871 November 28''', George Francis Hamilton and Maud Caroline Lascelles married.<ref name=":6">"Rt. Hon. Lord Sir George Francis Hamilton." {{Cite web|url=http://www.thepeerage.com/p1133.htm#i11323|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1872 January 4, Thursday''', the Hon. Mrs. Howard and Lady Caroline Howard and their suites were reported to "have arrived at Morrisson's Hotel in Dublin.<ref>"Fashionable Miscellany." ''Dublin Evening Post'' 4 January 1872, Thursday: 3 [of 4], Col. 2c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000435/18720104/021/0003. Same print title, n.p.</ref><ref>"Fashion and Varieties." ''Morning Mail'' (Dublin) 5 January 1872, Friday: 3 [of 4, digital], Col. 2c [of 10 on digital image]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0006103/18720105/067/0003. The digital image has the last 2 columns of the prior page on this page, so the citation should be to p. 2 [of 4], Col. 8c [of 8].</ref> Also at the Morrisson's Hotel at this time was Sir Roland Blennerhassett, Bart., M.P.<ref>"Fashion and Varieties." ''Dublin Evening'' Mail 5 January 1872, Friday: 3 [of 4], Col. 8b [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000433/18720105/028/0003. Same print and digital title, print n.p.</ref> '''1872 March 2, Saturday''', the ''Weekly Freeman and Irish Agriculturalist'' reported that "Lady Caroline Howard, Lady Louisa Howard, and the Hon Mrs Howard and suite, Shelton Abbey, have arrived at Morrisson's Hotel." Two 1-sentence paragraphs later, the paper reported that the same group had "left Morrisson's Hotel for Shelton Abbey."<ref>"Fashion and Varieties." ''Weekly Freeman's Journal'' 2 March 1872, Saturday: 7 [of 8], Col. 1a [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001446/18720302/062/0007. Print title: ''Weekly Freeman and Irish Agriculturalist'', same p.</ref> Shelton Abbey was the [[Social Victorians/People/Abercorn#Residences|ancestral seat and at this time the country residence]] of the Earls of Wicklow, Arklow, Co. Wicklow. '''1872 December 13, Friday''', "The Hon. Mrs. Howard, Lady Caroline Howard, Lady Louisa Howard, and Lady Alice Howard and suite have left Morrisson's Hotel."<ref>"Fashion and Varieties." ''Freeman's Journal'' 13 December 1872, Friday: 2 [of 8], Col. 7c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000056/18721213/006/0002. Same print title and p.</ref> '''1873 January 14, Saturday''', "Lord Dunally and suite, Hon. Mrs. Howard, Lady Alice Howard and suite, Lady Louise Howard and suite, and Lady Caroline Howard, have arrived at Morrisson's Hotel."<ref>"Fashionable Intelligence." ''Dublin Evening Post'' 14 January 1873, Tuesday: 3 [of 4], Col. 5a [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000435/18730114/049/0003. Same print and digital title, print p. is n.p.</ref> '''1874 December 15, Tuesday''', the Right Hon. Sir Michael and Lady Lucy Hicks-Beach hosted a dinner in the Chief Secretary's Lodge, suggesting that this social event might have had a political purpose. Mr. LeFanu cannot be the Irish writer Sheridan Le Fanu, who died 7 February 1873.<ref>{{Cite journal|date=2026-06-28|title=Sheridan Le Fanu|url=https://en.wikipedia.org/w/index.php?title=Sheridan_Le_Fanu&oldid=1361491348|journal=Wikipedia|language=en}}</ref> Perhaps this LeFanu is a relation, a son or brother?<blockquote>THE CHIEF SECRETARY’S LODGE.<p> The Right Hon. Sir Michael and Lady Lucy Hicks-Beach entertained the following at dinner on Tuesday evening at the Chief Secretary’s Lodge: — Sir Dominic Corrigan, Sir Arthur and Lady Olive Guinness, Lady Mary Fortescue, the Hon. Mrs. Howard and Lady Caroline Howard, Mr. and Mrs. Percy Bernard, Colonel Henry, R.A., and Mrs. Henry; Mr. Donnelly. C.B., and Mrs. Donnelly; Mr., Mrs., and Miss lsaac; Mr. LeFanu, Colonel Forster, Colonel Hillier, and Mr. Caulfield.<ref>"Fashionable Intelligence." ''Cork Constitution'' 17 December 1874, Thursday: 4 [of 4; n.p. in print], Col. 1a [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001648/18741217/099/0004. Print title: ''The Cork Constitution''.</ref></blockquote>'''1876 March 23''', Cecil Howard, 6th Earl of Wicklow and Francesca Maria Chamberlayne married.<ref name=":18" /> '''1877 July 25, Wednesday''', Miss Tottenham, Lady Caroline Howard, Miss Colley are reported to have arrived at Merton Lodge in Torquay.<ref>"The Torquay Directory." ''Torquay Directory and South Devon Journal'' 25 July 1877, Wednesday: 4 [of 8], Col. 7a [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001246/18770725/085/0004. Same print and digital title and p.</ref> '''1877 July 28, Saturday''', Lady Caroline Howard is listed as one of the guests at Merton Lodge in Lincombe Hill Road Middle, Torquay. Other guests listed are Miss Kelly, Mrs. Frank Webber, Miss Tottenham and Miss Colley.<ref>"49. Lincombe Hill Road. Middle." "Torquay Directory." ''Torquay Times and South Devon Advertiser'' 28 July 1877, Saturday: 2 [of 8, both print and digital], Col. 3c [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001420/18770728/039/0002.</ref> '''1877 December 6, Thursday''', donations from the Hon. Mrs. Sarah Howard (£2 2s.), Lady Alice Howard (£1), Lady Caroline Howard (£1) and Lady Louise Howard (£1) to the Church of Ireland Clergy Widows' and Orphans' Society.<ref>"The Church." ''Cork Constitution'' 11 December 1877, Tuesday: 3 [of 4], Col. 2a [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001648/18771211/076/0003. Same print title, n.p.</ref> '''1877 December 22, Saturday''', Sarah Howard, Lady Caroline Howard and Captain the Hon. Cecil Ralph Howard were visitors in Dagmar Terrace in Portsmouth. The following are all the people listed as visitors at Dagmar Terrace, with the odd numbering:<blockquote>D<small>AGMAR</small> T<small>ER</small><small>RACE</small>. # Captain the Hon. Cecil Ralph Howard, late 60th Rifles, & the Hon Mrs Howard Lady Caroline Howard # Captain & Mrs. Henderson ## [a] The Hon. Richard and Mrs. Bineham # [a] Captain and Mrs. Fearson and family # Mr.and Mrs. Hall Mrs. and the Misses Buchannans # The Rev Palms & fam # [a] Colonel Johnston [a] Mrs. Oldfield [a] Miss Flowers # Captain Parkinson and family<ref>"Visitors' List." ''Portsmouth Times and Naval Gazette'' 22 December 1877, Saturday: 3 [of 10, digital and print], Col. 5 [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001365/18771222/027/0003. Print title: ''Portsmouth Times and Naval Gazette, County Journal''.</ref> </blockquote>'''1878 January 19, Saturday''', The ''Dublin Evening Mail'' says,<blockquote>Lady Caroline Howard has arrived at Kingstown from England. Captain the Hon. C. Howard and Mrs. Howard have arrived at Kingstown from England.<ref>"Viceregal Court." ''Dublin Evening Mail'' 19 January 1878, Saturday: 3 [of 4], Col. 8a [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000433/18780119/110/0003. Same print title, n.p.</ref></blockquote>'''1878 July 20''', Claud John Hamilton and Carolina Chandos-Pole married.<ref name=":5">"Lord Claud John Hamilton." {{Cite web|url=http://www.thepeerage.com/p11067.htm#i110662|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1880 June 2''', Cecil Howard, 6th Earl of Wicklow and Fanny Catherine Wingfield married.<ref name=":18" /> '''1880 December 13, Monday''', Lady Caroline "arrived at Kingstown from London."<ref>"Court." ''Dublin Daily Express'' 13 December 1880, Monday: 5 [of 8], Col. 5b [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001384/18801213/089/0005. Print title: ''Daily Express'', same p.</ref> '''1881 July 25, Monday''', the ''Irish Times'' says that Lady Caroline Howard and "the Hon. Mrs. Howard and the Ladies Howard (2) have arrived at Kingstown from England."<ref>"Fashionable Intelligence." ''Irish Times'' 25 July 1881, Monday: 6 [of 8, digital and print], Col. 3a [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001683/18810725/124/0006. Same print title and p.</ref> '''1881 August 10, Wednesday''', the Dublin Evening Mail says that Lady Caroline Howard "has left Kingstown for England."<ref>"Fashion and Varieties." ''Dublin Evening Mail'' 10 August 1881, Wednesday: 3 [of 4], Col. 9c [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000433/18810810/046/0003. Same print and digital title, print p. is n.p.</ref> '''1881 October 22, Saturday''', Lady Caroline Howard is listed as one of the visitors staying at the Crown Hotel "during the past week." The visitors listed are the following:<blockquote>Mr. Thomas Barber, Doctor and Mrs. Ayerst, Miss Noyce, Dr. Wilks, Mr. Nightingale, Mr. and Mrs. J. Hill, Lady Caroline Howard, the Hon. Mrs. Ross, Mr. Masters, Mr. Richardson and friend, Mr. Simpson, Mr. Wilson, &c.<ref>"Lyndhurst, Oct. 22." ''Hampshire Advertiser'' 22 October 1881, Saturday: 7 [of 8, both print and digital], Col. 2c [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000495/18811022/049/0007. Print title: ''Hampshire Advertiser County Newspaper''.</ref></blockquote>'''1882 January 3, Tuesday''', the Howard women donated to feed poor people at Christmas:<blockquote>ACKNOWLEDGMENTS. Mr J R Fowler acknowledges with thanks the following for free breakfasts to the poor in the Christian Union Buildings:— Mrs Barker, £5; Mrs Lovell, by Mrs Aimers, 10s; Mrs Jno Figgis, [illegible, shillings]; collected by Miss Carroll, 10s: Capt Thompson, 5s; Mrs O Stoney, 2s 6d; Mrs E H Smyth, £1; A Friend, per Dr Darley, £1; Mrs Lewers, £1; Mr Holmes, 10s; Mr Duffus, 10s; Mr W O'B Smyth, 10s; Hon Mrs Howard, £1; Lady Caroline Howard, £1; Lady Alice Howard, 10s; Lady Louisa Howard, 10s; T C Ratcliffe, per Mrs Smyly, £5; Mrs Hemphill, per Mr G Atkinson, 2s 6d; collected in box, 9d — Total, [illegible12] 10 s 9d. Number present last Sunday, 1,200.<ref>"Acknowledgments." ''Dublin Daily Express'' 3 January 1882, Tuesday: 5 [of 8], Col. 4c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001384/18820103/061/0005. Print title: ''The Daily Express'', same p.</ref></blockquote>'''1882 March 16''', Georgiana Susan Hamilton and Edward Turnour married.<ref>"Lady Georgiana Susan Hamilton." {{Cite web|url=http://www.thepeerage.com/p1180.htm#i11791|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1882 June 1, Thursday''', the Hon. Sarah Howard and Lady Caroline Howard arrived in Kingstown from England.<ref>"Court and Fashion." ''Evening Irish Times'' 1 June 1882, Thursday: 7 [of 8], Col. 5b [of 8]. ''British Newspaper Archives'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003464/18820601/108/0007. Print title ''Irish Times'', same p.</ref> '''1883 May 28, Monday''', the Hon. Mrs. Sarah Howard and Lady Caroline Howard "left Kingstown for England," as did the Hon. Bourke.<ref>"Court and Fashion." ''Evening Irish Times'' 28 May 1883, Monday: 6 [of 8], Col. 8b [of 8]. ''British Newspaper Archives'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003464/18830528/092/0006. Print title: ''Irish Times'', same p.</ref> '''1883 November 20''', the marriage between Albertha Frances Anne Hamilton Spencer-Churchill and George Charles Spencer-Churchill was annulled by petition from Albertha Frances Anne Hamilton Spencer-Churchill (married in 1869).<ref name=":8" /> '''1883 December 27, Thursday''', the Hon. Mrs. Sarah Howard and Lady Caroline Howard were invited to the ''déjeuner'' after the [[Social Victorians/Timeline/1883#Wedding of William Noble and Grace Elizabeth Lefroy|wedding of Colonel William Noble and Grace Elizabeth Lefroy]]. '''1891 June 2''', Ernest William Hamilton and Pamela Campbell married.<ref name=":7">"Pamela Campbell." {{Cite web|url=http://www.thepeerage.com/p2107.htm#i21063|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1894 April 10''', Fanny Catherine Wingfield Howard, Dowager 6th Countess of Wicklow married her 2nd husband, Marcus Francis Beresford.<ref name=":18" /> '''1894 November 1''', James Albert Edward Hamilton and Rosaline Cecilia Caroline Bingham married at St. Paul's Church, Knightsbridge, in London.<ref name=":14">"Lady Rosalind Cecilia Caroline Bingham." {{Cite web|url=https://www.thepeerage.com/p10104.htm#i101032|title=Person Page|website=www.thepeerage.com|access-date=2021-05-15}}</ref> '''1895 July 13 to August 7''', the general election of 1895. Following the election, the brother-in-law of Cecil Howard, 6th Earl of Wicklow's (brother of his first wife Francesca Chamberlayne) was unseated because of allegations of misconduct.<ref>{{Cite journal|date=2026-02-27|title=Thomas Chamberlayne (cricketer)|url=https://en.wikipedia.org/w/index.php?title=Thomas_Chamberlayne_(cricketer)&oldid=1340809770|journal=Wikipedia|language=en}}</ref> '''1897 June 28, Monday''', according to the ''Morning Post'', James Hamilton, 2nd Duke and Maria, Duchess of Abercorn were invited to the [[Social Victorians/Diamond Jubilee Garden Party|Queen's Garden Party]], the official end of the Diamond Jubilee celebrations in London, as were James Albert Edward Hamilton, Marquis and Rosaline, Marchioness of Hamilton.<ref>“The Queen’s Garden Party.” ''Morning Post'' 29 June 1897, Tuesday: 4 [of 12], Cols. 1a–7c [of 7] and 5, Col. 1a–c. ''British Newspaper Archive'' ''<nowiki>https://www.britishnewspaperarchive.co.uk/viewer/BL/0000174/18970629/032/0004</nowiki>'' and ''<nowiki>https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18970629/032/0005</nowiki>''.</ref> '''1897 July 2, Friday''', Alexandra Phyllis Hamilton attended the [[Social Victorians/1897 Fancy Dress Ball | Duchess of Devonshire's fancy-dress ball]] at Devonshire House, as did her uncle Lord Frederick Spencer Hamilton, the Marquess of Hamilton, and a Mr. Ronald Hamilton. Besides these, probably, a Mr. and Mrs. Hamilton also attended. '''1902''', Ralph Howard, 7th Earl of Wicklow and Lady Gladys Mary Hamilton married. (She was the daughter of James Hamilton, 2nd Duke of Abercorn.)<ref name=":18" /> '''1902 January 14''', Gladys Mary Hamilton and Ralph Francis Forward-Howard married.<ref>"Lady Gladys Mary Hamilton." {{Cite web|url=http://www.thepeerage.com/p2107.htm#i21066|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1933 July 11''', Claud Nigel Hamilton and Violet Ruby Ashton married.<ref name=":4">"Captain Lord Sir Claud Nigel Hamilton." {{Cite web|url=http://www.thepeerage.com/p2109.htm#i21081|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> == Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball == [[File:Helen-Mary-Theresa-ne-Vane-Tempest-Stewart-Countess-of-Ilchester-when-Lady-Helen-Stewart-as-the-Archduchess-Marie-Christine-of-Austria.jpg|thumb|alt=Black-and-white photograph of a seated woman richly dressed in an historical costume with a white feather plume in her hair and a fan|Lady Helen Stewart as Arch-duchess Marie Christine of Austria. ©National Portrait Gallery, London.]] === Lady Alexandra Hamilton === Lady Alexandra Hamilton was one of the archduchesses — along with with 3 or 4 other young women — in [[Social Victorians/People/Londonderry#The Entourage of Maria Thérèse|the entourage of the Marchioness of Londonderry]], who led the Austrian procession as Marie Thérèse, Empress of the Holy Roman Empire.<ref>“The Ball at Devonshire House. Magnificent Spectacle. Description of the Dresses.” London ''Evening Standard'' 3 July 1897 Saturday: 3 [of 12], Cols. 1a–5b [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000183/18970703/015/0004.</ref>{{rp|p. 3, Col. 3a}} These young women were present at the ball as the daughters of Marie Thérèse, and the young men dressed as archdukes were present as her sons. Lady Alexandra Hamilton went as "Archduchess Marie-Josepha in the Archduchess Marie-Karoline and Emperor Joseph II section of the Austrian Court of Maria Theresa Quadrille."<ref name=":9">"Fancy Dress Ball at Devonshire House." ''Morning Post'' Saturday 3 July 1897: 7 [of 12], Col. 4a–8 Col. 2b. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18970703/054/0007.</ref>{{rp|p. 7, Col. 6b}} <ref name=":10">"Ball at Devonshire House." The ''Times'' Saturday 3 July 1897: 12, Cols. 1a–4c ''The Times Digital Archive''. Web. 28 Nov. 2015.</ref> The newspapers report that the archduchesses were all dressed alike, but only one photograph exists of any of these young women in costume — that of [[Social Victorians/People/Londonderry#Helen Mary Theresa Vane-Tempest-Stewart|Helen Mary Theresa Vane-Tempest-Stewart]] (which is shown, right). The newspaper descriptions are on her page, with her portrait in costume, but they apply to all the archduchesses. === Lord Frederick Hamilton === [[File:Lord Frederick Spencer Hamilton Vanity Fair 1895-02-07.jpg|thumb|left|alt=Colored drawing of a man in a suit, his hands in his pockets, facing to the right|Lord Frederick Hamilton, ''Vanity Fair'', by "Spy," 7 February 1895]] Lord Frederick Spencer Hamilton was 6th son and 13th child of the 1st Duke of Abercorn. No photograph of him in costume exists. He is shown (at left) as he looked in 7 February 1895 in a Spy caricature in ''Vanity Fair''. This caricature portrait, by Leslie Ward ("Spy") is called ''The Pall Mall Magazine'' and is Number 647 in Vanity Fair's "Statesmen" series.<ref name=":16">{{Cite journal|date=2024-01-14|title=List of Vanity Fair (British magazine) caricatures (1895–1899)|url=https://en.wikipedia.org/w/index.php?title=List_of_Vanity_Fair_(British_magazine)_caricatures_(1895%E2%80%931899)&oldid=1195518024|journal=Wikipedia|language=en}}</ref> He was editor of the ''Pall Mall Gazette'' 1896–1900.<ref>{{Cite journal|date=2023-09-23|title=Lord Frederick Spencer Hamilton|url=https://en.wikipedia.org/w/index.php?title=Lord_Frederick_Spencer_Hamilton&oldid=1176655264|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Frederick_Spencer_Hamilton.</ref> For the ball, Lord Frederick Hamilton was dressed *as a "gentleman of the Court of Queen Elizabeth," wearing "crimson cloth of gold with jewelled belt."<ref name=":15">“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.</ref>{{rp|p. 36, Col. 3b}} *as a "Gentleman of the Court of Queen Elizabeth. Costume of crimson and cloth of g [sic] with jewelled belt."<ref name=":9" />{{rp|p. 8, Col. 1b}} *"in crimson cloth of gold and jeweled belt."<ref>"Duchess of Devonshire's Fancy Ball. A Brilliant Spectacle. Some of the Dresses." London ''Daily News'' Saturday 3 July 1897: 5 [of 10], Col. 6a–6, Col. 1b. ''British Newspaper Archive'' http://www.britishnewspaperarchive.co.uk/viewer/bl/0000051/18970703/024/0005 and http://www.britishnewspaperarchive.co.uk/viewer/BL/0000051/18970703/024/0006.</ref>{{rp|p. 5, Col. 7a}} *"as a gentleman of the court of Queen Elizabeth, was dressed in a costume of crimson cloth-of-gold, with a jewelled belt."<ref name=":11">“The Devonshire House Ball. A Brilliant Gathering.” The ''Pall Mall Gazette'' 3 July 1897, Saturday: 7 [of 10], Col. 2a–3a. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000098/18970703/019/0007.</ref> ==== Memoirs ==== * Hamilton, Frederic [sic] Spencer. ''My Yesterdays'' (3 vols.). Hodder and Stoughton, 1920. *# ''The Days Before Yesterday''. The Internet Archive has this: https://archive.org/details/daysbeforeyester00hamiuoft/page/n5/mode/2up. *# ''Vanished Pomps of Yesterday''. The Internet Archive has this: https://archive.org/details/vanishedpompsofy028823mbp. *# ''Here, There and Everywhere''. The Internet Archive has this: https://archive.org/details/herethereeverywh0000hami. [[File:James Hamilton 3rd Duke of Abercorn.png|thumb|alt=Old colored drawing of a man in a 19th-century officer's uniform of the 1st Life Guards with white gloves, a red stripe down the side of his pants and unbuttoned jacket and a hat, holding a white or silver sword under his left arm, facing 1/4 to his right|"He will be the 3rd Duke" (James Hamilton, Marquis of Hamilton), ''Vanity Fair'' 16 February 1899]] === James Hamilton, Marquess of Hamilton === James Hamilton, Marquis of Hamilton was dressed in a "black velvet tunic; breeches and cloak trimmed jet; large hat, feathers, wig, sword, &c., of the period" of Charles II.<ref name=":15" />{{rp|34, Col. 3a}} No photograph of him in costume exists. A caricature portrait (right) called ''He will be the 3rd Duke'' (James Hamilton, Marquess of Hamilton) by "Hadge" appeared in the 16 February 1899 issue of ''Vanity Fair'', as Number 739 in its "Men of the Day" series,<ref name=":16" /> giving a sense of what he looked like at about the time of the ball. In 1892 Hamilton joined the 1st Life Guards, so the uniform he is wearing in this portrait is likely that of an officer of the 1st Life Guards.<ref>{{Cite journal|date=2024-01-12|title=James Hamilton, 3rd Duke of Abercorn|url=https://en.wikipedia.org/w/index.php?title=James_Hamilton,_3rd_Duke_of_Abercorn&oldid=1195216640|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/James_Hamilton,_3rd_Duke_of_Abercorn.</ref> James Hamilton's wife Lady Rosalind Hamilton is not reported as having been present at the ball, perhaps because she was pregnant with her second child and gave birth in August, five weeks later, so she was around 8 months pregnant. === Ronald Hamilton === Mr. Ronald Hamilton, possibly Ronald James Hamilton, was dressed as a "Gentleman of the Court of Queen Elizabeth, in black velvet trimmed with jet."<ref name=":9" />{{rp|p. 8, Col. 1c}} == Demographics == === Nationality === *The title Duke of Abercorn is in the peerage of Ireland; the Marquess of Hamilton is in the peerage of the U.K. === Residences === ==== The Hon. Mrs. Sarah Howard and the Earls of Wicklow ==== * Shelton Abbey, Arklow, Co. Wicklow (east coast of Ireland) (until 1951)<ref>{{Cite journal|date=2026-06-30|title=Shelton Abbey Prison|url=https://en.wikipedia.org/w/index.php?title=Shelton_Abbey_Prison&oldid=1361924427|journal=Wikipedia|language=en}}</ref> == Family == *James Hamilton, 1st Duke of Abercorn (21 January 1811 – 31 October 1885)<ref name=":0" /> *Louisa Russell Hamilton (– March 1905) #Lady '''Harriet Georgiana Louisa Hamilton''' Anson (6 July 1834 – 23 April 1913) #Lady Beatrix Frances Hamilton Lambton (21 July 1835 – 21 January 1871) #Lady Louisa Jane Hamilton Scott (26 August 1836 – 16 March 1912) #Lord '''James Hamilton, 2nd Duke of Abercorn''' (24 August 1838 – 3 January 1913) #Lady Katherine Elizabeth Hamilton Edgcumbe (9 January 1840 – 3 September 1874) #Lady Georgiana Susan Hamilton Turnour (7 July 1841 – 23 March 1913) #Lord '''Claud John Hamilton''' (20 February 1843 – 26 January 1925) #Rt. Hon. Lord Sir '''George Francis Hamilton''' (17 December 1845 – 22 September 1927) #Lady Albertha Frances Anne Hamilton Spencer-Churchill (29 July 1847 – 7 January 1932) #Lord Ronald Douglas Hamilton (17 March 1849 – DVP<ref>{{Cite journal|date=2020-07-27|title=James Hamilton, 2nd Duke of Abercorn|url=https://en.wikipedia.org/w/index.php?title=James_Hamilton,_2nd_Duke_of_Abercorn&oldid=969822724|journal=Wikipedia|language=en}}</ref> 6 November 1867) #Lady Maud Evelyn Hamilton Petty-Fitzmaurice, the [[Social Victorians/People/Lansdowne | Marchioness of Lansdowne]] (17 December 1850 – 21 October 1932)<ref name=":1" /> #Lord Cosmo Hamilton (16 April 1853 – 16 April 1853) #Lord '''Frederick Spencer Hamilton''' (13 October 1856 – 11 August 1928) #Lord '''Ernest William Hamilton''' (5 September 1858 – 14 December 1939) *Harriet Georgiana Louisa Hamilton Anson (6 July 1834 – 23 April 1913)<ref name=":2" /> *Thomas George Anson, 2nd Earl of Lichfield (15 August 1825 – 7 January 1892) #Lady Evelyn Anson ( – 2 July 1895) #Thomas Francis Anson, 3rd Earl of Lichfield (31 January 1856 – 29 July 1918) #Hon. Sir George Augustus Anson (22 December 1857 – 25 May 1947) #Major Hon. Henry James Anson (29 December 1858 – 26 February 1904) #Lady Florence Beatrice Anson (1860 – 25 September 1946) #Hon. Frederic William Anson (4 February 1862 – 2 April 1917) #Hon. Claud Anson (11 January 1864 – 25 December 1947) #Lady Beatrice Anson (1865 – 15 December 1919) #Hon. Francis Anson (7 March 1867 – 13 April 1928) #Lady Mary Maud Anson (1869 – 22 September 1961) #Lady Edith Anson (1870 – 8 October 1932) #Hon. William Anson (19 April 1872 – 22 June 1926) #Hon. Alfred Anson (15 April 1876 – 25 March 1944) *James Hamilton, 2nd Duke of Abercorn (24 August 1838 – 3 January 1913)<ref name=":12" /> *Maria Anna Curzon-Howe Hamilton (23 July 1848 – 10 May 1929)<ref name=":3" /> #James Albert Edward Hamilton, 3rd Duke of Abercorn (30 November 1869 – 12 September 1953) #Claud Penn Alexander Hamilton (18 October 1871 – 18 October 1871) #Charlie Hamilton (10 April 1874 – 10 April 1874) #'''Alexandra Phyllis Hamilton''' (23 January 1876 – 10 October 1918) #Claud Francis Hamilton (25 October 1878 – 25 December 1878) #Gladys Mary Hamilton Forward-Howard (10 December 1880 – 12 March 1917) #Arthur John Hamilton (20 August 1883 – 6 November 1914) #(unnamed son) Hamilton (31 October 1886 – 31 October 1886) #Claud Nigel Hamilton (10 November 1889 – 22 August 1975)<ref name=":4" /> * '''James Albert Edward Hamilton''', Marquess of Hamilton and 3rd Duke of Abercorn (30 November 1869 – 12 September 1953)<ref name=":13" /> * Lady Rosalind Cecilia Caroline Bingham (26 February 1869 – 18 January 1958)<ref name=":14" /> *# Lady Mary Cecilia Rhodesia Hamilton (21 January 1896 – 5 September 1984) *# Lady Cynthia Elinor Beatrix Hamilton (16 August 1897 – 4 December 1972) *# Lady Katharine Hamilton (25 February 1900 – 28 April 1985) *# James Edward Hamilton, 4th Duke of Abercorn (29 February 1904 – 4 June 1979) *# Captain Lord Claud David Hamilton (13 February 1907 – 15 February 1968) *Claud John Hamilton (20 February 1843 – 26 January 1925)<ref name=":5" /> *Carolina Chandos-Pole Hamilton (19 July 1857 – 21 September 1911)<ref>"Carolina Chandos-Pole." {{Cite web|url=http://www.thepeerage.com/p11067.htm#i110663|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> #Colonel Gilbert Claud Hamilton (21 April 1879 – 30 March 1943) #Ida Hamilton (23 July 1883 – November 1970) *George Francis Hamilton (17 December 1845 – 22 September 1927)<ref name=":6" /> *Lady Maud Caroline Lascelles Hamilton (1846 – 14 April 1938) #'''Ronald James Hamilton''' (26 September 1872 – 22 January 1958) #Anthony George Hamilton (17 December 1874 – 11 July 1936) #Robert Cecil Hamilton (31 January 1882 – 31 July 1947) *Ernest William Hamilton (5 September 1858 – 14 December 1939)<ref>"Lord Ernest William Hamilton." {{Cite web|url=http://www.thepeerage.com/p2107.htm#i21062|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> *Pamela Campbell Hamilton ( – 11 May 1931)<ref name=":7" /> #Guy Ernest Frederick Hamilton (11 November 1894 – 23 November 1914) #Mary Brenda Hamilton (28 March 1897 – 14 March 1985) #Jean Barbara Hamilton (6 September 1898 – 2 November 1989) #John George Peter Hamilton (15 October 1900 – 17 June 1967) === Earls of Wicklow === * Charles Hamilton (1772 – 29 September 1857)<ref>{{Cite web|url=https://www.thepeerage.com/p2139.htm#i21387|title=Charles Hamilton. Person Page #2139|website=www.thepeerage.com|access-date=2026-06-19}}</ref> * Marianne '''Caroline Tighe''' ( – 29 July 1861)<ref>{{Cite web|url=https://www.thepeerage.com/p62375.htm#i623745|title=Marianne Caroline Tighe. Person Page #62375|website=www.thepeerage.com|access-date=2026-06-19}}</ref> *# '''Sarah Hamilton''' (1805<ref name=":17" /> – 13 March 1892) *# Caroline Elizabeth Hamilton ( – 31 May 1909) *# Mary Hamilton *# Charles William Hamilton (1 April 1802 – 16 February 1880) *# William Tighe Hamilton (31 March 1807 – ) *# Frederick John Henry Fownes Hamilton (27 July 1816 – 1893) * Rev. Hon. Francis Howard (12 January 1797 – 16 February 1857)<ref>{{Cite web|url=https://www.thepeerage.com/p2140.htm#i21391|title=Rev. Hon. Francis Howard. Person Page #2140|website=www.thepeerage.com|access-date=2026-06-19}}</ref> * Frances Beresford ( – 17 November 1833)<ref>{{Cite web|url=https://www.thepeerage.com/p3227.htm#i32266|title=Frances Beresford. Person Page #3227|website=www.thepeerage.com|access-date=2026-06-19}}</ref> *# William George Howard (25 April 1825 – 12 October 1864) * '''Sarah Hamilton''' (1805<ref name=":17">{{Cite web|url=https://catalogue.nli.ie/Collection/vtls000572704|title=Tighe, Hamilton and Howard Papers,|date=1737|website=catalogue.nli.ie|language=English|access-date=2026-06-19}}</ref> – 13 March 1892)<ref>{{Cite web|url=https://www.thepeerage.com/p2141.htm#i21405|title=Sarah Hamilton. Person Page #2141|website=www.thepeerage.com|access-date=2026-06-19}}</ref> *# 4 unnamed daughters [per The Peerage; The NLI has 3 daughters] *# Lady Alice Howard *# Lady Louisa 'Loulie' Howard *# Lady Caroline Howard (1836–1923)<ref name=":17" /> *# Charles Francis Arnold Howard, '''5th Earl of Wicklow''' (5 November 1839 – 20 June 1881) *# Cecil Ralph Howard, '''6th Earl of Wicklow''' (26 April 1842 – 24 July 1891) * Cecil Ralph Howard, '''6th Earl of Wicklow''' (26 April 1842 – 24 July 1891)<ref name=":18" /> * Francesca Maria Chamberlayne ( – 1877) *# Ralph Howard, 7th Earl of Wicklow (24 December 1877 – 11 October 1946)<ref>{{Cite web|url=https://www.thepeerage.com/p2140.htm#i21394|title=Cecil Ralph Howard, 6th Earl of Wicklow. Person Page 2140.|website=www.thepeerage.com|access-date=2026-06-28}}</ref> * Fanny Catherine Wingfield (c. 1860 – 3 February 1914)<ref>{{Cite web|url=https://www.thepeerage.com/p2139.htm#i21388|title=Fanny Catherine Wingfield. Person Page 2139.|website=www.thepeerage.com|access-date=2026-06-28}}</ref> *# Hon. Cecil Mervyn Malcolm Howard (18 November 1881 – 16 April 1882) *# Hon. Hugh Melville Howard (28 March 1883 – 17 February 1919) * Marcus Francis Beresford (26 December 1862 – 14 December 1896)<ref>{{Cite web|url=https://www.thepeerage.com/p3186.htm#i31858|title=Marcus Francis Beresford. Person Page #3186.|website=www.thepeerage.com|access-date=2026-06-28}}</ref> == Memoirs and Archives == # The Abercorn Papers: GB 0255 PRONI/D623 (found via https://iar.ie/archive/abercorn-papers). A descriptive list is available to search online at: http://www.proni.gov.uk/. The collection is arranged as follows: D623/A Correspondence D623/B Title deeds and leases D623/C Rentals, accounts and vouchers D623/D Maps, plans, surveys, inventories and valuations D623/E Photographs, illuminations, addresses and albums D623/F Material still at Baronscourt D623/G Miscellaneous #Alexandra Phyllis Hamilton (#64 on the [[Social Victorians/1897 Fancy Dress Ball#List of People Who Attended|list of people who were present]]) attended the [[Social Victorians/1897 Fancy Dress Ball | Duchess of Devonshire's fancy-dress ball]] at Devonshire House, as did her uncle Lord Frederick Spencer Hamilton (#84), the Marquess of Hamilton (#657), and a Mr. Ronald Hamilton (#105). Besides these, probably, a Mr. and Mrs. Hamilton also attended. == Questions and Notes == #DVP = decessit vita patris, died while the father was still living #Mr. Ronald Hamilton cannot be Frederick Hamilton's brother, who should be Lord Ronald Hamilton rather than Mr. Ronald Hamilton, and he died in 1867. He could be this Ronald Hamilton, who would be a Mr. Hamilton: http://www.thepeerage.com/p2163.htm#i21622. He was Lady Alexandra's cousin and nephew of the 1st Duke of Abercorn. #A Mr. Hamilton is mentioned in the ''Gentlewoman'' article: "Mr. Hamilton (Elizabethan costume), black velvet, trimmed gold."<ref name=":15" />{{rp|34, Col. 1c}} But a later reference in this same article to Mr. Ronald Hamilton matches the description in the ''Morning Post'' article, saying he wore black velvet with jet, rather than gold trim: "'''Mr. Ronald Hamilton''' (gentleman of the Court of Queen Elizabeth), black velvet with jet."<ref name=":15" /> (36, Col. 3b) I believe the other Mr. Hamilton is Mr. [[Social Victorians/People/Cole-Hamilton|Claud Cole-Hamilton]], particularly since Mrs. Hamilton was dressed as Amy Robsart and thus must be Lucy Charlewood Cole-Hamilton because of the description of her costume in the Album of photographs given to the Duchess of Devonshire later. #Claud John Hamilton is probably who attended the social events, because the other Claud, of whatever generation either died too young or was born too late. == Footnotes == {{reflist}} 2tkcs5vwpgb3wk6u75lc3wtby64veqg 2817779 2817757 2026-07-06T09:35:38Z ShakespeareFan00 6645 2817779 wikitext text/x-wiki == Overview == The Dukedom of Abercorn is the last non-royal dukedom created. Queen Victoria created it in 1869. This page includes the Earl of Wicklow, the family of which married into the Abercorn family in 1816 when William Howard, 4th Earl of Wicklow married Lady Cecil Frances Hamilton — the daughter and only child of John Hamilton, 1st Marquess of Abercorn.<ref>{{Cite journal|date=2026-06-24|title=William Howard, 4th Earl of Wicklow|url=https://en.wikipedia.org/w/index.php?title=William_Howard,_4th_Earl_of_Wicklow&oldid=1360966619|journal=Wikipedia|language=en}}</ref> William Howard, 4th Earl of Wicklow was succeeded by his nephew, Charles Howard, 5th Earl of Wicklow (5 November 1839 – 20 June 1881).<ref>{{Cite journal|date=2024-08-26|title=Charles Howard, 5th Earl of Wicklow|url=https://en.wikipedia.org/w/index.php?title=Charles_Howard,_5th_Earl_of_Wicklow&oldid=1242455245|journal=Wikipedia|language=en}}</ref> Also Ralph Howard, 7th Earl of Wicklow married Lady Gladys Mary Hamilton (daughter of the 2nd Duke of Abercorn) in 1902.<ref name=":18">{{Cite journal|date=2025-08-05|title=Cecil Howard, 6th Earl of Wicklow|url=https://en.wikipedia.org/w/index.php?title=Cecil_Howard,_6th_Earl_of_Wicklow&oldid=1304372795|journal=Wikipedia|language=en}}</ref> The National Library of Ireland has papers from Sarah Howard and her children, including Lady Caroline Howard. == Also Known As == *Family name: Hamilton *the Duke of Abercorn **James Hamilton, 1st Duke of Abercorn (10 August 1868 – 31 October 1885)<ref name=":0">"James Hamilton, 1st Duke of Abercorn." {{Cite web|url=http://www.thepeerage.com/p10144.htm#i101433|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> **James Hamilton, 2nd Duke of Abercorn (31 October 1885 – 3 January 1913)<ref name=":12">"James Hamilton, 2nd Duke of Abercorn." {{Cite web|url=http://www.thepeerage.com/p10104.htm#i101033|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> **James Albert Edward Hamilton, 3rd Duke of Abercorn (3 January 1913 – 12 September 1953)<ref name=":13">"James Albert Edward Hamilton, 3rd Duke of Abercorn." {{Cite web|url=http://www.thepeerage.com/p10104.htm#i101031|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> *the Duchess of Abercorn **Louisa Russell Hamilton, Duchess of Abercorn (10 August 1868 – 31 October 1885) **Maria Anna Curzon-Howe Hamilton (31 October 1885 – 3 January 1913) *Dowager Duchess of Hamilton **Louisa Russell Hamilton, Duchess of Abercorn (31 October 1885 – March 1905) **Maria Anna Curzon-Howe Hamilton (3 January 1913 – ) *Subsidiary titles: **Marquess of Hamilton (courtesy title for the heir apparent) ***James Albert Edward Hamilton, 3rd Duke of Abercorn (31 October 1885 – 12 September 1953) **Viscount Strabane (courtesy title for the heir apparent of the Marquess of Hamilton) == Acquaintances, Friends and Enemies == === Friends === *The Royal Family, especially [[Social Victorians/People/Albert Edward, Prince of Wales | Albert Edward, Prince]] and [[Social Victorians/People/Alexandra, Princess of Wales | Alexandra, Princess]] of Wales, in the generation of the 2nd duke. == Timeline == A lot of people are treated on this page, so this timeline will be somewhat chaotic to read. These events probably didn't directly affect every single person treated on this page, but discussions about them probably circulated through the families. The detail about Lady Caroline Howard and her mother, the Hon. Susan Howard, is to make these people, whose papers are in the National Library of Ireland, more concrete and known. '''1832 October 25''', James Hamilton and Louisa Russell married at Gordon Castle, Fochabers, Morayshire, in Scotland.<ref name=":0" /> '''1854 May 23''', Beatrix Frances Hamilton and George Frederick D'Arcy Lambton married.<ref>"Lady Beatrix Frances Hamilton." {{Cite web|url=http://www.thepeerage.com/p1147.htm#i11470|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1855 April 10''', Harriet Georgiana Louisa Hamilton and Thomas George Anson married.<ref name=":2">"Lady Harriett Georgiana Louisa Hamilton." {{Cite web|url=http://www.thepeerage.com/p1034.htm#i10332|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1858 October 26''', Katherine Elizabeth Hamilton and William Henry Edgcumbe married.<ref>"Lady Katherine Elizabeth Hamilton." {{Cite web|url=http://www.thepeerage.com/p1135.htm#i11344|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1859 November 22''', Louisa Jane Hamilton and William Montagu Douglass Scott married.<ref>"Lady Louisa Jane Hamilton." {{Cite web|url=http://www.thepeerage.com/p10359.htm#i103583|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1868''', the title the Duke of Abercorn was created.<ref>{{Cite journal|date=2020-07-06|title=James Hamilton, 1st Duke of Abercorn|url=https://en.wikipedia.org/w/index.php?title=James_Hamilton,_1st_Duke_of_Abercorn&oldid=966293304|journal=Wikipedia|language=en}}</ref> '''1869 January 7''', James Hamilton (2nd Duke) and Maria Anna Curzon-Howe married at St. George's Church, St. George Street, Hanover Square, in London.<ref name=":3">"Lady Mary Anna Curzon." {{Cite web|url=http://www.thepeerage.com/p10104.htm#i101034|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1869 November 8''', there may have been a double wedding: Albertha Frances Anne Hamilton and George Charles Spencer-Churchill married<ref name=":8">"Lady Albertha Frances Anne Hamilton." {{Cite web|url=http://www.thepeerage.com/p10595.htm#i105942|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref>, and Maud Evelyn Hamilton and Henry Petty-Fitzmaurice married.<ref name=":1">"Lady Maud Evelyn Hamilton." {{Cite web|url=http://www.thepeerage.com/p1163.htm#i11629|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1871 January''' '''4, Wednesday''', Lady Caroline Howard was invited to a [[Social Victorians/Timeline/1870s#4 January 1871, Wednesday|ball hosted by Major Goodman and the Officers of the 5th Dragoon Guards]] (probably in Coventry?). '''1871 February 17, Friday''', Lady Caroline Howard attended a [[Social Victorians/Timeline/1870s#Birmingham Tennis Court Club Ball|ball hosted by the "bachelors of the Tennis Court Club" in Birmingham]]. '''1871 May 9, Tuesday''', Lady Caroline Howard, Lady Alice Howard and Lady Louisa Howard were [[Social Victorians/Timeline/1870s#9 May 1871, Tuesday, Queen's Drawing-Room|presented to Queen Victoria at a Drawing-room]] by their mother, the Hon. Mrs. Sarah Howard. '''1871 August 31, Thursday''', The Freeman's Journal reported that "The Hon. Mrs. Howard, Lady Caroline Howard and suite have arrived at the Morrisson Hotel."<blockquote>The following are amongst the latest arrivals at the Morrisson Hotel: — Mrs. Percival Maxwell and the Misses Maxwell and suite, Mr and Mrs Herbert Read and suite, Rev H R Heywood, and Master H A Heywood, Mr F H Downing, Mr M Neil, Mr and Mrs Herbert and suite, Mr Abbott, Mr D'Arcy, Mr and Mrs G Woods and suite.<ref>"Fashion and Varieties." ''Freeman's Journal'' 31 August 1871, Thursday: 4 [of 4], Col. 1a [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000056/18710831/012/0004. Same print title, n.p.</ref></blockquote>'''1871 November 28''', George Francis Hamilton and Maud Caroline Lascelles married.<ref name=":6">"Rt. Hon. Lord Sir George Francis Hamilton." {{Cite web|url=http://www.thepeerage.com/p1133.htm#i11323|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1872 January 4, Thursday''', the Hon. Mrs. Howard and Lady Caroline Howard and their suites were reported to "have arrived at Morrisson's Hotel in Dublin.<ref>"Fashionable Miscellany." ''Dublin Evening Post'' 4 January 1872, Thursday: 3 [of 4], Col. 2c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000435/18720104/021/0003. Same print title, n.p.</ref><ref>"Fashion and Varieties." ''Morning Mail'' (Dublin) 5 January 1872, Friday: 3 [of 4, digital], Col. 2c [of 10 on digital image]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0006103/18720105/067/0003. The digital image has the last 2 columns of the prior page on this page, so the citation should be to p. 2 [of 4], Col. 8c [of 8].</ref> Also at the Morrisson's Hotel at this time was Sir Roland Blennerhassett, Bart., M.P.<ref>"Fashion and Varieties." ''Dublin Evening'' Mail 5 January 1872, Friday: 3 [of 4], Col. 8b [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000433/18720105/028/0003. Same print and digital title, print n.p.</ref> '''1872 March 2, Saturday''', the ''Weekly Freeman and Irish Agriculturalist'' reported that "Lady Caroline Howard, Lady Louisa Howard, and the Hon Mrs Howard and suite, Shelton Abbey, have arrived at Morrisson's Hotel." Two 1-sentence paragraphs later, the paper reported that the same group had "left Morrisson's Hotel for Shelton Abbey."<ref>"Fashion and Varieties." ''Weekly Freeman's Journal'' 2 March 1872, Saturday: 7 [of 8], Col. 1a [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001446/18720302/062/0007. Print title: ''Weekly Freeman and Irish Agriculturalist'', same p.</ref> Shelton Abbey was the [[Social Victorians/People/Abercorn#Residences|ancestral seat and at this time the country residence]] of the Earls of Wicklow, Arklow, Co. Wicklow. '''1872 December 13, Friday''', "The Hon. Mrs. Howard, Lady Caroline Howard, Lady Louisa Howard, and Lady Alice Howard and suite have left Morrisson's Hotel."<ref>"Fashion and Varieties." ''Freeman's Journal'' 13 December 1872, Friday: 2 [of 8], Col. 7c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000056/18721213/006/0002. Same print title and p.</ref> '''1873 January 14, Saturday''', "Lord Dunally and suite, Hon. Mrs. Howard, Lady Alice Howard and suite, Lady Louise Howard and suite, and Lady Caroline Howard, have arrived at Morrisson's Hotel."<ref>"Fashionable Intelligence." ''Dublin Evening Post'' 14 January 1873, Tuesday: 3 [of 4], Col. 5a [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000435/18730114/049/0003. Same print and digital title, print p. is n.p.</ref> '''1874 December 15, Tuesday''', the Right Hon. Sir Michael and Lady Lucy Hicks-Beach hosted a dinner in the Chief Secretary's Lodge, suggesting that this social event might have had a political purpose. Mr. LeFanu cannot be the Irish writer Sheridan Le Fanu, who died 7 February 1873.<ref>{{Cite journal|date=2026-06-28|title=Sheridan Le Fanu|url=https://en.wikipedia.org/w/index.php?title=Sheridan_Le_Fanu&oldid=1361491348|journal=Wikipedia|language=en}}</ref> Perhaps this LeFanu is a relation, a son or brother?<blockquote>THE CHIEF SECRETARY’S LODGE.<p>The Right Hon. Sir Michael and Lady Lucy Hicks-Beach entertained the following at dinner on Tuesday evening at the Chief Secretary’s Lodge: — Sir Dominic Corrigan, Sir Arthur and Lady Olive Guinness, Lady Mary Fortescue, the Hon. Mrs. Howard and Lady Caroline Howard, Mr. and Mrs. Percy Bernard, Colonel Henry, R.A., and Mrs. Henry; Mr. Donnelly. C.B., and Mrs. Donnelly; Mr., Mrs., and Miss lsaac; Mr. LeFanu, Colonel Forster, Colonel Hillier, and Mr. Caulfield.<ref>"Fashionable Intelligence." ''Cork Constitution'' 17 December 1874, Thursday: 4 [of 4; n.p. in print], Col. 1a [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001648/18741217/099/0004. Print title: ''The Cork Constitution''.</ref></p></blockquote>'''1876 March 23''', Cecil Howard, 6th Earl of Wicklow and Francesca Maria Chamberlayne married.<ref name=":18" /> '''1877 July 25, Wednesday''', Miss Tottenham, Lady Caroline Howard, Miss Colley are reported to have arrived at Merton Lodge in Torquay.<ref>"The Torquay Directory." ''Torquay Directory and South Devon Journal'' 25 July 1877, Wednesday: 4 [of 8], Col. 7a [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001246/18770725/085/0004. Same print and digital title and p.</ref> '''1877 July 28, Saturday''', Lady Caroline Howard is listed as one of the guests at Merton Lodge in Lincombe Hill Road Middle, Torquay. Other guests listed are Miss Kelly, Mrs. Frank Webber, Miss Tottenham and Miss Colley.<ref>"49. Lincombe Hill Road. Middle." "Torquay Directory." ''Torquay Times and South Devon Advertiser'' 28 July 1877, Saturday: 2 [of 8, both print and digital], Col. 3c [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001420/18770728/039/0002.</ref> '''1877 December 6, Thursday''', donations from the Hon. Mrs. Sarah Howard (£2 2s.), Lady Alice Howard (£1), Lady Caroline Howard (£1) and Lady Louise Howard (£1) to the Church of Ireland Clergy Widows' and Orphans' Society.<ref>"The Church." ''Cork Constitution'' 11 December 1877, Tuesday: 3 [of 4], Col. 2a [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001648/18771211/076/0003. Same print title, n.p.</ref> '''1877 December 22, Saturday''', Sarah Howard, Lady Caroline Howard and Captain the Hon. Cecil Ralph Howard were visitors in Dagmar Terrace in Portsmouth. The following are all the people listed as visitors at Dagmar Terrace, with the odd numbering:<blockquote>D<small>AGMAR</small> T<small>ER</small><small>RACE</small>. # Captain the Hon. Cecil Ralph Howard, late 60th Rifles, & the Hon Mrs Howard Lady Caroline Howard # Captain & Mrs. Henderson ## [a] The Hon. Richard and Mrs. Bineham # [a] Captain and Mrs. Fearson and family # Mr.and Mrs. Hall Mrs. and the Misses Buchannans # The Rev Palms & fam # [a] Colonel Johnston [a] Mrs. Oldfield [a] Miss Flowers # Captain Parkinson and family<ref>"Visitors' List." ''Portsmouth Times and Naval Gazette'' 22 December 1877, Saturday: 3 [of 10, digital and print], Col. 5 [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001365/18771222/027/0003. Print title: ''Portsmouth Times and Naval Gazette, County Journal''.</ref> </blockquote>'''1878 January 19, Saturday''', The ''Dublin Evening Mail'' says,<blockquote>Lady Caroline Howard has arrived at Kingstown from England. Captain the Hon. C. Howard and Mrs. Howard have arrived at Kingstown from England.<ref>"Viceregal Court." ''Dublin Evening Mail'' 19 January 1878, Saturday: 3 [of 4], Col. 8a [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000433/18780119/110/0003. Same print title, n.p.</ref></blockquote>'''1878 July 20''', Claud John Hamilton and Carolina Chandos-Pole married.<ref name=":5">"Lord Claud John Hamilton." {{Cite web|url=http://www.thepeerage.com/p11067.htm#i110662|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1880 June 2''', Cecil Howard, 6th Earl of Wicklow and Fanny Catherine Wingfield married.<ref name=":18" /> '''1880 December 13, Monday''', Lady Caroline "arrived at Kingstown from London."<ref>"Court." ''Dublin Daily Express'' 13 December 1880, Monday: 5 [of 8], Col. 5b [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001384/18801213/089/0005. Print title: ''Daily Express'', same p.</ref> '''1881 July 25, Monday''', the ''Irish Times'' says that Lady Caroline Howard and "the Hon. Mrs. Howard and the Ladies Howard (2) have arrived at Kingstown from England."<ref>"Fashionable Intelligence." ''Irish Times'' 25 July 1881, Monday: 6 [of 8, digital and print], Col. 3a [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001683/18810725/124/0006. Same print title and p.</ref> '''1881 August 10, Wednesday''', the Dublin Evening Mail says that Lady Caroline Howard "has left Kingstown for England."<ref>"Fashion and Varieties." ''Dublin Evening Mail'' 10 August 1881, Wednesday: 3 [of 4], Col. 9c [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000433/18810810/046/0003. Same print and digital title, print p. is n.p.</ref> '''1881 October 22, Saturday''', Lady Caroline Howard is listed as one of the visitors staying at the Crown Hotel "during the past week." The visitors listed are the following:<blockquote>Mr. Thomas Barber, Doctor and Mrs. Ayerst, Miss Noyce, Dr. Wilks, Mr. Nightingale, Mr. and Mrs. J. Hill, Lady Caroline Howard, the Hon. Mrs. Ross, Mr. Masters, Mr. Richardson and friend, Mr. Simpson, Mr. Wilson, &c.<ref>"Lyndhurst, Oct. 22." ''Hampshire Advertiser'' 22 October 1881, Saturday: 7 [of 8, both print and digital], Col. 2c [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000495/18811022/049/0007. Print title: ''Hampshire Advertiser County Newspaper''.</ref></blockquote>'''1882 January 3, Tuesday''', the Howard women donated to feed poor people at Christmas:<blockquote>ACKNOWLEDGMENTS. Mr J R Fowler acknowledges with thanks the following for free breakfasts to the poor in the Christian Union Buildings:— Mrs Barker, £5; Mrs Lovell, by Mrs Aimers, 10s; Mrs Jno Figgis, [illegible, shillings]; collected by Miss Carroll, 10s: Capt Thompson, 5s; Mrs O Stoney, 2s 6d; Mrs E H Smyth, £1; A Friend, per Dr Darley, £1; Mrs Lewers, £1; Mr Holmes, 10s; Mr Duffus, 10s; Mr W O'B Smyth, 10s; Hon Mrs Howard, £1; Lady Caroline Howard, £1; Lady Alice Howard, 10s; Lady Louisa Howard, 10s; T C Ratcliffe, per Mrs Smyly, £5; Mrs Hemphill, per Mr G Atkinson, 2s 6d; collected in box, 9d — Total, [illegible12] 10 s 9d. Number present last Sunday, 1,200.<ref>"Acknowledgments." ''Dublin Daily Express'' 3 January 1882, Tuesday: 5 [of 8], Col. 4c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001384/18820103/061/0005. Print title: ''The Daily Express'', same p.</ref></blockquote>'''1882 March 16''', Georgiana Susan Hamilton and Edward Turnour married.<ref>"Lady Georgiana Susan Hamilton." {{Cite web|url=http://www.thepeerage.com/p1180.htm#i11791|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1882 June 1, Thursday''', the Hon. Sarah Howard and Lady Caroline Howard arrived in Kingstown from England.<ref>"Court and Fashion." ''Evening Irish Times'' 1 June 1882, Thursday: 7 [of 8], Col. 5b [of 8]. ''British Newspaper Archives'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003464/18820601/108/0007. Print title ''Irish Times'', same p.</ref> '''1883 May 28, Monday''', the Hon. Mrs. Sarah Howard and Lady Caroline Howard "left Kingstown for England," as did the Hon. Bourke.<ref>"Court and Fashion." ''Evening Irish Times'' 28 May 1883, Monday: 6 [of 8], Col. 8b [of 8]. ''British Newspaper Archives'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003464/18830528/092/0006. Print title: ''Irish Times'', same p.</ref> '''1883 November 20''', the marriage between Albertha Frances Anne Hamilton Spencer-Churchill and George Charles Spencer-Churchill was annulled by petition from Albertha Frances Anne Hamilton Spencer-Churchill (married in 1869).<ref name=":8" /> '''1883 December 27, Thursday''', the Hon. Mrs. Sarah Howard and Lady Caroline Howard were invited to the ''déjeuner'' after the [[Social Victorians/Timeline/1883#Wedding of William Noble and Grace Elizabeth Lefroy|wedding of Colonel William Noble and Grace Elizabeth Lefroy]]. '''1891 June 2''', Ernest William Hamilton and Pamela Campbell married.<ref name=":7">"Pamela Campbell." {{Cite web|url=http://www.thepeerage.com/p2107.htm#i21063|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> '''1894 April 10''', Fanny Catherine Wingfield Howard, Dowager 6th Countess of Wicklow married her 2nd husband, Marcus Francis Beresford.<ref name=":18" /> '''1894 November 1''', James Albert Edward Hamilton and Rosaline Cecilia Caroline Bingham married at St. Paul's Church, Knightsbridge, in London.<ref name=":14">"Lady Rosalind Cecilia Caroline Bingham." {{Cite web|url=https://www.thepeerage.com/p10104.htm#i101032|title=Person Page|website=www.thepeerage.com|access-date=2021-05-15}}</ref> '''1895 July 13 to August 7''', the general election of 1895. Following the election, the brother-in-law of Cecil Howard, 6th Earl of Wicklow's (brother of his first wife Francesca Chamberlayne) was unseated because of allegations of misconduct.<ref>{{Cite journal|date=2026-02-27|title=Thomas Chamberlayne (cricketer)|url=https://en.wikipedia.org/w/index.php?title=Thomas_Chamberlayne_(cricketer)&oldid=1340809770|journal=Wikipedia|language=en}}</ref> '''1897 June 28, Monday''', according to the ''Morning Post'', James Hamilton, 2nd Duke and Maria, Duchess of Abercorn were invited to the [[Social Victorians/Diamond Jubilee Garden Party|Queen's Garden Party]], the official end of the Diamond Jubilee celebrations in London, as were James Albert Edward Hamilton, Marquis and Rosaline, Marchioness of Hamilton.<ref>“The Queen’s Garden Party.” ''Morning Post'' 29 June 1897, Tuesday: 4 [of 12], Cols. 1a–7c [of 7] and 5, Col. 1a–c. ''British Newspaper Archive'' ''<nowiki>https://www.britishnewspaperarchive.co.uk/viewer/BL/0000174/18970629/032/0004</nowiki>'' and ''<nowiki>https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18970629/032/0005</nowiki>''.</ref> '''1897 July 2, Friday''', Alexandra Phyllis Hamilton attended the [[Social Victorians/1897 Fancy Dress Ball | Duchess of Devonshire's fancy-dress ball]] at Devonshire House, as did her uncle Lord Frederick Spencer Hamilton, the Marquess of Hamilton, and a Mr. Ronald Hamilton. Besides these, probably, a Mr. and Mrs. Hamilton also attended. '''1902''', Ralph Howard, 7th Earl of Wicklow and Lady Gladys Mary Hamilton married. (She was the daughter of James Hamilton, 2nd Duke of Abercorn.)<ref name=":18" /> '''1902 January 14''', Gladys Mary Hamilton and Ralph Francis Forward-Howard married.<ref>"Lady Gladys Mary Hamilton." {{Cite web|url=http://www.thepeerage.com/p2107.htm#i21066|title=Person Page|website=www.thepeerage.com|access-date=2020-10-09}}</ref> '''1933 July 11''', Claud Nigel Hamilton and Violet Ruby Ashton married.<ref name=":4">"Captain Lord Sir Claud Nigel Hamilton." {{Cite web|url=http://www.thepeerage.com/p2109.htm#i21081|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> == Costume at the Duchess of Devonshire's 2 July 1897 Fancy-dress Ball == [[File:Helen-Mary-Theresa-ne-Vane-Tempest-Stewart-Countess-of-Ilchester-when-Lady-Helen-Stewart-as-the-Archduchess-Marie-Christine-of-Austria.jpg|thumb|alt=Black-and-white photograph of a seated woman richly dressed in an historical costume with a white feather plume in her hair and a fan|Lady Helen Stewart as Arch-duchess Marie Christine of Austria. ©National Portrait Gallery, London.]] === Lady Alexandra Hamilton === Lady Alexandra Hamilton was one of the archduchesses — along with with 3 or 4 other young women — in [[Social Victorians/People/Londonderry#The Entourage of Maria Thérèse|the entourage of the Marchioness of Londonderry]], who led the Austrian procession as Marie Thérèse, Empress of the Holy Roman Empire.<ref>“The Ball at Devonshire House. Magnificent Spectacle. Description of the Dresses.” London ''Evening Standard'' 3 July 1897 Saturday: 3 [of 12], Cols. 1a–5b [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000183/18970703/015/0004.</ref>{{rp|p. 3, Col. 3a}} These young women were present at the ball as the daughters of Marie Thérèse, and the young men dressed as archdukes were present as her sons. Lady Alexandra Hamilton went as "Archduchess Marie-Josepha in the Archduchess Marie-Karoline and Emperor Joseph II section of the Austrian Court of Maria Theresa Quadrille."<ref name=":9">"Fancy Dress Ball at Devonshire House." ''Morning Post'' Saturday 3 July 1897: 7 [of 12], Col. 4a–8 Col. 2b. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18970703/054/0007.</ref>{{rp|p. 7, Col. 6b}} <ref name=":10">"Ball at Devonshire House." The ''Times'' Saturday 3 July 1897: 12, Cols. 1a–4c ''The Times Digital Archive''. Web. 28 Nov. 2015.</ref> The newspapers report that the archduchesses were all dressed alike, but only one photograph exists of any of these young women in costume — that of [[Social Victorians/People/Londonderry#Helen Mary Theresa Vane-Tempest-Stewart|Helen Mary Theresa Vane-Tempest-Stewart]] (which is shown, right). The newspaper descriptions are on her page, with her portrait in costume, but they apply to all the archduchesses. === Lord Frederick Hamilton === [[File:Lord Frederick Spencer Hamilton Vanity Fair 1895-02-07.jpg|thumb|left|alt=Colored drawing of a man in a suit, his hands in his pockets, facing to the right|Lord Frederick Hamilton, ''Vanity Fair'', by "Spy," 7 February 1895]] Lord Frederick Spencer Hamilton was 6th son and 13th child of the 1st Duke of Abercorn. No photograph of him in costume exists. He is shown (at left) as he looked in 7 February 1895 in a Spy caricature in ''Vanity Fair''. This caricature portrait, by Leslie Ward ("Spy") is called ''The Pall Mall Magazine'' and is Number 647 in Vanity Fair's "Statesmen" series.<ref name=":16">{{Cite journal|date=2024-01-14|title=List of Vanity Fair (British magazine) caricatures (1895–1899)|url=https://en.wikipedia.org/w/index.php?title=List_of_Vanity_Fair_(British_magazine)_caricatures_(1895%E2%80%931899)&oldid=1195518024|journal=Wikipedia|language=en}}</ref> He was editor of the ''Pall Mall Gazette'' 1896–1900.<ref>{{Cite journal|date=2023-09-23|title=Lord Frederick Spencer Hamilton|url=https://en.wikipedia.org/w/index.php?title=Lord_Frederick_Spencer_Hamilton&oldid=1176655264|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/Lord_Frederick_Spencer_Hamilton.</ref> For the ball, Lord Frederick Hamilton was dressed *as a "gentleman of the Court of Queen Elizabeth," wearing "crimson cloth of gold with jewelled belt."<ref name=":15">“The Duchess of Devonshire’s Ball.” The ''Gentlewoman'' 10 July 1897 Saturday: 32–42 [of 76], Cols. 1a–3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0003340/18970710/155/0032.</ref>{{rp|p. 36, Col. 3b}} *as a "Gentleman of the Court of Queen Elizabeth. Costume of crimson and cloth of g [sic] with jewelled belt."<ref name=":9" />{{rp|p. 8, Col. 1b}} *"in crimson cloth of gold and jeweled belt."<ref>"Duchess of Devonshire's Fancy Ball. A Brilliant Spectacle. Some of the Dresses." London ''Daily News'' Saturday 3 July 1897: 5 [of 10], Col. 6a–6, Col. 1b. ''British Newspaper Archive'' http://www.britishnewspaperarchive.co.uk/viewer/bl/0000051/18970703/024/0005 and http://www.britishnewspaperarchive.co.uk/viewer/BL/0000051/18970703/024/0006.</ref>{{rp|p. 5, Col. 7a}} *"as a gentleman of the court of Queen Elizabeth, was dressed in a costume of crimson cloth-of-gold, with a jewelled belt."<ref name=":11">“The Devonshire House Ball. A Brilliant Gathering.” The ''Pall Mall Gazette'' 3 July 1897, Saturday: 7 [of 10], Col. 2a–3a. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000098/18970703/019/0007.</ref> ==== Memoirs ==== * Hamilton, Frederic [sic] Spencer. ''My Yesterdays'' (3 vols.). Hodder and Stoughton, 1920. *# ''The Days Before Yesterday''. The Internet Archive has this: https://archive.org/details/daysbeforeyester00hamiuoft/page/n5/mode/2up. *# ''Vanished Pomps of Yesterday''. The Internet Archive has this: https://archive.org/details/vanishedpompsofy028823mbp. *# ''Here, There and Everywhere''. The Internet Archive has this: https://archive.org/details/herethereeverywh0000hami. [[File:James Hamilton 3rd Duke of Abercorn.png|thumb|alt=Old colored drawing of a man in a 19th-century officer's uniform of the 1st Life Guards with white gloves, a red stripe down the side of his pants and unbuttoned jacket and a hat, holding a white or silver sword under his left arm, facing 1/4 to his right|"He will be the 3rd Duke" (James Hamilton, Marquis of Hamilton), ''Vanity Fair'' 16 February 1899]] === James Hamilton, Marquess of Hamilton === James Hamilton, Marquis of Hamilton was dressed in a "black velvet tunic; breeches and cloak trimmed jet; large hat, feathers, wig, sword, &c., of the period" of Charles II.<ref name=":15" />{{rp|34, Col. 3a}} No photograph of him in costume exists. A caricature portrait (right) called ''He will be the 3rd Duke'' (James Hamilton, Marquess of Hamilton) by "Hadge" appeared in the 16 February 1899 issue of ''Vanity Fair'', as Number 739 in its "Men of the Day" series,<ref name=":16" /> giving a sense of what he looked like at about the time of the ball. In 1892 Hamilton joined the 1st Life Guards, so the uniform he is wearing in this portrait is likely that of an officer of the 1st Life Guards.<ref>{{Cite journal|date=2024-01-12|title=James Hamilton, 3rd Duke of Abercorn|url=https://en.wikipedia.org/w/index.php?title=James_Hamilton,_3rd_Duke_of_Abercorn&oldid=1195216640|journal=Wikipedia|language=en}} https://en.wikipedia.org/wiki/James_Hamilton,_3rd_Duke_of_Abercorn.</ref> James Hamilton's wife Lady Rosalind Hamilton is not reported as having been present at the ball, perhaps because she was pregnant with her second child and gave birth in August, five weeks later, so she was around 8 months pregnant. === Ronald Hamilton === Mr. Ronald Hamilton, possibly Ronald James Hamilton, was dressed as a "Gentleman of the Court of Queen Elizabeth, in black velvet trimmed with jet."<ref name=":9" />{{rp|p. 8, Col. 1c}} == Demographics == === Nationality === *The title Duke of Abercorn is in the peerage of Ireland; the Marquess of Hamilton is in the peerage of the U.K. === Residences === ==== The Hon. Mrs. Sarah Howard and the Earls of Wicklow ==== * Shelton Abbey, Arklow, Co. Wicklow (east coast of Ireland) (until 1951)<ref>{{Cite journal|date=2026-06-30|title=Shelton Abbey Prison|url=https://en.wikipedia.org/w/index.php?title=Shelton_Abbey_Prison&oldid=1361924427|journal=Wikipedia|language=en}}</ref> == Family == *James Hamilton, 1st Duke of Abercorn (21 January 1811 – 31 October 1885)<ref name=":0" /> *Louisa Russell Hamilton (– March 1905) #Lady '''Harriet Georgiana Louisa Hamilton''' Anson (6 July 1834 – 23 April 1913) #Lady Beatrix Frances Hamilton Lambton (21 July 1835 – 21 January 1871) #Lady Louisa Jane Hamilton Scott (26 August 1836 – 16 March 1912) #Lord '''James Hamilton, 2nd Duke of Abercorn''' (24 August 1838 – 3 January 1913) #Lady Katherine Elizabeth Hamilton Edgcumbe (9 January 1840 – 3 September 1874) #Lady Georgiana Susan Hamilton Turnour (7 July 1841 – 23 March 1913) #Lord '''Claud John Hamilton''' (20 February 1843 – 26 January 1925) #Rt. Hon. Lord Sir '''George Francis Hamilton''' (17 December 1845 – 22 September 1927) #Lady Albertha Frances Anne Hamilton Spencer-Churchill (29 July 1847 – 7 January 1932) #Lord Ronald Douglas Hamilton (17 March 1849 – DVP<ref>{{Cite journal|date=2020-07-27|title=James Hamilton, 2nd Duke of Abercorn|url=https://en.wikipedia.org/w/index.php?title=James_Hamilton,_2nd_Duke_of_Abercorn&oldid=969822724|journal=Wikipedia|language=en}}</ref> 6 November 1867) #Lady Maud Evelyn Hamilton Petty-Fitzmaurice, the [[Social Victorians/People/Lansdowne | Marchioness of Lansdowne]] (17 December 1850 – 21 October 1932)<ref name=":1" /> #Lord Cosmo Hamilton (16 April 1853 – 16 April 1853) #Lord '''Frederick Spencer Hamilton''' (13 October 1856 – 11 August 1928) #Lord '''Ernest William Hamilton''' (5 September 1858 – 14 December 1939) *Harriet Georgiana Louisa Hamilton Anson (6 July 1834 – 23 April 1913)<ref name=":2" /> *Thomas George Anson, 2nd Earl of Lichfield (15 August 1825 – 7 January 1892) #Lady Evelyn Anson ( – 2 July 1895) #Thomas Francis Anson, 3rd Earl of Lichfield (31 January 1856 – 29 July 1918) #Hon. Sir George Augustus Anson (22 December 1857 – 25 May 1947) #Major Hon. Henry James Anson (29 December 1858 – 26 February 1904) #Lady Florence Beatrice Anson (1860 – 25 September 1946) #Hon. Frederic William Anson (4 February 1862 – 2 April 1917) #Hon. Claud Anson (11 January 1864 – 25 December 1947) #Lady Beatrice Anson (1865 – 15 December 1919) #Hon. Francis Anson (7 March 1867 – 13 April 1928) #Lady Mary Maud Anson (1869 – 22 September 1961) #Lady Edith Anson (1870 – 8 October 1932) #Hon. William Anson (19 April 1872 – 22 June 1926) #Hon. Alfred Anson (15 April 1876 – 25 March 1944) *James Hamilton, 2nd Duke of Abercorn (24 August 1838 – 3 January 1913)<ref name=":12" /> *Maria Anna Curzon-Howe Hamilton (23 July 1848 – 10 May 1929)<ref name=":3" /> #James Albert Edward Hamilton, 3rd Duke of Abercorn (30 November 1869 – 12 September 1953) #Claud Penn Alexander Hamilton (18 October 1871 – 18 October 1871) #Charlie Hamilton (10 April 1874 – 10 April 1874) #'''Alexandra Phyllis Hamilton''' (23 January 1876 – 10 October 1918) #Claud Francis Hamilton (25 October 1878 – 25 December 1878) #Gladys Mary Hamilton Forward-Howard (10 December 1880 – 12 March 1917) #Arthur John Hamilton (20 August 1883 – 6 November 1914) #(unnamed son) Hamilton (31 October 1886 – 31 October 1886) #Claud Nigel Hamilton (10 November 1889 – 22 August 1975)<ref name=":4" /> * '''James Albert Edward Hamilton''', Marquess of Hamilton and 3rd Duke of Abercorn (30 November 1869 – 12 September 1953)<ref name=":13" /> * Lady Rosalind Cecilia Caroline Bingham (26 February 1869 – 18 January 1958)<ref name=":14" /> *# Lady Mary Cecilia Rhodesia Hamilton (21 January 1896 – 5 September 1984) *# Lady Cynthia Elinor Beatrix Hamilton (16 August 1897 – 4 December 1972) *# Lady Katharine Hamilton (25 February 1900 – 28 April 1985) *# James Edward Hamilton, 4th Duke of Abercorn (29 February 1904 – 4 June 1979) *# Captain Lord Claud David Hamilton (13 February 1907 – 15 February 1968) *Claud John Hamilton (20 February 1843 – 26 January 1925)<ref name=":5" /> *Carolina Chandos-Pole Hamilton (19 July 1857 – 21 September 1911)<ref>"Carolina Chandos-Pole." {{Cite web|url=http://www.thepeerage.com/p11067.htm#i110663|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> #Colonel Gilbert Claud Hamilton (21 April 1879 – 30 March 1943) #Ida Hamilton (23 July 1883 – November 1970) *George Francis Hamilton (17 December 1845 – 22 September 1927)<ref name=":6" /> *Lady Maud Caroline Lascelles Hamilton (1846 – 14 April 1938) #'''Ronald James Hamilton''' (26 September 1872 – 22 January 1958) #Anthony George Hamilton (17 December 1874 – 11 July 1936) #Robert Cecil Hamilton (31 January 1882 – 31 July 1947) *Ernest William Hamilton (5 September 1858 – 14 December 1939)<ref>"Lord Ernest William Hamilton." {{Cite web|url=http://www.thepeerage.com/p2107.htm#i21062|title=Person Page|website=www.thepeerage.com|access-date=2020-10-08}}</ref> *Pamela Campbell Hamilton ( – 11 May 1931)<ref name=":7" /> #Guy Ernest Frederick Hamilton (11 November 1894 – 23 November 1914) #Mary Brenda Hamilton (28 March 1897 – 14 March 1985) #Jean Barbara Hamilton (6 September 1898 – 2 November 1989) #John George Peter Hamilton (15 October 1900 – 17 June 1967) === Earls of Wicklow === * Charles Hamilton (1772 – 29 September 1857)<ref>{{Cite web|url=https://www.thepeerage.com/p2139.htm#i21387|title=Charles Hamilton. Person Page #2139|website=www.thepeerage.com|access-date=2026-06-19}}</ref> * Marianne '''Caroline Tighe''' ( – 29 July 1861)<ref>{{Cite web|url=https://www.thepeerage.com/p62375.htm#i623745|title=Marianne Caroline Tighe. Person Page #62375|website=www.thepeerage.com|access-date=2026-06-19}}</ref> *# '''Sarah Hamilton''' (1805<ref name=":17" /> – 13 March 1892) *# Caroline Elizabeth Hamilton ( – 31 May 1909) *# Mary Hamilton *# Charles William Hamilton (1 April 1802 – 16 February 1880) *# William Tighe Hamilton (31 March 1807 – ) *# Frederick John Henry Fownes Hamilton (27 July 1816 – 1893) * Rev. Hon. Francis Howard (12 January 1797 – 16 February 1857)<ref>{{Cite web|url=https://www.thepeerage.com/p2140.htm#i21391|title=Rev. Hon. Francis Howard. Person Page #2140|website=www.thepeerage.com|access-date=2026-06-19}}</ref> * Frances Beresford ( – 17 November 1833)<ref>{{Cite web|url=https://www.thepeerage.com/p3227.htm#i32266|title=Frances Beresford. Person Page #3227|website=www.thepeerage.com|access-date=2026-06-19}}</ref> *# William George Howard (25 April 1825 – 12 October 1864) * '''Sarah Hamilton''' (1805<ref name=":17">{{Cite web|url=https://catalogue.nli.ie/Collection/vtls000572704|title=Tighe, Hamilton and Howard Papers,|date=1737|website=catalogue.nli.ie|language=English|access-date=2026-06-19}}</ref> – 13 March 1892)<ref>{{Cite web|url=https://www.thepeerage.com/p2141.htm#i21405|title=Sarah Hamilton. Person Page #2141|website=www.thepeerage.com|access-date=2026-06-19}}</ref> *# 4 unnamed daughters [per The Peerage; The NLI has 3 daughters] *# Lady Alice Howard *# Lady Louisa 'Loulie' Howard *# Lady Caroline Howard (1836–1923)<ref name=":17" /> *# Charles Francis Arnold Howard, '''5th Earl of Wicklow''' (5 November 1839 – 20 June 1881) *# Cecil Ralph Howard, '''6th Earl of Wicklow''' (26 April 1842 – 24 July 1891) * Cecil Ralph Howard, '''6th Earl of Wicklow''' (26 April 1842 – 24 July 1891)<ref name=":18" /> * Francesca Maria Chamberlayne ( – 1877) *# Ralph Howard, 7th Earl of Wicklow (24 December 1877 – 11 October 1946)<ref>{{Cite web|url=https://www.thepeerage.com/p2140.htm#i21394|title=Cecil Ralph Howard, 6th Earl of Wicklow. Person Page 2140.|website=www.thepeerage.com|access-date=2026-06-28}}</ref> * Fanny Catherine Wingfield (c. 1860 – 3 February 1914)<ref>{{Cite web|url=https://www.thepeerage.com/p2139.htm#i21388|title=Fanny Catherine Wingfield. Person Page 2139.|website=www.thepeerage.com|access-date=2026-06-28}}</ref> *# Hon. Cecil Mervyn Malcolm Howard (18 November 1881 – 16 April 1882) *# Hon. Hugh Melville Howard (28 March 1883 – 17 February 1919) * Marcus Francis Beresford (26 December 1862 – 14 December 1896)<ref>{{Cite web|url=https://www.thepeerage.com/p3186.htm#i31858|title=Marcus Francis Beresford. Person Page #3186.|website=www.thepeerage.com|access-date=2026-06-28}}</ref> == Memoirs and Archives == # The Abercorn Papers: GB 0255 PRONI/D623 (found via https://iar.ie/archive/abercorn-papers). A descriptive list is available to search online at: http://www.proni.gov.uk/. The collection is arranged as follows: D623/A Correspondence D623/B Title deeds and leases D623/C Rentals, accounts and vouchers D623/D Maps, plans, surveys, inventories and valuations D623/E Photographs, illuminations, addresses and albums D623/F Material still at Baronscourt D623/G Miscellaneous #Alexandra Phyllis Hamilton (#64 on the [[Social Victorians/1897 Fancy Dress Ball#List of People Who Attended|list of people who were present]]) attended the [[Social Victorians/1897 Fancy Dress Ball | Duchess of Devonshire's fancy-dress ball]] at Devonshire House, as did her uncle Lord Frederick Spencer Hamilton (#84), the Marquess of Hamilton (#657), and a Mr. Ronald Hamilton (#105). Besides these, probably, a Mr. and Mrs. Hamilton also attended. == Questions and Notes == #DVP = decessit vita patris, died while the father was still living #Mr. Ronald Hamilton cannot be Frederick Hamilton's brother, who should be Lord Ronald Hamilton rather than Mr. Ronald Hamilton, and he died in 1867. He could be this Ronald Hamilton, who would be a Mr. Hamilton: http://www.thepeerage.com/p2163.htm#i21622. He was Lady Alexandra's cousin and nephew of the 1st Duke of Abercorn. #A Mr. Hamilton is mentioned in the ''Gentlewoman'' article: "Mr. Hamilton (Elizabethan costume), black velvet, trimmed gold."<ref name=":15" />{{rp|34, Col. 1c}} But a later reference in this same article to Mr. Ronald Hamilton matches the description in the ''Morning Post'' article, saying he wore black velvet with jet, rather than gold trim: "'''Mr. Ronald Hamilton''' (gentleman of the Court of Queen Elizabeth), black velvet with jet."<ref name=":15" /> (36, Col. 3b) I believe the other Mr. Hamilton is Mr. [[Social Victorians/People/Cole-Hamilton|Claud Cole-Hamilton]], particularly since Mrs. Hamilton was dressed as Amy Robsart and thus must be Lucy Charlewood Cole-Hamilton because of the description of her costume in the Album of photographs given to the Duchess of Devonshire later. #Claud John Hamilton is probably who attended the social events, because the other Claud, of whatever generation either died too young or was born too late. == Footnotes == {{reflist}} q5mw6mg1thob2ry56yup2qfr7r4spfc 0 264241 2817754 2817623 2026-07-05T22:39:52Z Scogdill 1331941 2817754 wikitext text/x-wiki ==Time Line== [[Social Victorians/Timeline/1840s|1840s]] [[Social Victorians/Timeline/1850s |1850s]] [[Social Victorians/Timeline/1860s | 1860s]] 1870s [[Social Victorians/Timeline/1880s | 1880s]] [[Social Victorians/Timeline/1890s | 1890s]] [[Social Victorians/Timeline/1900s|1900s]] [[Social Victorians/Timeline/1910s|1910s]] [[Social Victorians/Timeline/1920s-30s|1920s-30s]] ==1870== "Until 1870 all of the money women earned belonged to their husbands, and until 1882 their property did too, even after a divorce or separation."<ref name=":4" /> (698 of 1203) In 1870 Parliament debated and defeated the first bill for women's suffrage, but allowed "women who owned property ... to stand for election to school boards."<ref name=":4" /> (698–699 of 1203) "The bulk of Irish farmers did not own their land, and instead leased it from landlords, the majority of whom lived in England. In 1870, only 3 percent of agricultural holdings were occupied by owners."<ref name=":4" /> (742 of 1203) Dante Gabriel Rossetti and Arthur Sullivan were at the same dinner party in 1870? Another dinner party had as guests Charles Dickens, Dante Gabriel Rossetti, John Tenniel and George Du Maurier. January February March April May June July August September October November December ==1871== Although Queen Victoria had opened Parliament for the first time in February 1866, when people saw her for the first time in years as her open carriage made its way, she was unpopular because it seemed she was not working. Gladstone was Prime Minister.<blockquote>Between 1871 and 1874, eighty-five Republican Clubs were founded in Britain, protesting, among other things, the "expensiveness and uselessness of the monarchy" and Bertie's "immoral example."<ref name=":4">Baird, Julia. ''Victoria the Queen, an Intimate Biography of the Woman Who Ruled an Empire''. Random House, 2016. Apple Books: https://books.apple.com/us/book/victoria-the-queen/id953835024.</ref> (617 of 1203)</blockquote>"The 1871 Royal Commission on the Contagious Diseases Acts ... declared there was no comparison to be made between prostitutes and their clients: 'With the one sex the offence is committed as a matter of gain, with the other it is an irregular indulgence of a natural impulse.'"<ref name=":4" /> (704 of 1203) === January === Germany is united under King William I of Prussia. Julia Baird says, "At the same time, Italy captured and annexed the Papal States, which had been under the direct rule of the Pope since the 700s and had lost their protector in Napoleon III."<ref name=":4" /> (646 of 1203) ==== 4 January 1871, Wednesday ==== <blockquote>INVITATION BALL. On Wednesday evening last Major Goodman and the Officers of the 5th Dragoon Guards gave an invitation ball, which was held in the Drapers’ Hall (kindly placed at their disposal by the Drapers’ Company). The following ladies and gentlemen were amongst those who received invitations The Marquis and Marchioness of Hertford; the Earl and Countess of Aylesford; Lady A. N. Finch, Lord Guernsey, and the Hon. Mr. Finch; Lord and Lady Leigh and Miss Leigh; Lord and Lady Henley and Miss Henley, Miss Elwes, Lord and Lady Wrottealey, Lord and Lady Manners; C. N. Newdegate, Esq., M.P.; Captain, Mrs., and Miss Adams; E. Petre, Esq., and Lady Gwendoline Petre; J. Beech, Esq., Mrs. and Miss Beech, and Mr. Beech, jun.; Mr. and Mrs. Turner; Mr. and Mrs. Fetherstone Dilke, Mrs. and the Misses Fetherstone, Mr. Fetherstone, and Mr. Beaumont Fetherstone; Mr. and Mrs. P. A. Muntz; Captain and Mrs. Boultbee, of Knowle; Mr. C. M. Caldecott, Mrs. Caldecott, and the Misses Caldecott; the Rev. A. Fanshawe and Mrs. Fanshawe; Captain and Mrs. Battine; the Rev. S. C. Spencer Smith; the Rev. R. H. Baynes, M.A., vicar of St. Michael’s; the Rev. H. T. Harris, (Christ Church); General and Mr. Richmond Jones; Colonel F. Chaplin, and the Officers of the 4th Dragoon Guards, stationed at Northampton; Captain Thornelow, and the Officers of the Royal Artillery, at Weedon; the officers of the 4th Royal Regiment at Weedon; Mr. and Mrs. E. Wood; Mr. and Mrs. Herbert Wood; the Colonel and officers of the First Warwickshire Militia; Mrs. and Miss Alston, and Mr. Alston, jun., of Elmdon; Mr. and Mrs. F. Paget; Mr. and Mrs. Gulson; Captain Thomson; Captain and Mrs. Raleigh King; Mrs. Phillipson; Lord and Lady Mountgarret; the Honourable Miss Butler; Mr. and Mrs. Courtenay Lord; the Hon. Mrs. Twistleton; Mr. and the Misses Conant; Captain and Mrs. J. Marsland; Major and Mrs. Edlman; Mr. and Mrs. Astley; Mr. T. Lant, Mr. R. Lant and Mr. J. Lant, Mrs. and Miss Lant; Mr. W. T. Cavendish; Mr. and Mrs. A. Rotherham; the Marquis of Ormonde, of the first Life Guards; the Earl of Calludon, of the First Life Guards; Mrs. and the Misses Hobson; Mr P. Hobson, and Mrs. Hobson; Mr. and Mrs. Soames; Mr. and Mrs. Adderley, Sir John Rae Reid; Capt. and Mrs. Townshend, of Caldecote Hall; Lieut.-Colonel Swinfen and the Officers of the 5th Dragoon Guards stationed at Leeds; Capt. Marsden and the Officers of the 5th Dragoon Guards stationed at Birmingham; Colonel, Mrs., and Miss Bourne; Mr. and Mrs. Wyley Lord; Captain and Mrs. Thursby; Mr. and Mrs Morrice; Lieut.-Colonel Wirgman; Mr. and Mrs. J. Rotherham; [[Social Victorians/People/Abercorn|Lady Caroline Howard]]; Mr. and Mrs. Rotherham; Mr and Mrs John Sankey and the Misses Sankey; Mrs. and the Misses Murphy; Mr. Bibby (4th Hussars), Captain Gist (7th Hussars), Mr. Gregg (8th Hussars), Mr. Hamilton (7th Dragoon Guards), Colonel Rattray, Mr and Mrs. R. Boyd, &c, &c. The string band of the 5th Dragoon Guards, under the direction of Mr. Sidney Jones, performed the following selection of music:— Quadrille, Barbe Bleue; Valse, Marian; Galop, Bonderbryllup; Lancers, Knight of St. Patrick; Valse, Hydropaten; Galop, Flick and Flock; Quadrille, Princess of Trebizonde; Valse, the Belle of the Ball; Galop, the Fox Hunters; Valse, the Dragoon Guards; Lancers, the Gaiety; Valse, the Beautiful Danube; Valse, Wiener Kinder; Quadrille, the Fest; Galop, the Village Rose; Valse, the Geraldine; Lancers, Merry Tunes; Galop, Barbe Bleue; Valse, Various; Galop, Glorioso.<ref>"Invitation Ball." ''Coventry Standard'' 6 January 1871, Friday: 4 [of 4], Col. 5b [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000683/18710106/100/0004. Same print title, n.p.</ref></blockquote> === February === ==== Birmingham Tennis Court Club Ball ==== 1871 February 17, Friday, the "bachelors of the Tennis Court Club" hosted a ball in Birmingham:<blockquote>LEAMINGTON. B<small>ACHELORS'</small> B<small>ALL</small>. — Last night the bachelors of the Tennis Court Club gave a grand ball at the Royal Assembly Rooms, Regent Street. The ball was one of the most brilliant of the season, nearly four hundred of the ''élite'' of the town and neighbourhood having accepted the invitation of the bachelors. The ballroom was specially fitted up for the occasion, and a splendid supper was served in the adjoining rooms, where refreshments were also provided. Coote and Tiney's band was specially engaged for the occasion, and played a selection of the newest and most popular dance music. Amongst the distinguished guests present were — The High Sheriff and Mrs. J. T. Arkwright, Lady Arbuthnott, Lord and Lady Conyers, [[Social Victorians/People/Abercorn|Lady Caroline Howard]], Viscount and Viscountess Mountgarret and the Hon. Miss Butler, Sir John and Lady Blois, Sir Thomas Biddulph, the Hon. Miss Somerville, Sir William and Lady Fairfax, the Hon. Charles L. Butler, Rev. Sir John Rae, General and Mrs. Richmond Jones, Major Eldman, Major and Mrs. James Ashton, Major and Mrs. Boothby, Colonel Ruttie, Colonel Duberly, Colonel and Mrs. Machen, Colonel Rattray, Capt. and Mrs. Kennedy, Capt. W. J. Hall, Capt. Hodge, Capt. and Mrs. Morgan, Capt. and Mrs. Pearse, Capt. Roberts, Capt. Story, Mr. and Mrs. Featherstone Dilke (Maxstoke Castle) and Miss Dixie, Mr. C. M., Miss, and Miss M. A. Caldecott (Holbrooke Grange), Mr. and Mrs. J. Dugdale (Wroxhall Abbey), Mr. E. Greaves, M.P., Mr. and Mrs. C. L. Adderley (Hams Hall), and Capt. and Mrs. Hatherall. Several of the officers from the dragoons and artillery at Coventry and Birmingham were also present. The bachelors who gave the ball were twenty-eight in number.<ref>"Leamington." "District News." ''Birmingham Morning News'' 18 February 1871, Saturday: 7 [of 8, print and digital], Col. 5b [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0005826/18710218/114/0007. Print and digital title are the same.</ref></blockquote> === March === === April === ==== 18 April 1871 ==== <blockquote>Karl Marx “was commissioned by the General Council of the International to write a pamphlet about the Paris [377–378] Commune."<ref name=":3">Smee, Sebastian. ''Paris in Ruins: Love, War, and the Birth of Impressionism''. W. W. Norton, 2024.</ref>{{rp|377–378 of 667}}</blockquote> ===May=== ==== 9 May 1871, Tuesday, Queen's Drawing-Room ==== <blockquote>THE QUEEN'S DRAWING-ROOM. The Queen held a Drawing-room at Buckingham Palace on Tuesday afternoon. The Priuce of Wales, Prince Arthur, Prince Leopold, and Princess Beatrice were present. Her Majesty, accompanied by the Prince of Wales and the other members of the royal family, entered the Throne Room shortly after three o'clock. The Queen wore a black moire antique dress with a train, long white tulle veil with a coronet of diamonds. Her Majesty also wore a necklace of diamonds and amethysts, the Riband and Star of the Order of the Garter, the Orders of Victoria and Albert and Louise of Prussia, and the Saxe Coburg and Gotha Family Order. Princess Beatrice wore a dress of white tulle over a rich white silk petticoat looped up with lilies of the valley and apple blossom; ornaments — pearls and diamonds. The presentations to Her Majesty were about 280 in number, and included the following:— Mrs Atlay, by the Countess Grey; Miss Backhouse, by her mother, Mrs Backhouse; Miss Charlesworth, by her aunt, Frances Lady Hawke; Miss Backhouse Fox, by her aunt, Mrs Backhouse; [[Social Victorians/People/Abercorn|Lady Caroline Howard]], by her mother, [[Social Victorians/People/Abercorn|the Hon. Mrs Howard]]; the Hon. Gwendoline Fitz-Alan Howard, by the Duchess of Sutherland; [[Social Victorians/People/Abercorn|Lady Alice Howard]], by her mother, Hon. Mrs Howard; [[Social Victorians/People/Abercorn|Lady Louisa Howard]], by her mother, Hon. Mrs Howard; Miss Howard (of Corby), by the Hon. Mrs Philip Stourton; Miss Agnes Howard (of Corby), by the Hon. Mrs Philip Stourton; Sir Henry Ingilby, Bart., by Earl Russell; Mrs Frank Lascelles, by Lady Edward Cavendish; Mrs Gerald Liddell, marriage, by the Countess of Normanby.<ref>"Court and Official News." ''Yorkshire Post and Leeds Intelligencer'' 11 May 1871, Thursday: 3 [of 4], Col. 4c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000686/18710511/074/0003. Same print title and p.n.</ref></blockquote>'''24 May 1871, Wednesday''': Derby Day. Baron Rothschild's Favonius won. The Prince of Wales attended. June July August September ===October=== '''October 1871'''<blockquote>At Londesborough Lodge near Scarborough, where Lady Londesborough gave a royal house party in October 1871, not only [ 41/42 ] were the bathrooms few but the drains seeped into the drinking water. Several guests, including the Prince [of Wales] and his groom and Lord Chesterfield, contracted typhoid fever. When Chesterfield and the groom died, the doctors abandoned hope for the Prince.<ref name=":1">Leslie, Anita. ''The Marlborough House Set''. New York: Doubleday, 1973. Print.</ref>{{rp|41–42}}</blockquote> The Prince of Wales recovered on 14 December 1871. November December ==1872== January February March April ===May=== '''29 May 1872, Wednesday''': Derby Day June July ===August=== '''August 1872''': The "dance on the cruiser Ariadne" probably occurred in August 1872:<blockquote>When his [the Prince of Wales'] brother, the Duke of Edinburgh, married the attractive Grand Duchess Marie, daughter of Tsar Alexander II of Russia, her family made a fuss because she was not granted precedence above the Princess of Wales. Albert Edward soothed ruffled feelings by inviting the Tsarevitch and his wife Marie Feodorovna (who was Alexandra's sister) to stay for two months and be entertained at Cowes. ...<p></p> ... At the dance on the cruiser Ariadne which the Prince gave in honour of the Tsarevitch and his Grand Duchess," Lord Randolph Churchill met the 19-year-old "Miss Jennie Jerome of New York."<ref name=":1" />{{rp|42–43}}</blockquote> September October November December ==1873== January February March April ===May=== '''28 May 1873, Wednesday''': Derby Day June July August September October November December ==1874== January February March April ===May=== ==== 1874 May, Early ==== <blockquote>As monarchists’ hopes flared, the Catholic Church, too, enjoyed a conspicuous revival. The National Assembly approved a design for a new basilica for Paris. Intended as an act of collective atonement, Sacré-Coeur was to perch atop Montmartre, immediately above where Nadar’s balloons had been launched and where the radicals’ insurrection had broken out. Excavations began in early May 1874 .... But the focus of the penance the basilica was intended to embody gradually shifted from the moral decline of French society in general to the despicable excesses of the Commune. In 1872 Archbishop Darboy’s successor claimed to have had a vision as he climbed the Butte Montmartre. The clouds dispersed, and he realized that it was there, “where the martyrs” were (he meant the murdered generals Lecomte and Clément-Thomas), that a new church should be built. And when the Assembly voted to proceed with the construction, legislators specified that its purpose was to “expiate the crimes of the Commune.”<ref name=":3" /> (464 of 667)</blockquote> ===June=== '''3 June 1874, Wednesday''': Derby Day June July August September October November ===December=== '''8 December 1874, Tuesday''': "CHATSWORTH, Tuesday, December 8th, 1874. — We are come to the last slide of the Chatsworth magic lantern: the Duke of Cambridge and his equerry, a funny little man called Tyrwhitt, of no particular age, in a grey wig; Lord Carlingford and Ly. Waldegrave, the Spencers, Mr. Leveson, Cavendish."<ref>{{Cite web|url=http://ladylucycavendish.blogspot.com/2010/12/08dec1874-chatsworth-magic-lantern.html|title=Lady Lucy Cavendish: 08Dec1874, The Chatsworth Magic Lantern|last=H|first=Denise|date=2010-12-04|website=Lady Lucy Cavendish|access-date=2025-06-18}}</ref> ==1875== Disraeli's progressive legislation for labor rights:<blockquote>In 1875, he passed a series of enlightened acts protecting labor rights, arguing they were as important as property rights. Two of the laws ensured that workers would have the same recourse as employers when contracts were breached, and made peaceful picketing legal, protecting unions from charges of conspiracy.<ref name=":4" /> (578 of 1203)</blockquote>After women who owned property were allowed by Parliament to stand for local school-board elections in 1870, "Elizabeth Garrett Anderson, the first woman to qualify as a doctor in Britain — in 1865 — stood and was elected to her local board five years later."<ref name=":4" /> (199 of 1203) The relationship between Swinburne and Lord Houghton:<blockquote>...not all Lord Houghton's children appreciated the catholicity of "Papa's" taste in friends: "Swinburne (in a very excited state) came in in the evening," wrote Florence Milnes to her brother in 1875: "He is madder than ever, to my astonishment he flopped down on one knee in front of me, & announced that my hair had grown darker. This was rather embarrassing, and he is also so deaf now, which does not make it easier to talk to him."<ref name=":2">Pope-Hennessy Lord Crewe.</ref>{{rp|5}}</blockquote> January February March April ===May=== '''26 May 1875, Wednesday''': Derby Day. The Prince and Princess of Wales attended, as did a number of others of the royal family, including Princess Louise and Lorne. June July ===August=== '''August through October 1875''' Richard Monckton Milnes (Lord Houghton) and son Robert Milnes toured the U.S. and Canada:<blockquote>They set off in the steamer s.s Sarmatian from Liverpool in August 1875, stopping at Ireland to pick up the usual load of emigrants bound for the U.S.A. The most interesting among the passengers was 'Mr. Butler, author of Erewhon, who is very amusing and clever though infidel,' but, although he played whist with Samuel Butler, the young man was far more interested in the Eustace Smiths (parents of his friend W. H. Smith), and in a Canadian family named Macpherson, the youngest of whose two daughters, the dark-eyed Isobel, caught his fancy: he saw them afterwards in Toronto, and when they parted she gave him two larger than carte-de-visite photographs of herself, he gave her a smaller one of himself together with the inevitable volume of his father's verse."<ref name=":2" />{{rp|10}}</blockquote>September October November December ==1876== Disraeli pushed through the Cruelty to Animals Act in order to please Queen Victoria. This act "forced researchers to demonstrate that any experiments with animals involving pain were absolutely necessary, and ensured they would be anesthetized if so."<ref name=":4" /> (679 of 1203) January February March April ===May=== '''11 May 1876''': In the midst of the Aylesford scandal, the Prince of Wales returned from a journey to Egypt and India, etc.:<blockquote>However harassed and exhausted, the Prince and Princess of Wales would put up a good show. Within an hour of their arrival home they set forth to attend a gala performance at Covent Garden Opera House. It was a brave decision to face the public and allow an immediate opportunity for demonstration. The Prince and Princess were rewarded when the audience rose to its feet to give them a standing ovation before the start of every act, as well as at the end, of Verdi's Ballo in Maschera.<ref name=":1" />{{rp|63}}</blockquote> '''27 May 1877''': Lily Langtry:<blockquote>Her big moment on May 27, 1877, when Sir Allen Young, the arctic explorer, invited her to late supper in his house, where it had been arranged that the Prince of Wales should meet her after the opera. The result was all that could have been expected. Mrs. Langtry became the Prince's first openly recognised mistress.<ref name=":1" />{{rp|69}}</blockquote>'''31 May 1877, Wednesday''': Derby Day. The Prince and Princess of Wales did not attend, as he was ill. June July August September October November December ==1877== "In 1877, unemployment was 4.7 percent; by 1879, it had risen to 11.4 percent."<ref name=":4" /> (690 of 1203) January February March April ===May=== '''30 May 1877, Wednesday''': Derby Day. June July August September October November ===December=== '''15 December 1877'''<blockquote>On Dec. 15, 1877, the Queen honoured Lord Beaconsfield, the Premier, with a visit at Hughenden Manor. Her Majesty, accompanied by Princess Beatrice and attended by General Ponsonby and the Marchioness of Ely, left Windsor at 12.40 and proceeded by special train to High Wycombe, which was reached at 1.15. The Premier received the Queen at the station. A lofty triumphal arch spanned the entrance to the station-yard, and beneath this the royal party drove into the gaily decorated little town. The reception along the route was of the heartiest, and the drive of two miles to Hughenden was one long triumph. Lord Beaconsfield, who had preceded the party, welcomed the Queen at his own door. Lunch was served, and her Majesty remained about two hours. Before leaving she planted a memorial tree.<ref>"The Queen's Glorious Reign." ''Illustrated London News'' (London, England), Saturday, May 27, 1899; pp. 757–765?; Issue 3136. Queen's Glorious Reign [Supplement]: 762?</ref></blockquote> ==1878== January February March April May ===June=== '''5 June 1878, Wednesday''': Derby Day. July August September October ===November=== '''8 November 1878''': from the journal of George, Duke of Cambridge:<blockquote>''November'' 8. — Gave farewell diner to the Lornes; Louise and Lorne, Augusta, Mary and Francis, Arthur, Leopold, Gleichens, J. Macdonald and self, and played at Nap afterwards. It was a good and nice little dinner."<ref>Sheppard, Edgar, Ed. ''George, Duke of Cambridge: A Memoir of His Private Life, Based on the Journals and Correspondence of His Royal Highness''. Vol. 2, 1871–1904. New York: Longmans, Green, 1906. http://books.google.com/books?id=dFoMAAAAYAAJ.</ref></blockquote>December ==1879== ===January=== '''12 January 1879'''<blockquote>On 12 January 1879 Robert Milnes came of age, an event celebrated at Fryston by a tenants' ball.<ref name=":2" />{{rp|18}}</blockquote> '''28 January 1879''': Brett "Harte kicked off his tour at the Crystal Palace in Sydenham on January 28, 1879."<ref>Nissen, Alex. ''Brett Harte: Prince and Pauper''. Jackson, MS: University Press of Mississippi, 2000.</ref>{{rp|174}} February March ===April=== '''Early April 1879''' or so, probably, Bret Harte got "an invitation to dine the same evening with Arthur Sullivan and the Prince of Wales" as a dinner in Birmingham where Harte met T. Edgar Pemberton.<ref>Scharnhorst, Gary. ''Bret Harte: Opening the American Literary West''. Norman, OK: Univ. of Oklahoma Press, 2000.</ref>{{rp|152}} ===May=== '''28 May 1879, Wednesday''': Derby Day; the Prince and Princess of Wales attended. ===June=== '''June 1879''', Robert Milnes became engaged to "Sibyl Marcia, a daughter of a North-country baronet, Sir Frederick Graham of Netherby."<ref name=":2" />{{rp|18}} Parties must have followed. July August September October November ===December=== '''28 December 1879''': The Tay Bridge Disaster: The Tay Bridge collapsed with a train on it. The weather was very bad, with gale-force winds and rain. The ''Times'' reported that the average high temperature for the week ending December 31, 1879, was 53° F. and the low was 20° F. In his column "What the World Says" in the 21 January 1880 World, Edmund Yates writes the following:<blockquote>How am I to describe better the magnificence of the Earl and Countess of Rosslyn’s ball at Euston Lodge last month, than by calling attention to the fact that M. Carlo, the eminent Knightsbridge coiffeur, arrived early in the day to crimp and powder the lacqueys? My informant adds, however, that the curled darlings were rather the worse for the festivities towards night. Was it not enough to turn their heads in every sense of the word?<ref name=":0">Edmund Yates, "What the World Says," ''The World: A Journal for Men and Women''.</ref>{{rp|21 Jan. 1880, p. 8, col. b.}}</blockquote> '''31 December 1879''': Edmund Yates, editor of The World: A Journal for Men and Women, in his column "What the World Says," describes a private viewing at the Grosvenor Gallery:<blockquote>The private view at the Grosvenor on the last day of the year gave people something to do on a desperately wet afternoon. The artistic dresses were perhaps in greater force than ever; indeed the faces and the hair and the attitudes pursued me to my bed, and gave me many a nightmare. I suppose the plain woman of all time has had the ambition to be looked at: centuries of failure have at last been crowned with a real success. Besides the Cimabue Browns there was an interesting menagerie of real lions, artistic, literary, and clerical. The artists were numerous, and their host and hostess seemed to enjoy themselves very thoroughly. Frequenters of the picture private views have a new sensation this winter. Last season they mobbed beauty: now hideously-attired unkempt dowdiness provokes the stare. The prize for the new style seems generally awarded to a rhubarb coloured flannel Ulster and a cart-wheel beaver hat, which pervaded both the private views last week. [2 private views last week, one at the Grosvenor]<ref name=":0" />{{rp|7 Jan. 1880, p. 9}}</blockquote> The official premiere of ''The Pirates of Penzance'' occurred in New York City on 31 December 1879 at the Fifth Avenue Theatre, to establish international copyright. Gilbert and Sullivan were there with the cast. The performance was a social event: attending were Mrs. Vanderbilt and Mrs. Astor. ==Works Cited== {{reflist}} 708weeed925q4n25ego8uuj3ailgq6l 2817755 2817754 2026-07-05T22:40:26Z Scogdill 1331941 /* 4 January 1871, Wednesday */ 2817755 wikitext text/x-wiki ==Time Line== [[Social Victorians/Timeline/1840s|1840s]] [[Social Victorians/Timeline/1850s |1850s]] [[Social Victorians/Timeline/1860s | 1860s]] 1870s [[Social Victorians/Timeline/1880s | 1880s]] [[Social Victorians/Timeline/1890s | 1890s]] [[Social Victorians/Timeline/1900s|1900s]] [[Social Victorians/Timeline/1910s|1910s]] [[Social Victorians/Timeline/1920s-30s|1920s-30s]] ==1870== "Until 1870 all of the money women earned belonged to their husbands, and until 1882 their property did too, even after a divorce or separation."<ref name=":4" /> (698 of 1203) In 1870 Parliament debated and defeated the first bill for women's suffrage, but allowed "women who owned property ... to stand for election to school boards."<ref name=":4" /> (698–699 of 1203) "The bulk of Irish farmers did not own their land, and instead leased it from landlords, the majority of whom lived in England. In 1870, only 3 percent of agricultural holdings were occupied by owners."<ref name=":4" /> (742 of 1203) Dante Gabriel Rossetti and Arthur Sullivan were at the same dinner party in 1870? Another dinner party had as guests Charles Dickens, Dante Gabriel Rossetti, John Tenniel and George Du Maurier. January February March April May June July August September October November December ==1871== Although Queen Victoria had opened Parliament for the first time in February 1866, when people saw her for the first time in years as her open carriage made its way, she was unpopular because it seemed she was not working. Gladstone was Prime Minister.<blockquote>Between 1871 and 1874, eighty-five Republican Clubs were founded in Britain, protesting, among other things, the "expensiveness and uselessness of the monarchy" and Bertie's "immoral example."<ref name=":4">Baird, Julia. ''Victoria the Queen, an Intimate Biography of the Woman Who Ruled an Empire''. Random House, 2016. Apple Books: https://books.apple.com/us/book/victoria-the-queen/id953835024.</ref> (617 of 1203)</blockquote>"The 1871 Royal Commission on the Contagious Diseases Acts ... declared there was no comparison to be made between prostitutes and their clients: 'With the one sex the offence is committed as a matter of gain, with the other it is an irregular indulgence of a natural impulse.'"<ref name=":4" /> (704 of 1203) === January === Germany is united under King William I of Prussia. Julia Baird says, "At the same time, Italy captured and annexed the Papal States, which had been under the direct rule of the Pope since the 700s and had lost their protector in Napoleon III."<ref name=":4" /> (646 of 1203) ==== 4 January 1871, Wednesday ==== <blockquote>INVITATION BALL.<p> On Wednesday evening last Major Goodman and the Officers of the 5th Dragoon Guards gave an invitation ball, which was held in the Drapers’ Hall (kindly placed at their disposal by the Drapers’ Company). The following ladies and gentlemen were amongst those who received invitations The Marquis and Marchioness of Hertford; the Earl and Countess of Aylesford; Lady A. N. Finch, Lord Guernsey, and the Hon. Mr. Finch; Lord and Lady Leigh and Miss Leigh; Lord and Lady Henley and Miss Henley, Miss Elwes, Lord and Lady Wrottealey, Lord and Lady Manners; C. N. Newdegate, Esq., M.P.; Captain, Mrs., and Miss Adams; E. Petre, Esq., and Lady Gwendoline Petre; J. Beech, Esq., Mrs. and Miss Beech, and Mr. Beech, jun.; Mr. and Mrs. Turner; Mr. and Mrs. Fetherstone Dilke, Mrs. and the Misses Fetherstone, Mr. Fetherstone, and Mr. Beaumont Fetherstone; Mr. and Mrs. P. A. Muntz; Captain and Mrs. Boultbee, of Knowle; Mr. C. M. Caldecott, Mrs. Caldecott, and the Misses Caldecott; the Rev. A. Fanshawe and Mrs. Fanshawe; Captain and Mrs. Battine; the Rev. S. C. Spencer Smith; the Rev. R. H. Baynes, M.A., vicar of St. Michael’s; the Rev. H. T. Harris, (Christ Church); General and Mr. Richmond Jones; Colonel F. Chaplin, and the Officers of the 4th Dragoon Guards, stationed at Northampton; Captain Thornelow, and the Officers of the Royal Artillery, at Weedon; the officers of the 4th Royal Regiment at Weedon; Mr. and Mrs. E. Wood; Mr. and Mrs. Herbert Wood; the Colonel and officers of the First Warwickshire Militia; Mrs. and Miss Alston, and Mr. Alston, jun., of Elmdon; Mr. and Mrs. F. Paget; Mr. and Mrs. Gulson; Captain Thomson; Captain and Mrs. Raleigh King; Mrs. Phillipson; Lord and Lady Mountgarret; the Honourable Miss Butler; Mr. and Mrs. Courtenay Lord; the Hon. Mrs. Twistleton; Mr. and the Misses Conant; Captain and Mrs. J. Marsland; Major and Mrs. Edlman; Mr. and Mrs. Astley; Mr. T. Lant, Mr. R. Lant and Mr. J. Lant, Mrs. and Miss Lant; Mr. W. T. Cavendish; Mr. and Mrs. A. Rotherham; the Marquis of Ormonde, of the first Life Guards; the Earl of Calludon, of the First Life Guards; Mrs. and the Misses Hobson; Mr P. Hobson, and Mrs. Hobson; Mr. and Mrs. Soames; Mr. and Mrs. Adderley, Sir John Rae Reid; Capt. and Mrs. Townshend, of Caldecote Hall; Lieut.-Colonel Swinfen and the Officers of the 5th Dragoon Guards stationed at Leeds; Capt. Marsden and the Officers of the 5th Dragoon Guards stationed at Birmingham; Colonel, Mrs., and Miss Bourne; Mr. and Mrs. Wyley Lord; Captain and Mrs. Thursby; Mr. and Mrs Morrice; Lieut.-Colonel Wirgman; Mr. and Mrs. J. Rotherham; [[Social Victorians/People/Abercorn|Lady Caroline Howard]]; Mr. and Mrs. Rotherham; Mr and Mrs John Sankey and the Misses Sankey; Mrs. and the Misses Murphy; Mr. Bibby (4th Hussars), Captain Gist (7th Hussars), Mr. Gregg (8th Hussars), Mr. Hamilton (7th Dragoon Guards), Colonel Rattray, Mr and Mrs. R. Boyd, &c, &c. The string band of the 5th Dragoon Guards, under the direction of Mr. Sidney Jones, performed the following selection of music:— Quadrille, Barbe Bleue; Valse, Marian; Galop, Bonderbryllup; Lancers, Knight of St. Patrick; Valse, Hydropaten; Galop, Flick and Flock; Quadrille, Princess of Trebizonde; Valse, the Belle of the Ball; Galop, the Fox Hunters; Valse, the Dragoon Guards; Lancers, the Gaiety; Valse, the Beautiful Danube; Valse, Wiener Kinder; Quadrille, the Fest; Galop, the Village Rose; Valse, the Geraldine; Lancers, Merry Tunes; Galop, Barbe Bleue; Valse, Various; Galop, Glorioso.<ref>"Invitation Ball." ''Coventry Standard'' 6 January 1871, Friday: 4 [of 4], Col. 5b [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000683/18710106/100/0004. Same print title, n.p.</ref></blockquote> === February === ==== Birmingham Tennis Court Club Ball ==== 1871 February 17, Friday, the "bachelors of the Tennis Court Club" hosted a ball in Birmingham:<blockquote>LEAMINGTON. B<small>ACHELORS'</small> B<small>ALL</small>. — Last night the bachelors of the Tennis Court Club gave a grand ball at the Royal Assembly Rooms, Regent Street. The ball was one of the most brilliant of the season, nearly four hundred of the ''élite'' of the town and neighbourhood having accepted the invitation of the bachelors. The ballroom was specially fitted up for the occasion, and a splendid supper was served in the adjoining rooms, where refreshments were also provided. Coote and Tiney's band was specially engaged for the occasion, and played a selection of the newest and most popular dance music. Amongst the distinguished guests present were — The High Sheriff and Mrs. J. T. Arkwright, Lady Arbuthnott, Lord and Lady Conyers, [[Social Victorians/People/Abercorn|Lady Caroline Howard]], Viscount and Viscountess Mountgarret and the Hon. Miss Butler, Sir John and Lady Blois, Sir Thomas Biddulph, the Hon. Miss Somerville, Sir William and Lady Fairfax, the Hon. Charles L. Butler, Rev. Sir John Rae, General and Mrs. Richmond Jones, Major Eldman, Major and Mrs. James Ashton, Major and Mrs. Boothby, Colonel Ruttie, Colonel Duberly, Colonel and Mrs. Machen, Colonel Rattray, Capt. and Mrs. Kennedy, Capt. W. J. Hall, Capt. Hodge, Capt. and Mrs. Morgan, Capt. and Mrs. Pearse, Capt. Roberts, Capt. Story, Mr. and Mrs. Featherstone Dilke (Maxstoke Castle) and Miss Dixie, Mr. C. M., Miss, and Miss M. A. Caldecott (Holbrooke Grange), Mr. and Mrs. J. Dugdale (Wroxhall Abbey), Mr. E. Greaves, M.P., Mr. and Mrs. C. L. Adderley (Hams Hall), and Capt. and Mrs. Hatherall. Several of the officers from the dragoons and artillery at Coventry and Birmingham were also present. The bachelors who gave the ball were twenty-eight in number.<ref>"Leamington." "District News." ''Birmingham Morning News'' 18 February 1871, Saturday: 7 [of 8, print and digital], Col. 5b [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0005826/18710218/114/0007. Print and digital title are the same.</ref></blockquote> === March === === April === ==== 18 April 1871 ==== <blockquote>Karl Marx “was commissioned by the General Council of the International to write a pamphlet about the Paris [377–378] Commune."<ref name=":3">Smee, Sebastian. ''Paris in Ruins: Love, War, and the Birth of Impressionism''. W. W. Norton, 2024.</ref>{{rp|377–378 of 667}}</blockquote> ===May=== ==== 9 May 1871, Tuesday, Queen's Drawing-Room ==== <blockquote>THE QUEEN'S DRAWING-ROOM. The Queen held a Drawing-room at Buckingham Palace on Tuesday afternoon. The Priuce of Wales, Prince Arthur, Prince Leopold, and Princess Beatrice were present. Her Majesty, accompanied by the Prince of Wales and the other members of the royal family, entered the Throne Room shortly after three o'clock. The Queen wore a black moire antique dress with a train, long white tulle veil with a coronet of diamonds. Her Majesty also wore a necklace of diamonds and amethysts, the Riband and Star of the Order of the Garter, the Orders of Victoria and Albert and Louise of Prussia, and the Saxe Coburg and Gotha Family Order. Princess Beatrice wore a dress of white tulle over a rich white silk petticoat looped up with lilies of the valley and apple blossom; ornaments — pearls and diamonds. The presentations to Her Majesty were about 280 in number, and included the following:— Mrs Atlay, by the Countess Grey; Miss Backhouse, by her mother, Mrs Backhouse; Miss Charlesworth, by her aunt, Frances Lady Hawke; Miss Backhouse Fox, by her aunt, Mrs Backhouse; [[Social Victorians/People/Abercorn|Lady Caroline Howard]], by her mother, [[Social Victorians/People/Abercorn|the Hon. Mrs Howard]]; the Hon. Gwendoline Fitz-Alan Howard, by the Duchess of Sutherland; [[Social Victorians/People/Abercorn|Lady Alice Howard]], by her mother, Hon. Mrs Howard; [[Social Victorians/People/Abercorn|Lady Louisa Howard]], by her mother, Hon. Mrs Howard; Miss Howard (of Corby), by the Hon. Mrs Philip Stourton; Miss Agnes Howard (of Corby), by the Hon. Mrs Philip Stourton; Sir Henry Ingilby, Bart., by Earl Russell; Mrs Frank Lascelles, by Lady Edward Cavendish; Mrs Gerald Liddell, marriage, by the Countess of Normanby.<ref>"Court and Official News." ''Yorkshire Post and Leeds Intelligencer'' 11 May 1871, Thursday: 3 [of 4], Col. 4c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000686/18710511/074/0003. Same print title and p.n.</ref></blockquote>'''24 May 1871, Wednesday''': Derby Day. Baron Rothschild's Favonius won. The Prince of Wales attended. June July August September ===October=== '''October 1871'''<blockquote>At Londesborough Lodge near Scarborough, where Lady Londesborough gave a royal house party in October 1871, not only [ 41/42 ] were the bathrooms few but the drains seeped into the drinking water. Several guests, including the Prince [of Wales] and his groom and Lord Chesterfield, contracted typhoid fever. When Chesterfield and the groom died, the doctors abandoned hope for the Prince.<ref name=":1">Leslie, Anita. ''The Marlborough House Set''. New York: Doubleday, 1973. Print.</ref>{{rp|41–42}}</blockquote> The Prince of Wales recovered on 14 December 1871. November December ==1872== January February March April ===May=== '''29 May 1872, Wednesday''': Derby Day June July ===August=== '''August 1872''': The "dance on the cruiser Ariadne" probably occurred in August 1872:<blockquote>When his [the Prince of Wales'] brother, the Duke of Edinburgh, married the attractive Grand Duchess Marie, daughter of Tsar Alexander II of Russia, her family made a fuss because she was not granted precedence above the Princess of Wales. Albert Edward soothed ruffled feelings by inviting the Tsarevitch and his wife Marie Feodorovna (who was Alexandra's sister) to stay for two months and be entertained at Cowes. ...<p></p> ... At the dance on the cruiser Ariadne which the Prince gave in honour of the Tsarevitch and his Grand Duchess," Lord Randolph Churchill met the 19-year-old "Miss Jennie Jerome of New York."<ref name=":1" />{{rp|42–43}}</blockquote> September October November December ==1873== January February March April ===May=== '''28 May 1873, Wednesday''': Derby Day June July August September October November December ==1874== January February March April ===May=== ==== 1874 May, Early ==== <blockquote>As monarchists’ hopes flared, the Catholic Church, too, enjoyed a conspicuous revival. The National Assembly approved a design for a new basilica for Paris. Intended as an act of collective atonement, Sacré-Coeur was to perch atop Montmartre, immediately above where Nadar’s balloons had been launched and where the radicals’ insurrection had broken out. Excavations began in early May 1874 .... But the focus of the penance the basilica was intended to embody gradually shifted from the moral decline of French society in general to the despicable excesses of the Commune. In 1872 Archbishop Darboy’s successor claimed to have had a vision as he climbed the Butte Montmartre. The clouds dispersed, and he realized that it was there, “where the martyrs” were (he meant the murdered generals Lecomte and Clément-Thomas), that a new church should be built. And when the Assembly voted to proceed with the construction, legislators specified that its purpose was to “expiate the crimes of the Commune.”<ref name=":3" /> (464 of 667)</blockquote> ===June=== '''3 June 1874, Wednesday''': Derby Day June July August September October November ===December=== '''8 December 1874, Tuesday''': "CHATSWORTH, Tuesday, December 8th, 1874. — We are come to the last slide of the Chatsworth magic lantern: the Duke of Cambridge and his equerry, a funny little man called Tyrwhitt, of no particular age, in a grey wig; Lord Carlingford and Ly. Waldegrave, the Spencers, Mr. Leveson, Cavendish."<ref>{{Cite web|url=http://ladylucycavendish.blogspot.com/2010/12/08dec1874-chatsworth-magic-lantern.html|title=Lady Lucy Cavendish: 08Dec1874, The Chatsworth Magic Lantern|last=H|first=Denise|date=2010-12-04|website=Lady Lucy Cavendish|access-date=2025-06-18}}</ref> ==1875== Disraeli's progressive legislation for labor rights:<blockquote>In 1875, he passed a series of enlightened acts protecting labor rights, arguing they were as important as property rights. Two of the laws ensured that workers would have the same recourse as employers when contracts were breached, and made peaceful picketing legal, protecting unions from charges of conspiracy.<ref name=":4" /> (578 of 1203)</blockquote>After women who owned property were allowed by Parliament to stand for local school-board elections in 1870, "Elizabeth Garrett Anderson, the first woman to qualify as a doctor in Britain — in 1865 — stood and was elected to her local board five years later."<ref name=":4" /> (199 of 1203) The relationship between Swinburne and Lord Houghton:<blockquote>...not all Lord Houghton's children appreciated the catholicity of "Papa's" taste in friends: "Swinburne (in a very excited state) came in in the evening," wrote Florence Milnes to her brother in 1875: "He is madder than ever, to my astonishment he flopped down on one knee in front of me, & announced that my hair had grown darker. This was rather embarrassing, and he is also so deaf now, which does not make it easier to talk to him."<ref name=":2">Pope-Hennessy Lord Crewe.</ref>{{rp|5}}</blockquote> January February March April ===May=== '''26 May 1875, Wednesday''': Derby Day. The Prince and Princess of Wales attended, as did a number of others of the royal family, including Princess Louise and Lorne. June July ===August=== '''August through October 1875''' Richard Monckton Milnes (Lord Houghton) and son Robert Milnes toured the U.S. and Canada:<blockquote>They set off in the steamer s.s Sarmatian from Liverpool in August 1875, stopping at Ireland to pick up the usual load of emigrants bound for the U.S.A. The most interesting among the passengers was 'Mr. Butler, author of Erewhon, who is very amusing and clever though infidel,' but, although he played whist with Samuel Butler, the young man was far more interested in the Eustace Smiths (parents of his friend W. H. Smith), and in a Canadian family named Macpherson, the youngest of whose two daughters, the dark-eyed Isobel, caught his fancy: he saw them afterwards in Toronto, and when they parted she gave him two larger than carte-de-visite photographs of herself, he gave her a smaller one of himself together with the inevitable volume of his father's verse."<ref name=":2" />{{rp|10}}</blockquote>September October November December ==1876== Disraeli pushed through the Cruelty to Animals Act in order to please Queen Victoria. This act "forced researchers to demonstrate that any experiments with animals involving pain were absolutely necessary, and ensured they would be anesthetized if so."<ref name=":4" /> (679 of 1203) January February March April ===May=== '''11 May 1876''': In the midst of the Aylesford scandal, the Prince of Wales returned from a journey to Egypt and India, etc.:<blockquote>However harassed and exhausted, the Prince and Princess of Wales would put up a good show. Within an hour of their arrival home they set forth to attend a gala performance at Covent Garden Opera House. It was a brave decision to face the public and allow an immediate opportunity for demonstration. The Prince and Princess were rewarded when the audience rose to its feet to give them a standing ovation before the start of every act, as well as at the end, of Verdi's Ballo in Maschera.<ref name=":1" />{{rp|63}}</blockquote> '''27 May 1877''': Lily Langtry:<blockquote>Her big moment on May 27, 1877, when Sir Allen Young, the arctic explorer, invited her to late supper in his house, where it had been arranged that the Prince of Wales should meet her after the opera. The result was all that could have been expected. Mrs. Langtry became the Prince's first openly recognised mistress.<ref name=":1" />{{rp|69}}</blockquote>'''31 May 1877, Wednesday''': Derby Day. The Prince and Princess of Wales did not attend, as he was ill. June July August September October November December ==1877== "In 1877, unemployment was 4.7 percent; by 1879, it had risen to 11.4 percent."<ref name=":4" /> (690 of 1203) January February March April ===May=== '''30 May 1877, Wednesday''': Derby Day. June July August September October November ===December=== '''15 December 1877'''<blockquote>On Dec. 15, 1877, the Queen honoured Lord Beaconsfield, the Premier, with a visit at Hughenden Manor. Her Majesty, accompanied by Princess Beatrice and attended by General Ponsonby and the Marchioness of Ely, left Windsor at 12.40 and proceeded by special train to High Wycombe, which was reached at 1.15. The Premier received the Queen at the station. A lofty triumphal arch spanned the entrance to the station-yard, and beneath this the royal party drove into the gaily decorated little town. The reception along the route was of the heartiest, and the drive of two miles to Hughenden was one long triumph. Lord Beaconsfield, who had preceded the party, welcomed the Queen at his own door. Lunch was served, and her Majesty remained about two hours. Before leaving she planted a memorial tree.<ref>"The Queen's Glorious Reign." ''Illustrated London News'' (London, England), Saturday, May 27, 1899; pp. 757–765?; Issue 3136. Queen's Glorious Reign [Supplement]: 762?</ref></blockquote> ==1878== January February March April May ===June=== '''5 June 1878, Wednesday''': Derby Day. July August September October ===November=== '''8 November 1878''': from the journal of George, Duke of Cambridge:<blockquote>''November'' 8. — Gave farewell diner to the Lornes; Louise and Lorne, Augusta, Mary and Francis, Arthur, Leopold, Gleichens, J. Macdonald and self, and played at Nap afterwards. It was a good and nice little dinner."<ref>Sheppard, Edgar, Ed. ''George, Duke of Cambridge: A Memoir of His Private Life, Based on the Journals and Correspondence of His Royal Highness''. Vol. 2, 1871–1904. New York: Longmans, Green, 1906. http://books.google.com/books?id=dFoMAAAAYAAJ.</ref></blockquote>December ==1879== ===January=== '''12 January 1879'''<blockquote>On 12 January 1879 Robert Milnes came of age, an event celebrated at Fryston by a tenants' ball.<ref name=":2" />{{rp|18}}</blockquote> '''28 January 1879''': Brett "Harte kicked off his tour at the Crystal Palace in Sydenham on January 28, 1879."<ref>Nissen, Alex. ''Brett Harte: Prince and Pauper''. Jackson, MS: University Press of Mississippi, 2000.</ref>{{rp|174}} February March ===April=== '''Early April 1879''' or so, probably, Bret Harte got "an invitation to dine the same evening with Arthur Sullivan and the Prince of Wales" as a dinner in Birmingham where Harte met T. Edgar Pemberton.<ref>Scharnhorst, Gary. ''Bret Harte: Opening the American Literary West''. Norman, OK: Univ. of Oklahoma Press, 2000.</ref>{{rp|152}} ===May=== '''28 May 1879, Wednesday''': Derby Day; the Prince and Princess of Wales attended. ===June=== '''June 1879''', Robert Milnes became engaged to "Sibyl Marcia, a daughter of a North-country baronet, Sir Frederick Graham of Netherby."<ref name=":2" />{{rp|18}} Parties must have followed. July August September October November ===December=== '''28 December 1879''': The Tay Bridge Disaster: The Tay Bridge collapsed with a train on it. The weather was very bad, with gale-force winds and rain. The ''Times'' reported that the average high temperature for the week ending December 31, 1879, was 53° F. and the low was 20° F. In his column "What the World Says" in the 21 January 1880 World, Edmund Yates writes the following:<blockquote>How am I to describe better the magnificence of the Earl and Countess of Rosslyn’s ball at Euston Lodge last month, than by calling attention to the fact that M. Carlo, the eminent Knightsbridge coiffeur, arrived early in the day to crimp and powder the lacqueys? My informant adds, however, that the curled darlings were rather the worse for the festivities towards night. Was it not enough to turn their heads in every sense of the word?<ref name=":0">Edmund Yates, "What the World Says," ''The World: A Journal for Men and Women''.</ref>{{rp|21 Jan. 1880, p. 8, col. b.}}</blockquote> '''31 December 1879''': Edmund Yates, editor of The World: A Journal for Men and Women, in his column "What the World Says," describes a private viewing at the Grosvenor Gallery:<blockquote>The private view at the Grosvenor on the last day of the year gave people something to do on a desperately wet afternoon. The artistic dresses were perhaps in greater force than ever; indeed the faces and the hair and the attitudes pursued me to my bed, and gave me many a nightmare. I suppose the plain woman of all time has had the ambition to be looked at: centuries of failure have at last been crowned with a real success. Besides the Cimabue Browns there was an interesting menagerie of real lions, artistic, literary, and clerical. The artists were numerous, and their host and hostess seemed to enjoy themselves very thoroughly. Frequenters of the picture private views have a new sensation this winter. Last season they mobbed beauty: now hideously-attired unkempt dowdiness provokes the stare. The prize for the new style seems generally awarded to a rhubarb coloured flannel Ulster and a cart-wheel beaver hat, which pervaded both the private views last week. [2 private views last week, one at the Grosvenor]<ref name=":0" />{{rp|7 Jan. 1880, p. 9}}</blockquote> The official premiere of ''The Pirates of Penzance'' occurred in New York City on 31 December 1879 at the Fifth Avenue Theatre, to establish international copyright. Gilbert and Sullivan were there with the cast. The performance was a social event: attending were Mrs. Vanderbilt and Mrs. Astor. ==Works Cited== {{reflist}} ecu1vaspeluczsnrae4pgunhunm9t64 2817756 2817755 2026-07-05T22:41:47Z Scogdill 1331941 /* Birmingham Tennis Court Club Ball */ 2817756 wikitext text/x-wiki ==Time Line== [[Social Victorians/Timeline/1840s|1840s]] [[Social Victorians/Timeline/1850s |1850s]] [[Social Victorians/Timeline/1860s | 1860s]] 1870s [[Social Victorians/Timeline/1880s | 1880s]] [[Social Victorians/Timeline/1890s | 1890s]] [[Social Victorians/Timeline/1900s|1900s]] [[Social Victorians/Timeline/1910s|1910s]] [[Social Victorians/Timeline/1920s-30s|1920s-30s]] ==1870== "Until 1870 all of the money women earned belonged to their husbands, and until 1882 their property did too, even after a divorce or separation."<ref name=":4" /> (698 of 1203) In 1870 Parliament debated and defeated the first bill for women's suffrage, but allowed "women who owned property ... to stand for election to school boards."<ref name=":4" /> (698–699 of 1203) "The bulk of Irish farmers did not own their land, and instead leased it from landlords, the majority of whom lived in England. In 1870, only 3 percent of agricultural holdings were occupied by owners."<ref name=":4" /> (742 of 1203) Dante Gabriel Rossetti and Arthur Sullivan were at the same dinner party in 1870? Another dinner party had as guests Charles Dickens, Dante Gabriel Rossetti, John Tenniel and George Du Maurier. January February March April May June July August September October November December ==1871== Although Queen Victoria had opened Parliament for the first time in February 1866, when people saw her for the first time in years as her open carriage made its way, she was unpopular because it seemed she was not working. Gladstone was Prime Minister.<blockquote>Between 1871 and 1874, eighty-five Republican Clubs were founded in Britain, protesting, among other things, the "expensiveness and uselessness of the monarchy" and Bertie's "immoral example."<ref name=":4">Baird, Julia. ''Victoria the Queen, an Intimate Biography of the Woman Who Ruled an Empire''. Random House, 2016. Apple Books: https://books.apple.com/us/book/victoria-the-queen/id953835024.</ref> (617 of 1203)</blockquote>"The 1871 Royal Commission on the Contagious Diseases Acts ... declared there was no comparison to be made between prostitutes and their clients: 'With the one sex the offence is committed as a matter of gain, with the other it is an irregular indulgence of a natural impulse.'"<ref name=":4" /> (704 of 1203) === January === Germany is united under King William I of Prussia. Julia Baird says, "At the same time, Italy captured and annexed the Papal States, which had been under the direct rule of the Pope since the 700s and had lost their protector in Napoleon III."<ref name=":4" /> (646 of 1203) ==== 4 January 1871, Wednesday ==== <blockquote>INVITATION BALL.<p> On Wednesday evening last Major Goodman and the Officers of the 5th Dragoon Guards gave an invitation ball, which was held in the Drapers’ Hall (kindly placed at their disposal by the Drapers’ Company). The following ladies and gentlemen were amongst those who received invitations The Marquis and Marchioness of Hertford; the Earl and Countess of Aylesford; Lady A. N. Finch, Lord Guernsey, and the Hon. Mr. Finch; Lord and Lady Leigh and Miss Leigh; Lord and Lady Henley and Miss Henley, Miss Elwes, Lord and Lady Wrottealey, Lord and Lady Manners; C. N. Newdegate, Esq., M.P.; Captain, Mrs., and Miss Adams; E. Petre, Esq., and Lady Gwendoline Petre; J. Beech, Esq., Mrs. and Miss Beech, and Mr. Beech, jun.; Mr. and Mrs. Turner; Mr. and Mrs. Fetherstone Dilke, Mrs. and the Misses Fetherstone, Mr. Fetherstone, and Mr. Beaumont Fetherstone; Mr. and Mrs. P. A. Muntz; Captain and Mrs. Boultbee, of Knowle; Mr. C. M. Caldecott, Mrs. Caldecott, and the Misses Caldecott; the Rev. A. Fanshawe and Mrs. Fanshawe; Captain and Mrs. Battine; the Rev. S. C. Spencer Smith; the Rev. R. H. Baynes, M.A., vicar of St. Michael’s; the Rev. H. T. Harris, (Christ Church); General and Mr. Richmond Jones; Colonel F. Chaplin, and the Officers of the 4th Dragoon Guards, stationed at Northampton; Captain Thornelow, and the Officers of the Royal Artillery, at Weedon; the officers of the 4th Royal Regiment at Weedon; Mr. and Mrs. E. Wood; Mr. and Mrs. Herbert Wood; the Colonel and officers of the First Warwickshire Militia; Mrs. and Miss Alston, and Mr. Alston, jun., of Elmdon; Mr. and Mrs. F. Paget; Mr. and Mrs. Gulson; Captain Thomson; Captain and Mrs. Raleigh King; Mrs. Phillipson; Lord and Lady Mountgarret; the Honourable Miss Butler; Mr. and Mrs. Courtenay Lord; the Hon. Mrs. Twistleton; Mr. and the Misses Conant; Captain and Mrs. J. Marsland; Major and Mrs. Edlman; Mr. and Mrs. Astley; Mr. T. Lant, Mr. R. Lant and Mr. J. Lant, Mrs. and Miss Lant; Mr. W. T. Cavendish; Mr. and Mrs. A. Rotherham; the Marquis of Ormonde, of the first Life Guards; the Earl of Calludon, of the First Life Guards; Mrs. and the Misses Hobson; Mr P. Hobson, and Mrs. Hobson; Mr. and Mrs. Soames; Mr. and Mrs. Adderley, Sir John Rae Reid; Capt. and Mrs. Townshend, of Caldecote Hall; Lieut.-Colonel Swinfen and the Officers of the 5th Dragoon Guards stationed at Leeds; Capt. Marsden and the Officers of the 5th Dragoon Guards stationed at Birmingham; Colonel, Mrs., and Miss Bourne; Mr. and Mrs. Wyley Lord; Captain and Mrs. Thursby; Mr. and Mrs Morrice; Lieut.-Colonel Wirgman; Mr. and Mrs. J. Rotherham; [[Social Victorians/People/Abercorn|Lady Caroline Howard]]; Mr. and Mrs. Rotherham; Mr and Mrs John Sankey and the Misses Sankey; Mrs. and the Misses Murphy; Mr. Bibby (4th Hussars), Captain Gist (7th Hussars), Mr. Gregg (8th Hussars), Mr. Hamilton (7th Dragoon Guards), Colonel Rattray, Mr and Mrs. R. Boyd, &c, &c. The string band of the 5th Dragoon Guards, under the direction of Mr. Sidney Jones, performed the following selection of music:— Quadrille, Barbe Bleue; Valse, Marian; Galop, Bonderbryllup; Lancers, Knight of St. Patrick; Valse, Hydropaten; Galop, Flick and Flock; Quadrille, Princess of Trebizonde; Valse, the Belle of the Ball; Galop, the Fox Hunters; Valse, the Dragoon Guards; Lancers, the Gaiety; Valse, the Beautiful Danube; Valse, Wiener Kinder; Quadrille, the Fest; Galop, the Village Rose; Valse, the Geraldine; Lancers, Merry Tunes; Galop, Barbe Bleue; Valse, Various; Galop, Glorioso.<ref>"Invitation Ball." ''Coventry Standard'' 6 January 1871, Friday: 4 [of 4], Col. 5b [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000683/18710106/100/0004. Same print title, n.p.</ref></blockquote> === February === ==== Birmingham Tennis Court Club Ball ==== 1871 February 17, Friday, the "bachelors of the Tennis Court Club" hosted a ball in Birmingham:<blockquote>LEAMINGTON. B<small>ACHELORS'</small> B<small>ALL</small>.<p> — Last night the bachelors of the Tennis Court Club gave a grand ball at the Royal Assembly Rooms, Regent Street. The ball was one of the most brilliant of the season, nearly four hundred of the ''élite'' of the town and neighbourhood having accepted the invitation of the bachelors. The ballroom was specially fitted up for the occasion, and a splendid supper was served in the adjoining rooms, where refreshments were also provided. Coote and Tiney's band was specially engaged for the occasion, and played a selection of the newest and most popular dance music. Amongst the distinguished guests present were — The High Sheriff and Mrs. J. T. Arkwright, Lady Arbuthnott, Lord and Lady Conyers, [[Social Victorians/People/Abercorn|Lady Caroline Howard]], Viscount and Viscountess Mountgarret and the Hon. Miss Butler, Sir John and Lady Blois, Sir Thomas Biddulph, the Hon. Miss Somerville, Sir William and Lady Fairfax, the Hon. Charles L. Butler, Rev. Sir John Rae, General and Mrs. Richmond Jones, Major Eldman, Major and Mrs. James Ashton, Major and Mrs. Boothby, Colonel Ruttie, Colonel Duberly, Colonel and Mrs. Machen, Colonel Rattray, Capt. and Mrs. Kennedy, Capt. W. J. Hall, Capt. Hodge, Capt. and Mrs. Morgan, Capt. and Mrs. Pearse, Capt. Roberts, Capt. Story, Mr. and Mrs. Featherstone Dilke (Maxstoke Castle) and Miss Dixie, Mr. C. M., Miss, and Miss M. A. Caldecott (Holbrooke Grange), Mr. and Mrs. J. Dugdale (Wroxhall Abbey), Mr. E. Greaves, M.P., Mr. and Mrs. C. L. Adderley (Hams Hall), and Capt. and Mrs. Hatherall. Several of the officers from the dragoons and artillery at Coventry and Birmingham were also present. The bachelors who gave the ball were twenty-eight in number.<ref>"Leamington." "District News." ''Birmingham Morning News'' 18 February 1871, Saturday: 7 [of 8, print and digital], Col. 5b [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0005826/18710218/114/0007. Print and digital title are the same.</ref></blockquote> === March === === April === ==== 18 April 1871 ==== <blockquote>Karl Marx “was commissioned by the General Council of the International to write a pamphlet about the Paris [377–378] Commune."<ref name=":3">Smee, Sebastian. ''Paris in Ruins: Love, War, and the Birth of Impressionism''. W. W. Norton, 2024.</ref>{{rp|377–378 of 667}}</blockquote> ===May=== ==== 9 May 1871, Tuesday, Queen's Drawing-Room ==== <blockquote>THE QUEEN'S DRAWING-ROOM. The Queen held a Drawing-room at Buckingham Palace on Tuesday afternoon. The Priuce of Wales, Prince Arthur, Prince Leopold, and Princess Beatrice were present. Her Majesty, accompanied by the Prince of Wales and the other members of the royal family, entered the Throne Room shortly after three o'clock. The Queen wore a black moire antique dress with a train, long white tulle veil with a coronet of diamonds. Her Majesty also wore a necklace of diamonds and amethysts, the Riband and Star of the Order of the Garter, the Orders of Victoria and Albert and Louise of Prussia, and the Saxe Coburg and Gotha Family Order. Princess Beatrice wore a dress of white tulle over a rich white silk petticoat looped up with lilies of the valley and apple blossom; ornaments — pearls and diamonds. The presentations to Her Majesty were about 280 in number, and included the following:— Mrs Atlay, by the Countess Grey; Miss Backhouse, by her mother, Mrs Backhouse; Miss Charlesworth, by her aunt, Frances Lady Hawke; Miss Backhouse Fox, by her aunt, Mrs Backhouse; [[Social Victorians/People/Abercorn|Lady Caroline Howard]], by her mother, [[Social Victorians/People/Abercorn|the Hon. Mrs Howard]]; the Hon. Gwendoline Fitz-Alan Howard, by the Duchess of Sutherland; [[Social Victorians/People/Abercorn|Lady Alice Howard]], by her mother, Hon. Mrs Howard; [[Social Victorians/People/Abercorn|Lady Louisa Howard]], by her mother, Hon. Mrs Howard; Miss Howard (of Corby), by the Hon. Mrs Philip Stourton; Miss Agnes Howard (of Corby), by the Hon. Mrs Philip Stourton; Sir Henry Ingilby, Bart., by Earl Russell; Mrs Frank Lascelles, by Lady Edward Cavendish; Mrs Gerald Liddell, marriage, by the Countess of Normanby.<ref>"Court and Official News." ''Yorkshire Post and Leeds Intelligencer'' 11 May 1871, Thursday: 3 [of 4], Col. 4c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000686/18710511/074/0003. Same print title and p.n.</ref></blockquote>'''24 May 1871, Wednesday''': Derby Day. Baron Rothschild's Favonius won. The Prince of Wales attended. June July August September ===October=== '''October 1871'''<blockquote>At Londesborough Lodge near Scarborough, where Lady Londesborough gave a royal house party in October 1871, not only [ 41/42 ] were the bathrooms few but the drains seeped into the drinking water. Several guests, including the Prince [of Wales] and his groom and Lord Chesterfield, contracted typhoid fever. When Chesterfield and the groom died, the doctors abandoned hope for the Prince.<ref name=":1">Leslie, Anita. ''The Marlborough House Set''. New York: Doubleday, 1973. Print.</ref>{{rp|41–42}}</blockquote> The Prince of Wales recovered on 14 December 1871. November December ==1872== January February March April ===May=== '''29 May 1872, Wednesday''': Derby Day June July ===August=== '''August 1872''': The "dance on the cruiser Ariadne" probably occurred in August 1872:<blockquote>When his [the Prince of Wales'] brother, the Duke of Edinburgh, married the attractive Grand Duchess Marie, daughter of Tsar Alexander II of Russia, her family made a fuss because she was not granted precedence above the Princess of Wales. Albert Edward soothed ruffled feelings by inviting the Tsarevitch and his wife Marie Feodorovna (who was Alexandra's sister) to stay for two months and be entertained at Cowes. ...<p></p> ... At the dance on the cruiser Ariadne which the Prince gave in honour of the Tsarevitch and his Grand Duchess," Lord Randolph Churchill met the 19-year-old "Miss Jennie Jerome of New York."<ref name=":1" />{{rp|42–43}}</blockquote> September October November December ==1873== January February March April ===May=== '''28 May 1873, Wednesday''': Derby Day June July August September October November December ==1874== January February March April ===May=== ==== 1874 May, Early ==== <blockquote>As monarchists’ hopes flared, the Catholic Church, too, enjoyed a conspicuous revival. The National Assembly approved a design for a new basilica for Paris. Intended as an act of collective atonement, Sacré-Coeur was to perch atop Montmartre, immediately above where Nadar’s balloons had been launched and where the radicals’ insurrection had broken out. Excavations began in early May 1874 .... But the focus of the penance the basilica was intended to embody gradually shifted from the moral decline of French society in general to the despicable excesses of the Commune. In 1872 Archbishop Darboy’s successor claimed to have had a vision as he climbed the Butte Montmartre. The clouds dispersed, and he realized that it was there, “where the martyrs” were (he meant the murdered generals Lecomte and Clément-Thomas), that a new church should be built. And when the Assembly voted to proceed with the construction, legislators specified that its purpose was to “expiate the crimes of the Commune.”<ref name=":3" /> (464 of 667)</blockquote> ===June=== '''3 June 1874, Wednesday''': Derby Day June July August September October November ===December=== '''8 December 1874, Tuesday''': "CHATSWORTH, Tuesday, December 8th, 1874. — We are come to the last slide of the Chatsworth magic lantern: the Duke of Cambridge and his equerry, a funny little man called Tyrwhitt, of no particular age, in a grey wig; Lord Carlingford and Ly. Waldegrave, the Spencers, Mr. Leveson, Cavendish."<ref>{{Cite web|url=http://ladylucycavendish.blogspot.com/2010/12/08dec1874-chatsworth-magic-lantern.html|title=Lady Lucy Cavendish: 08Dec1874, The Chatsworth Magic Lantern|last=H|first=Denise|date=2010-12-04|website=Lady Lucy Cavendish|access-date=2025-06-18}}</ref> ==1875== Disraeli's progressive legislation for labor rights:<blockquote>In 1875, he passed a series of enlightened acts protecting labor rights, arguing they were as important as property rights. Two of the laws ensured that workers would have the same recourse as employers when contracts were breached, and made peaceful picketing legal, protecting unions from charges of conspiracy.<ref name=":4" /> (578 of 1203)</blockquote>After women who owned property were allowed by Parliament to stand for local school-board elections in 1870, "Elizabeth Garrett Anderson, the first woman to qualify as a doctor in Britain — in 1865 — stood and was elected to her local board five years later."<ref name=":4" /> (199 of 1203) The relationship between Swinburne and Lord Houghton:<blockquote>...not all Lord Houghton's children appreciated the catholicity of "Papa's" taste in friends: "Swinburne (in a very excited state) came in in the evening," wrote Florence Milnes to her brother in 1875: "He is madder than ever, to my astonishment he flopped down on one knee in front of me, & announced that my hair had grown darker. This was rather embarrassing, and he is also so deaf now, which does not make it easier to talk to him."<ref name=":2">Pope-Hennessy Lord Crewe.</ref>{{rp|5}}</blockquote> January February March April ===May=== '''26 May 1875, Wednesday''': Derby Day. The Prince and Princess of Wales attended, as did a number of others of the royal family, including Princess Louise and Lorne. June July ===August=== '''August through October 1875''' Richard Monckton Milnes (Lord Houghton) and son Robert Milnes toured the U.S. and Canada:<blockquote>They set off in the steamer s.s Sarmatian from Liverpool in August 1875, stopping at Ireland to pick up the usual load of emigrants bound for the U.S.A. The most interesting among the passengers was 'Mr. Butler, author of Erewhon, who is very amusing and clever though infidel,' but, although he played whist with Samuel Butler, the young man was far more interested in the Eustace Smiths (parents of his friend W. H. Smith), and in a Canadian family named Macpherson, the youngest of whose two daughters, the dark-eyed Isobel, caught his fancy: he saw them afterwards in Toronto, and when they parted she gave him two larger than carte-de-visite photographs of herself, he gave her a smaller one of himself together with the inevitable volume of his father's verse."<ref name=":2" />{{rp|10}}</blockquote>September October November December ==1876== Disraeli pushed through the Cruelty to Animals Act in order to please Queen Victoria. This act "forced researchers to demonstrate that any experiments with animals involving pain were absolutely necessary, and ensured they would be anesthetized if so."<ref name=":4" /> (679 of 1203) January February March April ===May=== '''11 May 1876''': In the midst of the Aylesford scandal, the Prince of Wales returned from a journey to Egypt and India, etc.:<blockquote>However harassed and exhausted, the Prince and Princess of Wales would put up a good show. Within an hour of their arrival home they set forth to attend a gala performance at Covent Garden Opera House. It was a brave decision to face the public and allow an immediate opportunity for demonstration. The Prince and Princess were rewarded when the audience rose to its feet to give them a standing ovation before the start of every act, as well as at the end, of Verdi's Ballo in Maschera.<ref name=":1" />{{rp|63}}</blockquote> '''27 May 1877''': Lily Langtry:<blockquote>Her big moment on May 27, 1877, when Sir Allen Young, the arctic explorer, invited her to late supper in his house, where it had been arranged that the Prince of Wales should meet her after the opera. The result was all that could have been expected. Mrs. Langtry became the Prince's first openly recognised mistress.<ref name=":1" />{{rp|69}}</blockquote>'''31 May 1877, Wednesday''': Derby Day. The Prince and Princess of Wales did not attend, as he was ill. June July August September October November December ==1877== "In 1877, unemployment was 4.7 percent; by 1879, it had risen to 11.4 percent."<ref name=":4" /> (690 of 1203) January February March April ===May=== '''30 May 1877, Wednesday''': Derby Day. June July August September October November ===December=== '''15 December 1877'''<blockquote>On Dec. 15, 1877, the Queen honoured Lord Beaconsfield, the Premier, with a visit at Hughenden Manor. Her Majesty, accompanied by Princess Beatrice and attended by General Ponsonby and the Marchioness of Ely, left Windsor at 12.40 and proceeded by special train to High Wycombe, which was reached at 1.15. The Premier received the Queen at the station. A lofty triumphal arch spanned the entrance to the station-yard, and beneath this the royal party drove into the gaily decorated little town. The reception along the route was of the heartiest, and the drive of two miles to Hughenden was one long triumph. Lord Beaconsfield, who had preceded the party, welcomed the Queen at his own door. Lunch was served, and her Majesty remained about two hours. Before leaving she planted a memorial tree.<ref>"The Queen's Glorious Reign." ''Illustrated London News'' (London, England), Saturday, May 27, 1899; pp. 757–765?; Issue 3136. Queen's Glorious Reign [Supplement]: 762?</ref></blockquote> ==1878== January February March April May ===June=== '''5 June 1878, Wednesday''': Derby Day. July August September October ===November=== '''8 November 1878''': from the journal of George, Duke of Cambridge:<blockquote>''November'' 8. — Gave farewell diner to the Lornes; Louise and Lorne, Augusta, Mary and Francis, Arthur, Leopold, Gleichens, J. Macdonald and self, and played at Nap afterwards. It was a good and nice little dinner."<ref>Sheppard, Edgar, Ed. ''George, Duke of Cambridge: A Memoir of His Private Life, Based on the Journals and Correspondence of His Royal Highness''. Vol. 2, 1871–1904. New York: Longmans, Green, 1906. http://books.google.com/books?id=dFoMAAAAYAAJ.</ref></blockquote>December ==1879== ===January=== '''12 January 1879'''<blockquote>On 12 January 1879 Robert Milnes came of age, an event celebrated at Fryston by a tenants' ball.<ref name=":2" />{{rp|18}}</blockquote> '''28 January 1879''': Brett "Harte kicked off his tour at the Crystal Palace in Sydenham on January 28, 1879."<ref>Nissen, Alex. ''Brett Harte: Prince and Pauper''. Jackson, MS: University Press of Mississippi, 2000.</ref>{{rp|174}} February March ===April=== '''Early April 1879''' or so, probably, Bret Harte got "an invitation to dine the same evening with Arthur Sullivan and the Prince of Wales" as a dinner in Birmingham where Harte met T. Edgar Pemberton.<ref>Scharnhorst, Gary. ''Bret Harte: Opening the American Literary West''. Norman, OK: Univ. of Oklahoma Press, 2000.</ref>{{rp|152}} ===May=== '''28 May 1879, Wednesday''': Derby Day; the Prince and Princess of Wales attended. ===June=== '''June 1879''', Robert Milnes became engaged to "Sibyl Marcia, a daughter of a North-country baronet, Sir Frederick Graham of Netherby."<ref name=":2" />{{rp|18}} Parties must have followed. July August September October November ===December=== '''28 December 1879''': The Tay Bridge Disaster: The Tay Bridge collapsed with a train on it. The weather was very bad, with gale-force winds and rain. The ''Times'' reported that the average high temperature for the week ending December 31, 1879, was 53° F. and the low was 20° F. In his column "What the World Says" in the 21 January 1880 World, Edmund Yates writes the following:<blockquote>How am I to describe better the magnificence of the Earl and Countess of Rosslyn’s ball at Euston Lodge last month, than by calling attention to the fact that M. Carlo, the eminent Knightsbridge coiffeur, arrived early in the day to crimp and powder the lacqueys? My informant adds, however, that the curled darlings were rather the worse for the festivities towards night. Was it not enough to turn their heads in every sense of the word?<ref name=":0">Edmund Yates, "What the World Says," ''The World: A Journal for Men and Women''.</ref>{{rp|21 Jan. 1880, p. 8, col. b.}}</blockquote> '''31 December 1879''': Edmund Yates, editor of The World: A Journal for Men and Women, in his column "What the World Says," describes a private viewing at the Grosvenor Gallery:<blockquote>The private view at the Grosvenor on the last day of the year gave people something to do on a desperately wet afternoon. The artistic dresses were perhaps in greater force than ever; indeed the faces and the hair and the attitudes pursued me to my bed, and gave me many a nightmare. I suppose the plain woman of all time has had the ambition to be looked at: centuries of failure have at last been crowned with a real success. Besides the Cimabue Browns there was an interesting menagerie of real lions, artistic, literary, and clerical. The artists were numerous, and their host and hostess seemed to enjoy themselves very thoroughly. Frequenters of the picture private views have a new sensation this winter. Last season they mobbed beauty: now hideously-attired unkempt dowdiness provokes the stare. The prize for the new style seems generally awarded to a rhubarb coloured flannel Ulster and a cart-wheel beaver hat, which pervaded both the private views last week. [2 private views last week, one at the Grosvenor]<ref name=":0" />{{rp|7 Jan. 1880, p. 9}}</blockquote> The official premiere of ''The Pirates of Penzance'' occurred in New York City on 31 December 1879 at the Fifth Avenue Theatre, to establish international copyright. Gilbert and Sullivan were there with the cast. The performance was a social event: attending were Mrs. Vanderbilt and Mrs. Astor. ==Works Cited== {{reflist}} t9gdo1lou2r36fzja11e7dxxlf6q37b 2817781 2817756 2026-07-06T09:36:41Z ShakespeareFan00 6645 2817781 wikitext text/x-wiki ==Time Line== [[Social Victorians/Timeline/1840s|1840s]] [[Social Victorians/Timeline/1850s |1850s]] [[Social Victorians/Timeline/1860s | 1860s]] 1870s [[Social Victorians/Timeline/1880s | 1880s]] [[Social Victorians/Timeline/1890s | 1890s]] [[Social Victorians/Timeline/1900s|1900s]] [[Social Victorians/Timeline/1910s|1910s]] [[Social Victorians/Timeline/1920s-30s|1920s-30s]] ==1870== "Until 1870 all of the money women earned belonged to their husbands, and until 1882 their property did too, even after a divorce or separation."<ref name=":4" /> (698 of 1203) In 1870 Parliament debated and defeated the first bill for women's suffrage, but allowed "women who owned property ... to stand for election to school boards."<ref name=":4" /> (698–699 of 1203) "The bulk of Irish farmers did not own their land, and instead leased it from landlords, the majority of whom lived in England. In 1870, only 3 percent of agricultural holdings were occupied by owners."<ref name=":4" /> (742 of 1203) Dante Gabriel Rossetti and Arthur Sullivan were at the same dinner party in 1870? Another dinner party had as guests Charles Dickens, Dante Gabriel Rossetti, John Tenniel and George Du Maurier. January February March April May June July August September October November December ==1871== Although Queen Victoria had opened Parliament for the first time in February 1866, when people saw her for the first time in years as her open carriage made its way, she was unpopular because it seemed she was not working. Gladstone was Prime Minister.<blockquote>Between 1871 and 1874, eighty-five Republican Clubs were founded in Britain, protesting, among other things, the "expensiveness and uselessness of the monarchy" and Bertie's "immoral example."<ref name=":4">Baird, Julia. ''Victoria the Queen, an Intimate Biography of the Woman Who Ruled an Empire''. Random House, 2016. Apple Books: https://books.apple.com/us/book/victoria-the-queen/id953835024.</ref> (617 of 1203)</blockquote>"The 1871 Royal Commission on the Contagious Diseases Acts ... declared there was no comparison to be made between prostitutes and their clients: 'With the one sex the offence is committed as a matter of gain, with the other it is an irregular indulgence of a natural impulse.'"<ref name=":4" /> (704 of 1203) === January === Germany is united under King William I of Prussia. Julia Baird says, "At the same time, Italy captured and annexed the Papal States, which had been under the direct rule of the Pope since the 700s and had lost their protector in Napoleon III."<ref name=":4" /> (646 of 1203) ==== 4 January 1871, Wednesday ==== <blockquote>INVITATION BALL. <p>On Wednesday evening last Major Goodman and the Officers of the 5th Dragoon Guards gave an invitation ball, which was held in the Drapers’ Hall (kindly placed at their disposal by the Drapers’ Company). The following ladies and gentlemen were amongst those who received invitations The Marquis and Marchioness of Hertford; the Earl and Countess of Aylesford; Lady A. N. Finch, Lord Guernsey, and the Hon. Mr. Finch; Lord and Lady Leigh and Miss Leigh; Lord and Lady Henley and Miss Henley, Miss Elwes, Lord and Lady Wrottealey, Lord and Lady Manners; C. N. Newdegate, Esq., M.P.; Captain, Mrs., and Miss Adams; E. Petre, Esq., and Lady Gwendoline Petre; J. Beech, Esq., Mrs. and Miss Beech, and Mr. Beech, jun.; Mr. and Mrs. Turner; Mr. and Mrs. Fetherstone Dilke, Mrs. and the Misses Fetherstone, Mr. Fetherstone, and Mr. Beaumont Fetherstone; Mr. and Mrs. P. A. Muntz; Captain and Mrs. Boultbee, of Knowle; Mr. C. M. Caldecott, Mrs. Caldecott, and the Misses Caldecott; the Rev. A. Fanshawe and Mrs. Fanshawe; Captain and Mrs. Battine; the Rev. S. C. Spencer Smith; the Rev. R. H. Baynes, M.A., vicar of St. Michael’s; the Rev. H. T. Harris, (Christ Church); General and Mr. Richmond Jones; Colonel F. Chaplin, and the Officers of the 4th Dragoon Guards, stationed at Northampton; Captain Thornelow, and the Officers of the Royal Artillery, at Weedon; the officers of the 4th Royal Regiment at Weedon; Mr. and Mrs. E. Wood; Mr. and Mrs. Herbert Wood; the Colonel and officers of the First Warwickshire Militia; Mrs. and Miss Alston, and Mr. Alston, jun., of Elmdon; Mr. and Mrs. F. Paget; Mr. and Mrs. Gulson; Captain Thomson; Captain and Mrs. Raleigh King; Mrs. Phillipson; Lord and Lady Mountgarret; the Honourable Miss Butler; Mr. and Mrs. Courtenay Lord; the Hon. Mrs. Twistleton; Mr. and the Misses Conant; Captain and Mrs. J. Marsland; Major and Mrs. Edlman; Mr. and Mrs. Astley; Mr. T. Lant, Mr. R. Lant and Mr. J. Lant, Mrs. and Miss Lant; Mr. W. T. Cavendish; Mr. and Mrs. A. Rotherham; the Marquis of Ormonde, of the first Life Guards; the Earl of Calludon, of the First Life Guards; Mrs. and the Misses Hobson; Mr P. Hobson, and Mrs. Hobson; Mr. and Mrs. Soames; Mr. and Mrs. Adderley, Sir John Rae Reid; Capt. and Mrs. Townshend, of Caldecote Hall; Lieut.-Colonel Swinfen and the Officers of the 5th Dragoon Guards stationed at Leeds; Capt. Marsden and the Officers of the 5th Dragoon Guards stationed at Birmingham; Colonel, Mrs., and Miss Bourne; Mr. and Mrs. Wyley Lord; Captain and Mrs. Thursby; Mr. and Mrs Morrice; Lieut.-Colonel Wirgman; Mr. and Mrs. J. Rotherham; [[Social Victorians/People/Abercorn|Lady Caroline Howard]]; Mr. and Mrs. Rotherham; Mr and Mrs John Sankey and the Misses Sankey; Mrs. and the Misses Murphy; Mr. Bibby (4th Hussars), Captain Gist (7th Hussars), Mr. Gregg (8th Hussars), Mr. Hamilton (7th Dragoon Guards), Colonel Rattray, Mr and Mrs. R. Boyd, &c, &c.</p> <p>The string band of the 5th Dragoon Guards, under the direction of Mr. Sidney Jones, performed the following selection of music:— Quadrille, Barbe Bleue; Valse, Marian; Galop, Bonderbryllup; Lancers, Knight of St. Patrick; Valse, Hydropaten; Galop, Flick and Flock; Quadrille, Princess of Trebizonde; Valse, the Belle of the Ball; Galop, the Fox Hunters; Valse, the Dragoon Guards; Lancers, the Gaiety; Valse, the Beautiful Danube; Valse, Wiener Kinder; Quadrille, the Fest; Galop, the Village Rose; Valse, the Geraldine; Lancers, Merry Tunes; Galop, Barbe Bleue; Valse, Various; Galop, Glorioso.<ref>"Invitation Ball." ''Coventry Standard'' 6 January 1871, Friday: 4 [of 4], Col. 5b [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000683/18710106/100/0004. Same print title, n.p.</ref></p></blockquote> === February === ==== Birmingham Tennis Court Club Ball ==== 1871 February 17, Friday, the "bachelors of the Tennis Court Club" hosted a ball in Birmingham:<blockquote>LEAMINGTON. B<small>ACHELORS'</small> B<small>ALL</small>.<p>— Last night the bachelors of the Tennis Court Club gave a grand ball at the Royal Assembly Rooms, Regent Street. The ball was one of the most brilliant of the season, nearly four hundred of the ''élite'' of the town and neighbourhood having accepted the invitation of the bachelors. The ballroom was specially fitted up for the occasion, and a splendid supper was served in the adjoining rooms, where refreshments were also provided. Coote and Tiney's band was specially engaged for the occasion, and played a selection of the newest and most popular dance music. Amongst the distinguished guests present were — The High Sheriff and Mrs. J. T. Arkwright, Lady Arbuthnott, Lord and Lady Conyers, [[Social Victorians/People/Abercorn|Lady Caroline Howard]], Viscount and Viscountess Mountgarret and the Hon. Miss Butler, Sir John and Lady Blois, Sir Thomas Biddulph, the Hon. Miss Somerville, Sir William and Lady Fairfax, the Hon. Charles L. Butler, Rev. Sir John Rae, General and Mrs. Richmond Jones, Major Eldman, Major and Mrs. James Ashton, Major and Mrs. Boothby, Colonel Ruttie, Colonel Duberly, Colonel and Mrs. Machen, Colonel Rattray, Capt. and Mrs. Kennedy, Capt. W. J. Hall, Capt. Hodge, Capt. and Mrs. Morgan, Capt. and Mrs. Pearse, Capt. Roberts, Capt. Story, Mr. and Mrs. Featherstone Dilke (Maxstoke Castle) and Miss Dixie, Mr. C. M., Miss, and Miss M. A. Caldecott (Holbrooke Grange), Mr. and Mrs. J. Dugdale (Wroxhall Abbey), Mr. E. Greaves, M.P., Mr. and Mrs. C. L. Adderley (Hams Hall), and Capt. and Mrs. Hatherall. Several of the officers from the dragoons and artillery at Coventry and Birmingham were also present. The bachelors who gave the ball were twenty-eight in number.<ref>"Leamington." "District News." ''Birmingham Morning News'' 18 February 1871, Saturday: 7 [of 8, print and digital], Col. 5b [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0005826/18710218/114/0007. Print and digital title are the same.</ref></p></blockquote> === March === === April === ==== 18 April 1871 ==== <blockquote>Karl Marx “was commissioned by the General Council of the International to write a pamphlet about the Paris [377–378] Commune."<ref name=":3">Smee, Sebastian. ''Paris in Ruins: Love, War, and the Birth of Impressionism''. W. W. Norton, 2024.</ref>{{rp|377–378 of 667}}</blockquote> ===May=== ==== 9 May 1871, Tuesday, Queen's Drawing-Room ==== <blockquote>THE QUEEN'S DRAWING-ROOM. The Queen held a Drawing-room at Buckingham Palace on Tuesday afternoon. The Priuce of Wales, Prince Arthur, Prince Leopold, and Princess Beatrice were present. Her Majesty, accompanied by the Prince of Wales and the other members of the royal family, entered the Throne Room shortly after three o'clock. The Queen wore a black moire antique dress with a train, long white tulle veil with a coronet of diamonds. Her Majesty also wore a necklace of diamonds and amethysts, the Riband and Star of the Order of the Garter, the Orders of Victoria and Albert and Louise of Prussia, and the Saxe Coburg and Gotha Family Order. Princess Beatrice wore a dress of white tulle over a rich white silk petticoat looped up with lilies of the valley and apple blossom; ornaments — pearls and diamonds. The presentations to Her Majesty were about 280 in number, and included the following:— Mrs Atlay, by the Countess Grey; Miss Backhouse, by her mother, Mrs Backhouse; Miss Charlesworth, by her aunt, Frances Lady Hawke; Miss Backhouse Fox, by her aunt, Mrs Backhouse; [[Social Victorians/People/Abercorn|Lady Caroline Howard]], by her mother, [[Social Victorians/People/Abercorn|the Hon. Mrs Howard]]; the Hon. Gwendoline Fitz-Alan Howard, by the Duchess of Sutherland; [[Social Victorians/People/Abercorn|Lady Alice Howard]], by her mother, Hon. Mrs Howard; [[Social Victorians/People/Abercorn|Lady Louisa Howard]], by her mother, Hon. Mrs Howard; Miss Howard (of Corby), by the Hon. Mrs Philip Stourton; Miss Agnes Howard (of Corby), by the Hon. Mrs Philip Stourton; Sir Henry Ingilby, Bart., by Earl Russell; Mrs Frank Lascelles, by Lady Edward Cavendish; Mrs Gerald Liddell, marriage, by the Countess of Normanby.<ref>"Court and Official News." ''Yorkshire Post and Leeds Intelligencer'' 11 May 1871, Thursday: 3 [of 4], Col. 4c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000686/18710511/074/0003. Same print title and p.n.</ref></blockquote>'''24 May 1871, Wednesday''': Derby Day. Baron Rothschild's Favonius won. The Prince of Wales attended. June July August September ===October=== '''October 1871'''<blockquote>At Londesborough Lodge near Scarborough, where Lady Londesborough gave a royal house party in October 1871, not only [ 41/42 ] were the bathrooms few but the drains seeped into the drinking water. Several guests, including the Prince [of Wales] and his groom and Lord Chesterfield, contracted typhoid fever. When Chesterfield and the groom died, the doctors abandoned hope for the Prince.<ref name=":1">Leslie, Anita. ''The Marlborough House Set''. New York: Doubleday, 1973. Print.</ref>{{rp|41–42}}</blockquote> The Prince of Wales recovered on 14 December 1871. November December ==1872== January February March April ===May=== '''29 May 1872, Wednesday''': Derby Day June July ===August=== '''August 1872''': The "dance on the cruiser Ariadne" probably occurred in August 1872:<blockquote>When his [the Prince of Wales'] brother, the Duke of Edinburgh, married the attractive Grand Duchess Marie, daughter of Tsar Alexander II of Russia, her family made a fuss because she was not granted precedence above the Princess of Wales. Albert Edward soothed ruffled feelings by inviting the Tsarevitch and his wife Marie Feodorovna (who was Alexandra's sister) to stay for two months and be entertained at Cowes. ...<p></p> ... At the dance on the cruiser Ariadne which the Prince gave in honour of the Tsarevitch and his Grand Duchess," Lord Randolph Churchill met the 19-year-old "Miss Jennie Jerome of New York."<ref name=":1" />{{rp|42–43}}</blockquote> September October November December ==1873== January February March April ===May=== '''28 May 1873, Wednesday''': Derby Day June July August September October November December ==1874== January February March April ===May=== ==== 1874 May, Early ==== <blockquote>As monarchists’ hopes flared, the Catholic Church, too, enjoyed a conspicuous revival. The National Assembly approved a design for a new basilica for Paris. Intended as an act of collective atonement, Sacré-Coeur was to perch atop Montmartre, immediately above where Nadar’s balloons had been launched and where the radicals’ insurrection had broken out. Excavations began in early May 1874 .... But the focus of the penance the basilica was intended to embody gradually shifted from the moral decline of French society in general to the despicable excesses of the Commune. In 1872 Archbishop Darboy’s successor claimed to have had a vision as he climbed the Butte Montmartre. The clouds dispersed, and he realized that it was there, “where the martyrs” were (he meant the murdered generals Lecomte and Clément-Thomas), that a new church should be built. And when the Assembly voted to proceed with the construction, legislators specified that its purpose was to “expiate the crimes of the Commune.”<ref name=":3" /> (464 of 667)</blockquote> ===June=== '''3 June 1874, Wednesday''': Derby Day June July August September October November ===December=== '''8 December 1874, Tuesday''': "CHATSWORTH, Tuesday, December 8th, 1874. — We are come to the last slide of the Chatsworth magic lantern: the Duke of Cambridge and his equerry, a funny little man called Tyrwhitt, of no particular age, in a grey wig; Lord Carlingford and Ly. Waldegrave, the Spencers, Mr. Leveson, Cavendish."<ref>{{Cite web|url=http://ladylucycavendish.blogspot.com/2010/12/08dec1874-chatsworth-magic-lantern.html|title=Lady Lucy Cavendish: 08Dec1874, The Chatsworth Magic Lantern|last=H|first=Denise|date=2010-12-04|website=Lady Lucy Cavendish|access-date=2025-06-18}}</ref> ==1875== Disraeli's progressive legislation for labor rights:<blockquote>In 1875, he passed a series of enlightened acts protecting labor rights, arguing they were as important as property rights. Two of the laws ensured that workers would have the same recourse as employers when contracts were breached, and made peaceful picketing legal, protecting unions from charges of conspiracy.<ref name=":4" /> (578 of 1203)</blockquote>After women who owned property were allowed by Parliament to stand for local school-board elections in 1870, "Elizabeth Garrett Anderson, the first woman to qualify as a doctor in Britain — in 1865 — stood and was elected to her local board five years later."<ref name=":4" /> (199 of 1203) The relationship between Swinburne and Lord Houghton:<blockquote>...not all Lord Houghton's children appreciated the catholicity of "Papa's" taste in friends: "Swinburne (in a very excited state) came in in the evening," wrote Florence Milnes to her brother in 1875: "He is madder than ever, to my astonishment he flopped down on one knee in front of me, & announced that my hair had grown darker. This was rather embarrassing, and he is also so deaf now, which does not make it easier to talk to him."<ref name=":2">Pope-Hennessy Lord Crewe.</ref>{{rp|5}}</blockquote> January February March April ===May=== '''26 May 1875, Wednesday''': Derby Day. The Prince and Princess of Wales attended, as did a number of others of the royal family, including Princess Louise and Lorne. June July ===August=== '''August through October 1875''' Richard Monckton Milnes (Lord Houghton) and son Robert Milnes toured the U.S. and Canada:<blockquote>They set off in the steamer s.s Sarmatian from Liverpool in August 1875, stopping at Ireland to pick up the usual load of emigrants bound for the U.S.A. The most interesting among the passengers was 'Mr. Butler, author of Erewhon, who is very amusing and clever though infidel,' but, although he played whist with Samuel Butler, the young man was far more interested in the Eustace Smiths (parents of his friend W. H. Smith), and in a Canadian family named Macpherson, the youngest of whose two daughters, the dark-eyed Isobel, caught his fancy: he saw them afterwards in Toronto, and when they parted she gave him two larger than carte-de-visite photographs of herself, he gave her a smaller one of himself together with the inevitable volume of his father's verse."<ref name=":2" />{{rp|10}}</blockquote>September October November December ==1876== Disraeli pushed through the Cruelty to Animals Act in order to please Queen Victoria. This act "forced researchers to demonstrate that any experiments with animals involving pain were absolutely necessary, and ensured they would be anesthetized if so."<ref name=":4" /> (679 of 1203) January February March April ===May=== '''11 May 1876''': In the midst of the Aylesford scandal, the Prince of Wales returned from a journey to Egypt and India, etc.:<blockquote>However harassed and exhausted, the Prince and Princess of Wales would put up a good show. Within an hour of their arrival home they set forth to attend a gala performance at Covent Garden Opera House. It was a brave decision to face the public and allow an immediate opportunity for demonstration. The Prince and Princess were rewarded when the audience rose to its feet to give them a standing ovation before the start of every act, as well as at the end, of Verdi's Ballo in Maschera.<ref name=":1" />{{rp|63}}</blockquote> '''27 May 1877''': Lily Langtry:<blockquote>Her big moment on May 27, 1877, when Sir Allen Young, the arctic explorer, invited her to late supper in his house, where it had been arranged that the Prince of Wales should meet her after the opera. The result was all that could have been expected. Mrs. Langtry became the Prince's first openly recognised mistress.<ref name=":1" />{{rp|69}}</blockquote>'''31 May 1877, Wednesday''': Derby Day. The Prince and Princess of Wales did not attend, as he was ill. June July August September October November December ==1877== "In 1877, unemployment was 4.7 percent; by 1879, it had risen to 11.4 percent."<ref name=":4" /> (690 of 1203) January February March April ===May=== '''30 May 1877, Wednesday''': Derby Day. June July August September October November ===December=== '''15 December 1877'''<blockquote>On Dec. 15, 1877, the Queen honoured Lord Beaconsfield, the Premier, with a visit at Hughenden Manor. Her Majesty, accompanied by Princess Beatrice and attended by General Ponsonby and the Marchioness of Ely, left Windsor at 12.40 and proceeded by special train to High Wycombe, which was reached at 1.15. The Premier received the Queen at the station. A lofty triumphal arch spanned the entrance to the station-yard, and beneath this the royal party drove into the gaily decorated little town. The reception along the route was of the heartiest, and the drive of two miles to Hughenden was one long triumph. Lord Beaconsfield, who had preceded the party, welcomed the Queen at his own door. Lunch was served, and her Majesty remained about two hours. Before leaving she planted a memorial tree.<ref>"The Queen's Glorious Reign." ''Illustrated London News'' (London, England), Saturday, May 27, 1899; pp. 757–765?; Issue 3136. Queen's Glorious Reign [Supplement]: 762?</ref></blockquote> ==1878== January February March April May ===June=== '''5 June 1878, Wednesday''': Derby Day. July August September October ===November=== '''8 November 1878''': from the journal of George, Duke of Cambridge:<blockquote>''November'' 8. — Gave farewell diner to the Lornes; Louise and Lorne, Augusta, Mary and Francis, Arthur, Leopold, Gleichens, J. Macdonald and self, and played at Nap afterwards. It was a good and nice little dinner."<ref>Sheppard, Edgar, Ed. ''George, Duke of Cambridge: A Memoir of His Private Life, Based on the Journals and Correspondence of His Royal Highness''. Vol. 2, 1871–1904. New York: Longmans, Green, 1906. http://books.google.com/books?id=dFoMAAAAYAAJ.</ref></blockquote>December ==1879== ===January=== '''12 January 1879'''<blockquote>On 12 January 1879 Robert Milnes came of age, an event celebrated at Fryston by a tenants' ball.<ref name=":2" />{{rp|18}}</blockquote> '''28 January 1879''': Brett "Harte kicked off his tour at the Crystal Palace in Sydenham on January 28, 1879."<ref>Nissen, Alex. ''Brett Harte: Prince and Pauper''. Jackson, MS: University Press of Mississippi, 2000.</ref>{{rp|174}} February March ===April=== '''Early April 1879''' or so, probably, Bret Harte got "an invitation to dine the same evening with Arthur Sullivan and the Prince of Wales" as a dinner in Birmingham where Harte met T. Edgar Pemberton.<ref>Scharnhorst, Gary. ''Bret Harte: Opening the American Literary West''. Norman, OK: Univ. of Oklahoma Press, 2000.</ref>{{rp|152}} ===May=== '''28 May 1879, Wednesday''': Derby Day; the Prince and Princess of Wales attended. ===June=== '''June 1879''', Robert Milnes became engaged to "Sibyl Marcia, a daughter of a North-country baronet, Sir Frederick Graham of Netherby."<ref name=":2" />{{rp|18}} Parties must have followed. July August September October November ===December=== '''28 December 1879''': The Tay Bridge Disaster: The Tay Bridge collapsed with a train on it. The weather was very bad, with gale-force winds and rain. The ''Times'' reported that the average high temperature for the week ending December 31, 1879, was 53° F. and the low was 20° F. In his column "What the World Says" in the 21 January 1880 World, Edmund Yates writes the following:<blockquote>How am I to describe better the magnificence of the Earl and Countess of Rosslyn’s ball at Euston Lodge last month, than by calling attention to the fact that M. Carlo, the eminent Knightsbridge coiffeur, arrived early in the day to crimp and powder the lacqueys? My informant adds, however, that the curled darlings were rather the worse for the festivities towards night. Was it not enough to turn their heads in every sense of the word?<ref name=":0">Edmund Yates, "What the World Says," ''The World: A Journal for Men and Women''.</ref>{{rp|21 Jan. 1880, p. 8, col. b.}}</blockquote> '''31 December 1879''': Edmund Yates, editor of The World: A Journal for Men and Women, in his column "What the World Says," describes a private viewing at the Grosvenor Gallery:<blockquote>The private view at the Grosvenor on the last day of the year gave people something to do on a desperately wet afternoon. The artistic dresses were perhaps in greater force than ever; indeed the faces and the hair and the attitudes pursued me to my bed, and gave me many a nightmare. I suppose the plain woman of all time has had the ambition to be looked at: centuries of failure have at last been crowned with a real success. Besides the Cimabue Browns there was an interesting menagerie of real lions, artistic, literary, and clerical. The artists were numerous, and their host and hostess seemed to enjoy themselves very thoroughly. Frequenters of the picture private views have a new sensation this winter. Last season they mobbed beauty: now hideously-attired unkempt dowdiness provokes the stare. The prize for the new style seems generally awarded to a rhubarb coloured flannel Ulster and a cart-wheel beaver hat, which pervaded both the private views last week. [2 private views last week, one at the Grosvenor]<ref name=":0" />{{rp|7 Jan. 1880, p. 9}}</blockquote> The official premiere of ''The Pirates of Penzance'' occurred in New York City on 31 December 1879 at the Fifth Avenue Theatre, to establish international copyright. Gilbert and Sullivan were there with the cast. The performance was a social event: attending were Mrs. Vanderbilt and Mrs. Astor. ==Works Cited== {{reflist}} lyuvi41g01evsgkopvt46cvr8fvya98 0 264257 2817752 2723003 2026-07-05T22:02:46Z Scogdill 1331941 2817752 wikitext text/x-wiki [[Social Victorians/Timeline/1840s|1840s]] [[Social Victorians/Timeline/1850s |1850s]] [[Social Victorians/Timeline/1860s | 1860s]] [[Social Victorians/Timeline/1870s | 1870s]] [[Social Victorians/Timeline/1880s | 1880s Headlines]] [[Social Victorians/Timeline/1880 | 1880]] [[Social Victorians/Timeline/1881 | 1881]] [[Social Victorians/Timeline/1882 | 1882]] [[Social Victorians/Timeline/1883 | 1883]] [[Social Victorians/Timeline/1884 | 1884]] [[Social Victorians/Timeline/1885 | 1885]] [[Social Victorians/Timeline/1886 | 1886]] 1887 [[Social Victorians/Timeline/1888 | 1888]] [[Social Victorians/Timeline/1889 | 1889]] [[Social Victorians/Timeline/1890s | 1890s Headlines]] [[Social Victorians/Timeline/1900s|1900s]] [[Social Victorians/Timeline/1910s|1910s]] [[Social Victorians/Timeline/1920s-30s|1920s-30s]] "Bloody Sunday": protest march on Trafalgar Square. Annie Besant was there, as was G. B. Shaw, who "skedaddled." Queen Victoria's Jubilee year, along with 1897. That summer, in some way as part of it, there was a "Congress" at the Empress Theatre, in which a number of people (mostly but not exclusively women) read papers on the progress made in women's education. Those papers were collected in a volume by the Lady Warwick (Frances Evelyn Warwick, [[Social Victorians/People/Warwick|Countess of Warwick]]) in 1898; the "Sub-Editor" was Edith Bradley.<ref>Warwick, [Lady] Frances Evelyn, Countess of. ''Progress in Women's Education in the British Empire, Being the Report of the Education Section, Victorian Era Exhibit, 1897''. London: Longmans, Green, 1898. Google Books, retrieved 14 March 2010.</ref> ==January 1887== Annie Besant spoke at the January 1887 meeting of the Men and Women's Club; her paper was "The State and Sexual Relations," or "preventive checks," or contraception (Bland 19). ===1 January 1887, Thursday, New Year's Day=== [[Social Victorians/Timeline/1886#Augustus Harris's The Forty Thieves|Augustus Harris's ''The Forty Thieves'']] continued its run at the Drury Lane Theatre. === 5 January 1887, Wednesday === ==== Funeral of Lady Margaret Harriett Bourke ==== The ''Irish Times'' published this story, which was reprinted by the ''Drogheda Conservative'' 2 days later.<ref>"Funeral of Lady Margaret Harriett Bourke." ''Drogheda Conservative'' 8 January 1887, Saturday: 5 [of 8], Col. 1a–b [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000792/18870108/047/0005. Same print title and p.</ref><blockquote>The remains of this much-lamented lady were interred on Wednesday in the family vault at Painestown Church, County Meath. The suite of coffins containing the remains arrived from London at Hayes, the family seat, on the previous day, and were placed on a catafalque in one of the drawing-rooms, which had been suitably arranged for the occasion. The shield on the outer coffin bore the following inscription — LADY MARGARET HARRIETT BOURKE, <br>Daughter of Robert, Fifth Earl of Mayo. <br>Born 14th April, 1825, <br>Died 29th Docember, 1886. The scroll at foot contained the text — "The dead in Christ shall rise first. Then we which are alive and remain shall be caught up together with them in the clouds to meet the Lord in the air, and so shall we ever be with the Lord." — I Thess., 5, 27. Numerous wreaths of the most exquisite design were laid on and around the coffin, prominent among which was one from her Royal Highness the Princess Frederica of Hanover. Other wreaths were from the Countess Dowager of Donoughmore, the Lady Fanny Lambert, the Earl and Countess of Mayo, the Countess (Dowager) of Mayo, Lady Susan Bourke, Lady Eva Wyndham-Quin, also from each member of her Ladyship's family and many other friends. It had been intended that the body should be conveyed by hearse to the churchyard, about two miles distant, but on the previous day a deputation from the tenantry on the estate requested that they might be allowed to carry it on their shoulders, and this request, evincing as it did the affectionate esteem in which her Ladyship and family have always been held, was at once acceded to. The chief mourners, who walked immediately behind the toffin were — General the Hon John J Bourke, the Hon and Rev George Bourke, the Hon Charles F Bourke, C B; Major the Hon E R Bourke, the Hon H Bourke, D L, brothers; and the Earl of Mayo, [[Social Victorians/People/Bourke|the Hon Algernon]] and Walter Bourke, nephews of the deceased lady. Among the ladies present were —The Dowager Lady Cloncurry, the Lady Fanny Lambert, the Hon Mrs Henry Bourke, the Misses Lambert, &c. The funeral service was read by the Rev Richard Beresford. curate of Pulborough, a cousin of the deceased. Among those who attended, or sent their carriages, were the following — The Marquis of Conyngham, Lord Athlumney, General Fraser, V C; Mr R G Dunville, Mr John D Dunville, Colonel Smyth, Mr William Jameson, Rev Mr Brownlow, Mr L Thunder, Mr J O Trotter, Mr Francis Lambart, Mr Cyril Lambart, Mr Robert Fowler, Mr R Kennedy, Capt H Fowler, Mr C W Osborne, Mr Rynd, Messrs Fowler, Mr H R Perry, Mr Henry P Perry, Rev P La Touche, Mr La Touche, Miss Bentley, Messrs Murray, P Sharpe, G Sharpe, F Sharpe, Henry Courtenay, E Latimer, J Abraham, T Abraham, Sheils, O'Brien Hamilton, M'Knight, White, Daly, Owens, J Reilly, M'Allen, Clark, Farrell, Macken, Logan, M'Grane, Ogle, Holmes, N Kelly, &c, &c. Very great sorrow was shown by all the residents on the estate and the surrounding neighbourhood, among whom Lady Margaret had always been regarded with much affection, and a very sad and striking feature in the funeral procession was a number of elderly women clad in white caps and long black cloaks, who were members of her ladyship's clothing club. Since the death of her brother, the Viceroy of India, Lady Margaret Bourke, through the gracious favour of her Majesty the Queen, had resided at Hampton Court Palace, and her Majesty has been pleased to convey her condolence through Sir Henry Ponsonby to the bereaved family.<ref>"Funeral of the Lady Margaret Harriett Bourke." ''Irish Times'' 6 January 1887, Thursday: 7 [of 8], Col. 5a–b [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001683/18870106/099/0007. Same print title and p.</ref></blockquote> ===11 January 1887, Tuesday=== Joseph Gancher defended Louis Pasteur's treatment of rabies.<ref>Gelfand, Toby. "11 January 1887, the day medicine changed: Joseph Grancher's defense of Pasteur's treatment for rabies." ''Bulletin of the History of Medicine'' Vol. 76, no. 4 (Winter 2002).</ref> ===22 January 1887, Saturday=== ''Ruddygore, or the Witch's Curse'', opened at the Savoy Theatre. The reviews were not all positive; according to the ''Wikipedia'' article on Ruddigore, the Illustrated London News reviewed it (http://en.wikipedia.org/wiki/Ruddigore; accessed 12 February 2010). See "Gilbert and Sullivan's New Opera" [http://www.savoyoperas.org.uk/ruddigore/rud1.html], The Monthly Musical Record, 1 February 1887, 17, pp. 41–42, Retrieved on 17 June 2008," from the footnotes to this article. ===29 January 1887, Saturday=== ==== Ruddygore Opens at the Savoy ==== Review in the ''Illustrated London News'' of the opening of Gilbert and Sullivan's ''Ruddygore'' at the Savoy. Here is the review: <blockquote>MUSIC THE NEW COMIC OPERA AT THE SAVOY The specialty of last week was the new comic opera written by Mr. W. S. Gilbert, and composed by Sir Arthur Sullivan - a piece from their associated genius being an event of equal dramatic and musical interest; the great and deserved success of their several previous works of the kind having induced eager expectation for any new essay. The co-operation of the two gentlemen referred to has been a happy coincidence, similar to that of the united labours of Scribe and Auber in their delightful works of the opera-comique class. The production of "Ruddygore, or the Witch's Curse" is noticed in the theatrical column of this week, and it is, therefore, only necessary here to refer briefly to the musical interest of the piece, which is quite equal to that of its predecessors from the same hands. The vocal score will not be published for some weeks to come, when we shall be able to refer again to its merits; meantime, we may point to some of the pieces that proved attractive in performance, and will doubtless be permanently popular. Rose Maybud's expressive ballad, "If somebody there chance to be"; the piquant duet, "I know a youth", for her and Robin Oakapple; Richard Dauntless's robust nautical ballad, "I've shipped, d'ye see, in a Revenue sloop" (with its capital hornpipe climax); the suave love duet, "The battle's roar is over", for this character and Rose; the spirited trio, "In sailing o'er life's ocean", for the personages already named; Mad Margaret's scena, and ballad, "To a garden"; Sir Despard Murgatroyd's sententious solo, "Oh, why am I moody" (with its interspersed choral comments); the impulsive duet, "You understand" for him and Richard, the beautiful madrigal, and the several movements which close the first act are all effective in their respective styles. In the second (and last) act, the music in the scene of the animation of the portraits in the picture gallery is highly dramatic in its appropriate sombreness of style and impressive orchestral effects. This is preceded by a pretty duet (with chorus), "Happily coupled" - for Rose and Richard; and a refined ballad, "In bygone days", for the former. Sir Roderic Murgatroyd's sombre song, "When the night-wind howls" - with the surrounding choral and orchestral accessories - rises to a dramatic and musical height worthy of grand opera; and throws into strong relief the exquisitely quaint music of the subsequent duet, "I once was a very abandoned person", for Sir Despard and Margaret in their ludicrously altered aspects. The patter trio for these two and Robin; Hannah's sentimental ballad, "There grew a little flower"; and a well-contrasted finale are prominent features of the closing division of the work. The principal performers have been as well fitted with their music as with their dramatic characters, the performance of which is noted in our article, "The Playhouses"; and it must here be said that Misses Braham, Bond, and Brandram, and Messrs. G. Grossmith, D. Lely, R. Barrington, R. Temple, and others, worthily fulfilled the vocal requirements. There is some bright and tuneful music for female chorus in each act; and the orchestral details, throughout, are rich in colouring and variety of detail. As in his other productions of the same class, Sir Arthur Sullivan has eminently succeeded alike in the expression of refined sentiment and comic humour. In the former respect, the charm of graceful melody prevails; while, in the latter, the music of the most grotesque situations is redolent of fun, without the slightest approach to vulgarity or coarseness - in this latter respect, how unlike some of the French buffo music of the day! The composer conducted the performance on the first night, using, in the scene of darkness (in the second act), a baton illuminated by the electric light.<ref>Gareth Jacobs, "Ruddygore and the British Library (long)," posting on ''Savoynet'' savoynet@bridgewater.edu 5 July 2003.</ref></blockquote> ==February 1887== ==March 1887== "In March 1887 [Bret Harte] joined the Kinsmen Social Club, whose members included William Black, Edmund Gosse, and Henry James, and over the next few months he accepted invitations to become a member of the New American Club and an honorary member of both the British Authors Association and the Devonshire Club."<ref>Scharnhorst, Gary. ''Bret Harte: Opening the American Literary West''. The Oklahoma Western Biographies. Vol. 17. Norman, OK: U of Oklahoma P, 2000.</ref> (189) === 1 March 1887, 2:00 p.m. === ==== Queen's Levee at St. James's Palace ==== <blockquote>By command of the Queen, a Levee was held yesterday afternoon at St. James's Palace by his Royal Highness the Prince of Wales on behalf of her Majesty.<ref>"The Queen's Levee." ''Morning Post'' 2 March 1887, Wednesday: Saturday 7, Col. 7 – 8 [of 12], Col. 3b [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/BL/0000174/18870302/065/0007 and https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18870302/065/0008. Same print title, pp. 7–8.</ref></blockquote> ===8 March 1887, Tuesday=== [[Social Victorians/People/Muriel Wilson|Muriel Wilson]] was a bridesmaid at the wedding of Miss Susan West (Tottie) Wilson and Mr. J. G. Menzies. <blockquote><p>The marriage of Miss Susan West (Tottie) Wilton eldest daughter of Mr. A. Wilson, of Tranby Croft, Master of the Holderness Hounds, and one of the partners in the firm of Messrs. Thos. Wilson, Sons, and Co., owners of the Wilson line of steamers, Hull, to Mr. J. G. Menzies, was celebrated on Tuesday afternoon at the village church of Anlaby by the Rev. J. Foord, assisted by the Rev. E. Lambert, cousin of the bride. The day being fine, hundreds of persons went out from Hull and assembled from the surrounding districts. The admission to the church was by ticket, and the edifice was crowded in every part. Flags were plentifully displayed along the route from Tranby Croft to Anlaby, and the ships of the Wilson line lying in the Hall docks, as well as other vessels, were gaily decorated with flags.</p> <p>The bridal procession left Tranby Croft Lodge at a quarter-past two o'clock, and the carriages passed between a large concourse of persons, who thickly lined each side of the road. Anlaby Church was soon reached. The bridegroom, with his best man, Mr. Stuart Menzies, M.P., had already arrived, and as the bride was escorted into the sacred edifice by her father the organ, at which Captain Hallett presided, commenced playing, and the processional hymn, "Saviour, Blessed Saviour," was sung. The bride wore a very long rich white satin train, the front draped a la grecque, bordered with rich pearl and silver embroidery, a bouquet of white liliums, the ribbons of which were tied with orange blossom; her ornaments were a large diamond star, presented to her by the bridegroom, a diamond necklace presented by her father and mother, with spray given by the tradespeople of Hull, and a diamond bangle by her uncle, Mr. David Wilson. The bridesmaids were Miss Muriel Wilson, sister of the bride, Misses Enid, Joan, and Gwladys Wilson, cousins; Hon. Rosamond Tufton, and Miss Boynton. Each wore cream brocade skirts, with grey overskirts and coats of cream satin merveilleux, pink rose bouquets, and brooches with "8th February, 1887," in diamonds, these being the gifts of the bridegroom. [[Social Victorians/People/Arthur Stanley Wilson|Mrs. Arthur Wilson]] wore a brown velvet and faille, trimmed with black jet, Mrs. Lycett [?] Green, green skirt, with cream cloth under-skirt. Mrs. Charles Wilson, heliotrope velvet, with waistcoat of gold embroidery. Lady Julia Wombwell wore a plum-coloured satin and velvet dress. Lady Norreys, a heliotrope faille. Mrs Hungerford, a pretty costume of grey cloth; and Lady Hothfield [? R? B?], green velvet. The service was full choral; the responses of the bride were given in a firm and audible tone, and at the conclusion of the ceremony the wedding party adjourned to the rectory, where the register was signed by the bride and bridegroom and other interested parties.</p> <p>On the return of the bridal party to Tranby Croft, a luncheon followed, and later in the afternoon the happy pair left for the South, en routefor Paris. The bride's travelling dress was a skirt of white cloth edged with brown fur, a polonnaise of pale grey cloth, trimmed with brown fur, with hat to match.<ref>“Fashionable Marriage near Hull.” ''York Herald'' 12 February 1887, Saturday: 14 [of 16], Col. 4a [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000499/18870212/149/0014 (accessed July 2019).</ref></p></blockquote> ===15 March 1887, Tuesday=== There was a heavy snowstorm in London; 5 to 6 inches fell in N.W. London (Baring-Gould II 282, n. 1). ===17 March 1887, Thursday=== A light, half-inch, snowfall added to the snow on the ground from two days earlier. There was a sharp frost Thursday night (Baring-Gould II 282, n. 1). ===18 March 1887, Friday=== Friday was sunny: "[o]ver six hours' sunshine" (Baring-Gould II 282, n. 1). === 26 March 1887, Saturday === In the week before, a number of mezzotints of Joshua Reynolds' works were auctioned off, going for higher amounts than ever before:. The Lady Caroline Howard is not the one taking part in social activities at the end of the 19th century, but her late-18th to mid-19th century ancestor.<blockquote>SALE OF THE DUKE OP BUCCLEUCH'S MEZZOTINTS. The sale of the beautiful mezzotints from the portraits by Sir Joshua Reynolds which took place during last week, excited a good deal of interest among the collectors, who were mostly represented by the great printsellers, who bid very high prices, higher considerably than have ever been paid for some of the choicer examples, as for instance that of the Ladies Waldegrave, which brought £262. 10s. Several which have never before gone over £100 went some pounds above that mark, and even second-rate prints sold extremely well. The average price over the three days of Sir Joshua's was about £14, or between £13 and £14 each print, which is something astonishing. The following engraved works of Sir Joshua by Valentine Green were sold:— Countess of Aylesford, £57. 10s.; Miss Sarah Campbell, £66. 35., Lady Elizabeth Compton, £131. 5s.; Lady Betty Delmé, slightly damaged, £84; Duchess of Devonshire, £115. 10s.; Lady Halliday, £52. 10s.; Lady H. Herbert, £60. 18s.; Lady Caroline Howard, £53. 11s.; Lady Louisa Manners, £102. 18s.; Duchess of Rutland, £131. 5s.; Countess of Salisbury, £73. 10s.; Countess Talbot, £67. 4s.; Lady Townshend, £71. 8s.; Ladies Waldegrave, £262. 10s. All these are described as "first state." A print of the Ladies Waldegrave was sold some years ago for £252. The total of the Sir Joshua mezzos reached to close upon £8,000. The ''Times'' says:— The sum of 260 guineas has been paid at Christie's for a mezzotint engraving — a proof of Valentine Green's plate after the "Three Ladies Waldegrave" of Sir Joshua Reynolds. This price is, we believe, the high-water mark of the particular form of the collector's passion which occupies itself with mezzotints. It is also, as yet, the high-water mark of a sale which in its own special way is likely to be as memorable as any of the great sales of recent years. The late Duke of Buccleuch was a collector of a peculiar kind. He was constant to two or three classes of fine things — tohistorical [sic] miniatures, and to some kinds of engravings. The sale appears to have definitely proved that the beautiful mezzotints which Sir Joshua's contemporary engravers made from his pictures have taken a permanent place in the estimation of English amateurs. Thirty years ago they were little thought of, though the master himself had never fallen from his pride of place. People would not have dreamed of placing the works of Valentine Green and Dickinson and the Watsons on a level with the plates of the line engravers, such as Raphael Morghen and Toschi. They argued, with an appearance of reason, that a plate which could be scraped in three months could never give proofs of equal value with one that had occupied the engraver three years. They forgot that a mezzotint plate, though it may be prepared more rapidly, is infinitely more delicate than a plate worked with the burin, and that consequently a very few impressions are often all that can be taken from the former. As time went on a more appreciative view came to be taken of these charming prints, and we may date the moment of their sudden spring into the general estimation of collectors at the beginning of the series of "Old Masters" exhibitions at Burlington House.<ref>"Sale of the Duke of Buccleuch's Mezzotints." ''Worcester Journal'' 26 March 1887, Saturday: 6 [of 8], Col. 6c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000150/18870326/078/0006. Print title: ''Berrows Worcester Journal'', same p.</ref></blockquote> ==April 1887== In the May issue of ''London Society'', Mrs. Humphry says, "At a recent 'afternoon' there was much to delight the gossip-lover. Almost every one there had been 'talked of' in one sense or other. One had written a 'risky' book; another had most innocently committed bigamy, and did not at the moment know with any degree of exactitude who was the lady whom he really was bound to love and cherish, owing to the suspected existence of a previous husband of one of his two wives. This was all very interesting indeed. Quite as much so was the fact that two deadly enemies had accidentally met on this occasion. The few words they exchanged when they unluckily encountered each other in a blocked doorway were of a forcible description, both belligerents being men. There must have been extraordinary vitality about these short speeches, for in the course of ten minutes they had increased from a dozen words into a dialogue that would 'play' for quite ten minutes at the Court Theatre. A very vivid imagination on the part of the various raconteurs may possibly have accounted for some of this gourd-like growth."<ref>Humphry, Mrs. "Social Echoes." ''London Society: A Monthly Magazine of Light and Amusing Literature for Hours of Relaxation''. May 1887. Vol. LI (January–June 1887): 685.</ref> ===16 April 1887, Saturday=== Emma Nevada sang Amina in ''La Sonnambula'' at Covert Garden.<ref name=":1">Gray, Eugene F. "Chronology of Events in the Life of Emma Nevada." ''Emma Nevada: An American Diva''. https://www.msu.edu/~graye/emma/chronolo.html (retrieved 14 April 2010).</ref> ===29 April 1887, Friday=== Emma Nevada sang Gonoud's Mirella at Covent Garden.<ref name=":1" /> ==May 1887== The papers delived at the Men and Women's Club meeting for May 1887 were by Henrietta Muller and Kate Mills and were on the subject of "family limitation" (Bland 17). The [[Social Victorians/1887 American Exhibition|American Exhibition]] opened in May. A "signalling incident" in 1907 caused the Waterford ''Evening News'' to recall a similar event that had occurred in 1887:<blockquote>The naval signalling incident is still in the air. It is expected that the matter will not be threshed out until Emperor William leaves England. A story of a former signalling incident in which [[Social Victorians/People/Beresford|Lord Charles Beresford]] was concerned is going the rounds at the moment. During the manoeuvres in connection with the 1887 Jubilee of Queen Victoria a signal was observed going up from Lord Charles's ship. It was a message to his wife, Lady Beresford, to the effect that, as he should be late for dinner, she was not to wait. Beyond the hilarity this domestic signal evoked, nothing more would have been heard of it, but Mr. [[Social Victorians/People/Bourke|Algernon Bourke]] (Lord Mayo's brother) was acting as special correspondent for the "Times," and that paper the next morning contained a full and humorous report of the incident. Then there was trouble.<ref>"Signalling Incident." ''Evening News'' (Waterford) 13 November 1907, Wednesday: 1 [of 4], Col. 6c [of 6]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0004557/19071113/021/0001.</ref></blockquote> ===25 May 1887, Wednesday=== Derby Day. According to the ''Morning Post'',<blockquote>The Hon. Mrs. Henry Forester's dance, at 13, Carlton-house-terrace.<br>Lady Goldsmid's first evening party.<br>Mrs. Charles Waring's ball.<br>Chevalier and Mrs. Desanges' at home, at 16, Stratford-place, 4 to 7.<br>New Club Dance.<br>The '''giand[?]''' [grand] pianoforte designed by L. Alma Tadema, R.A., with paintings by E. J. Poynter, R.A., on view at Johnstone, Norman, and Co.'s Galleries, 67, New Bond-street. Admission on presentation of card.<br>Epsom Races: Derby Day.<ref>"Arrangements for This Day." The ''Morning Post'' Wednesday, 25 May 1887: p. 5 [of 8], Col. 5b. ''British Newspaper Archive'' .</ref></blockquote> ===28 May 1887, Saturday=== [[Social Victorians/1887 American Exhibition/Indigenous People Visit the Savage Club|Red Shirt and other native performers from Buffalo Bill's Wild West visit the Savage Club]] at the Savoy. ===29 May 1887, Sunday=== Whit Sunday ===30 May 1887, Monday=== "Taking advantage of the Bank Holiday, nearly 100,000 persons on Monday visited the American Exhibition, where Buffalo Bill gave three performances."<ref>''Illustrated London News'' (London, England), Saturday, June 04, 1887; pg. 632; Issue 2511, Col. 2.</ref> ==June 1887== === 15 June 1887, Wednesday === The Marchioness of Salisbury hosted a [[Social Victorians Foreign Office Reception 1887-06-15|reception in honor of Queen Victoria's Golden Jubilee at the Foreign Office]]. === 26 June 1887, Sunday === There was apparently a regular celebration of Arthur Collins' birthday, 26 June, by Bret Harte, George Du Maurier, Arthur Sullivan, Alfred Cellier, Arthur Blunt, and John Hare.<ref name=":0">Axel Nissen, ''Bret Harte: Prince & Pauper''. U P of Mississippi, 2000. http://books.google.com/books?id=WEDewmUnapcC.</ref>{{rp|239}} Choosing 1885–1902 as the dates because those apparently are the dates of the close relationship between Harte and Collins, ending in Harte's death in 1902. ==July 1887== ===7 July 1887, Thursday=== "Wilde is known to have dined at Upper Hamilton Terace," where the Van der Veldes lived (actually, they lived at 15 Upper Hamilton Terrace).<ref name=":0" />{{rp|216}} ===13 July 1887, Wednesday=== (Six days after July 7): Oscar Wilde "entertained [Bret] Harte and the Van de Veldes at an "at home" that also featured Buffalo Bill Cody, Lady Wilde, Lady Neville, and Lady Monckton."<ref name=":0" />{{rp|216}} ===23 July 1887, Saturday=== ==== Exhibition of the Royal Academy Ending ==== <blockquote>At this late period of the London season, it frequently becomes the duty of families residing in town, before their own departure for change of scene or change of air, to receive the visits of friends from the country, and sometimes to conduct them to the sights and amusements which have already been made familiar to themselves in preceding months. The Colonial and Indian Exhibition of last year, and those of former years at South Kensington, which remained open till October, were naturally thronged by provincial visitors during the late summer and autumn; and it will probably be the same with the American Exhibition, including the romantic "Wild West" and the performances of "Buffalo Bill." There is, however, one important annual feature of the metropolitan attractions, for people of a certain degree of social and intellectual pretensions, which disappears at the end of July; the pictures at the Royal Academy, the merits of which were abundantly discussed here in May, are to be viewed yet another week, before their dispersal to the ends of the kingdom. Many ladies and gentlemen with a taste for art, or with an idea that they are bound to qualify themselves for remarks upon this safe topic in the social convese that may await them, make a point of coming to London almost for the purpose of seeing the Academy Exhibiton. Their frank and eager curiosity, with their warmly expressed admiration of favourite works, affords a refreshing contrast to the fatigued indifference of Londoners, who have endured the toils of a variety of private and public entertainments, not to speak of business, professional work, and politics, since the beginning of February, and who are now craving repose. The latter may undeservedly get the discredit of a nil admirari temperament, and of insensibility to the sublime and beautiful, when they are only physically and mentally tired.<ref>"Country Cousins at the Exhibition." ''Illustrated London News'' (London, England), Saturday, July 23, 1887; pg. 103; Issue 2518, Col. 3.</ref></blockquote> ===30 July 1887, Saturday=== ==== The Welcome Club at the American Exhibition ==== On Saturday 30 July 1887, the ILN reports the following about an event the prior week:<blockquote>The new Welcome Club, in the grounds of the popular American Exhibition, was opened last week. Within sight of the switch-back railway, and within sound of the music of the band, a picturesque little club-house has been erected, furnished and provided with every comfort, and, as its name implies, offering a hearty welcome to its guests. Only gentlemen are admitted as members of the club, but each member may bring with him a lady guest; one part of the building has been set apart for their sole use, and is called the Ladies' Pavilion. The inviting entrance-hall, approached from the garden by a flight of steps and a covered verandah, is delightfully cool and shady, even in the hottest weather. Here is an attractive buffet, draped with electric-blue plush and Oriental fringes, where American iced drinks may be obtained in endless variety. It is furnished with the deep saddle-bag settees, and is decorated with a pretty terra-cotta wall-paper; an electric lamp of beaten brass is in the centre of the ceiling, and there are artistic wall-lights, in ormolu, with plaques of blue and white enamel. To the left of the entrance-hall is a cool and spacious dining-room, where an excellent menu is served by a competent chef, from five in the evening till half-past eight. On the opposite side of the entrance-hall is the smoking-room, where all the furniture is of American walnut wood, used in combination with dark green morocco. A soft Axminster carpet covers the floor, and the walls are decorated with works of art, including water-colour drawings by Mr. T. B. Hardy and Mr. Dudley Hardy. Here, too, is a paino, for those who care to divert the intervals of smoking by musical interludes. The Royal Pavilion, intended specially for the use of the Royal Princes and Princesses, is a charming little place, effectively decorated, in the Louis XVI. style, with white carved-wood furniture, covered with satin and brocade. The colouring here is highly artistic. The arrangement of the satin portière which drapes the door is particularly noticeable, harmonising with the tapestry wall-covering, the dark dado, the cabinets of satin-wood [lb at hyphen], and the mirrors, with their white carved frames. Passing across a wide, shady terrace, which is bright with flower-beds, and is amply furnished with tempting seats, the visitor reaches the Ladies' Pavilion, which forms a separate bulding. It is a very pretty room, tastefully furnished, with the dainty accessories befitting the use of ladies. A piano fills one corner, in another is a Chippendale writing-table. Glass bowls of roses are placed here and there, while engravings from Tadema and Millais look well upon the pale-blue wall-paper, above a dado of silk tapestry. In fact nothing has been forgotten, and the lady visitors may well look forward to spending many pleasant hours in their Welcome Club pavilion. The whole of the furnishing has been designed and executed by Messrs. Oetzmann, of Hampstead-road, in a manner doing great credit to the artistic taste and workmanship of that firm. The members of the Welcome Club gave a very successful garden-party to their friends one day last week, when numerous distinguished guess were present; among others were Lord and Lady Lamington, Lord Northbrook, Lady Dorothy and Miss Neville, the Countess of Scarborough, Lord and Lady Rothschild, Lord Ronald Gower, Lady McPherson Grant, Lady Louisa Cunningham, and Sir Philip and Lady Cunliffe-Owen.<ref>"The Welcome Club." ''Illustrated London News'' (London, England), Saturday, July 30, 1887; pg. 131; Issue 2519, Col. 3.</ref></blockquote> ==August 1887== ===29 August 1887, Monday=== Summer Bank Holiday ==September 1887== "In September of the same year Lady Houghton and her children were staying at Crewe Hall, with 'Uncle Crewe.' The children were convalescing from the bouts of scarlet fever they had had at Fryston. At Crewe their mother suddenly contracted the same disease. Within a few days she was dead" (Pope-Hennessy Lord Crewe 26). ==October 1887== ===31 October 1887, Monday=== ==== Halloween ==== ==== End of the American Exhibition ==== "The American Exhibition, which attracted all the town to West Brompton the last few months, was brought on Monday to a dignified close. A meeting of representative Englishmen and Americans was held in the Trophy Room, under the presidency of Lord Lorne, in support of the movement for establishing a Court of Arbitration for the settlement of disputes between this country and the United States. Resolutions in favour of the principle of international artibration were adopted. Mr. Bright, Lord Granville, Lord Wolseley, and other distinguished public men wrote expressing sympathy with the cause."<ref>''Illustrated London News'' (London, England), Saturday, November 05, 1887; pg. 537; Issue 2533, Col. 3.</ref> ==November 1887== ===5 November 1887, Saturday=== Guy Fawkes Day ===8 November 1887, Tuesday=== The next-to-the-last performance of the original run of ''Ruddigore'' was done at the Crystal Palace, as was the last, on 9 November.<ref>"At the Play." ''The Observer'', 6 November 1887, p. 2 and ''The Times'', 8 November 1887, p. 1.</ref> ===9 November 1887, Wednesday=== The last performance of the original run of ''Ruddigore'' was done at the Crystal Palace, as was the last, on 9 November. ===13 November 1887, Sunday=== ==== Bloody Sunday ==== Bloody Sunday was "the name given to a demonstration against coercion in Ireland and to demand the release from prison of MP William O'Brien, who was imprisoned for incitement as a result of an incident in the Irish Land War. The demonstration was organized by the Social Democratic Federation and the Irish National League." (http://en.wikipedia.org/wiki/Bloody_Sunday_(1887)) "Then, on 13 November 1887, although a meeting called by the Metropolitan Radical Association in protest against the government's failure to tackle unemployment is banned, a mass demonstration in Trafalgar Square goes ahead anyway. This leads to a riot in which one person dies, 200 are hurt and 400 arrested. The event is named 'Bloody Sunday'." (http://www.channel4.com/history/microsites/H/history/guide19/part04.html). In his ''My Life and Loves'', Frank Norris describes it, though he has the wrong date?: <blockquote>All this while the discontent of the working classes in Great Britain, as in Ireland, grew steadily and increased in bitterness. In London it found determined defenders in the Social Democratic Federation. Mr. H. W. Hyndman had started this association a couple of years or so before as a follower more or less convinced of Karl Marx. The first time I heard Bernard Shaw speak was at a meeting of the Federation, but I had left it before he joined and he left it soon afterwards. On a Monday early in February, 1886, the Federation called a meeting in Trafalgar Square which ended in a riot. The mob got out of hand and marched to attack the clubs in Pall Mall and soon proceeded to loot shops in Piccadilly and hold another meeting at Hyde Park Corner. The ringleaders were arrested and tried: they were Hyndman, Williams, Burns and Champion. Williams and Burns, both workingmen, were bailed out by William Morris, the poet. Hyndman seemed to me an ordinary English bourgeois with a smattering of German reading: he was above middle height, burly and bearded; Champion, the thin, well-bred officer type with good heart and scant reading; Williams, the ordinary workingman full of class prejudices; and John Burns, also a workingman, but really intelligent and thoughtful, who afterwards proved himself an excellent minister and resigned with Lord Morley rather than accept the world war. In spite of deficient education, Burns was even then a most interesting man; though hardly middle height, he was sturdy and exceedingly strong and brave. He had read from boyhood and we became great friends about the beginning of the century through the South African War. Burns was an early lover of Carlyle, and the experiences of a workingman's life had not blinded him to the value of individual merit. In many respects he stood on the forehead of the time to come, and if his education had been equal to his desire for knowledge, he would have been among the choicest spirits of the age. Even in 1886 I'm glad to say I rated him far above most of the politicians, though he never reached any originality of thought." (Vol. 2, p. 387)</blockquote> ==December 1887== ===12 December 1887, Monday=== The Men and Women's Club met and Robert J. Parker read his paper, "The Contagious Diseases Act" (Walkowitz 292, n. 87). === 15 December 1887, Thursday === ==== Wedding of Algernon Bourke and Gwendolen Sloane Stanley ==== The ''Morning Post'' announced on Friday, 11 November 1887, that "The marriage arranged between Mr. Algernon Bourke and Miss Guendolen [sic] Hans Sloans Stanley will not take place."<ref>"Arrangements for This Day." ''Morning Post'' 11 November 1887, Friday: 5 [of 8], Col. 7b [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18871111/083/0005. Same print title and p.</ref> Because of the bereavement? From ''The Queen'':<blockquote> Bourke—Stanley. — The marriage of the Hon. Algernon Rourke, third son of the late Earl of Mayo, and brother of the present peer, with Miss Gwendolin Sloane Stanley, daughter of Mr and Mrs Hans Sloane Stanley took place in St. Paul's Church, Knightsbridge, on Thursday morning. Owing to recent mourning in the bride's family, no invitations were issued for the wedding, which was quite private. The bridegroom was attended by Mr Sandys as best man, and there were four bridesmaids. They were dressed in deep vieux rose cashmere, with moiré sashes of the same colour, and their hats to match, were turned up with velvet, trimmed with cock's feathers. Each wore a pretty brooch, the bridegroom's gift, and carried a bouquet of white flowers, tied with broad white satin ribbon. The bride arrived shortly after half-past eleven, accompanied by her father, who afterwards give her away. Her dress of white satin was richly worked in silver, and was draped In front with old-silver embroidery. She wore orange blossoms on the bodice and in her hair, and a tulle veil. Among the relatives and friends present, we noticed the Earl of Mayo, the Dowager Countess of Mayo, and Lady Florence Bourke, Major-Gen. the Hon. John Bourke, the Hon. Edward and Mrs Bourke, and Miss Nora Bourke, Countess Lützow, Miss Eleanor Ewart, Miss Violet Edwards, Mrs Verschoyle and the Misses Verschoyle. The Hon. and Rev. George Wingfield Bourke, rector of Pulborough, Sussex, uncle of the bridegroom, officiated, assisted by the Rev. G. Baden Powell, M.A., of St. Paul's. The bride and bridegroom afterwards drove to Mr and Mrs Hans Sloane Stanley's residence in Cadogan-square, and after breakfast, started on their wedding tour, the bride travelling in a pale grey dress, with hat to match.<ref>"Fashionable Marriages." ''The Queen'' 17 December 1887, Saturday: 47 [of 96], Col. 1b [of 3]. British Newspaper Archive https://www.britishnewspaperarchive.co.uk/viewer/bl/0002627/18871217/347/0047. Print title: ''The Queen, The Lady's Newspaper'', p. 800.</ref></blockquote> From the ''Nottinghamshire Guardian'':<blockquote>The marriage of the Hon. Algernon Bourke, son of the late Lord Mayo, and brother of the present peer, to Miss Gwendolen Sloane Stanley, daughter of Mr. Hans Sloane Stanley, was solemnised on Thursday at St. Paul's Church, Knightsbridge. Owing to a recent family bereavement no invitations were issued, the wedding parly being restricted to members of the two families. The ceremony was performed by the Hon. and Rev. George Bourke, uncle of the bridegroom. The bride was given away by her father, and was followed to the altar by four bridesmaids: — Lady Florence Bourke, Miss Nora Bourke, Miss Edwards, and Miss Ewart. The Hon. Michael Sandys attended the bridegroom as beet man. After the ceremony the bride and bridegroom left town for Lord Henry Paulet's place near Rugby.<ref>"Court and Personal." ''Nottinghamshire Guardian'' 17 December 1887, Saturday: 4 [of 8], Col. 4c [of 8]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000176/18871217/018/0004. Same print title and p.</ref></blockquote>Gwendolen's father died a year later; who died in late 1887? ===25 December 1887, Sunday=== Christmas Day ===26 December 1887, Monday=== Boxing Day ==Works Cited== susnzphf0vrszdv04sis146pwz0o1qp 0 264342 2817777 2817719 2026-07-06T09:34:45Z ShakespeareFan00 6645 2817777 wikitext text/x-wiki == Overview == According to the Museum of London, Queen Victoria was 4'8" by the end of her life.<ref>Austin, Emily. "Mounting Queen Victoria's mourning dress." 13 August 2020 ''London Museum''. [https://www.londonmuseum.org.uk/blog/mounting-queen-victorias-mourning-dress/#:~:text=Comprising%20a%20bodice%20and%20skirt,a%20certain%20stage%20of%20mourning. https://www.londonmuseum.org.uk/blog/mounting-queen-victorias-mourning-dress/#:~:text=Comprising%20a%20bodice%20and%20skirt,a%20certain%20stage%20of%20mourning.] Retrieved 2026-03-09.</ref> Most people say she was about 5 feet tall at her tallest, although sometimes some will say 5'2". Lytton Strachey describes the shrinking of Queen Victoria's power over the course of her reign, attributing it to her inability to think clearly about the constitution or constitutional monarchy:<blockquote>Victoria’s comprehension of the spirit of her age has been constantly asserted. It was for long the custom for courtly historians and polite politicians to compliment the Queen upon the correctness of her attitude towards the Constitution. But such praises seem hardly to be justified by the facts. ... The complex and delicate principles of the Constitution cannot be said to have come within the compass of her mental faculties; and in the actual developments which it underwent during her reign she [472–473] played a passive part. From 1840 to 1861 the power of the Crown steadily increased in England; from 1861 to 1901 it steadily declined. The first process was due to the influence of the Prince Consort, the second to that of a series of great Ministers. During the first Victoria was in effect a mere accessory; during the second the threads of power, which Albert had so laboriously collected, inevitably fell from her hands into the vigorous grasp of Mr. Gladstone, Lord Beaconsfield, and Lord Salisbury. Perhaps, absorbed as she was in routine, and difficult as she found it to distinguish at all clearly between the trivial and the essential, she was only dimly aware of what was happening. Yet, at the end of her reign, the Crown was weaker than at any other time in English history. Paradoxically enough, Victoria received the highest eulogiums for assenting to a political evolution, which, had she completely realised its import, would have filled her with supreme displeasure. Nevertheless it must not be supposed that she was a second George III. Her desire to impose her will, vehement as it was, and unlimited by [473–474] any principle, was yet checked by a certain shrewdness.<ref name=":0">Strachey, Lytton. ''Queen Victoria''. Standard Ebooks, 2025 (2020). [http://standardebooks.org/ebooks/lytton-strachey/queen-victoria standardebooks.org/ebooks/lytton-strachey/queen-victoria]. Apple Books: https://books.apple.com/us/book/queen-victoria/id6444770015.</ref>{{rp|472–474 of 555}} </blockquote> The American writer Henry James on Queen Victoria's death:<blockquote>the ensuing mood [was] "strange and indescribable": people spoke in whispers, as though scared of something. He was surprised at the reaction, because her death was not sudden or unusual: it was "a simple running down of the old used up watch," the death of an old widow who had thrown "her good fat weight into the scales of general decency." Yet in the following days, the American-born writer felt unexpectedly distressed. He, like so many, mourned the "safe and motherly old middle-class Queen, who held the nation warm under the fold of her big, hideous Scotch-plaid shawl."<ref name=":11" />{{rp|846 of 1203}}</blockquote> According to A. N. Wilson, Queen Victoria's reputation for prudishness is not quite deserved. The "raffishness" of George IV, for example, or most of the other children of George III, was distasteful, but<blockquote>Having been brought up by a [324–325] widow was different from being brought up, as Albert was, in a home broken by adultery; so her distaste for raffishness, though she would loyally echo her husband’s strong moral line, lacked the pathological edge which it possessed in his case.<ref name=":13" />{{rp|324–325 of 1204}}</blockquote> And Wilson says of her enduring liking for the "poor relation" cousin George Cambridge, 2nd Duke of Cambridge,<blockquote>Although all her biographers stress Victoria’s need, in marrying the virtuous Prince Albert, to escape the dissipations and clumsiness of her ‘wicked uncles’, there was always a distinctly Hanoverian side to her. George Cambridge was a throwback to the world of William IV and George IV, to a lack of stiffness and a lack of side which was always part of Victoria’s character also.<ref name=":13" />{{rp|879 of 1204}}</blockquote> Wilson says of the distance between the actual woman and the external perception of her,<blockquote>Arthur C. Benson and the 1st Viscount Esher, both homosexual men of a certain limited outlook determined by their class and disposition, were the pair entrusted with the task of editing the earliest published letters. It is a magnificent achievement, but they chose to concentrate on Victoria’s public life, omitting the thousands of letters she wrote relating to health, to children, to sex and marriage, to feelings and the ‘inner woman’. It perhaps comforted them, and others who revered the memory of the Victorian era, to place a posthumous gag on Victoria’s emotions. The extreme paradox arose that one of the most passionate, expressive, humorous and unconventional women who ever lived was paraded before the public as a [39–40] stiff, pompous little person, the ‘figurehead’ to an all-male imperial enterprise.<ref name=":13" />{{rp|39–40 of 1204}}</blockquote> Besides what some say was a German accent, Queen Victoria spoke in what A. N. Wilson calls<blockquote>an unreformed Regency English. In Osborne, on Christmas Day 1891, she asked Sir Henry Ponsonby, 'Why the blazes don't Mr Macdonnell telegraph hear the results of the election? He used to do so and now he don’t.' ... If William IV had lived in the age of the telegraph, it is just the sort of question, with 'don't' for 'doesn't', and the blunt 'why the blazes' which he would have asked. One sees here [857–858] how much she had in common with her cousin the Duke of Cambridge, who likewise appeared in many ways to be a pre-Victorian. During a drought, he went to church and the parson prayed for rain. The duke involuntarily exclaimed, 'Oh God! My dear man, how can you expect rain with wind in the east?' When the chaplain, later in the service, said, 'Let us pray,' the duke replied, 'By all means.'<ref name=":13" />{{rp|857–858 of 1204}}</blockquote> == Also Known As == *Victoria Regina *Family name: Saxe-Coburg and Gotha *Nickname, as a child: Drina *Alexandrina Victoria == Family == *Victoria — Alexandrina Victoria (24 May 1819 – 22 January 1901)<ref name=":4" /> *Albert, Prince Consort — Franz August Karl Albert Emanuel (26 August 1819 – 14 December 1861)<ref name=":2">{{Cite journal|date=2025-10-04|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/w/index.php?title=Prince_Albert_of_Saxe-Coburg_and_Gotha&oldid=1315065374|journal=Wikipedia|language=en}}</ref> #Victoria Adelaide Mary Louisa, "Vicky," German Empress, Empress Frederick (21 November 1840 – 5 August 1901)<ref>{{Cite journal|date=2025-10-08|title=Victoria, Princess Royal|url=https://en.wikipedia.org/w/index.php?title=Victoria,_Princess_Royal&oldid=1315724049|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Albert Edward, Prince of Wales | Albert Edward, "Teddy," King Edward VII]] (4 November 1841 – 6 May 1910)<ref>{{Cite journal|date=2025-10-23|title=Edward VII|url=https://en.wikipedia.org/w/index.php?title=Edward_VII&oldid=1318322588|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Princess Alice | Alice Maud Mary, Princess Alice]], Grand Duchess of Hesse (25 April 1843 – 14 December 1878)<ref>{{Cite journal|date=2025-10-02|title=Princess Alice of the United Kingdom|url=https://en.wikipedia.org/w/index.php?title=Princess_Alice_of_the_United_Kingdom&oldid=1314683419|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Alfred of Edinburgh | Alfred Ernest Albert, "Affie"]]: Duke of Edinburgh — (6 August 1844 – 30 July 1900),<ref>{{Cite journal|date=2025-10-20|title=Alfred, Duke of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/w/index.php?title=Alfred,_Duke_of_Saxe-Coburg_and_Gotha&oldid=1317824547|journal=Wikipedia|language=en}}</ref> Duke of Saxe-Coburg (24 May 1866 – 30 July 1900) and Gotha (2 August 1893 – 30 July 1900) #[[Social Victorians/People/Christian of Schleswig-Holstein | Helena Augusta Victoria, "Lenchen,"]] Princess Christian of Schleswig-Holstein (25 May 1846 – 9 June 1923)<ref>{{Cite journal|date=2025-10-26|title=Princess Helena of the United Kingdom|url=https://en.wikipedia.org/w/index.php?title=Princess_Helena_of_the_United_Kingdom&oldid=1318943746|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Princess Louise | Louise Caroline Alberta, Princess Louise]], Marchioness of Lorne, [[Social Victorians/People/Argyll | Duchess of Argyle]] (18 March 1848 – 3 December 1939)<ref>{{Cite journal|date=2025-09-25|title=Princess Louise, Duchess of Argyll|url=https://en.wikipedia.org/w/index.php?title=Princess_Louise,_Duchess_of_Argyll&oldid=1313272998|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Connaught | Arthur William Patrick Albert]], Duke of Connaught and Strathearn (1 May 1850 – 16 January 1942)<ref>{{Cite journal|date=2025-10-03|title=Prince Arthur, Duke of Connaught and Strathearn|url=https://en.wikipedia.org/w/index.php?title=Prince_Arthur,_Duke_of_Connaught_and_Strathearn&oldid=1314802923|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Leopold | Leopold George Duncan Albert]], Duke of Albany (7 April 1853 – 28 March 1884)<ref name=":1">{{Cite journal|date=2025-10-19|title=Prince Leopold, Duke of Albany|url=https://en.wikipedia.org/w/index.php?title=Prince_Leopold,_Duke_of_Albany&oldid=1317724959|journal=Wikipedia|language=en}}</ref> #Beatrice Mary Victoria Feodore, Princess Henry of Battenberg (14 April 1857 – 26 October 1944)<ref>{{Cite journal|date=2025-10-21|title=Princess Beatrice of the United Kingdom|url=https://en.wikipedia.org/w/index.php?title=Princess_Beatrice_of_the_United_Kingdom&oldid=1318045123|journal=Wikipedia|language=en}}</ref> === "Adopted" Godchildren === # Victoria Gouramma, of Coorg (c. 1841–), brought to London in 1852 at 11, QV stood as godmother 1 July 1852.<ref name=":13" /> (346 of 1204) # Maharajah Duleep Singh, the Lion of the Punjab, presented to QV in July 1854.<ref name=":13" /> (350 of 1204) === Relations === == Acquaintances, Friends and Enemies == === Acquaintances === === Friends === * Lord Melbourne — Henry William Lamb, 2nd Viscount Melbourne (15 March 1779 – 24 November 1848)<ref>{{Cite journal|date=2025-09-25|title=William Lamb, 2nd Viscount Melbourne|url=https://en.wikipedia.org/w/index.php?title=William_Lamb,_2nd_Viscount_Melbourne&oldid=1313293647|journal=Wikipedia|language=en}}</ref> * Benjamin Disraeli, 1st Earl of Beaconsfield (21 December 1804 – 19 April 1881)<ref>{{Cite journal|date=2025-10-09|title=Benjamin Disraeli|url=https://en.wikipedia.org/w/index.php?title=Benjamin_Disraeli&oldid=1315865798|journal=Wikipedia|language=en}}</ref> * Harriet, Duchess of Sutherland, [[Social Victorians/Victoria/Queen's Household#Mistress of the Robes|Mistress of the Robes]] 1837 and 1861, very close friend.<ref>{{Cite journal|date=2026-03-13|title=Harriet Sutherland-Leveson-Gower, Duchess of Sutherland|url=https://en.wikipedia.org/w/index.php?title=Harriet_Sutherland-Leveson-Gower,_Duchess_of_Sutherland&oldid=1343226719|journal=Wikipedia|language=en}}</ref> The Duchess of Sutherland was an abolitionist, personally criticized by Karl Marx for her mother's clearing of the Sutherland lands for sheep grazing. * Anne Murray, Duchess of Atholl, [[Social Victorians/Victoria/Queen's Household#Mistress of the Robes|Mistress of the Robes]] 1852–1853 and then Lady of the Bedchamber until 1892, when she and the Duchess of Roxburghe shared the duties of the Mistress of the Robes, among her closest of friends<ref>{{Cite journal|date=2026-01-25|title=Anne Murray, Duchess of Atholl|url=https://en.wikipedia.org/w/index.php?title=Anne_Murray,_Duchess_of_Atholl&oldid=1334678470|journal=Wikipedia|language=en}}</ref> * [[Social Victorians/People/Sophie of Wurttemberg|Sophie of Württemberg, Queen of the Netherlands]] (17 June 1818 – 3 June 1877)<ref>{{Cite journal|date=2025-12-02|title=Sophie of Württemberg|url=https://en.wikipedia.org/w/index.php?title=Sophie_of_W%C3%BCrttemberg&oldid=1325386567|journal=Wikipedia|language=en}}</ref> *[[Social Victorians/People/Mary Todd Lincoln|Mary Todd Lincoln]] (December 13, 1818 – July 16, 1882)<ref>{{Cite journal|date=2026-01-08|title=Mary Todd Lincoln|url=https://en.wikipedia.org/w/index.php?title=Mary_Todd_Lincoln&oldid=1331838569|journal=Wikipedia|language=en}}</ref> *[[Social Victorians/People/Eugenie of France|Empress Eugénie of France]] (5 May 1826 – 11 July 1920)<ref>{{Cite journal|date=2025-11-18|title=Eugénie de Montijo|url=https://en.wikipedia.org/w/index.php?title=Eug%C3%A9nie_de_Montijo&oldid=1322973534|journal=Wikipedia|language=en}}</ref> * [[Social Victorians/People/Elisabeth of Austria|Empress Elisabeth of Austria]] (24 December 1837 – 10 September 1898)<ref>{{Cite journal|date=2026-01-09|title=Empress Elisabeth of Austria|url=https://en.wikipedia.org/w/index.php?title=Empress_Elisabeth_of_Austria&oldid=1332040784|journal=Wikipedia|language=en}}</ref> * "Lady Augusta Bruce, lady-in-waiting to Queen Victoria’s mother, and already [by 1853] a great friend of the Queen’s, attended [Eugénie and Napoleon's] wedding at Notre-Dame"<ref name=":13">Wilson, A. N. ''Victoria: A Life''. Penguin, 2014. Apple Books: https://books.apple.com/us/book/victoria/id828766078.</ref> (325 of 1204) === Enemies === == Organizations == [[Social Victorians/Victoria/Queen's Household|Queen's Household]] == Pastimes == * [[Social Victorians/Royals Amateur Theatricals | Amateur Theatricals with the Royal Family]], often at Balmoral or Osborne == Timeline == This Timeline includes both a list of signal events in Queen Victoria's social life and a separate [[Social Victorians/People/Queen Victoria#Her Dresses|chronological list of the dresses]] as they appear in her painted and photographed portraits. Information about what she wore at particular events might be in both places. '''1835''', Rosie Harte in ''The Royal Wardrobe'' says,<blockquote>In 1835, Victoria first met the French Princess Louise, who had recently married her uncle Leopold and whose continental wardrobe fascinated the young Princess. Victoria’s addiction to French wares began with little gifts and accessories, before eventually Louise was supplying her with full outfits of pastel-toned silk dresses and matching bonnets, which Victoria swooned over in her diary: ‘They are quite lovely. They are so well made and so very elegant.’¹⁸ ^{"18 RA VIC/MAIN/QVJ (W) 17 September 1836."} <ref>Harte, Rosie. ''The Royal Wardrobe: Peek into the Wardrobes of History's Most Fashionable Royals''. </ref>{{rp|270 of 595}}</blockquote> '''1836 May 18''', Victoria and Albert met for the first time. Worsley says,<blockquote>On this particular day that Albert first set eyes upon her, there’s also cause to suspect that we can identify the very gown Victoria was wearing. The reason is that she was a great hoarder of the clothes worn on significant occasions, and the Royal Collection today still contains a high-waisted, dark-coloured, tartan velvet dress. With short puffed sleeves worn just off the shoulder, its style dates it to exactly the right period.²¹{{rp|"21 Staniland (1997) p. 92"}} [new paragraph] The tartan was important, for despite the fact she had never been there Victoria had fallen passionately in love with the country of [129–130] Scotland. This had happened four months previously when she’d devoured Sir Walter Scott’s ''The Bride of Lammermoor''. In it, a fearsome Scottish lord feasts upon the human flesh of his tenants, shocking observers when he throws back ‘the tartan plaid with which he had screened his grim and ferocious visage’.²²{{rp|"22 Scott (1819; 1858 edition) p. 368"}} ‘Oh!’ Victoria panted in her journal, ‘Walter Scott is my beau ideal of a Poet; I do so admire him both in Poetry and Prose!’²³{{rp|"23 RA QVJ/1836: 1 November"}} ‘Grim and ferocious’ does not sound like a particularly winsome look. Yet Victoria, at odds with the authority figures in her life, wanted to demonstrate independence and maturity through her dark, tartan gown. Casting aside the white or pink muslin dresses that had previously dominated her wardrobe, she was going through a phase and adopting a look that in our own times we might call goth.<ref name=":5">Worsley, Lucy. ''Queen Victoria: Twenty-Four Days That Changed Her Life''. St. Martin's Press, Hodder & Stoughton, 2018.</ref>{{rp|129–130 of 786; nn. 21, 22, 23, p. 653}}</blockquote> '''1837 June 20''', Victoria acceded to the throne.<ref name=":4">{{Cite journal|date=2025-09-28|title=Queen Victoria|url=https://en.wikipedia.org/w/index.php?title=Queen_Victoria&oldid=1313837777|journal=Wikipedia|language=en}}</ref> She put on a white dressing gown to hear the news, and then she changed to a black dress, because she was in mourning for the death of William IV, to begin her work. Worsley says that in spite of contemporary reports, Victoria did not cry:<blockquote>'The Queen was not overwhelmed,’ Victoria [later] claimed, and was ‘rather full of courage, she may say. She took things as they came, as she knew they must be.’²⁸{{rp|"28 Theodore Martin, Queen Victoria as I Knew Her, London (1901) p. 65"}} [new paragraph] Even her grief for her uncle had to be kept measured. ‘Poor old man,’ she thought, ‘I feel sorry for him, he was always personally kind to me.’²⁹{{rp|"29 RA VIC/MAIN/QVLB/19 June 1837"}} Yet there was no time to mourn. Victoria quickly returned to her maid’s room to be dressed. She already had a black mourning gown just waiting to be put on. Still remaining at Kensington Palace to this day, this dress is a tiny garment, with an extraordinarily small waist and cuffs. With it, she wore a white collar and, as usual, ‘her light hair’ was ‘simply parted over the forehead’.³⁰{{rp|"30 Anon., The Annual Register and Chronicle for the Year 1837, London (1838) p. 65"}} Her girlish appearance explains quite a lot of the indulgence and romance with which her reign was greeted. It also meant that she would consistently be underestimated.<ref name=":5" />{{rp|148 of 786; nn. 28, 29, 30, p. 656}}</blockquote> === Formatting === '''1838 June 28, Victoria's Coronation'''. Worsley says,<blockquote>For her journey to Westminster Abbey, Victoria was wearing red robes over a stiff white satin dress with gold embroidery. She had a ‘circlet of splendid diamonds’ on her head. Her long crimson velvet cloak, with its gold lace and ermine, flowed out so far behind her little figure that it became a ‘very ponderous appendage’.²{{rp|"2 Lady Wilhelmina Stanhope, quoted in Lorne (1901) p. 82"}} Harriet, the beautiful and statuesque Duchess of Sutherland, Mistress of the Robes, was responsible for Victoria’s appearance. This ‘ponderous’ mantle must have made her anxious, and indeed it would get in the way and cause kerfuffle all day long. The stately duchess rather dwarfed the queen when they stood side by side, and Victoria was slightly jealous of Harriet’s habit of flirting with Melbourne. But she did trust her surer dress sense. Onto [160–161] Victoria’s little feet went flat white satin slippers fastened with ribbons.³{{rp|"3 Staniland (1997) p. 114"}}<ref name=":5" />{{rp|160–161; nn. 2, 3, p. 659}}</blockquote>The coronation was under-rehearsed, and Victoria herself had not seen the kind of pomp and splendor that came with such an important official event:<blockquote>Victoria gasped at the sight that met her within. Lady Wilhelmina Stanhope, one of the young ladies carrying the queen’s train, noticed that ‘the colour mounted to her cheeks, brow and even neck, and her breath came quickly.’²⁹{{rp|"29 Lady Wilhelmina Stanhope, quoted in Lorne (1901) p. 82"}} ‘Splendid’, Victoria thought the congregation, many of them, like herself, swathed in red velvet, ‘the bank of Peeresses quite beautiful, all in their robes’.³⁰{{rp|"30 RA QVJ/1838: 28 June"}} Among a host of impressive outfits, that of the Austrian ambassador was particularly noteworthy. Even the heels of his boots were bejewelled. One lady thought that he looked like he’d ‘been caught out in a rain of diamonds, and had come in dripping!’³¹{{rp|"31 Grace Greenwood, ''Queen Victoria, Her Girlhood and Womanhood'', London (1883) p. 117"}} Victoria was accompanied not only by the young ladies who were to carry her train, but also by the Duchess of Sutherland as Mistress of the Robes, who ‘walked, or rather stalked up the Abbey like Juno; she was full of her situation.’³²{{rp|"32 Ralph Disraeli, ed., ''Lord Beaconsfield’s Correspondence with His Sister'', London (1886 edition) p. 109"}} Throughout the whole ceremony the Bishop of Durham stood near to the queen, supposedly to guide her through the ritual. But he proved to be hopelessly unreliable. The unfortunate bishop ‘never could tell me’, Victoria recorded later, [169–170] what was to take place’. At one point, he was supposed to hand her the orb, but when he noticed that she had already got it, he was left, once again, ‘so confused and puzzled’.³³{{rp|"33 RA QVJ/1838: 28 June"}} Another hindrance came in the form of the trainbearers’ dresses. Their ‘little trains were serious annoyances’, wrote one of their number, ‘for it was impossible to avoid treading upon them … there certainly should have been some previous rehearsing, for we carried the Queen’s train very jerkily and badly, never keeping step properly’.³⁴{{rp|"34 Lady Wilhelmina Stanhope, quoted in Lorne (1901) p. 82"}} It was the Duchess of Richmond, not the stylish Sutherland, who had signed off the design of the bearers’ dresses, and she found herself ‘much condemned by some of the young ladies for it’. But the Duchess of Richmond had decreed that she would ‘have no discussion with their Mammas’ about what they were to wear. An executive decision was the only way to get the design agreed.³⁵{{rp|"35 RA QVJ/1838: 28 June"}} <ref name=":5" />{{rp|169–170 of 786; nn. 29, 30, 31, 32, 33, 34, 35, p. 660–661}}</blockquote>After the peers swore homage<blockquote>it was now time for a change of dress, to mark the beginning of Victoria’s transformation from girl to sovereign. Retreating to a special robing room, she took off her crimson cloak and put on ‘a singular sort of little gown of linen trimmed with lace’. This white dress represented her purified, prepared state. When she re-entered the abbey, she did so bare-headed. ... Then at last came the very moment of ‘the Crown being placed on my head – which was, I must own, a most beautiful impressive moment; all the Peers and Peeresses put on their Coronets at the same instant.’⁴¹{{rp|"41 RA QVJ/1838: 28 June"}} The sound of this moment of the lifting of the coronets had been heard at coronations going back to the Middle Ages, and was once exquisitely described as ‘a sort of feathered, silken thunder’.⁴²{{rp|"42 Benjamin Robert Haydon, ''The Diary of Benjamin Robert Haydon'', Cambridge, MA (1960) p. 350"}} <ref name=":5" />{{rp|172 of 786; nn. 41, 42, p. 661}}</blockquote>Her coronation robes were "specially woven in the Spitalfields silk-weaving area of London," like her wedding dress.<ref name=":8">Goldthorpe, Caroline. ''From Queen to Empress: Victorian Dress 1837–1877''. An Exhibition at The Costume Institute 15 December 1988 – 16 April 1989. The Metropolitan Museum of Art, 1988. ''Google Books'': https://www.google.com/books/edition/From_Queen_to_Empress/UJLxwwrVEyoC.</ref> (15) '''1840 February 10''', Victoria and Albert married at the Chapel Royal, St. James's Palace.<ref>{{Cite journal|date=2025-07-11|title=Wedding of Queen Victoria and Prince Albert|url=https://en.wikipedia.org/w/index.php?title=Wedding_of_Queen_Victoria_and_Prince_Albert&oldid=1300012890|journal=Wikipedia|language=en}}</ref> Worsley says,<blockquote>She had her hair dressed in loops upon her cheeks, and a ‘wreath of orange flowers put on.’ Her dress was ‘a white satin gown, with a very deep flounce of Honiton lace, imitation of old’.²¹{{rp|1="21 RA QVJ/1840: 10 February [QVJ = Queen Victoria's Journals]"}} This simple cream gown of Victoria’s was a dress that launched a million subsequent white weddings. She broke with monarchical [238–239] convention by rejecting royal robes in favour of a plain dress, with just a little train from the waist at the back to make it appropriate for court wear.²²{{rp|"22 Staniland (1997) p. 118"}} It was a signal that on this day she wasn’t Her Majesty the Queen, but an ordinary woman. She wore imitation orange blossom [sic] in her hair in place of the expected circlet of diamonds. She’d had the lace for the dress created by her mother’s favoured lacemakers of Honiton, in Devon, as opposed to the better-known artisans of Brussels. A royal commission like this was a welcome boost – then as now – to British industry.²³ "{{rp|23 Ibid., p. 120"}} This piece of lace would become totemic for Victoria. She would preserve it, treasure it and indeed wear it until the end of her life. Victoria had personally designed the dresses of her bridesmaids, giving a sketch to her Mistress of the Robes, still Harriet, Duchess of Sutherland.<ref name=":5" />{{rp|238–239 of 786; nn. 21, 22, 23, p. 674}}</blockquote> The Royal Collection has the sketch Victoria made.<blockquote>The bridesmaids wore white roses around their heads, with further blooms pinned to the tulle overskirts of their dresses. Victoria’s opinion was that they ‘had a beautiful effect’, but others disagreed.³⁶ [36 RA QVJ/1840: 10 February] Used to seeing golden tassels, velvet robes and colourful jewels at royal ceremonies, onlookers thought that the trainbearers ‘looked like village girls’.³⁷{{rp|"37 Wyndham, ed. (1912) p. 297"}} <ref name=":5" />{{rp|243–244 of 786; nn. 36, 37, p. 674}}</blockquote>The aristocrat who thought the bridesmaids "looked like village girls" was Sarah Spencer, Lady Lyttelton.<ref>The Hon. Mrs Hugh Wyndham, ed., ''The Correspondence of Sarah Spencer, Lady Lyttelton, 1787–1870''. London, 1912. Cited in Worsley, p. 629 [of 786].</ref><blockquote><p>At the coronation her train had been too long to handle, but now there was the opposite problem. The long back part of Victoria’s white satin skirt, trimmed with orange blossom, was ‘rather too short for the number of young ladies who carried it’ and they ended up ‘kicking each other’s heels and treading on each other’s gowns’.⁵⁰{{rp|50 Lady Wilhelmina Stanhope, quoted in Lorne (1901) p. 112}} <ref name=":5" />{{rp|246 of 786; n. 50, p. 675}}</p></blockquote>Victoria changed from the wedding dress to something for her trip back to Buckingham Palace [check that it's Buckingham]:<blockquote>Then [after the ceremony] she went to change, putting on ‘a white [249–250] silk gown trimmed with swansdown’, and a going-away bonnet trimmed with false orange flowers that still survives to this day at Kensington Palace.<ref name=":5" />{{rp|249–250 of 786}}</blockquote> The 1855 photograph of QV's 1840 going-away bonnet is in the Royal Collection Trust: https://www.rct.uk/collection/search#/58/collection/2905582/bonnet-worn-by-queen-victoria-at-her-marriage]. Victoria changed to a different dress for the evening.<blockquote>The gown that Victoria wore that evening was possibly the plainer, and very slender, cream silk one surviving in the Royal Collection with a traditional association with her wedding evening. If she did wear it for that first dinner together, then she could hardly have eaten a thing. It laced even tighter than her wedding dress.<ref name=":5" />{{rp|251 of 786}}</blockquote>QV was sick by the time the long day of highly formal ritual was over:<blockquote>But there would be no ritual undoing by the groom of his bride’s ethereal gown. That, as always, had to be done by Victoria’s dressers. ‘At ½ p.10 I went and undressed and was very sick,’ she says. These women, the bedrock of her life, ever present, ever watchful, must have been with her as she finished retching and went into the bedchamber, where ‘we both went to bed; (of course in one bed), to lie by his side, and in his arms, and on his dear bosom’.⁷² {{rp|"72 RA QVJ/1840: 10 February"}} <ref name=":5" />{{rp|252 of 786; n. 72, p. 676}}</blockquote> The separation between how finely QV was dressed and what it looked like to people, including both the effect of physical distance and the effect of the distance between what people expected a queen to wear and what QV wore. Also, QV's appeal "to the respectable slice of opinion at society’s upper middle":<blockquote>'I saw the Queen’s dress at the palace,’ wrote one eager letter-writer, ‘the lace was beautiful, as fine as a cobweb.’ She wore no jewels at all, this person’s account continues, ‘only a bracelet with Prince Albert’s picture’.²⁸ {{rp|"28 Mundy, ed. (1885) p. 413}} This was in fact [240–241] completely incorrect. Albert had given her a huge sapphire brooch, which she wore along with her ‘Turkish diamond necklace and earrings’.²⁹ {{rp|"29 RA QVJ/1840: 10 February}} '''It was the beginning of a lifetime trend for Victoria’s clothes to be reported as simpler, plainer, less ostentatious than they really were. The reality was that they were not quite as ostentatious as people expected for a queen.''' This is really what they meant by their descriptions of her clothes as austere, and pleasingly middle-class. In other countries, members of the middle classes would join the working classes on streets and at barricades and bring monarchies tumbling down. '''But in Britain, part of the reason this did not happen is that Victoria, her values and her low-key style appealed with peculiar power to the respectable slice of opinion at society’s upper middle.''' And so, dressed but not overdressed, the unqueenly looking queen was ready for her wedding day to begin.<ref name=":5" />{{rp|240–241; nn. 28, 29; p. 674}}</blockquote>Her wedding dress was "specially woven in the Spitalfields silk-weaving area of London," like her coronation robes.<ref name=":8" />{{rp|15}}<p>'''1840''', QV's first pregnancy, with Vicky, and a relic petticoat with blood from her first birth:<blockquote>She had left off wearing stays, becoming ‘more like a barrel than anything else’.²¹ {{rp|"21 Stratfield Saye MS, quoted in Longford (1966) p. 76"}} Victoria herself, although she felt well, ‘unhappily’ had to admit that she was ‘a great size’.²² {{rp|"22 RA VIC/MAIN/QVLB/10 November 1840"}} '''A fine cotton lawn petticoat from this early married period''', which once had the same dimensions as her wedding dress, shows evidence of having been let out around its high empire waist, quite possibly to accommodate this pregnancy.²³ {{rp|"23 In the Royal Ceremonial Dress Collection, Historic Royal Palaces."}} The work was done with tiny stitches as if by the needle of a fairy. There were many hands available in Victoria’s wardrobe department, and indeed no shortage of clothes either. '''This particular petticoat survives because it was given away after becoming soiled with blood.''' She also had an expandable dressing gown for pregnancy, of thin white cotton, with ‘gauging tapes’ to widen the waist as pregnancy progressed.²⁴ {{rp|"Staniland (1997) p. 126"}}<ref name=":5" />{{rp|262 of 786; nn. 21, 22, 23, 24, p. 678}}</p></blockquote> '''1840 November 21''', Victoria went into labor with Vicky.<ref name=":5" />{{rp|255 of 786}} Her dress:<blockquote>Early on in labour, Victoria would have been given a dose of castor oil to empty her bowels, to avoid ‘exceedingly disagreeable’ consequences later. She would have worn her loose dressing gown over a chemise and bedgown ‘folded up smoothly to the waist’ and beneath that, ‘a petticoat’. Stays were absent, despite the common belief among women that wearing them during labour would ‘assist’, by ‘affording support’. The latest medical advice was that this was ‘improper’.³⁶ {{rp|"36 Bull (1837) pp. 130–2"}} The chemise that Victoria was wearing would acquire special lucky significance for her. Nine childbirths later, she’d still insist upon donning the exact same one.³⁷ {{rp|"37 Dennison (2007) p. 2"}}<ref name=":5" />{{rp|265 of 7886; nn. 36, 37, p. 679}}</blockquote> '''1843, around''', Albert "cut [Victoria's] dress expenditure down from £5,000 to £2,000 a year" in order to put money away for later.<ref name=":5" />{{rp|299 of 786}} '''1843 May 19''', QV wrote in her journal that she dressed "all in white and had my wedding veil on, as a shawl," for Vicky's christening.<ref name=":5" />{{rp|270 of 786; n. 63, p. 681 of 786}} '''1849''', Duleep Singh "surrendered" the Koh-i-nûr necklace to England.<ref name=":17">{{Cite web|url=https://www.rct.uk/collection/406698/queen-victoria-1819-1901|title=Franz Xaver Winterhalter (1805-73) - Queen Victoria (1819-1901)|website=www.rct.uk|language=en|access-date=2026-03-06}}</ref> '''1854''', Queen "Victoria's spending on her wardrobe had crept up again, to roughly £6,000 annually, or six times a very good annual income for a professional gentleman."<ref name=":5" />{{rp|311 of 786}} '''1854''', when QV met Duleep Singh, "the woman the Maharaja saw before him still looked younger than her [310–311] thirty-five years. In the photograph, at least, her hair shines, she hardly looks like a mother of eight and her white dress is demure and girlish."<ref name=":5" />{{rp|310–311}} '''1855 April 16–''', Empress Eugénie and Napoleon III of France began a 5-day visit to the U.K.<ref name=":3">Goldstone, Nancy. ''The Rebel Empresses: Elisabeth of Austria and Eugénie of France, Power and Glamour in the Struggle for Europe''. Little, Brown, 2025.</ref>{{rp|276}} '''1855 August 18–28 or so''', Queen Victoria, Prince Albert, Princess Royal Vicky and Prince of Wales Bertie visited Paris and the Exposition Universelle.<ref name=":3" />{{rp|287}} Caroline Goldthorpe says,<blockquote>For the state entry of Queen Victoria and Prince Albert into Paris in 1855, the Queen wore a dress of white Spitalfields silk, its design representing an English flower garden (figure 2). While in Paris, however, she attended a ball at the Hôtel de Ville, wearing "my diamond diadem with the Koh-i-noor in it, a white net dress, embroidered with gold and (as were all my dresses) very full. It was very much admired by the Emperor and the ladies. The Emperor asked if it was English; I said No, it had been made on purpose in Paris." In addition / to the ball gown, made in France as a diplomatic gesture, she evidently wore both English and French silks for less public occasions."<ref name=":8" /> (15, 17) [The English-made Spitalfields-silk dress is at tthe Museum of London.]</blockquote>A. N. Wilson suggests that the sense that Victoria was dowdy is down in part to "the exacting standards of Parisian journalists":<blockquote>They went to the opera and displayed the difference between a true-born queen and a parvenue empress. When the national anthems had been played, the Empress looked behind her to make sure that her chair was in place. The Queen of England, confident that the chair would be there, sat down without turning. Mary Bulteel, her Maid of Honour who noticed this detail, was also able to reassure Eugénie’s baffled entourage that the Queen was always ‘badly dressed’. It did not prevent Victoria from being unaffectedly enraptured by Eugénie’s range of gorgeous outfits. Victoria adored the Empress and it was a friendship which lasted for life. ‘Altogether,’ she told her diary, ‘I am delighted to see how much my Albert likes and admires her, as it is so seldom I see him do so with any woman.’²⁷ ("27 Quoted Edith Saunders, ''A Distant Summer'', p. 49.") Perhaps it was so, or perhaps he was being polite. The Queen’s dowdiness and (by the exacting standards of Parisian journalists) poor dress sense were more than outshone by the splendour of her jewels.<ref name=":13" /> (365 of 1204)</blockquote>'''1857 August 6–''', Eugénie and Napoleon visit QV again. QV describes how Eugénie is dressed. Wilson says of the admiring precision of QV's descriptions of Eugénie's dresses, <blockquote>The wistfulness with which Victoria described Eugénie’s outfits whenever the two met is touching. She was the Queen of England and could have afforded the finest couturier; but she was tiny, increasingly rotund, much of the time depressed or petulant. Her homely dress sense reflected a growing dissatisfaction with her appearance: clothes were for swathing a body which was by any ordinary standards a very peculiar shape, not for adorning it or drawing it to people’s attention.<ref name=":13" /> (389 of 1204)</blockquote> And maybe she just wasn't very good at style. Evidence from later suggests she had an appreciation for fine fabrics and laces. '''1858, June''', when Victoria began wearing a crinoline cage. Worsley says,<blockquote>She had attended reviews of her troops increasingly often as they came shipping back from Crimea. For the purpose, she often wore the superbly tailored outdoor wear that suited her much better than frou-frou evening gowns. Her self-adopted ‘uniform’ was a scarlet, made-to-measure military-style jacket combined with the skirt of a riding habit. Albert had a matching outfit too, its chest padded out to simulate the muscles that his sedentary lifestyle had failed to give him. [361–362] [new paragraph] Today, though, as she was travelling by carriage, Victoria wore a dark cloak over her now-customary daywear of the crinolined skirt. She’d held out until the end of the 1850s before adopting this novel steel structure to puff out the skirt, which was widely thought to be an ‘indelicate, expensive, hideous and dangerous article’.¹⁹{{rp|"19 ''Punch, Or the London Charivari'' (8 August 1863) p. 59"}} A crinoline, or ‘cage’, could swing the skirts out so unexpectedly that they caught fire, or got stuck in carriage wheels. But the stylish Empress Eugénie, whom Victoria much admired, is said to have popularised the crinoline during an 1855 visit to England. ‘Carter’s Crinoline Saloon’ opened soon afterwards, offering London ladies not only the crinoline but also the new ‘elastic stays … as worn by the Empress of the French’.²⁰{{rp|"20 “Adburgham (1964) p. 93"}} Victoria nevertheless resisted the fashion until a heatwave three years later made her feel that her customary stiff muslin petticoats were ‘unbearable’. ‘Imagine!’ she wrote, to her married daughter in Germany, ‘since 6 weeks I wear a “Cage”!!! What do you say?’²¹{{rp|"21 RA VIC/ADDU/32, p. 178 (21 July 1858)"}} Having realised how convenient it was, she now only took her crinoline off to go sailing.<ref name=":5" />{{rp|361–362, nn. 19, 20, 21, p. 696}}</blockquote> '''1861 December 14''', Prince Albert, Prince Consort died.<ref name=":2" /> According to Julia Baird<blockquote>Victoria decreed that the entire court would mourn for an unprecedented official period of two years. (When this ended, her ladies and daughters could discard the black and wear half mourning, which was gray, white, or light purple shades.) Many of her subjects decided to join them in mourning. Her ladies were draped in jet jewelry and crêpe, a thick black rustling material made of silk, crimped to make it look dull.<ref name=":11">Baird, Julia. ''Victoria the Queen: An Intimate Biography of the Woman Who Ruled an Empire''. Random House, 2016. Apple Books: https://books.apple.com/us/book/victoria-the-queen/id953835024.</ref> (585 of 1203)</blockquote>After Albert's death Queen "Victoria never attended or held another public ball."<ref name=":11" /> (592 of 1203) '''1863 March 10''', Bertie (Albert Edward, Prince of Wales) and Alix (Alexandra) married in St. George's Chapel, Windsor. QV, who sat high up and out of the way, wore widow's weeds, "the blue sash and star of the Order of the Garter" and (according to Lord Clarendon) "a cap ‘more hideous than any I have yet seen.'"<ref name=":13" />{{rp|495 of 1204}} '''1865 April 15''', Abraham Lincoln was assassinated. Eugénie's was among the first letters of condolence from a head of state that Mary Todd Lincoln got; Victoria's was dated the day after Eugénie's.<ref name=":3" />{{rp|555 of 909}} '''1866–1871''', [[Social Victorians/People/Princess Louise | Princess Louise]] was Victoria's private secretary. '''1866 February''', QV opened Parliament for the first time since Albert's death.<blockquote>She wore plain evening dress, with a small diamond and sapphire coronet on top of her widow’s cap. The wind whipped her veil as she rode silently in an open carriage past curious crowds, many of whom had not glimpsed her for years.<ref name=":11" /> (609 of 1203)</blockquote>'''1866 February 6''', Princess Helena's wedding to Prince Christian of Schleswig-Holstein. QV wrote in her journal that it "was 'an ''execution''<nowiki/>' to which she was 'dragged in ''deep mourning''.'"<ref name=":12">Longford, Elizabeth. ''Queen Victoria''. The History Press, 2011 (1999). Apple Books: https://books.apple.com/us/book/queen-victoria-essential-biographies/id1142259733.</ref>{{rp|118 of 223}} Instead of a crown she wore a black widow's cap. '''1867 Spring''', annual exhibition at the Royal Academy, which included a large canvas by Sir Edwin Landseer that QV had commissioned as "Shadow" to show her grief. It was called ''Her Majesty at Osborne, 1866''. The center of this painting is dominated by black.<blockquote> <p>In it, the queen [sits] sidesaddle on a sleek dark horse, dressed in her customary black. She [is] reading a letter from the dispatch box on the ground, next to her dogs. Opposite [is] a tall figure in a black kilt and jacket solemnly holding [634–635] the horse’s bridle. ...</p> <p>It caused a scandal. The ''Saturday Review'' art critic wrote: "If anyone will stand by this picture for a quarter of an hour and listen to the comments of visitors he will learn how great an imprudence has been committed." It was not long before the gossip became crude: Were the queen and Mr. Brown lovers? Was she pregnant with his child? Had they secretly married? In 1868, an American visitor said he was gobsmacked by constant, crass jokes about the queen commonly referred to as "Mrs. Brown." "I have been told," he wrote, "that the Queen was insane, and John Brown was her keeper; the Queen was a spiritualist, and John Brown was her medium.</p> <p>Victoria adored the painting and ordered an engraving.<ref name=":11" /> (634–635 of 1203)</p></blockquote>'''1871 March 21''', Princess Louise and John Campbell, Marquis of Lorne, were married.<ref>"Supplement." ''The London Gazette'' 24 March 1871 (23720) Friday: 1587 https://www.thegazette.co.uk/London/issue/23720/page/1587.</ref> QV wore rubies as well as diamonds.<ref name=":11" />{{rp|644 of 1203}} '''1871, end of, around the time of Bertie's illness with typhoid, by this time''', according to Lucy Worseley, QV had decided never to wear color again (a decision she had made after the first year of full mourning Albert's death?) and had developed her "brand." She had not made many personal appearances, but because of her photographs, the carte-de-visite with Albert, and her memoirs about the Highlands, she was known to her subjects:<blockquote>Victoria was extraordinary in her dedication to black. If wearing mourning was a [413–414] demand for greater-than-usual understanding, it’s certainly true that she felt entitled to it for the rest of her life. Mourning was turned into a sort of disguise for her. It indicated that she was a victim, bereaved, which was a way of pre-empting criticism. And within the conventions of black, Victoria insisted that her clothes be cut in a way that she found comfortable and convenient: a bodice with only light boning, a skirt with capacious pockets. She no longer followed fashion; she had created a fashion all her own. [new paragraph] Victoria’s black clothing also had terrific ‘brand value’ in creating a recognisable royal image. Although she rarely appeared in person, Victoria’s physical appearance was more widely known than ever before. In 1860, she and Albert had taken the decision to allow photographs of themselves to be published on cartes de visite, highly collectible little rectangles of illustrated cardboard. Within two years, between three and four million of these cards depicting the queen had been sold. ²⁷{{rp|27 Plunkett (2003) p. 156."}} The people who bought them understood that they were in possession of something more potent than a lithograph or an engraving. The effect, in terms of making the queen’s subjects feel they ‘knew’ her, has been compared by the Royal Collection’s photography curator to the sensational 1969 television [414–415] documentary series, Royal Family.²⁸{{rp|"28 Dimond and Taylor (1987) p. 20"}} So even if Victoria had been bodily absent from public life for the last decade, in paper form she had been more present than ever.²⁹{{rp|"29 ''The Photographic News'' (28 February 1862) quoted in Dimond and Taylor (1987) p. 22"}} <ref name=":5" />{{rp|413–414, nn. 27, 28. 29, p. 707}}</blockquote> '''1872 February 27''', thanksgiving service for Bertie's survival in St. Paul's Cathedral:<blockquote>Victoria was bored in the church, and found St. Paul’s "cold, dreary and dingy," but the roars of millions who stood outside in the cold under a lead-colored sky made her triumphant, and she pressed Bertie’s hand in a dramatic flourish. It was "a great holy day" for the people of London, ''The Times'' declared gravely. They wished to show the queen she was as beloved as ever. Their delight at seeing her in person was as much a cause for celebration as Bertie’s recovery. This moment revealed something that Bertie would quickly grasp though his mother had not: the British public requires ceremony and pageantry, and the chance to glimpse a sovereign in finery. It was not a republic her subjects were hankering for, but a visible queen. As Lord Halifax said, people wanted their queen to look like a queen, with a crown and scepter: "They want the gilding for their money."<ref name=":11" />{{rp|655 of 1203}}</blockquote> '''1878 December 14''', Princess Alice died. '''1879 June 1''',<ref name=":32">{{Cite journal|date=2025-11-29|title=Louis-Napoléon, Prince Imperial|url=https://en.wikipedia.org/w/index.php?title=Louis-Napol%C3%A9on,_Prince_Imperial&oldid=1324821881|journal=Wikipedia|language=en}}</ref> Louis Napoleon, son of Eugénie, "to whom Victoria ... had become devotedly attached, was killed in the Zulu War."<ref name=":0" />{{rp|432 of 555}} '''1880 February 5''', Queen Victoria attended the state opening of Parliament. She wrote in her journal<blockquote>I wore the same dress, black velvet, trimmed with minniver, my small diamond crown & long veil. Got in, at the Great Entrance, & went in the new state coach which is very handsome with much gilding, a crown at the top, & a great deal of glass, which enables the people to see me. ... Beatrice stood to my right, Leopold to my left. Bertie, Affie & Arthur were all there.<ref name=":13" /> (707 of 1204)</blockquote>'''1881 April 19''', Benjamin Disraeli, Lord Beaconsfield died.<ref>{{Cite journal|title=Benjamin Disraeli|url=https://en.wikipedia.org/w/index.php?title=Benjamin_Disraeli&oldid=1335428395|journal=Wikipedia|date=2026-01-29|language=en}}</ref> '''1882 March 2''',<ref name=":12" /> (152 of 223) the 7th and last assassination attempt on QV, by Roderick Maclean, another adolescent male possibly not intent on killer her, although his pistol was loaded.<ref name=":0" />{{rp|433 of 555}} '''1882 April 27''', Prince Leopold, Duke of Albany and Princess Helen of Waldeck married. "The Queen celebrated by wearing white over her black dress for the first time since Albert’s death – it was her own white wedding veil."<ref name=":12" />{{rp|154 of 223}} '''1883 March 17''', QV fell down stairs in Windsor, probably some marble stairs. She was "lame until July."<ref name=":4" /> '''1883 March 27''', QV's Scots servant John Brown died.<ref>{{Cite journal|title=John Brown (servant)|url=https://en.wikipedia.org/w/index.php?title=John_Brown_(servant)&oldid=1312942175|journal=Wikipedia|date=2025-09-23|language=en}}</ref> '''1884 March 28''', Prince Leopold, Duke of Albany died.<ref name=":1" /> '''1886''', the general election of 1886, according to Lytton Strachey, "the majority of the nation" voted down Home Rule and Gladstone<blockquote>and placing Lord Salisbury in power. Victoria’s satisfaction was profound. A flood of new unwonted hopefulness swept over her, stimulating her vital spirits with a surprising force. Her habit of life was suddenly altered; abandoning the long seclusion which Disraeli’s persuasions had only momentarily interrupted, she threw herself vigorously into a multitude of public activities. She appeared at drawing-rooms, at concerts, at reviews; she laid foundation-stones; she went to Liverpool to open an international exhibition, driving through the streets in her open carriage in heavy rain amid vast applauding crowds. Delighted by the welcome which met her everywhere, she warmed to her work.<ref name=":0" />{{rp|439–440 of 555}}</blockquote> '''1887''', the Golden Jubilee. Strachey says that QV had begun wearing the color violet in her bonnet by now:<blockquote>Little by little it was noticed that the outward vestiges of Albert’s posthumous domination grew less complete. At Court the stringency of mourning was relaxed. As the Queen drove through the Park in her open carriage with her [444–445] Highlanders behind her, nursery-maids canvassed eagerly the growing patch of violet velvet in the bonnet with its jet appurtenances on the small bowing head.<ref name=":0" /> (444–445 of 555)</blockquote> QV wore a bonnet rather than a crown or widow's cap.<ref name=":13" /> (822 of 1204) At dinner on the day of the procession, QV wore a dress, as she says, with "the rose, thistle & shamrock embroidered in silver on it, & my large diamonds."<ref name=":13" /> (824 of 1204) '''1888 June 15''', Vicky's husband Emperor Frederick (Fritz) died. '''1890 July 15''', Garden Party at Marlborough House with QV as the most important guest, with some description of QV's dress, more details in the descriptions of the dresses of some of the other women:<blockquote>But if not favoured with model "Queen's weather," a good imitation set in as the Life Guards struck up "God Save the Queen," and her Majesty descended the flight of steps on the Prince of Wales's arm, and slowly passed through the eager ranks of her assembled subjects. Her Majesty was conducted to a canopy at the lower end of the garden, and was soon surrounded by children and grandchildren; she walked with the aid of a stick, but did not appear to be troubled by rheumatism, and moved without difficulty. The Queen's dress was of black striped [[Social Victorians/Terminology#Broché|broché]], a lace shawl, and black bonnet, trimmed with white roses. She talked to people to right and left, and looked smiling and happy. ... AN ACCOUNT OF SOME OF THE DRESSES. Her Majesty was attired completely in black, with the slight relief of white flowers in her black bonnet.<ref>"From One Who Was There." "The Marlborough House Garden Party." ''Pall Mall Gazette'' 15 July 1890 (Tuesday): p. 5, Col. 1. ''British Newspaper Archive'' http://www.britishnewspaperarchive.co.uk/viewer/bl/0000098/18900715/016/0006 (Accessed April 2015).</ref></blockquote> '''1891 January 14''', Albert Victor (Eddy), Bertie's and Alex's son, died of pneumonia.<ref name=":12" />{{rp|190 of 223}} '''1893 February 28, Tuesday, 3:00 p.m''', QV hosted a Queen's drawing-room at Buckingham Palace:<blockquote>Her Majesty wore a dress and train of rich black silk, trimmed with crape and chenille. Headdress and coronet of diamonds and pearls. Ornaments — Pearls. Her Majesty wore the Star and Ribbon of the Garter, the Orders of Victoria and Albert, the Crown of India, the Prussian Order, the Spanish and Portuguese Orders, the Russian Order of St. Catherine, and the Hessian and Bulgarian Orders.<ref>"The Queen's Drawing Room." ''Morning Post'' 1 March 1893, Wednesday: 7 [of 12], Col. 6a–7c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18930301/072/0007. Same print title and p.</ref></blockquote> '''1895 December 14''', George and May's 2nd son, who would become Elizabeth II's father, was born. Thinking of the anniversary of Albert's and Alice's deaths, QV "said that the child might be a gift of God."<ref name=":12" />{{rp|191 of 223}} '''1896 September 26''', QV wrote in her journal, "Today is the day on which I have reigned longer, by a day, than any English sovereign."<ref name=":12" />{{rp|191 of 223}} '''1897 April 4''', QV vacations in Nice, as she did almost every year, and a little on her "uniform":<blockquote>The pattern of her hotel days in Cimiez, an upmarket suburb on a hill behind Nice, was undemanding. She was dressed by the servants who were almost a second family. One of her wardrobe maids spent the night on call in the dressing room just next door to her bedroom.¹²{{rp|"12 Stoney and Weltzien, eds. (1994) pp. 11–12"}} At half past seven, the maid on the next shift would come into Victoria’s bedroom to open the green silk blinds and shutters. Her silver hairbrush, hot water, folded towels and sponges were all laid out by these wardrobe maids. Her pharmacist’s account book records the purchase of beauty products such as ‘lavender water’, ‘Mr Saunders’ Tooth Tincture’ and ‘cakes of soap for bath’.¹³{{rp|"13 Royal Pharmaceutical Society, account book for ‘The Queen’ (1861–1869)"}} [new paragraph] Victoria’s clothes were handled by the dressers, who were better paid than the maids. Their duties, ran Victoria’s instructions, included ‘scrupulous tidiness and exactness in looking over everything that Her Majesty takes [510–511] off … to think over well everything that is wanted or may be wanted’.¹⁴{{rp|"14 Staniland (1997) p. 186"}} Her black silk stockings with white soles had for decades been woven by one John Meakin, while Anne Birkin embroidered the garments with ‘VR’.¹⁵ {{rp|"15 Quoted in King (2007) p. 100"}} Victoria grew fond of faithful servants like Anne, and even had Birkin’s portrait among her collection of photographs. Despite their sombre aspect, even her mourning gowns were finely made. She had settled into a series of very minor variations upon a square-necked bodice and skirt, customised with quirky little pockets for keys and seals, all cut pretty much the same to save her the trouble of fittings. On her head went a white cap, with streamers of lace, and round her neck a locket containing miniatures of two of her children: Alice, now lost to diphtheria, and Leopold, to haemophilia.¹⁶{{rp|"16 Princess Marie Louise (1956) p. 141"}} <ref name=":5" /> {{rp|510–511; nn. 12, 13, 14, 15, 16, p. 722}}</blockquote> [[File:Queen Victoria's Diamond Jubilee Service, 22 June 1897.jpg|alt=Old painting of very large crowd and an old woman dressed in black in a carriage in the center|thumb|Diamond Jubilee Thanksgiving Service on the Steps of St. Paul's]] ==== Diamond Jubilee ==== '''1897 June 22, Diamond Jubilee''', with Thanksgiving service on the steps of St. Paul's, painted in 1899 by Andrew Carrick Gow (right; better image at https://artuk.org/discover/artworks/queen-victorias-diamond-jubilee-service-22-june-1897-51041). QV stayed in the carriage for the service. Worsley says, QV's dress had "decorative 'panels of grey satin veiled with black net & steel embroideries, & some black lace'"<blockquote>Rising from her bed, Victoria dressed, as always, in black. The crowds who saw her today would consider her ‘dress of black silk’ to be [532–533] modest and widowly, almost dingy. Her taste in clothing had become ever more subdued. Departing from Windsor Castle to travel to Buckingham Palace for these few days of the Jubilee, she’d been worried about the stains the sooty train to Paddington might leave on her outfit. ‘I could have cried,’ said the woman who ran the draper’s shop in Windsor, ‘to see Her Majesty start for the Jubilee in her second-best “mantle” – after all the beautiful things I had sent her.’7{{rp|7 Weintraub (1987) p. 581}} If you’d had the chance to examine the queen’s outfit closely, though, you’d’ve seen that it was in fact sombrely splendid, her black cape embroidered with swirling silver sequins, huge pearls hanging from each ear and upon the gown itself decorative 'panels of grey satin veiled with black net & steel embroideries, & some black lace'. Round her neck now went a ‘lovely diamond chain’, a Jubilee present from her younger children, while her ‘bonnet was trimmed with creamy white flowers & white aigrette’.⁸{{rp|8 RA QVJ/1897: 22 June}} This bonnet, worn with resolution, had caused some upset. Her government had asked its queen to appear more … queenly. ‘The symbol that unites this vast Empire is a Crown not a bonnet,’ complained Lord Rosebery. But Victoria stoutly refused, and ‘the bonnet triumphed’. She would [533–534] wear it today, just as she’d worn it at her Golden Jubilee a decade before.⁹{{rp|"9 Ponsonby (1942) p. 79"}} The queen looked just like a ‘wee little old lady’. The only touch of colour about her black-clad figure was her ‘wonderful, blue, childlike eyes’.¹⁰{{rp|10 Smyth (1921) p. 99}} <ref name=":5" />{{rp|532–534 of 786; nn. 7, 8, 9, 10, p. 727}}</blockquote> One source somewhere, however, says there was some purple in her bonnet. She carried "a black chiffon parasol. It was a gift from the House of Commons, presented to her two days earlier by its oldest member, who was ninety-five."<ref name=":5" />{{rp|539 of 786}} According to A. N. Wilson, QV was "dressed in grey and black":<blockquote>In the case of Queen Victoria, the intensity of crowd reaction was especially strong, because she made public parade of herself so seldom. The emotional atmosphere was overpowering on that hot, sunny day. The Queen, dressed in grey and black, but smiling and bowing, held a parasol above her and bowed her smiling head to left and right as the landau passed through the streets of London – Constitution Hill, to Hyde Park Corner; then along [976–977] Piccadilly, down St James's Street to Pall Mall, past all the clubs, into Trafalgar Square, up the Strand and into Ludgate Hill to St Paul’s.<ref name=":13" />{{rp|976–977 of 1204}}</blockquote> The bonnet QV wore for the Diamond Jubilee Procession was decorated with diamonds according the ''Lady's Pictorial'':<blockquote>I HEAR on reliable authority that, although the fact has hitherto escaped the notice of all the describers of the Diamond Jubilee Procession, the bonnet worn by the Queen on that occasion was liberally adorned with diamonds. It is a tiny bit of flotsam, but worth rescuing, as every detail of the historic pageant will one day be of even greater interest than it is now.<ref name=":14" /></blockquote>At least 3 official photographs show QV and made available as cabinet cards (2 anyhow) for this Jubilee: # One was made in 1893 at the time of George and Mary's wedding. It was made by W. & D. Downey and is in the Royal Collection (https://www.rct.uk/collection/2912658/queen-victoria-1819-1901-diamond-jubilee-portrait) # One was made in July 1896 by Gunn & Stuart and published as a cabinet card by Lea, Mohrstadt & Co. (https://commons.wikimedia.org/wiki/File:Victoria_of_the_United_Kingdom_(by_Gunn_%26_Stuart,_1897).jpg<nowiki/>) # One was made 5 days after the Jubilee Procession (so, on 27 June 1897). # One was made by Mullen (according to the Royal Trust [#4] '''1897 June 27, Sunday''' (or 5 days after the Jubilee procession), QV's official Jubilee photograph.<blockquote>at Osborne, Victoria had an official Jubilee photograph taken, wearing her Jubilee dress and, of course, her wedding lace.^{71:"71 RA QVJ/1885: 27 July"} The whole royal family was becoming familiar with manipulating its photographic image. In 1863, ''The Times'' reported that Vicky and Alice had themselves retouched their brother Bertie’s [551–552] wedding photos.⁷²^: ^{"72The Times, London (9 April 1863) p. 7, quoted in Plunkett (2003) p. 189"} (The princesses really preferred sitting to an old-fashioned artist, like a sculptor, who excelled in ‘making them look like ladies, while the Photographs are common indeed’.⁷³^{: "73 “RA VIC/ADDX/2/211, p. 29"}) After each new photographic sitting, Victoria ‘carefully criticised’ the results.⁷⁴^{: "74 “Private Life (1897; 1901 edition) p. 69"} In her later photographs, like this Diamond Jubilee portrait, she was heavily retouched, a double chin removed, inches shaved off her waist. The Photographic News criticised a photo from her Golden Jubilee for making her look as if she had ‘oedematous disease’, a condition where the body bloats up with excess fluid. Her skin had been smoothed to the extent that she looked like a waxwork.⁷⁵^{: "75 “Plunkett (2003) p. 192"} <ref name=":5" /> ^{fn 771, 72, 73, 74, 75, p. 731}</blockquote> '''1897 June 28, Monday''', the Jubilee Garden Party at Buckingham Palace took place, with good weather and about 6,000 attendees. The ''Lady's Pictorial'' gives detai about QV's dress:<blockquote>The Queen, whom every one delighted to see looking well and bright, evidently not at all the worse for the great doings of last week, was attired in black silk. The front of her dress was veiled with white chiffon, over which was a single tissue of black silken embroidered muslin, the embroidery in a small floral design, with inserted bands of openwork lace. The bodice was of black grenadine with tucks at either side, bordering a front of white chiffon veiled with black embroidered muslin, and the basque finished with a frill of pleated black chiffon. Round the hem were two frills of black chiffon festooned on, and each headed by a tiny puffing. Her Majesty’s cape was of black chiffon over white silk, fitting in slightly at the back to the figure, and finished in front with fichu ends. Round the cape were frills of white silk with over frills of black chiffon. The Queen’s bonnet was black relieved with white, and her Majesty had the sunshade presented to her by her oldest Parliamentary member, Mr. C. Villiers. It was of black satin draped with very fine real Chantilly lace, and with a frill of the same all round. It was lined with soft white silk, and the ebony handle terminated in a gun metal ball, on which was a crown and "V. R. I." in diamonds.<ref>"The Queen's Garden Party." ''Lady's Pictorial'' 3 July 1897, Saturday: 55 [of 76], Col. 2a [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0005980/18970703/126/0055. Same print title, p. 27.</ref></blockquote> The ''Globe'' described her with perhaps slightly less detail than the other women:<blockquote>The Queen appeared about half-past five in a carriage drawn by two cream-coloured ponies, and '''attended one''' outrider. The Princess of Wales was seated beside the Queen, and the Earl of Lathom walked beside the carriage. Her Majesty drove very slowly twice round the lawn, frequently stopping to speak to one or other of the guests. The Queen was in black, with a good deal of jet on her mantle, and wore a white lace bonnet, and carried a black parasol, almost covered with white lace. The Princess of Wales was in white silk veiled in mousseline soie, worked over in silver and lace applique, and a mauve tulle toque with flowers to match. After driving round, the Queen entered the Royal tent, where refreshments were served by the Indian attendants. Her Majesty had on her right hand the Grand Duchess of Hesse, dressed in white, with black velvet and ribbons, and a large Tuscan hat, with black and white plumes; on her left the Grand Duchess of Mecklenburg-Strelitz, in mauve satin, and white aigrette in her bonnet. The Empress Frederick’s black broché gown had a collar of white lace, and her black bonnet was relieved by white flowers, and tied with white tulle strings.<ref name=":22">“The Queen’s Garden Party. Brilliant Scene at Buckingham Palace.” ''Globe'' 29 June 1897, Tuesday: 6 [of 8], Col. 3a–c [of 5]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001652/18970629/050/0006. Print p. 6.</ref>{{rp|Col. 3b–c}}</blockquote>From the ''North British Daily Mail'', <blockquote>The Queen was evidently in excellent health, and there was no trace whatever of the fatigues which she has recently undergone. Indeed she walked with greater ease than usual, and really had no need of the proffered help of her attendants. ... The Queen and her daughter were dressed in black, but the former had upon her bonnet a little trimming of delicate white lace, which somewhat toned down the sombre effect of the mourning. Two Highland attendants having taken their places in the rumble, one of them handed to the Queen a black and white parasol, and then the signal to start was given.<ref name=":02">"Jubilee Festivities. The Queen Again in London. Interesting Functions. A Visit to Kensington. The Garden Party." ''North British Daily Mail'' 29 June 1897, Tuesday: 5 [of 8], Col. 3a–7b [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0002683/18970629/083/0005. Print p. 5.</ref>{{rp|Col. 3c}} ... The Queen wore a black gauze gown over white, and a white lace bonnet. The Princess of Wales wore white muslin over silk embroidered in silver and lace. The Empress Frederick wore a black silk dress with a good deal of white lace about the bodice, and a black bonnet with white plumes.<ref name=":02" />{{rp|Col. 5c}}</blockquote>'''1897 June 30, Wednesday''', Royal Banquet at Buckingham Palace, with the Queen in a very ornate dress, with gold and jewels as well as the colors brought by the orders and ribbon of the Garter:<blockquote>over eighty Royal guests. The Queen herself was magnificent!y attired in black renaiscance moiré antique (it is a curious fact that her Majesty never wears satin or velvet, having an antipathy to touching these materials). The whole of the front of the dress was embroidered in a magnificent design with real gold thread. There was a waved band of gold in the pattern, enclosing suns and stars, all of gold, raised from the surlace of the silk; the suns had centres of jewels, and the whole design was richly jewelled, and was bordered at either side by coquillés of real lace. This embroidery was all wrought at Agra. The bodice was finished with a pointed stomacher of the gold and jewelled work, and across it her Majesty wore the blue riband of the Garter and many magnificent Orders.<ref>"Court & Society Notes." ''Lady's Pictorial'' 3 July 1897, Saturday: 56 [of 76], Col. 2c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0005980/18970703/282/0056. Print title same, p. 28.</ref></blockquote>The assertion that she never wore satin or velvet doesn't seem right (e.g., see Bassano 1882 dress). '''1899''', Susan B. Anthony attended a reception at Windsor Castle and met QV: to look at "her wonderful face" was a "thrill."<ref name=":11" />{{rp|852 of 1203}} === Her Dresses === #'''1822''': Wikipedia page #2, painting (https://en.wikipedia.org/wiki/Queen_Victoria), Victoria and her mother, Duchess of Kent, by William Beechey. Victoire is in mourning, Victoria is holding a portrait of her father. Royal Collection Trust: https://www.rct.uk/collection/407169/victoria-duchess-of-kent-1786-1861-with-princess-victoria-1819-1901. ##"After William Beechey." Wikimedia Commons, possibly a contemporary copy of the painting: https://commons.wikimedia.org/wiki/File:Sir_William_Beechey_(1753-1839)_-_Victoria,_Duchess_of_Kent,_(1786-1861)_with_Princess_Victoria,_(1819-1901)_-_RCIN_407169_-_Royal_Collection.jpg #'''1827''', an engraving of a bust of Victoria (from a 1908 book) by Plant, after Stewart's painted miniature: she is wearing family honors on the left shoulder of her dress; she is about 6 years old in this image; she looks like a princess. https://commons.wikimedia.org/wiki/File:The_Letters_Of_Queen_Victoria,_vol_1_-_H.R.H._The_Princess_Victoria,_1827.png #'''1835 August 10 [maybe 1837?]''': print portrait of a teenaged QV published in Chapter 2 of Millicent Garrett Fawcett's 1895 ''Life of Her Majesty Queen Victoria'' (but possibly published in 1835 in a magazine?). QV's dress is in the off-the-shoulder romantic style with a high, Empire waist. She is wearing a 4-strand necklace, probably pearls, and large dangling earrings, with a 4-strand pearl bracelet on her right arm. She has a glove on her left hand, not elbow length but definitely longer than wrist length, and she is wearing a wire net-like headdress on the top of her head that contracted to contain and shape her hair. A very similar image was published in ''The Graphic'' on 26 January 1901 claiming that QV was 17; the image is not identical, but must have been made from the same sitting (the 1901 image is full length and her left hand is empty). The caption for the image from ''The Graphic'' — "The Queen at the Age of Seventeen" — says that it came from a painting by George Hayter.<ref>{{Cite web|url=https://viewer.library.wales/5254866#?xywh=-3550,-523,12266,7776|title=The Life of Queen Victoria ... National Library of Wales Viewer|website=viewer.library.wales|language=en|access-date=2026-03-18}}</ref> Wikimedia Commons 1895 image: https://commons.wikimedia.org/wiki/File:Life_of_Her_Majesty_Queen_Victoria_-_Victoria_Aug_10th_1835.png. 1901 ''Graphic'' image, National Library of Wales: https://viewer.library.wales/5254866#?xywh=-3550%2C-523%2C12266%2C7776. Wikimedia Commons ''Graphic'' 1901 image: https://commons.wikimedia.org/wiki/File:The_life_of_Queen_Victoria_Claremont,_where_the_Queen_spent_the_happiest_days_of_her_childhood_-_the_South_side,_the_view_from_the_ballroom_;_the_Queen_at_the_age_of_seventeen_(from_the_painting_by_Sir_George_Hayter)_(5254866).jpg. #'''1836''': print of Winterhalter portrait, QV surrounded by books, empire dress and jewelry. Very stylish and up-to-date fashion, off the shoulder, with some frou-frou, but not contrasting colors for the frou-frou. The skirt is divided into 2 parts at about the knees by a wide band of trim. This design with the divided skirt and non-contrasting frou-frou lasted her entire life (maybe with a break when Albert was alive?). She did it a lot but not exclusively, but enough for it to be characteristic. https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Princess_Victoria_in_1836.png #'''1837''': print of watercolor portrait<ref>{{Cite journal|date=2024-09-04|title=John Deffett Francis|url=https://en.wikipedia.org/w/index.php?title=John_Deffett_Francis&oldid=1244015737|journal=Wikipedia|language=en}}</ref> by John Deffett Francis of Victoria, who was not queen yet: print "to William 4th & Leopold, King of Belgium"; V is wearing a cap with a lacy edge around her face, with a wide-brimmed bonnet, trimmed with ribbon and a veil; no jewelry, dress is off the shoulder, fabric appears to be silk, with gathers, with a dark shawl trimmed with dark lace; she is holding a folding fan; dark slippers. Dash romping at her feet. Unostentatious outfit but appears to be exquisitely made with quality materials. Not loaded up with frou-frou, simply made but high-quality. National Library of Wales: https://viewer.library.wales/4674631#?xywh=-1346%2C976%2C7852%2C4710; Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Most_Gracious_Majesty_Queen_Victoria_(4674631).jpg #'''1837 Summer''', probably: print by Richard James Lane of a watercolor by Alfred Edward Chalon. Idealized portrait of QV between the accession and the coronation. The portrait has her features but is not a good likeness. The British Museum description says, "seated to left looking to right; wearing a lace collar, ruffled cape and black satin apron said to have been embroidered by herself, holding letter and handkerchief; on terrace with view of St George’s chapel, Windsor."<ref>"Her Majesty the Queen." O'Donoghue 1908-25 / Catalogue of Engraved British Portraits preserved in the Department of Prints and Drawings in the British Museum (108). Object: 1912,1012.76. https://www.britishmuseum.org/collection/object/P_1912-1012-76</ref> The bodice has huge sleeves, narrow at the wrist but puffing out over the elbows. The fabric of the dress looks like moiré. The black apron on her lap, though she may have embroidered it, seems odd, like why would the new queen wear an apron, even a decorative one? The plain hairstyle, the apron and what may be a bonnet on the tile floor to her left do not present her as regal but as simple and girly, perhaps as a contrast to the excesses of the prior courts. British Museum: https://www.britishmuseum.org/collection/object/P_1912-1012-76. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Her_Majesty_the_Queen_(BM_1912,1012.76).jpg. #'''1837 November''': portrait of QV standing in the royal box at the Drury Lane Theatre by Edmund Thomas Parris (this image is a contemporary copy of Parris's painting). Not a very strong likeness and so highly idealized that her clothing isn't readable. Also, the color may not be true; this copy may be too red. She has decorative gauntlets on her gloves, a transparent black lace shawl, the ribbon of the Order of the Garter, some tiara or diadem that could be the Fringe Tiara except that the metal is wrong, complicated lace things with dags at the turned-back cuffs. She is holding a few flowers in a bouquet holder and a lace-trimmed handkerchief; on the ledge in front of her are the program, with a bookmark, a folded fan and a folded material that might be supposed to be ermine? can't tell. https://commons.wikimedia.org/wiki/File:Queen_Victoria_at_the_theatre.jpg. This image was published in the 21 May 1887 ''Supplement to Pen and Pencil'': https://commons.wikimedia.org/wiki/File:Her_Majesty_Queen_Victoria_in_1837_(BM_1902,1011.8639).jpg. #'''1838''': etching of QV riding side saddle, caption says, "Her Majesty the Queen on Her Favourite Charger '''Thxxx'''"; published in 1840, after a painting by Ed. Curcould; etching by Fredk A. Heath; riding habit and top hat with veil, falling collar, tie may be 4-in-hand (Wikimedia Commons copy, from L. Strachey's 1921 biog: https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Queen_Victoria_in_1838.png). British Museum: https://www.britishmuseum.org/collection/image/1454391001 #'''1838''', stipple engraving of a waist-up portrait of QV by James Thomson, yet another idealized coronation portrait not drawn from life. Filet in her hair with pendant pearl at the center part, pearl earrings and necklace we've never seen before. Neck length is highly flattering. https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Majesty_the_Queen_Victoria_(4674629).jpg #'''1838''': stipple engraving of a flattering portrait of QV by Frederick Christian Lewis, probably not drawn from life. She is wearing a bonnet with a large brim over a cap with lace ruffles, the brim is covered with gathered fabric, sort of a halo effect. The off-the-shoulder style of the dress was fashionable, as are the sloped shoulders. Dark shawl over a light dress. She is wearing light gloves. National Library of Wales: https://viewer.library.wales/4674631#?xywh=2044%2C1782%2C928%2C588. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Most_Gracious_Majesty_Queen_Victoria_(4674631).jpg #'''1838''': 2 George Hayter portraits of QV, plus a painting of the coronation: ##Portrait of QV with her hand on a Bible and light shining on her upturned face, wearing the white dress worn after the peers swore allegiance and before the crown is placed on her head. The St. Edward's crown is on 2 pillows with the scepter. She is wearing an enormous elaborate robe over a sheer, lacy white dress, but the complexity of the layers and perhaps the artistic license make it impossible to really describe how the garments were constructed. The gold brocade robe with fringed edges is spectacular but does not match Worsley's description of the robe QV wore as she entered the Abbey. https://commons.wikimedia.org/wiki/File:Queen_Victoria_taking_the_Coronation_Oath_by_George_Hayter_1838.jpg ##in Wikimedia Commons called ''Queen Victoria Enthroned in the House of Lords''. It may not have been drawn from life; Hayter's painting of the wedding cannot really be seen as a historical record of what occurred, and so this may not have been what she wore at the coronation. QV seated on the lion's head chair or throne, with the St. Edward's crown on a table to her right. She is wearing the Diamond Diadem and the coronation necklace and earrings. She is wearing an ermine-lined red velvet robe tied together at the waist with a tasseled gold cord. A jeweled "collar" falls from her right shoulder to her waist and then goes back up to her left shoulder. Her dress is not the dress she wore to the coronation, white satin with gold embroidery. This one appears to be a silver and gold brocade with a deep gold fringe at the bottom. She is traditionally corseted. She has a white glove on her left hand, which rests on the other glove. The gloves are decorated with a double row of gathered lace. The heavily jeweled bodice is off the shoulder. The point of one satin slipper peeks out from under her skirt on the low footrest. Art UK: https://artuk.org/discover/artworks/queen-victoria-18191901-enthroned-in-the-house-of-lords-50933. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_Throne.png. ##''The Coronation of Queen Victoria in Westminster Abbey, 28 June 1838,'' Hayter's large painting of the coronation, completed 1840.<ref>{{Cite web|url=https://www.rct.uk/collection/405409/the-coronation-of-queen-victoria-in-westminster-abbey-28-june-1838|title=Sir George Hayter (1792-1871) - The Coronation of Queen Victoria in Westminster Abbey, 28 June 1838|website=www.rct.uk|language=en|access-date=2026-04-22}}</ref> Hayter made drawings during the coronation ceremony and then recreated Westminster Abbey as he preferred, rather than painting what the Abbey actually looked like. QV is wearing the Imperial Crown of State, but this is the moment after the coronation when the peers put on their coronets. The painting has 64 individual portraits painted in their gowns and robes by Hayter later. Royal Collection Trust: https://www.rct.uk/collection/405409/the-coronation-of-queen-victoria-in-westminster-abbey-28-june-1838; Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Coronation_of_Queen_Victoria_28_June_1838_by_Sir_George_Hayter.jpg. #'''1838''': Thomas Sully portrait of QV ##'''1838 May 15''': study for the full-length portrait by Thomas Sully, bust, bare shoulders, no clothing for analysis, but romantic and sensual, crown, possibly coronation necklace. "This oil sketch was painted '''from during''' several sittings in the spring of 1838, just before the coronation, in preparation for a full-length portrait. Victoria, who wears a diamond diadem, earrings, and necklace, is said to have considered this a nice picture.'"<ref name=":8" /> (11) Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/12702. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_MET_DT5422.jpg ##Full-length portrait, which QV sat for and which Sully finished after having returned to the US. Not sure which crown this is, neither of the coronation crowns. Very flattering of Victoria, who is in her state robe with a white dress. Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/14826. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Thomas_Sully_in_the_Metropolitan_Museum_of_Art.jpg. ##Copy from the Sully full-length portrait of head and bust by W. Warman, though not a faithful copy, as if he was copying the painting without having it in front of him. National Portrait Gallery: https://www.npg.org.uk/collections/search/portrait/mw06507/Queen-Victoria. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_by_W._Warman_after_Thomas_Sully.jpg. #'''1838''': engraved mezzotint print from a painting by Agostino Aglio the Elder (https://www.lelandlittle.com/items/384935/antique-portrait-of-a-young-queen-victoria/), which cannot have been painted from life. QV is dressed as if for her coronation, with the St. Edward's crown and the throne in the background. The face does not look like Victoria's, the dress with its ermine hem is not a representation of any dresses we're aware of, and the robe with its transparent falling sleeves is not the official coronation robe. The mezzotint by James Scott shows detail more clearly than the painting does, which is dark. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Queen_of_the_United_Kingdom.jpg #'''1838 August 5''': engraving of QV, published in ''The News'' on this date, may not have been taken from life. She may be wearing the white satin with gold embroidery dress she wore to Westminster Abbey; the crown on her head is not the Imperial State Crown; she is wearing long earrings (which we've never seen before) and no necklace. The cape has a shorter layer on top, trimmed in bands of gold, it looks like, which we've also never seen before. Her right hand is wearing a glove, probably silk, pushed down to 3/4 length. National Library of Wales: https://viewer.library.wales/4674621#?xywh=-2124%2C-568%2C8542%2C7730. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Portrait_of_Queen_Victoria_(4674621).jpg #'''1839''': engraving of Edwin Landseer portrait of QV in a very flattering and fashionable riding habit, less masculine than some, ribbon and badge of the Order of the Garter, top hat with veil, corseted, with the jacket fitted, large sleeves to the elbow, fitted below the elbow; a peplum may be part of the jacket, can't tell; she may be riding side-saddle with the newly invented horn to stabilize the rider. It's a good likeness of Victoria. https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Majesty_the_Queen-_1839_(4672716).jpg. #1840 February 10: QV's Wedding ##QV's wedding dress on a mannequin. Royal Collection Trust, 3 photos: https://www.rct.uk/collection/71975. Mary Bettans, QV's "longest serving dressmaker," probably made this wedding dress.<ref name=":6">{{Cite web|url=https://www.rct.uk/collection/71975|title=Mary Bettans - Queen Victoria's wedding dress|website=www.rct.uk|language=en|access-date=2025-12-15}}</ref> The [https://thedreamstress.com/2011/04/queen-victorias-wedding-dress-the-one-that-started-it-all/ Dreamstress blog posting on QV's wedding dress] has clear photos of her shoes. The Royal Collection description says, in part, "Wedding dress ensemble of cream silk satin; comprising pointed boned bodice lined with silk, elbow length gathered sleeves; deep lace flounces at neck and sleeves and plain untrimmed skirt en suite, gathered into waist with unpressed pleats.<ref name=":6" /> The color of the dress is definitely not white now, but the RCT description doesn't suggest that the color has changed. The materials are "Cream silk satin with Honiton lace" and "silk (textile), satin, flowers, lace."<ref name=":6" /> The "flowers" perhaps explains the wreath of artificial orange blossoms that the mannequin is wearing; the description doesn't say whether the headdress was the one worn by QV at the wedding. ##QV's watercolor sketch of her design for the bridesmaids' dresses: "a white dress trimmed with sprays of roses on the bodice and skirt. A matching spray of roses is shown in her hair. She is wearing white gloves and holding a handkerchief in one hand."<ref>{{Cite web|url=https://www.rct.uk/collection/search#/13/collection/980021-o/design-for-queen-victorias-bridesmaids-dresses|title=Explore the Royal Collection online|website=www.rct.uk|language=en|access-date=2025-12-20}}</ref> Royal Collection Trust: https://www.rct.uk/collection/search#/13/collection/980021-o/design-for-queen-victorias-bridesmaids-dresses. #1840–1842: George Hayter's painting of the moment in the wedding when QV and Albert clasp hands ##1840 February 10 – 1842: George Hayter's wedding portrait at the moment they clasped hands (what was commissioned), sketched at the time, portraits and background filled in later, not an actual depiction of what the chapel looked like, the environment sketched in before the ceremony and the people during the ceremony, followed by people sitting for their individual portrait within the larger painting. Royal Collection Trust: https://www.rct.uk/collection/407165/the-marriage-of-queen-victoria-10-february-1840. Wikimedia Commons: https://en.wikipedia.org/wiki/The_Marriage_of_Queen_Victoria#/media/File:Sir_George_Hayter_(1792-1871)_-_The_Marriage_of_Queen_Victoria,_10_February_1840_-_RCIN_407165_-_Royal_Collection.jpg. Along with almost everybody else, both QV and Albert posed later for the portraits in the painting, QV in March 1840 in, as she says, " Bridal dress, veil, wreath & all."<ref>{{Cite web|url=https://www.rct.uk/collection/407165/the-marriage-of-queen-victoria-10-february-1840|title=Sir George Hayter (1792-1871) - The Marriage of Queen Victoria, 10 February 1840|website=www.rct.uk|language=en|access-date=2025-12-19}}</ref> ##A number of reproductions of all or part of Hayter's painting were made. Engraving after Hayter's wedding portrait: amazingly tight outfit on Albert, QV has long train with ladies holding it; QV's dress off the shoulder, very lacy: https://commons.wikimedia.org/wiki/File:Marriage_of_Queen_Victoria_MET_MM78359.jpg #'''1840 c.''': miniature of QV by Franz Winterhalter, very idealized; QV is wearing a large pendant on a gold-bead necklace with matching earrings and jeweled fillet, strands of diamonds wrapped around the coiled hair high on the back of her head. Her off-the-shoulder dress is white lace with yellow bows, very girly with an unusual amount of frou-frou. She is wearing a blue sash across her chest from left to right, perhaps the ribbon of the Order of the Garter? Something puffy and pink — perhaps a shawl? — is over the dress. https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_La_reine_Victoria.jpg #'''1840 c.''': mezzotint print of QV by T. W. Huffam, may not have been drawn from life, and not perfectly realistic. QV is wearing a cap on the back of her head and perhaps a double row of what might be pearls across the top of her head, with pearl drop earrings. Off-the-shoulders cream-colored dress with pleating around the neckline and from the waist down. Broach at the center of the neckline, ring on her left hand; possible heavy chain bracelet on her left wrist. Colorful red-and-blue patterned shawl; what may be the Ribbon of the Order of the Garter, but on the wrong shoulder (and color is too dark, but the color may not be true); probably an odd wadded-up handkerchief in her right hand, with a lacy edge. National Library of Wales: https://viewer.library.wales/4674795#?xywh=935%2C2586%2C2207%2C1324. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Gracious_Majesty_Queen_Victoria_(4674795).jpg #'''1840''': QV and Albert return from the wedding at St. James's Palace ##1840 February 10: engraving by S. Reynolds (after F. Lock). May not have been made from life, the dress QV is wearing does not match the descriptions of any of the dresses she wore that day. Albert is dressed more or less the way he was for the wedding. This is an image of how she was imagined by the artist or perceived by the public, not how she looked. https://commons.wikimedia.org/wiki/File:Wedding_of_Queen_Victoria_and_Prince_Albert.jpg ##F. Lock #'''1840''': not very realistic illustration of Edward Oxford's assassination attempt on QV (illustration by Ebenezer Landells; lithograph by J. R. Jobbins). We see QV in white, with a yellow bonnet and something white streaming, veil or shawl, protected by heroic male figure, Albert? or the driver? https://commons.wikimedia.org/wiki/File:Edward_Oxford_tries_to_shoot_Queen_Victoria_in_1840_by_JR_Jobbins.jpg #'''1840''': 2 versions of what looks like the same portrait of QV by John Partridge, one painting in Dublin Castle and another in the Royal Collection Trust, both apparently made by Partridge with sittings in September and October 1840.<ref name=":16">{{Cite web|url=https://www.rct.uk/collection/403022/queen-victoria-1819-1901|title=John Partridge (1790-1872) - Queen Victoria (1819-1901)|website=www.rct.uk|language=en|access-date=2026-02-27}}</ref> QV is in black formal dress with red background and objects associating her with Albert. The RCT description: "The Queen, in a black evening dress with a black and silver head-dress, wears the ribbon and star of the Garter and the Garter round her left arm. She stands with her hand resting on a letter on the table. The gilt metal inkstand set with semi-precious stones was a present from Prince Albert to the Queen on her birthday, 24 May 1840. The bracelet on her right arm is set with a miniature portrait of Prince Albert by Sir William Ross for which the Prince had sat in February and March 1840 and the locket round her neck was given to her by Prince Albert."<ref name=":16" /> QV's modest, black velvet, off-the-shoulder dress is very Romantic. The puffed sleeves have a separate, fine lace ruffle that is shorter over the front of the arm and longer in back. She is holding a large white lace handkerchief and a folding fan. ##The Royal Collection Trust painting may have been restored or conserved differently because it is lighter and the background is much brighter red. Besides the interesting black headdress with a silver fringe on two levels, attached possibly to a bun on the back of her head, she is wearing a [[Social Victorians/Terminology#Ferronnière|ferronnière]] with a large brooch-like jewel piece in the center front. This version of the painting was probably a gift to Albert for Christmas 1840.<ref name=":16" /> https://www.rct.uk/collection/403022/queen-victoria-1819-1901. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Partridge_1840.jpg. ##The painting in Dublin Castle is much darker and QV's necklace and headdress are different. In this case, she is wearing the [[Social Victorians/People/Queen Victoria#The Diamond Diadem|Diamond Diadem]] rather than the less-official ferronnière. Dublin Castle: https://dublincastle.ie/the-state-apartments/queen-victoria/. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Dublin_Castle.jpg. #'''1841''': print of drawing of QV, stylish and romantic look, braids loops around her ears, off the shoulders, corseted, wearing honors, elbow-length lace-edged sleeves, full skirts, holding folding fan and lacy handkerchief in her left hand, very stylish pointed waist: https://commons.wikimedia.org/wiki/File:Queen_victoria_by_DESMAISONS,_PIERRE_EMILIEN_-_GMII.jpg #'''1841''': watercolor miniature by George Freeman of a pretty good likeness of QV for Mrs Andrew Stevenson, the wife of the American ambassador. QV is in white evening dress, red shawl with orange trim, ribbon of the Order of the Garter, tiara on the back of her head, miniature of Albert on her right wrist, wedding ring, hair in braided loops in front of the ears, very lacy at the elbows and top of bodice but otherwise no frou-frou. Royal Collection Trust: https://www.rct.uk/collection/421456/queen-victoria-1819-1901. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Miniature_portrait_of_Queen_Victoria_(1819-1901),_1841.jpg. #'''1841 March 21''': mezzotint print of QV and Vicky as a baby (Ellen Cole made the original art, G. H. Phillips made the messotint, printmaker Henry Graves & Co.)<ref>{{Cite web|url=https://wellcomecollection.org/works/wthk5hpy|title=Queen Victoria with the infant Princess Victoria on her lap. Mezzotint by G.H. Phillips after E. Cole, 1841.|website=Wellcome Collection|language=en|access-date=2025-10-15}}</ref>, unclear what kind of dress QV is wearing, could be morning dress or even negligé, although she is wearing jewelry and a cap, appears to be wearing a corset, but the fabric of this loose and flowing dress is very likely silk, some sheer, very feminine, limp lace ruffles, unstiffened silk; could be a christening outfit?, Vicky is also wearing sheer flowing fabric, has a cap with stiffened ruffle, around the neck, unstiffened ruffle: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_the_infant_Princess_Victoria_Adelaide_Wellcome_V0048381.jpg #1842: portrait by Winterhalter of QV in her wedding dress. This pose is a recreation; the lower half of the skirt is lace covered. QV is facing left, holding a length of lace and a small bouquet of flowers. Tiara on the back of her head, pendant on a gold chain around her neck, perhaps the sapphire brooch, and rings. QV sat for the painting "in June and July 1842. The Queen wears a dress of heavy ivory satin, enhanced by a bertha and a deep flounce of lace like those on her wedding dress (see Figure 39). Her jewelry includes a diadem of sapphires and diamonds, the huge sapphire-and-diamond brooch given to her by Prince Albert on their wedding day, and the Order of the Garter insignia."<ref name=":8" /> (15) "The portrait was completed in August and set into the wall of the White Drawing Room at Windsor Castle. Winterhalter was immediately commissioned to paint at least three copies, and a number of others exist, including enamel miniatures that the Queen had made up into bracelets for her friends."<ref name=":8" /> (15) #'''1843''': portrait by Winterhalter, bust of QV, bare shoulders, hair has fallen down, simple jewelry, sensual, sexual, romantic: https://commons.wikimedia.org/wiki/File:Franz_Xaver_Winterhalter_(1805-73)_-_Queen_Victoria_(1819-1901)_-_RCIN_406010_-_Royal_Collection.jpg. #'''1843''': flattering, fashion-illustration-style portrait by Winterhalter, QV is wearing the Diamond Diadem created for George IV and standing with the Imperial State Crown near her right hand, which means it's not a coronation recreation. She is wearing the mantle of the Garter with its jeweled chain-like collar and St. George hanging from it with the Garter on her left arm. Winterhalter did a companion portrait of Albert at the same time, and they are hanging in the Garter Throne Room in Windsor Castle.<ref>{{Cite web|url=https://www.rct.uk/collection/404388/queen-victoria-1819-1901-0|title=Franz Xaver Winterhalter (1805-73) - Queen Victoria (1819-1901)|website=www.rct.uk|language=en|access-date=2026-02-06}}</ref> Queen Victoria is wearing the Turkish diamonds necklace and earrings. She has bare shoulders and arms, suggestive of court or evening dress; besides the mantle of the Garter, she is wearing a white dress with a complex overdress that is open at the waist. The skirt of the white dress has gold threads (that might be brocade) with 7 horizontal graduated rows of a soutache-like trim around the bottom 2/3. Royal Collection Trust: https://www.rct.uk/collection/404388/queen-victoria-1819-1901-0. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_1843.jpg. #'''1843''': line and stipple engraving (by Skelton and Hopwood) of a painting by Eugène Modeste Edmond Lepoittevin. QV visiting Helene, Duchesse d'Orléans at the Château d'Eu (Eu, Normandy, France). Two of the Duchesse d'Orléans' sons are with her in the portrait; she appears to be in mourning with a lot of frou-frou and touches of white. QV is wearing a stylish, romantic (off the shoulder) dress with a small white ruffle at the neck, lacy cuffs at the wrist; the sleeves are divided by 2 rows above the elbow of some kind of 3-dimensional trim; below the elbow the sleeves are fitted. The skirt is very full; her hair is simple, pulled in front of her ears into a bun in the back, with no headdress; she is wearing little or no jewelry. National Portrait Gallery: https://www.npg.org.uk/collections/search/portrait/mw145636/Visit-of-Queen-Victoria-to-the-Duchesse-DOrlans?LinkID=mp93326&role=sit&rNo=0. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Visit_of_Queen_Victoria_to_the_Duchess_of_Orleans.jpg. #'''1845''': photograph of QV and Vicky, earliest photograph of them, Description from Royal Collection Trust: "They are shown in three quarter view, facing left. The queen is wearing a dark coloured silk gown, with a white lace fichu, adorned with a brooch. The Princess Royal looks directly at the viewer and leans against her mother, nestled under her right arm. She is wearing a dark coloured silk dress, trimmed with white lace. She is wearing a pendant on a black ribbon around her neck, and is holding a doll in her arms." White v-shaped bodice front connected to the rest of the bodice. Copy from the Royal Collection Trust: https://www.rct.uk/collection/search#/-/collection/2931317-c (Wikimedia Commons copy: https://commons.wikimedia.org/wiki/File:Queen_Victoria_the_Princess_Royal_Victoria_c1844-5.png) #'''1846''': Winterhalter portrait of QV with Bertie, one of a pair of portraits by Winterhalter of QV and Prince Albert. QV is wearing an unusual, off-the-shoulder outfit, no crown but a headdress that is black lace, sheer, ruffled, attached above her ears, with a rose on the left side, no necklace but bracelets and rings and the Order of the Garter ribbon and star. The top of this dress may be a bustier rather than a bodice, resting on rather than attached to the skirt; it is boned and very smooth and comes to a deep point in front, emphasizing her small waist. The skirt may be in two layers, pink satin (to match the bustier or bodice) covered by a sheer black lace-and-tulle overskirt. Bertie is in long pants and a belted "loose Russian blouse" that falls to his knees.<ref>{{Cite web|url=https://www.rct.uk/collection/406945/queen-victoria-with-the-prince-of-wales|title=Franz Xaver Winterhalter (1805-73) - Queen Victoria with the Prince of Wales|website=www.rct.uk|language=en|access-date=2026-03-26}}</ref> The portrait was a gift to Sir Robert Peel and shows QV in evening dress and Bertie (and Prince Albert in his separate portrait) as a family in nonregal clothing, what Peel called "private society." Royal Collection Trust: https://www.rct.uk/collection/406945/queen-victoria-with-the-prince-of-wales. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_the_Prince_of_Wales.jpg. #'''1846 October – 1847 January''', sittings for Winterhalter family portrait of QV and Albert and 5 children (Vicky, Bertie, Alice, Affie, Helena as a baby). QV is wearing a very ornate white dress with a smooth bodice, with a corset beneath: a lot of lace in her lap, either a large shawl coming around from the back or the top layer of her skirt (?), which is a series of 4 lacy ruffles starting at her knees and going down; gathers over her bust, sleeves are gathered; whole dress is a lot of frou-frou, very white, feminine, soft and flowing. She is wearing an emerald and diamond diadem, part of a parure of other emerald jewelry as well as a locket around her neck. (Albert designed the diadem in 1845, made by Joseph Kitching). Painting was exhibited in 1847 in St. James's Palace and released as an engraving in 1850. Royal Collection Trust: https://www.rct.uk/collection/405413/the-royal-family-in-1846. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Franz_Xaver_Winterhalter_Family_of_Queen_Victoria.jpg. Engraving: https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Queen_Victoria,_Prince_Albert_and_the_Royal_Family.png #'''1847 February 24''': Winterhalter portrait of QV in a version of her at her wedding, wearing her wedding veil and wreath of orange blossoms in her hair and the sapphire brooch that "Albert gave her on their wedding day and the ear-rings and necklace made from the Turkish diamonds given to her by the Sultan Mahmúd II in 1838."<ref>{{Cite web|url=https://www.rct.uk/collection/search#/20/collection/400885/queen-victoria-1819-1901|title=Winterhalter Portrait of Queen Victoria, 1846|website=www.rct.uk|language=en|access-date=2025-12-31}}</ref> This portrait is dated 1847, so it is not a portrait of her at her wedding but an anniversary gift for Albert of her dressed as for her wedding. RCT: https://www.rct.uk/collection/search#/20/collection/400885/queen-victoria-1819-1901 Wikimedia: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_1847.jpg #'''1851 August 30''', line drawing of QV, Albert and Bertie visiting the opening (?) of a train station, published in the ILL. QV's clothing is approximate, but she is wearing a bonnet; we don't know if the artist drew her from life or from his expectation of what she would have looked like, stylish but not haute couture, she looks more middle class? https://commons.wikimedia.org/wiki/File:Queen_Victoria_visiting_the_GNR.jpg #'''1854''', portrait Stephen Catterson Smith the Elder. QV in Order of St. Patrick, wearing crown, next to throne; white or cream-colored dress, which looks unironed? horizontal section of the skirt??, off the shoulder, lacy ruffles on top, not much frou-frou, not a cage. Bracelet on her right arm of Albert?, coronation necklace? Standing by the chair with lion's head on the armrest. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_the_sash_of_the_Order_of_St_Patrick,_1854.png ##'''1854''', engraving that is a copy of the Smith portrait. Royal Trust: https://www.nationaltrustcollections.org.uk/object/565054. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_victoria_indian_circlet.jpg. '''Indian circlet'''? #'''1854''', photograph of QV, Albert, Duchess of Kent and 7 children, boys in kilts, women in what looks like cages, but probably petticoats: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_her_family.jpg #'''1854''', photograph by Roger Fenton, QV seated, facing our right, holding a portrait of Albert, light very lacy dress, cap on the back of her head, can't see much detail of the dress: https://commons.wikimedia.org/wiki/File:Queen_Victoria_1854.jpg #'''1854 May 11''': Roger Fenton photographs from a session showing either QV and Albert in court dress or one of the recreations of their wedding: ##QV standing, looking to her left, wearing a very floral, lacy light-colored dress that has been called her wedding dress, but the Royal Collection Trust says it's a court dress with a train.<ref>"Queen Victoria in court dress 1854.jpg." ''Wikimedia Commons''. https://commons.wikimedia.org/wiki/File:Queen_Victoria_in_court_dress_1854.jpg (retrieved March 2026).</ref> She is wearing the ribbon of the Order of the Garter, a cap perched on top of her head above a wreath or crown of flowers, veil, romantic off-the-shoulder neckline with short puffy sleeves, something fluffy and translucent on the front of her dress (like an apron?), a white glove on her left hand, a bouquet of flowers, and it looks like actual flowers attached to the dress itself. More frou-frou than we've seen on her. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_in_court_dress_1854.jpg. ##Low-resolution photo of QV and Albert facing each other, bouquet on plinth, expensive long lace veil, shawl or big white lace collar?, dress has a lot of frou-frou (including flowers) and texture to break up the solid whiteness: https://commons.wikimedia.org/wiki/File:Queen_victoria_and_Prince_Albert.jpg #'''1854 May 22''': Roger Fenton photograph of QV, Albert and 7 children, one in a wagon, at Buckingham Palace. Albert is wearing a top hat although they seem to be indoors. QV wearing a bonnet tied under her chin with a big bow, a plaid skirt, thigh-length jacket. https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Prince_Albert_%26_royal_children_at_Buckingham_Palace,_1854.jpg #'''1854 June 30''', photograph by Roger Fenton, QV profile facing our left; very light-colored dress, embroidered (or stamped??) floral pattern on skirt, bodice and sleeves with additional 3-dimensional trim, and apron?, with a wide sash, translucent maybe linen fabric with very fine lace at the edge, very girly; at least one gathered flounce; brimless bonnet on the back of her head, lacy, ribbon, flowers?: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Roger_Fenton.jpg #'''1855''', Winterhalter portrait: petticoats, lace and satin, a tiara, on the back of her head around the bun, not a symbol of of sovereignty, instead a beautiful decorative piece of jewelry that probably matched her eyes: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Franz_Xaver_Winterhalter.jpg. Rosie Harte says she is wearing the Sapphire Tiara designed for QV as a wedding present by Albert. #'''1855 March 10''': Illustrated London News wood engraving showing QV and her entourage visiting wounded soldiers in a hospital. It shows how QV was perceived, not so much what she actually wore. She's shown wearing a bonnet, a thigh-length jacket; her tiered skirt has 3 large ruffles that we can see, dividing it horizontally. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_her_entourage_visiting_invalided_soldier_Wellcome_V0015776.jpg #'''1855 April 19''', James Roberts painting of QV, Napoleon III, Eugénie and Albert at Covent Garden, from the perspective of the stage, or at least behind the orchestra. They are dressed formally; QV's white, off the shoulder young-person image, big jewelry; Eugénie looks like she's wearing a cage. Royal Collection Trust: https://www.rct.uk/collection/search#/46/collection/920055/the-queen-visiting-covent-garden-with-the-emperor-and-empress-of-the-french-19. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Napoleon_III_at_the_Royal_Opera_House_19_April_1855.jpg #'''1856 May 10''', oval half-length portrait of QV by Winterhalter, finished after sittings on 2, 3, 5, 6 and 8 May.<ref name=":17" /> QV, who thought the portrait was "very like," is wearing a distinctive off-the-shoulder red velvet dress with burnt-velvet (?) ruffle, the Koh-i-nûr diamond set in a brooch, a necklace with large diamonds (the Coronation necklace? '''Queen Adelaide's necklace'''?) and the ribbon of the Order of the Garter. She is wearing a corset under the dress (the bodice is so smooth and it comes to a point below the waist), with lace at the décolletage and shoulder and possibly a shawl that matches the ruffle. '''The crown is not the Diamond State Diadem but another crown'''. Royal Collection Trust: https://www.rct.uk/collection/406698/queen-victoria-1819-1901. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Franz_Xaver_Winterhalter_Queen_Victoria.jpg. #'''1856 December 16''' (lithograph made in 1859), color lithograph of a William Simpson painting showing QV on board a ship being returned to the Brits by Americans. Full-length, winter dress with fur muff, bonnet, matching fur-trimmed coat over dark rich purple and green dress. Albert and some of their children are with her. Library of Congress: https://loc.gov/pictures/resource/pga.03087/. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:William_Simpson_-_George_Zobel_-_England_and_America._The_visit_of_her_majesty_Queen_Victoria_to_the_Arctic_ship_Resolute_-_December_16th,_1856.jpg #'''1857''': photo of QV and Vicky, Princess Royal, in dark dresses but not mourning, QV has very voluminous ruffled skirt, probably not a cage, wearing a cap: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_her_daughter_Victoria,_Princess_Royal.jpg #'''1857''': large painting by George Housman Thomas of QV distributing the first Victoria Crosses in Hyde Park, 26 June 1857, shows large military display in a large field, QV giving out VCs to a long line of soldiers. Related to the 1859 Thomas painting, as QV is wearing another scarlet military jacket, waist is cinched, etc. (see the 1859 painting). If the awarding of the VCs occurred in 1857, this painting would have been later? https://commons.wikimedia.org/wiki/File:Queen_Victoria_presenting_VC_in_Hyde_Park_on_26_June_1857.jpg #'''1858 Summer – 14 December 1861, between''', photograph by Southwell, "photographist to the Queen," of QV wearing a light-colored plaid skirt over a cage and a large dark shawl, reading a piece of paper. (We dated this image between the time she first wore a cage and when Albert died.) She has a cap with a gathered edge under her light-colored bonnet, which has a wide band tied in a bow under her chin with long streamers that hang past her waist. The photograph has been damaged, so patterns on the fabric are impossible to see. https://commons.wikimedia.org/wiki/File:England_Queen_Victoria.JPG #'''1859''': Winterhalter portrait, 2 crowns, the one behind her is the [[Social Victorians/People/Queen Victoria#Imperial State Crown|Imperial State Crown]], "coronation necklace and earrings?," a vast quantity of ermine, diamonds and gold, parliament in the distance. ArtUK: https://artuk.org/discover/artworks/queen-victoria-18191901-187983. Wikimedia: https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Winterhalter_1859.jpg, on Wikipedia page for "Victorian Era": https://en.wikipedia.org/wiki/Victorian_era. The off-the-shoulder look she wore when she was young, short sleeves, gold lace ruffles on the skirt. Another example of elaborate but not crowded frou-frou. Georg Koberwein made a copy of this painting in 1862. #'''1859 June''': group photograph that includes QV, Albert, Bertie and Princess Alice (who is wearing a cage) as well as Prince Philippe, Count of Flanders; Infante Luís, Duke of Porto, later King Luís I of Portugal; and King Leopold I of Belgium. Photograph attributed to Dudley FitzGerald-de Ros, 23rd Baron de Ros. QV is seated, facing her right, wearing a cape (can't tell if it has wide sleeves), a feathered hat that ties under her chin with a wide ribbon down the back, a 3-flounce skirt with dark stripes, wider at the bottom, probably over a cage, the 2 top flounces have gathered lace edging; white lace in her lap and over her right shoulder; holding an umbrella. Royal Collection Trust: https://albert.rct.uk/collections/photographs-collection/childrens-albums/group-portrait-with-prince-albert-leopold-i-and-queen-victoria-0?_ga=2.71530067.1155757026.1769614443-1044324474.1768234449. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Group_photograph_of_Queen_Victoria,_Prince_Albert,_Albert_Edward,_Prince_of_Wales,_Count_of_Flanders,_Princess_Alice,_Duke_of_Oporto,_and_King_Leopold_I_of_the_Belgians,_1859.jpg. #'''1859 July 9''': 1859–1864 painting by George Housman Thomas of QV, Albert and attendants on horses at Aldershot, QV in military-style, with red jacket with trim at the cuffs collar (though technically the jacket is collarless), wearing sash, honors, white blouse with back necktie, white sleeves gathered at the wrist, sitting side saddle, hat with wide brim, low crown, feminized version of the helmet the men are wearing, complete with red and white feathers. Royal Collection Trust says she is wearing a "scarlet military riding jacket with a General's sash and a General's plume in her riding hat" link: https://www.rct.uk/collection/405295/queen-victoria-and-the-prince-consort-at-aldershot-9-july-1859. Wikimedia link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_the_Prince_Consort_at_Aldershot,_9_July_1859.jpg #'''1860 May 15''': full-length photograph of QV by John Jabez Edwin Paisley Mayall. Dark dress, white ruffled cap and collar, ornate patchworky shawl with fringe and lace. https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_JJE_Mayall,_1860.png #'''Circa 1861''', photograph of QV, Albert and 9 children by John Jabez Edwin Mayall. Another portrait where Albert is really the center. The women and girls appear to be wearing hoops.https://commons.wikimedia.org/wiki/File:Prince_Albert_of_Saxe-Coburg-Gotha,_Queen_Victoria_and_their_children_by_John_Jabez_Edwin_Mayall_(n%C3%A9e_Jabez_Meal).jpg #'''1861''', full-length photograph of QV by C. Clifford of Madrid; QV is standing mostly profile facing her right, with her head turned slightly to us; state occasion, formal dress with crown and jewelry; short sleeves with light-colored, ornate trim above the elbows; the neckline is at the corner of the shoulder with lace inside, making it be less off-the-shoulder than it looks; cage under the full skirt, train attached at the waist, in the front the train is cut away, towards the back; very clearly a silk, shiny fabric that reflected a lot of light; color is unknown; which crown is this? Wellcome Collection: https://wellcomecollection.org/works/ppgcfuck/images?id=zbrn4cjm; Wiki Commons: https://commons.wikimedia.org/wiki/File:HM_Queen_Victoria._Photograph_by_C._Clifford_of_Madrid,_1861_Wellcome_V0027547.jpg #'''1861 March 1''', looks like a session with photographer John Jabez Edwin Paisley Mayall and QV, from while Albert was still alive, dark but not mourning dress, with what may be a large [[Social Victorians/Terminology#Moiré|moiré]] pattern in the fabric. Lots of frou-frou. 2 images from this session: ##Full-length photograph of QV by Mayall. Shiny dark satiny fabric, cage, large white-lace shawl, white collar, white cap on the back of her head, book in front of her on plinth: https://commons.wikimedia.org/wiki/File:Queen_Victoria.jpg ##Full-length photograph of QV by Mayall. Shiny dark satiny dress fabric, cage but not the half-sphere, skirt is fuller than the cage, defined waist, more fullness in back, same white collar and cap, sleeve of jacket gets wider at the wrist, showing how full the lacy/ruffly sleeve of the blouse is, large black lace shawl. Wellcome Collection: https://wellcomecollection.org/works/yuuj2gdr/images?id=fpxwnbzg. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:HM_Queen_Victoria,_Empress_of_India._Photograph._Wellcome_V0028492.jpg #'''Circa 1862''', photo of QV seated with Prince Leopold standing next to her, QV is wearing a heavy cloak with a hood, which is up and covering what she's wearing on her head, which has a white and what may be a ruffled edge. The cloak has a wide band of what might be brocade stitched to the bottom of the cloak; the fabric of the cloak and hood and the skirt beneath may have a nap; she is not wearing a cage. Leopold is wearing short pants and gloves and carries a walking stick; his face may show bruises (or the photo is damaged): (Royal Trust link: https://www.rct.uk/collection/2900563/queen-victoria-and-prince-leopold; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Leopold_of_Albany.jpg). #'''1862''', drawing from a newspaper showing QV and Beatrice of how she was perceived, not how she was: highly idealized image of mother and child, clothing not presented realistically, QV's dress is plain and her identity is that of the loving mother. https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Princess_Beatrice_as_baby.jpg #'''1863''', photograph of QV seated, skirt is full, though she's not wearing hoops; white on head, collar and at wrists. She may not be wearing a corset (per Worsley), but the top is boned. ##QV is facing our left, 3/4. The top part of her skirt and her sleeves are made of a fabric perhaps with a satin weave, though the bottom half of her skirt is still matte. https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Queen_Victoria_in_1863.png. ##Same session, another pose, body still 3/4, but now she is facing the camera. The edges of the matte sections of her skirt and jacket are trimmed with rows of tiny ball fringe, oddly unobtrusive, especially from a distance. She is wearing a white blouse with puffed sleeves under the jacket. George Eastman Collection: https://www.flickr.com/photos/george_eastman_house/3333247605/. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_(3333247605).jpg. #'''1863''', QV on horse with John Brown holding the bridle ##'''1863''', unattributed photograph of QV at Osborne seated on a horse, with Princess Louise and John Brown nearby. QV is seated side-saddle, has a cap with a hood over it; cap has white ruffled edge; white ruffles at her wrists. Louise is handing QV her whip? and wearing a cage; her skirt is short, ankle-length, several inches above the ground; she wears a thigh-length full jacket. Brown's back is to us, he wears a kilt. https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Princess_Louise_and_John_Brown.jpg ##'''1863''', carte-de-visite photograph by George Washington Wilson, QV on Fyvie side-saddle; wearing a cap with a hood over it, cap has white ruffled edge; dark gloves; wide sleeves on the jacket. The black riding habit has a simple surface with little decoration.https://commons.wikimedia.org/wiki/File:Queen_Victoria,_photographed_by_George_Washington_Wilson_(1863).jpg; https://commons.wikimedia.org/wiki/File:Queen_Victoria_on_%27Fyvie%27_with_John_Brown_at_Balmoral.jpg #'''1864''', QV seated, holding the future Kaiser Wilhelm (Vicky's eldest), her 1st grandchild ##Willie looking at us, QV right arm around his shoulder, an early version of what became her uniform dress, this one is a winter outfit, and she's bundled up, wearing a white ruffled cap, black bonnet and veil, which may be tied under her chin; gloves; a thigh-length loose jacket with wide sleeves, a deep band of a different fabric for the bottom of her skirt; she may be wearing a brocade vest under the jacket that is not snug against her torso; it looks like she's wearing a corset (the edge near the top button of her vest). https://commons.wikimedia.org/wiki/File:Queen_Victoria_holding_her_eldest_grandchild_Willy.png ##Willie facing QV, very clear view of her bonnet with scarfy veil; jacket is thigh-length, sleeves widening toward the cuff, may be a blouse underneath, also with full, loose sleeves, edged in white; top part of the full skirt is shiny, deep band of fabric at the bottom is wooly looking, narrow trim between the two parts of the skirt, could be petticoats under the skirt.https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_her_eldest_grandchild_Willy.png #'''1865–1867''': Edwin Landseer painting of QV on horseback at Osborne, reading letters and dispatches, with John Brown, dressed formally in a kilt, holding the horse's head. (Aquatint print made in c. 1870 https://commons.wikimedia.org/wiki/File:Portrait_of_Queen_Victoria_and_John_Brown_at_Osborne_House_(4674627).jpg<nowiki/>.) See "1867 Spring" in the [[Social Victorians/People/Queen Victoria#Timeline|Timeline]] for a discussion of the painting itself. Princesses Louise and Helena are seated on a park bench in the background. QV is wearing a bonnet tied under her chin with a large bow and a short hood-like veil. This does not look like a fitted riding habit, although the skirt is a riding skirt. The jacket is shorter than her usual thigh-length and has full sleeves that widen toward the wrist. The fitted cuffs of the sleeves of her white blouse extend beyond the jacket sleeve. She has white at her cuffs and on the cap under her bonnet. Except for a ring on her left hand, no jewelry shows. Royal Collection Trust: https://www.rct.uk/collection/403580/queen-victoria-at-osborne. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Sir_Edwin_Landseer_(1803-73)_-_Queen_Victoria_at_Osborne_-_RCIN_403580_-_Royal_Collection.jpg #'''1867''': QV seated with Empress Victoria, both in mourning, but not full mourning, wearing a cage, some frou-frou, probably a cap on her head, because there's no brim, with a short dark veil over it. QV is wearing a [[Social Victorians/Terminology#Paletot|paletot]] with an overskirt with the same fabric and matching trim; the sleeves are not fitted but also not as wide at the wrists as some of her paletots. The bottom of the underskirt has a pleated ruffle. QV has quite a bit of light-colored fabric at her neck that falls down the front of her bodice, although she is not wearing the white shawl. The photograph was overexposed, so we have clarity in the black but the detail for the white parts is obliterated. https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Empress_Victoria_Augusta.jpg #'''1867''', photograph of QV seated, with her back towards us, and the Queen of Prussia (or the Empress Augusta of Germany?), both in mourning, with light-colored umbrella: https://commons.wikimedia.org/wiki/File:The_Queen_of_England_and_The_Queen_of_Prussia.jpg. Darker image: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Empress_Augusta.jpg #'''1867''', stylized drawing/painting by Takahashi Yūkei, doctor of the Japanese Embassy to Europe in 1862, so may have been drawn from life; black dress may have faded to this purple, honors sash draping is not understandable but it is beautiful; military (?) style hat with aigrette: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Japanese_doctor_Takahashi_Y%C5%ABkei_1862.png #'''1867''', photograph of QV with border collie Sharp, outdoors, on rugs?. QV is wearing a bonnet with a veil-like scarf that ties under her chin with streamers down the front; the full, thigh-length jacket has long, full sleeves, and the jacket has no trim on it, apparently, at all. The skirt is held out smoothly by a cage, made in 2 fabrics, one satiny and the other wool or something not shiny, with 3-dimensional trim with faceted jet (?) in 3 rows. Shiny black leather gloves, with white ruffled cuffs. She looks heavier-set than she was, perhaps our sense that she was always big comes because she wasn't trying to look thin? https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_her_dog_%22Sharp%22.jpg #'''1868''', photograph of QV and John Brown by W. & D. Downey. QV is wearing a riding habit and a hat tied under the chin, perhaps with a small plume, the jacket has some decoration. https://commons.wikimedia.org/wiki/File:Queen_Victoria_mounted_and_John_Brown_by_W._and_D._Downey.png #'''1869–1879''', QV was in her 60s: "At state occasions in her sixties, Victoria appeared in a black dress, black velvet train, pearls and a small diamond crown."<ref name=":5" /> (480 of 786) #'''c. 1870''', photograph by Andre-Adolphe-Eugene Disderi (probably not retouched) with QV seated, facing her left, 3/4 profile: that white cap pointed towards the forehead, covering the center part nearly completely, white flat-band collar, whites ruffles at cuffs, heavily trimmed black jacket with short peplum, including ball fringe and braid; the plain-from-a-distance, rich-up-close look: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_c.1870._(7936242480).jpg #'''1871 September 10''', photograph of QV standing, almost full length, facing our right, with head turned our way, some books on the small table in front of her. The usual dark dress with white blouse with knife pleats and a cap covered with double ruffled lace and with veil down the back; heavy voluminous black shawl, looks like it's wool; it's probably a dress not a suit, with different textures, which are subtle Up close, the black ball-fringe (or bead fringe?) trim is 3-dimensional and different fabrics add another dimension. Skirt has wide band at the bottom, with ball fringe at the top. Wellcome Institute: https://wellcomecollection.org/works/x4hug3jt; Wiki Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria._Photograph._Wellcome_V0018085.jpg. #'''1874–?''': photograph of QV and Princess Beatrice ice skating on a lake at Eastwell Park, home of Prince Alfred (who got the property in 1874). Can't tell, but QV might be in the sledge chair and Beatrice in the center standing on skates. That woman standing on skates in the center is wearing a cage, which holds her dress out and above the ground. 1874 is late for cages, but the British court was not fashion forward: https://commons.wikimedia.org/wiki/File:Queen_Victoria_skating_-_Eastwell_Park.jpg #'''1875''': watercolor copy by Lady Julia Abercromby made in 1883 of an oil painting by Heinrich von Angeli showing QV before adopting the title Empress of India. This is a good example of a slightly formal version of her uniform. She is wearing the usual white cap and veil, clearly lace gathered into double ruffles; square-neck black bodice, sleeves are very wide at the wrists, black with complicated decorative angles layered over white, ruffly. The skirt has a horizontal division with satiny ribbon and wide ruffle (maybe pleated?) and then a border at the bottom that may be brocade; there is a train. Lots of jewelry, including double strand necklace of very large pearls, ribbon and badge of the Order of the Garter and the badge of the Order of Victoria and Albert, pearl brooch, bracelets and rings, holding a large white handkerchief. NPG: https://www.npg.org.uk/collections/search/portrait/mw06517. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Julia_Abercromby.jpg. #'''1876 May 1''': QV is declared Empress of India. Lytton Strachey says, "On the day of the Delhi Proclamation, the new Earl of Beaconsfield went to Windsor to dine with the new Empress of India. That night the Faery, usually so homely in her attire, appeared in a glittering panoply of enormous uncut jewels, which had been presented to her by the reigning Princes of her Raj."<ref name=":0" /> (414 of 555) #'''1877 May''': photograph of QV, Princess Beatrice and the Duchess of Edinburgh (probably Maria Alexandrovna Romanova, Affie's wife) by Charles Bergamasco. Impossible to tell how the dress is layered, but it has a lot of frou-frou, but not a lot of lace except for the shawl and the cuffs of her blouse. QV's dress might have 2 different fabrics, like the Duchess's dress; it may have a jacket or vest or both. Her bodice looks like it is boned (assuming she's not wearing a corset). The frou-frou on the skirt are controlled pleated ruffles with tassels, which are more controlled than fringe. Visually very complex outfit, but from a distance, all that complexity would disappear. It would look textured, depending on the distance, at most. All 3 women have high-contrast lapels; 2 fabrics, matte and shiny; big buttons down the front; the 2 younger women have a row of ruffled lace at the neck; all wearing dark fabric, perhaps black. https://commons.wikimedia.org/wiki/File:Queen_Victoria,_The_Duchess_of_Edinburg_and_Prince_Beatrice.jpg #'''1879''', painting by Tito Conti of QV and Vicky at "Napoleon's boudoir"; Vicky is in mourning, having lost an 11-year-old child in March 1879; the two women are dressed in v different styles: Vicky is stylish, interest at the back of her dress, long train, narrow skirt, haute couture; QV is in her uniform, a hat? perched high on her head, a light-colored fichu? at her neck, black shawl; shorter train and fuller skirt, the shawl hiding how fitted the dress is. The point is the contrast between the 2 styles. https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_her_eldest_daughter_Vicky,_German_Crown_Princess.jpg. #'''1879 February''', QV seated with Hesse family (Alice's family, two months after her death and that of Marie, the youngest), everyone in full mourning. QV is wearing her "uniform" but no white anywhere; black cap with streamers? with what might be feathers down the back; heavy wool fringed shawl; jacket is lined and warm, possibly padded, may be long (thigh-length?); she may be wearing a corset or boning in her bodice here bc of the way the bodice drapes (there's an edge?); full skirt with deep tucked bands at the bottom: https://commons.wikimedia.org/wiki/File:Queen_Victoria_Ludwig_IV_240-011.jpg. Darker image from what looks like the same sitting by William & Daniel (W. & D.) Downey, without the father: https://commons.wikimedia.org/wiki/File:The_Hessian_children_with_their_grandmother,_Queen_Victoria.jpg #'''1881''': Cabinet photograph by Arthur J. Melhuish of QV and Princess Beatrice, neither is in full mourning. QV is smiling and wearing her white widow's cap, at least 2 necklaces and perhaps one brooch, a black lace shawl. Beatrice is holding an umbrella over their heads.https://commons.wikimedia.org/wiki/File:Victoria_and_Princess_Beatrice.jpg #'''1881 September 3''': woodcut engraving from the ''Illustrated London News'' of QV visiting the new Royal Infirmary, Edinburgh. Clear impression of QV's "uniform," black dress with thigh-length jacket, edged with fur or velvet; skirt is divided horizontally with zigzag trim about knee level and a ruffle at the hem of the skirt. Unusual pillbox-like hat tied under her chin, trimmed with something light colored. Wellcome Collection: https://wellcomecollection.org/works/ev7tepmd/images?id=h8aq62mn. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_visiting_the_Royal_Infirmary_Edinburgh._Wellcome_L0000896.jpg #'''1882 April 27''': 3 photographs of QV dressed for the wedding of the Duke and Duchess of Albany, probably from one session with Alexander Bassano. These photographs look like they have been retouched to smooth QV's skin and remove a double chin. The black satin-weave dress is complex, but cut as her "uniform" usually was. What makes this outfit different is how much white lace covers the skirt and train as well as how big a piece of lace the veil is and the unusual-for-QV berthe. Under the black jacket sleeve are two white (may or may not be a separate blouse, can't tell). QV is wearing her classic thigh-length jacket with 3/4-length sleeves, buttoned down the front, smoothly fitted to her shape but not tight fitting; she seems to be wearing a white lacy top under everything, a bodice that buttons and looks like it has a rows of fleur-de-lys diamonds operating somewhat like a stomacher comes down below her waist; over the bodice is a thigh-length jacket with thick fluffy fringe (chenille?) trimming the sleeves and bottom of the jacket and down the front on both sides. Those distinctive black jacket sleeves are cut very full at the bottom edge; they are short under her arm and have a long point below her elbow on the outside of her arm. The train is visible in 2 of the photographs and pulled around to QV's left, over some of the skirt. The skirt and train have a narrow box-pleated ruffle at the bottom. The full skirt and train are covered by a lace overskirt. QV is not wearing her wedding veil, but the veil looks like Honiton lace, as do the trim on the bodice, sleeves and skirt. The wide light-colored or white lace [[Social Victorians/Terminology#Berthe|berthe]] is slightly gathered and stitched to the neck of the bodice. A lacy white edge shows under the black jacket sleeve (may or may not be a separate blouse, can't tell), plus another white layer under that lacy sleeve edge. What looks like a chemise shows at the neckline; a row of diamonds separates the berthe from the chemise. She is holding a lacy handkerchief and a folding fan. She is wearing the Small Diamond Crown on top of the veil and a lot of diamond jewelry, including the Koh-I-Nor diamond as a brooch, the Coronation necklace and earrings, two wide diamond bracelets and rings as well as Family Honors and the ribbon of the Order of the Garter. ##'''1882''' Bassano photograph, official state portrait, reused in 1887 for Golden Jubilee as a postcard; close-up cropped bust. https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Bassano_(3x4_close_cropped).jpg. Wikipedia page #1 (https://en.wikipedia.org/wiki/Queen_Victoria): https://commons.wikimedia.org/wiki/File:1887_postcard_of_Queen_Victoria.jpg. Different pose, same sitting, worse resolution: https://commons.wikimedia.org/wiki/File:Queen_Victoria_bw.jpg. ##'''1882''' Bassano photograph, same sitting, different pose, best image for analysis because it shows her whole body. This is not the lion-head chair, but we can see a lot of this throne-like chair. Royal Collection Trust: https://www.rct.uk/collection/search#/-/collection/2105818/portrait-photograph-of-queen-victoria-1819-1901-dressed-for-the-wedding-of-the; National Portrait Gallery cabinet card: https://www.npg.org.uk/collections/search/portrait/mw119710; Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_1887.jpg. ##'''1882 April 27''', photograph of QV and page Arthur Ponsonby, same dress as 1882, she is standing next to Ponsonby, who is holding some article of dress that seems to have more diamond fleurs-de-lys, perhaps to match the bodice. Royal Trust Collection: https://www.rct.uk/collection/2105757/queen-victoria-and-her-page-arthur-ponsonby; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_her_page,_Arthur_Ponsonby.jpg. #'''1882 May''', Bassanno photograph of QV, same session, the first photograph (from a [[Social Victorians/Victorian Things#Cabinet Card|cabinet card]]) is a great deal easier to read because, even though the white is overexposed, the patterns in the black fabrics and fabric treatments are unusually easy to see, although the layers are still impossible to distinguish. ##QV is sitting on a chair and Princess Beatrice is sitting perhaps on the arm of the chair to QV's left. QV is wearing that fuzzy white widow's cap with veil edged with gathered tulle. The 3 main areas of white — the cap, neckline and the fan and cuffs — are so overexposed that the detail is obliterated. QV is wearing a ribbon necklace with a pendant that might be a cameo, painted portrait or a locket, a brooch on the center front of the neckline, small earrings (likely diamonds) and at least one bracelet and ring. She is holding a partially unfolded fan, and the front of the bodice shows either something like a pocket-watch chain attached to the 3rd button from the bottom, perhaps, or a flaw in the surface of the photograph. She is wearing a very large lace shawl over her shoulders and lap. The bodice/jacket garment buttons down the center, has QV's usual wide sleeves and may be built using a princess line. This garment is similar at the neckline and bottom of the sleeves and the overdress or jacket — it is trimmed with 2 rows of tightly pleated ruffles edged with an elaborate, 3-dimensional design that includes braid with reflective bits, perhaps jet, and gathered ruffles. Princess Beatrice is wearing a restrained, less-decorated style, with a narrow, pleated skirt, made of a moiré silk whose pattern provides visual interest (without the frou-frou associated with haute couture) and tight, tailored, princess-line jacket trimmed with the moiré silk. The jacket includes the unpatterned draped fabric that is pulled toward the back for a bustle. National Portrait Gallery: [https://www.npg.org.uk/collections/search/portrait/mw123930/Queen-Victoria-Princess-Beatrice-of-Battenberg#:~:text=The%20series%20gets%20its%20name%20from%20a,home%20match%20to%20Australia%20at%20the%20Oval. https://www.npg.org.uk/collections/search/portrait/mw123930/Queen-Victoria-Princess-Beatrice-of-Battenberg#:~:text=The%20series%20gets%20its%20name%20from%20a,home%20match%20to%20Australia%20at%20the%20Oval.] Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Victoria_Beatrice_Bassano.jpg. ##QV is holding granddaughter Margaret, Crown Princess of Sweden, eldest daughter of Prince Arthur (QV's 3rd son) and great-granddaughter Princess Louise Margaret of Prussia, who was born 15 January 1882.<ref>{{Cite journal|date=2025-12-26|title=Princess Margaret of Connaught|url=https://en.wikipedia.org/w/index.php?title=Princess_Margaret_of_Connaught&oldid=1329585710|journal=Wikipedia|language=en}}</ref> QV does not appear to be wearing a corset, buttoned bodice is not tight, dark shawl, that fuzzy white cap with veil/streamers, maybe ruffled lace. Black ribbon around her neck, white at collar and cuffs, wide sleeves on the jacket. https://commons.wikimedia.org/wiki/File:Bassano_Victoria_and_Margaret.jpg #'''1883''': W. &. D. Downey photograph of QV seated with baby great-grandson William (Vicky's grandson, Kaiser Wilhelm's son) on her knees. The usual black dress, with 3-dimensional, almost geometric trim, ruffled but not lacy. A very dramatic shawl with cording in 3 parallel lines at the edges, looks like the same fabric as dress. QV's face is kind looking at the baby. Black hat with white cap beneath it, shaped like the white one she often wore. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_her_great-grandson_Prince_William.jpg #'''1884 May 2''', QV, Vicky, her daughter Charlotte and her daughter Princess Feodore of Saxe-Meiningen, 4 generations. QV not wearing bustle, the usual black on black for trim, black jacket, black shawl, black cap with black hangy-downy thing down the back: https://commons.wikimedia.org/wiki/File:VICTORIA_Queen_of_England_by_Carl_Backofen_of_Darmstadt.jpg #'''1885 or so''': portrait published in the 1901 biography of QV by John, Duke of Argyll, probably from a photograph. That odd cap we've seen before with a point down to her hairline in front, this version with trimmed lappets (?) down the front: it's impossible to tell the layers, how things are attached and what the trim on this cap is made of, feathers or ruffles. White collar on bodice, white cuffs, black lace shawl around her shoulders, jacket or coat over a blouse; the frou-frou is the same color as what it trims, making it visually recede, but up close ppl would have been able to see how sophisticated and finely made it was: https://commons.wikimedia.org/wiki/File:V._R._I._-_Queen_Victoria,_her_life_and_empire_(1901)_(14766746965).jpg #1885: screen print bust from book ''Daughters of Genius'' by James Parson, showing unusually realistic face and detailed trim on the black; the usual white cap and a collar, locket on ribbon around her neck, small earrings. https://commons.wikimedia.org/wiki/File:Daughters_of_Genius_-_Queen_Victoria.png #'''1885 May 16''', reproduction of a wood engraving showing QV visiting a soldier wounded in Sudan. Flattering drawing of QV, dress looks plain, unprepossessing, unostentatious Wellcome Collection: https://wellcomecollection.org/works/nhhej66v. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_visiting_a_wounded_soldier._Reproduction_of_a_Wellcome_V0015340.jpg #'''1886''', Bassano photograph of QV, full-length, seated, holding the infant Alexander, Marquess of Carisbrooke, Beatrice's son. QV's uniform, ornate square-neck black dress, white blouse with ironed pleats shows at the neck; ruffles and 3-dimensional trim with jet beads on both sides of the front, with trim at the bottom as well, black ironed pleats; black lace shawl, white frothy cap that we've seen many times, with white veil. Royal Trust Collection link: https://www.rct.uk/collection/2507501/queen-victoria-with-alexander-marquess-of-carisbrooke-as-a-baby; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Alexander,_Marquess_of_Carisbrooke.jpg. Elements of the Victorian frou-frou without looking over-trimmed or crowded. #'''1888''', trading card from American tobacco company advertising cigarettes, QV in colorized image, white headdress with small crown; wearing Order of the Garter (?) sash and family honors, Link to MET collection: https://www.metmuseum.org/art/collection/search/711888; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_of_England,_from_the_Rulers,_Flags,_and_Coats_of_Arms_series_(N126-1)_issued_by_W._Duke,_Sons_%26_Co._MET_DPB873774.jpg #'''1889''', photographs by Byrne & Co. from apparently the same session of QV and Vicky, both in mourning dress because Frederick III had died June 1888, but not full mourning. QV seated in the lion's-head chair and Vicky on her right. QV is wearing a black and frothy widow's cap that is made of '''something''' transparent, tightly gathered, that comes to a point over her forehead and that she wears on the back of her head. She has a black lace shawl over her shoulder, ornate under-bodice (with lots of jet?) with lacy sleeves and a lacy ruffle at the bottom, the under bodice longer than the outer bodice (or jacket) and outside the skirt, not tucked in; the outer bodice (or jacket) is tailored but not tightly fitted to the body or restrictive, skirt is not fussy; very fashionable suit, but the silhouette is not high fashion. Vicky's widow's cap has an obvious point halfway down her forehead, seems to be made of velvet with something piled on top. She also is wearing a transparent black veil, which may have 2 layers. ##Vicky standing, hand on back of lion’s head chair, QV turned a little to her right, looking up at Vicky: https://commons.wikimedia.org/wiki/File:Empress_Frederick_with_her_mother_Queen_Victoria.jpg ##Vicky with hand on chair, slightly different angle, QV’s face more visible, facing our left. Royal Collection: https://www.rct.uk/collection/2904703/victoria-empress-frederick-of-germany-and-queen-victoria-1889-in-portraits-of. Wikimedia Commmons copy: https://commons.wikimedia.org/wiki/File:Victoria,_Empress_Frederick_of_Germany,_and_Queen_Victoria,_1889.jpg ##QV w photo of Frederick III, looking to her right, Vicky seated (or kneeling?) and looking at the photo: https://www.rct.uk/collection/2105953/queen-victoria-with-victoria-princess-royal-when-empress-frederick-1889 ##Vicky seated (?) looking at photo, QV into the distance to our right (Photo filename says 1888, but the photo is lower res and less clear): https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Princess_Royal_1888.jpg #'''1889 November''', photograph of QV and Beatrice and her family; QV is seated, wearing her uniform and that ubiquitous white fluffy cap; you can see the edge of the boning (in the bodice?), white lacy collar, white ruffle at the wrist, layers, lacy shawl, lace trim at the bottom of the skirt, bunched places on the skirt with black lace trim. Beatrice's sleeves are fitted with puffy shoulders, but QV's are not. Royal Trust link: https://www.rct.uk/collection/2904837/queen-victoria-with-prince-and-princess-henry-of-battenberg-and-their-children; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Prince_and_Princess_Henry_of_Battenberg_and_their_children,_1889.jpg. #'''1890''': Britannica #1 https://en.wikipedia.org/wiki/Queen_Victoria. Photograph mid-thigh up, very lacy: https://www.britannica.com/biography/Victoria-queen-of-United-Kingdom. Different small crown. #'''1890''': b/w photo, from the knees up, may be seated. Her hair is dark, so 1890 looks too late a date for this. White frill on her cap, has attached veil down the back, double ruffle at the neck, a few button, plain to another bit of trim around the skirt at knee level; jewelry looks personal, not ostentatious; white cuffs, lacy black shawl, square neck on dress, wrinkles in the bodice suggest she's not wearing a corset and the bodice is not heavily boned: https://upload.wikimedia.org/wikipedia/commons/1/18/Queen_Victoria_in_1890.jpg #'''c1890 (see 1882 Bassano portraits)''': Color portrait in official dress, with small crown with arch, a lot of white lace over and under sheer black, coronation parure, 1890s portrait in 1870s style: https://commons.wikimedia.org/wiki/File:A_Portrait_of_Queen_Victoria_(1819-1901).JPG #'''1892''': not-very-clear photograph of QV sitting, her arm on the lion's-head chair, black cap and veil; lots of jewelry, faceted jet or diamonds or something metal at her neck and wrists. She is wearing a black lace shawl over her shoulders and arms. https://commons.wikimedia.org/wiki/File:Queen_Victoria_of_the_United_Kingdom,_c._1890.jpg #'''1893''': watercolor portrait of QV by Josefine Swoboda, who had been made court painter in 1890.<ref>{{Cite journal|date=2024-12-03|title=Josefine Swoboda|url=https://en.wikipedia.org/w/index.php?title=Josefine_Swoboda&oldid=1260867558|journal=Wikipedia|language=en}}</ref> Not unrealistic or unduly flattering, QV not in full mourning, wearing a white widow's cap and white jewelry. All we can see of what she is wearing is the shawl and a little bit of neck treatment. https://commons.wikimedia.org/wiki/File:Josefine_Swoboda_-_Queen_Victoria_1893.jpg #'''1893''': VQ with "Indian servant," seated working behind table, blanket or rug over her knees and feet, wearing a cloak and hat: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_an_Indian_servant.jpg #'''1893, issued for the 1897 Diamond Jubilee''': Photograph by W. & D. Downey taken for the wedding of George V and Mary. QV seated, facing our left, 3/4 front. Very large and ornate veil coming over her shoulder, possibly a lace overskirt? X claims that the white lace veil is QV's Honiton lace wedding veil and what looks like an apron or overskirt may be the 4x3/4 yards Honiton "flounce" on her wedding dress (ftnyc). A lot of light color on this for her, coronation parure? large light folding fan open on lap, small crown. Royal Trust Collection: https://www.rct.uk/collection/2912658/queen-victoria-1819-1901-diamond-jubilee-portrait. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_60._crownjubilee.jpg. Another copy: https://apollo-magazine.com/wp-content/uploads/2014/01/gm_342139EX2.jpg #'''1893 August 12''': formal photograph of QV w George, Duke of York and Mary, Dss of York, who are very 1893 stylish; QV seated, profile, facing our left, holding a rose, black dress, bodice not heavily boned, no corset; white ruffle at cuffs and at the neck; black lacy shawl; white very fluffy brimless cap, may be her own style; from a distance very plain dress, but up close very rich, with tiny unostentatious details; moved on from all the frou-frou, but not in the haute couture way: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_the_Duchess_and_Duke_of_York.jpg #'''1894''': QV with Beatrice, George and Mary at Balmoral, in a carriage, the women wearing stylish hats (Royal Collection Trust link: https://www.rct.uk/collection/search#/2/collection/2300501/queen-victoria-princess-beatricenbspthe-duke-and-duchess-of-york-at-balmora) (Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Princess_Beatrice,_the_Duke_and_Duchess_of_York.jpg) #'''1894 April 21''': QV in 30-person photograph "following the wedding of Princess Victoria Melita of Saxe-Coburg and Gotha, and Grand Duke Ernest of Hesse," QV seated, in shawl, all bundled up, <ins>from a distance, dress looks very plain, the richness is visible only up close;</ins> white mohawk on head??: https://commons.wikimedia.org/wiki/File:Queen_Victoria_surrounded_by_her_family_-_Coburg,_1894_(1_of_2).jpg; https://commons.wikimedia.org/wiki/File:Queen_Victoria_surrounded_by_her_family_-_Coburg,_1894_(2_of_2).jpg #'''1894 June 23, before,''' looks like a winter photograph, they're bundled up ##'''1894 June 23''', published in the ''Illustrated London News'', photograph of QV and Bertie, dressed warmly. Lots of beautiful, complex layers, as always; maybe skirt, vest, jacket, shawl, boa, hat and gloves, cane in her right hand and a handkerchief in her left?; the hat may be one of the "timeless" elements, shaped like one she wore a lot over the years but not locatable to a particular year or style. QV seated, Bertie standing behind her, both bundled up, she is wearing gloves, a shawl, a jacket and perhaps a vest; cap with white feathers and white poufs or flowers (?), cap is mostly black, comes down to cover her ears, tied in a lacy bow under her chin, black feather boa, wrapped closely around her neck like a scarf and falling down the front to the ground; cane in her right hand; brocade shawl, looks woolen: https://commons.wikimedia.org/wiki/File:The_funeral_procession_of_Queen_Victoria_(5254840).jpg. Perhaps used again in later publications? Page says, "By our Special Photographer, Mr. Russell of Baker Street London." Photo taken outdoors, on steps with rugs and a bearskin. Sword under Bertie's coat. ##Same session, slightly different pose; looks like a carte-de-visite, with "Gunn & Stuart, Richmond, Surrey," printed in logo form at the bottom. https://commons.wikimedia.org/wiki/File:Queen_Victoria_And_Prince_of_Wales_Edward.jpg #'''1895''': photograph of QV published in Millicent Fawcett's ''Life of Her Majesty Queen Victoria'' in 1895, so the portrait predates it, though not by much. The white is overexposed, but the black is legible. QV is wearing her white widow's cap with a white veil made of tulle that is not transparent or even very translucent. The black shawl is very lacy and 3-dimensional, possibly made by crochet or knitting or bobbin lacemaking. The jacket with wide, kimono sleeves has a wide decorative cuff with a lacy edge and a 3-dimensional pattern. Between the cuff and the sleeve is a row of what may be faceted jet in some kind of ivy-like design. She is wearing a single strand of pearls and small round earrings that may be a gold ball with a small sparkly. This photo does not look retouched: the skin on her face and hands is wrinkled, and her hair is light; normal for a woman around 70. https://commons.wikimedia.org/wiki/File:Life_of_Her_Majesty_Queen_Victoria_-_Frontispiece.jpg. #'''1895 May 21''': photograph by Mary Steen of QV and Princess Beatrice; QV appears to be making lace (either knitted or crocheted), Beatrice reading the newspaper, possibly to her; the Queen's Sitting Room at Windsor Castle. QV is wearing the white cap with the fluffy streamers, lacy white collar, white cuffs, black lace shawl, possibly a pattern at the bottom of her skirt. NPG: https://www.npg.org.uk/collections/search/portrait/mw233741/Princess-Beatrice-of-Battenberg-Queen-Victoria?_gl=1*ii2xmh*_up*MQ..*_ga*NjAzODY0NTUyLjE3Njc2MjcxMDk.*_ga_3D53N72CHJ*czE3Njc2MjcxMDgkbzEkZzEkdDE3Njc2MjcxMTMkajU1JGwwJGgw. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Princess_Beatrice_of_Battenberg_and_Queen_Victoria.jpg. #'''September 1895''': unusually clear photograph of QV with some family in Balmoral, QV is seated in a very well-made suit with rich trim and a loose, open jacket (rather than the fitted jackets worn by the younger women with big sleeves up by the shoulders), perhaps pelisse-adjacent, full at the bottoms of the sleeves, with a shawl-like collar, long lacy sleeves under the jacket's sleeves, coming down over her hand (perhaps held there by a loop?), stylish hat; her style is individualized with very stylish elements, so we know she's conscious of 1890s haute couture; but it also has a more timeless quality, the modified or updated pelisse, for example, not a memorializing of her early days, though that did sometimes happen, but an echo of styles she liked from the past? So her style is a fusing of up-to-date stylish and other elements that were more comfortable and practical but always well made of very high-quality materials. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_family_members.jpg #'''1896 July''': QV photograph by Gunn & Stuart and published as a cabinet card by Lea, Mohrstadt & Co., Ltd., and used as an official image of her as sovereign for the 1897 Diamond Jubilee. Retouched at some point, her face is very smooth, no double chin, etc. Bracelet on right arm, with portrait of Albert (?) and a 4-diamond wide rivière band. Multiple bracelets on left arm, one may be a charm bracelet. Rings. Pointed small crown or tiara that is not the Small Diamond Crown, a veil (that is not her wedding veil but is likely Honiton lace) is pulled to the front over her left shoulder and appears to be coming out of the crown or tiara, many diamonds, some in brooches, coronation necklace and earrings, lots of diamonds. https://commons.wikimedia.org/wiki/File:Victoria_of_the_United_Kingdom_(by_Gunn_%26_Stuart,_1897).jpg #'''1897''': QV with Princess Victoria Eugénie of Battenburg, who is kneeling next to QV, who is seated, facing (her) right, unrelieved black except for white linen (?) veil; the solid and plain dress has some lace, but the veil is not; black lacy shawl, rings; something very frou-frou at the back of her skirt: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Princess_Victoria_Eug%C3%A9nie_of_Battenberg,_1897.jpg. Empress Eugénie was Princess Victoria Eugénie of Battenburg's godmother. #'''1897''': painting onto ivory of QV in that white cap by M. H. Carlisle, profile, facing right, still can't tell what the fringy, feathery, lacy edge is: https://www.rct.uk/collection/search#/45/collection/421112/queen-victoria-1819-1901 #'''1897''': QV Elliott and Fry photograph: that cap, the meandering ruffles on the veil and lappets (?): https://commons.wikimedia.org/wiki/File:Queen_Victoria_(Elliott_%26_Fry).png #'''1897''': realistic engraving or print of QV in a state occasion, receiving the address from the House of Lords, realistic enough that we can recognize faces. QV is seated, wearing a white cap with a veil, large lacy white collar, big cuffs, and a large panel of trim at the bottom of her skirt that looks similar to the pattern on her collar; ribbon of the Order of the Garter; no recognizable crown even though this is a state occasion. https://commons.wikimedia.org/wiki/File:Queen_Victoria,_pictured_at_Buckingham_Palace_as_the_Lord_Chancellor_presents_the_adress_of_the_House_of_Lords.jpg #'''1897 January 1''', unflattering political cartoon of QV in the context of India? (the language is Marathi according to Google Translate). Her face has an unpleasant expression, perhaps disapproval or skepticism? She is wearing a small state crown and the coronation jewels. [[commons:File:Queen_Victoria,_1897.jpg|https://commons.wikimedia.org/wiki/File:Queen_Victoria,_1897.jpghttps://commons.wikimedia.org/wiki/File:Queen_Victoria,_1897.jpg]] #1897 June 17, painting published in Vanity Fair of QV riding in a small open carriage with a canopy. QV is wearing a black dress with a ruffle and also black lace at the bottom edge (of the back of the skirt?) and a light-colored cape with black trim. The bow at her neck could be from the cape or her hat, which has a small brim, a large black decoration in front, small floral things along the side, and perhaps a veil around the brim to the back. This image was reproduced after QV's death as a monochrome print. https://commons.wikimedia.org/wiki/File:Queen_Victoria_Vanity_Fair_17_June_1897.jpg. #'''1897 July 27''', photograph from a distance of QV in a carriage on the Isle of Wight. This is what she looked like from a distance on a not state occasion, you can't see any embellishments at all. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Princess_Beatrice,_Princess_Helena_Victoria_of_Schleswig-Holstein,_Cowes,_Isle_of_Wight.jpg #'''1897 October 16''', photograph with Abdul Karim, in the Garden Cottage at Balmoral; white or light-colored mantle or cloak; stylish 1890s hat with feathers, etc.: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Abdul_Karim.jpg #'''1898''': photograph by Robert Milne of QV and 3 great-grandchildren (the 3 eldest children of George and Mary), at Balmoral. QV is the Widow of Windsor with plain skirt and possibly a jacket with a pattern on the bodice and at the large cuffs. The usual white cap and veil. ('''find RCT copy''')https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Prince_Edward,_Prince_Albert_and_Princess_Mary_of_York,_Balmoral.jpg #'''1898 January 16''': French political cartoon by Henri Meyer unflatteringly showing QV, Kaiser Wilhelm II, Czar Nicolas II, Chinese statesman Li Hongzhang, France and a Japanese samurai carving up China. Neither France nor Li Hongzhang have knives, but the rest of the figures do. QV is dressed for a state occasion, heavily jeweled and in her signature lacy veil and small crown. https://commons.wikimedia.org/wiki/File:China_imperialism_cartoon.jpg #'''1899''': Heinrich von Angeli portrait, copied in 1900 by (Angeli's student) Bertha Müller. QV portrait, with a lot of black, which makes it difficult to discern the layers and structure of what she is wearing. The top layer may have a stiffened, pleated chiffon layer that covers the arm of the chair and that she holds a bit of in her right hand. QV is wearing the ribbon and the Order of the Garter, the white widow's cap and generally pearl jewelry. The white at her neck and wrists frames her face and hands, which are slightly idealized and less wrinkly than one might expect. National Portrait Gallery: https://www.npg.org.uk/collections/search/portrait/mw06522. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_after_Heinrich_von_Angeli.jpg #'''c. 1899-1900''': photograph of QV with 3 children — Victoria Eugenie of Battenberg (1887–1969), Princess Elisabeth of Hesse and by Rhine (1895–1903) and Prince Maurice of Battenberg (1891–1914). The 2 older women are Princess Helena Victoria of Schleswig-Holstein (1870–1948) and Princess Victoria Melita of Saxe-Coburg and Gotha (1876–1936), possibly with Princess Helena Victoria of Schleswig-Holstein, in the light-colored hat, on the right. QV is in an ornate version of her uniform: jacket, possibly a vest and a skirt, with lace and ruffles, and a hat (possibly a straw hat with something dark as trim on the edge of the brim) topped with a pile of light-colored flowers and probably an aigret or short feather. Royal Collection Trust: . Wikimedia Commons: https://commons.wikimedia.org/wiki/File:VictoriaBattenbergsHessians.jpg. #'''c. 1900''': QV photograph (reprinted from book), not or less retouched than the 1897 Jubilee photos, with feathered (or at least fluffier than the usual slightly fluffy widow's cap) headdress, sheer veil, can't really see anything else: https://commons.wikimedia.org/wiki/File:Queen_Victoria_old.jpg #'''c. 1900''': print published in book of image by François Flameng showing QV in coronation robes, with ermine, and necklace, pointing to someplace NW of India on the globe, with Bertie and George behind her, portrait of her and Albert on the table with the scepter and the Imperial State crown, Koh-I-Noor diamond, ribbon of the Order of the Garter, lots of jewelry on her arms and fingers. She is standing and her legs are longer than they were in life, ruffled lace, perhaps, at neck and cuffs with a white lace flounce on the skirt, which is divided horizontally, the lace part making up the middle third. https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Fran%C3%A7ois_Flameng.jpg #'''1900 February 9''', a very unflattering but accurate political cartoon of QV and Paul Kruger playing chess, he appears to be winning, with a map of Africa in the back, published in an Argentinian periodical. QV's clothing is captured pretty realistically, including the small crown and distinctive Coronation (?) necklace and earrings, the cap and veil, ribbon of the Order of the Garter, white lace overskirt, short-sleeved jacket over a white blouse with lacy cuffs. We can see very clearly how she looked to people. https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Paul_Kruger_by_Dem%C3%B3crito_(Eduardo_Sojo).jpg #'''1901''', dated 1901, but QV went to Ireland in 1900, possibly commemorating her death in 1901? Could this be a card from a cigarette pack? She's inside a shamrock that is outlined in a light color; the white on her cloak may be beads and sequins? Could this be a photograph from the 1897 Diamond Jubilee, the cloak with the silver "swirling" sequins? She is seated on a chair, and the photograph of her seated is like pasted onto the shamrock. Her headdress is a hat (not a bonnet or a cap, so this is not the headdress from the Diamond Jubilee procession), with shamrocks on the hat and black plumes, and some other decoration that is too hard to distinguish. https://commons.wikimedia.org/wiki/File:Queen_Victoria_(HS85-10-12024%C2%BD).jpg == QV's "Uniform" == After the 1st year of mourning QV writes Vicky that she will never wear color again (not counting honors and the sashes of the orders, etc.; also, Rosie Harte says she wore the Sapphire Tiara that Albert had had made for her as a wedding present, which would have matched her eyes). Her "brand" (Worsley) and what we call her "uniform" begins to develop and solidify, the Widow-of-Windsor look friendly to the middle classes, especially the upper middle class. Early in her mourning, her clothing was not very ornate, with little frou-frou to interrupt the unrelieved blackness. As time passed, however, the blackness was relieved by white touches on her head and at her neck and wrists, but the biggest change was in the amount and kind of frou-frou, particularly black-on-black frou-frou, including how lacy it was. The quantity and type of frou-frou increased in scale over time, like the touches of white. By the 1870s, her look is well established: plain from a distance; up close, very fine materials and beautiful needlework with non-contrasting frou-frou. According to Lucy Worsley, she did not wear a corset but depended on light boning in her bodices. Worsley says,<blockquote>Despite their sombre aspect, even her mourning gowns were finely made. She had settled into a series of very minor variations upon a square-necked bodice and skirt, customised with quirky little pockets for keys and seals, all cut pretty much the same to save her the trouble of fittings. On her head went a white cap, with streamers of lace, and round her neck a locket containing miniatures of two of her children: Alice, now lost to diphtheria [14 December 1878], and Leopold, to haemophilia [28 March 1884].¹⁶"<ref name=":5" />{{rp|511 of 786; n. 16, p. 723: "Princess Marie Louise (1956) p. 141"}}</blockquote> This design is her usual: a black dress or suit (it might be a dress with a bodice or a skirt and vest with a blouse under the jacket). Except in cases of full mourning, she typically wore a little white at the neckline and wrists, with sophisticated black trim not really visible from a distance. The wide skirt was often divided horizontally, with a deep band of a different fabric at the bottom. The divided skirt is a characteristic feature of QV's look, not the only way she did skirts but a design she often wore from before her accession to the end of her life. She often wore a loose-fitting thigh-length jacket with wide sleeves, which sometimes divided the skirt visually. The jackets and bodices are not constricting or tight against her torso. The fitted suit was popular at the end of the century — [[Social Victorians/People/Dressmakers and Costumiers#Redfern|Redfern's]] (in Cowes on the Isle of Wight) and Worth's versions were all around her, and she had always liked a riding habit. The thigh-length jackets were loose-fitting but not shapeless even as early as the 1860s. She seems always to have had something on her head: caps, bonnets, hats, veils. She often wears a shawl. We can see the ruling sovereign version of her style in the photographs of her for the 1887 Golden and the 1897 Diamond Jubilees. By the 1880s, Bertie's place in the aristocracy was also well established, and he and Alex had a very different sense of style, wearing haute couture and a stylishness typical of the House of Worth. By the end of her life, when she couldn't move very much on her own, her body had gotten pretty large, but our sense that she was generally fat is not borne out by her clothes (Worsley talks about the small waists and the weight she lost during crises in her life) or by the photographs of her ''en famille'' in which we can see that she is probably not wearing stays and is not wearing tight-fitting, constricting clothes. === Shawls === Caroline Goldthorpe says,<blockquote>The importance of visible royal patronage was not lost on commercial enterprise, and in 1863 the Norwich shawl manufacturers Clabburn Sons & Crisp sent to Princess Alexandra of Denmark, as a gift on the occasion of her marriage to the Prince of Wales, a magnificent silk shawl woven in the Danish royal colors (figure 3). The Queen herself already patronized Norwich shawls, for in 1849 the ''Journal of Design'' had claimed: "The shawls of Norwich now equal the richest production of the looms of France. The successs which attended the exhibition of Norwich shawls ... [sic] may fairly be considered the result of Her Majesty's direct regard." Another splendid silk shawl by Clabburn Sons & Crisp was displayed at the International Exhibition of 1862 (figure 4), but it was not eligible for a prize because William Clabburn himself was on the panel of judges.<ref name=":8" /> (17)</blockquote>Elizabeth Jane Timmons says that QV's black was relieved only<blockquote>by white cuffs, scarfs, trimmings, or the ubiquitous patterned shawls which the Queen wore and which were the subject of comment by at least two of her granddaughters, Princess Louis of Battenberg and Princess Alix of Hesse, who helped her change them when they accompanied her driving out.<ref name=":15">Timms, Elizabeth Jane. "Queen Victoria's Widow's Cap." ''Royal Central'' 31 October 2018. https://royalcentral.co.uk/features/queen-victorias-widows-cap-111104/ (retrieved February 2026).</ref></blockquote> == Headdresses == === Bonnets, Caps, Hats === We discuss the headdresses QV wears in each portrait in the detailed description in the "[[Social Victorians/People/Queen Victoria#Her Dresses|Her Dresses]]" section of the Timeline. In some photographs, QV has a mourning hood over her bonnet and tied under her chin, worn sort of as if it were a veil on her bonnet. It looks like it would be warm in cold weather. [[Social Victorians/People/Queen Victoria#Wedding Veil|QV's wedding veil]] is handled separately, as are the [[Social Victorians/People/Queen Victoria#Crowns|crowns]]. ==== Bonnet ==== '''1887''', QV wore a bonnet in her public carriage ride to Westminster Abbey for her Golden Jubilee. Inside the Abbey, "she sat on top of the scarlet and ermine robes draped over her coronation chair in Westminster Abbey — but, pointedly, 'in no way wore them around her person.'"<ref name=":11" /> (760)<blockquote>The queen did make one concession: for the first time in twenty-five years she trimmed her bonnet with white lace and rimmed it with diamonds. Within days, fashionable women of London were wearing similar diamond-bedecked bonnets. One reporter noted this trend disapprovingly at a royal garden party at Buckingham Palace in July, the month after the Jubilee: "Her Majesty and the Princesses at the Abbey wore their bonnets so trimmed in lieu of wearing coronets. It is quite a different matter for ladies to make bejeweled bonnets their wear at garden-parties."<ref name=":11" /> (761)</blockquote>'''1893 July 5''', (was there another garden party at Marlborough House between the 5th and the 15th?), from the ''Pall Mall Gazette'' by "The Wares of Autolycus," possibly Alice Meynell says that QV preferred bonnets for full-dress occasions:<blockquote>It was noticeable at the Marlborough House garden party the other day, that many of the younger married women, and, indeed, some of the unmarried girls, wore bonnets instead of hats. This was in deference to the Queen's taste. Her Majesty is not fond of hats, except for girls in the schoolroom, and considers that bonnets are more suitable for full dress occasions.<ref>"Wares of Autolycus, The." ''Pall Mall Gazette'' 15 July 1893, Saturday: p. 5 [of 12], Col. 1a. ''British Newspaper Archive''. http://www.britishnewspaperarchive.co.uk/viewer/bl/0000098/18930715/016/0005 (accessed April 2015).</ref></blockquote> '''1897 June 22, Monday''', the bonnet QV wore for the Diamond Jubilee Procession was decorated with diamonds, from the ''Lady's Pictorial'':<blockquote>I HEAR on reliable authority that, although the fact has hitherto escaped the notice of all the describers of the Diamond Jubilee Procession, the bonnet worn by the Queen on that occasion was liberally adorned with diamonds. It is a tiny bit of flotsam, but worth rescuing, as every detail of the historic pageant will one day be of even greater interest than it is now.<ref name=":14">Miranda. "Boudoir Gossip." ''Lady's Pictorial'' 10 July 1897, Saturday: 24 [of 92], Col. 3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/BL/0005980/18970710/281/0024. Print title same, p. 40.</ref></blockquote> [[File:Queen Victoria white mourning head-dress.JPG|alt=A museum photograph of a sheer, frilly cap with streamers|thumb|Queen Victoria's White Widow's Cap]] ==== Widow's Cap ==== The distinctive white or sometimes black cap QV wore with "crinkled crape"<ref name=":9">Strasdin, Kate. ''The Dress Diary: Secrets from a Victorian Woman's Wardrobe''. Pegasus, 2023.</ref>{{rp|734 of 1124}} is a [[Social Victorians/Terminology#Widow's Cap|widow's cap]], sometimes called a mourning bonnet or mourning headdress. The now-damaged, once-white widow's cap (right) is said to have belonged to Queen Victoria. It is a cap with two streamers, like lappets, that have been decorated with meandering clumps of ruffled tulle matching the cap itself. The streamers would have been a consistent width, suggesting that the tulle background is torn. Describing some point in time after Albert's death, Elizabeth Jane Timms says,<blockquote>The Queen began to be photographed in her white peaked caps, spinning; an occupation that the Queen took up, which perhaps underlined her solitary state and one which, like her painting box, enabled creativity within that solitude. Sir Joseph Boehm sketched the Queen in 1869 spinning, by which time a spinning wheel had been placed in her sitting room .... Again, Boehm shows her wearing her mourning weeds and her white cap, tantamount now to a type of widow’s uniform. She also wore the caps engaged in another solitary occupation, knitting or crochet work.<ref name=":15" /></blockquote> What Princess Beatrice called ''Ma's sad caps'',<ref name=":15" /> Queen Victoria's white widow's caps<blockquote>were made of tulle, although where they were manufactured is not clear. By the late 1880s, she wore them pinned higher up than the rather sunken fashion of the 1860s, when they were worn close to the head, creating a flat impression. In later years, these ornate creations had evolved into deep, stately frills of tulle or silk with streamers and may have been supported by wires .... Only one of the Queen’s white widow’s caps was apparently known to have survived and was preserved at the Museum of London. A fragile survivor, it is loaded with Queen Victoria’s personal symbolism and dates from around 1899. It is extremely rare and may have been discarded when it ceased to be in wearable condition.<ref name=":15" /></blockquote> [[File:Four Generations (by William Quiller Orchardson) – Government Art Collection, Lancaster House.jpg|alt=Dark painting showing an old woman and 2 men dressed in black and a small boy dressed in white and holding a big bouquet of roses|left|thumb|Four Generations: Queen Victoria and Her Descendants]] Although Timms says that only one of Queen Victoria's widow's caps has survived, at least two and possibly three can be found. One widow's cap, said to have belonged to Queen Victoria, is "displayed in a glass case at Kensington Palace, listed as Historic Royal Palaces 3502037, ‘''Widow’s Cap, 1864-1899, Tulle''.'"<ref name=":15" /> Sir William Quiller Orchardson was given what seems to be a different white widow's cap to use for his 1899 ''Four Generations: Queen Victoria and Her Descendants'' (left). His widow donated this cap, also said to have belonged to Queen Victoria, to the Museum of London in 1917.<ref name=":15" /> Timms says that the cap in the Museum of London is dated about 1899, "contains far more tulle frills" and "is considerably more fragile ... because it has been washed."<ref name=":15" /> What may be a separate, third cap (above right), which is called a "white mourning head-dress [Trauer Kopfbedeckung]" belonging to Queen Victoria, is dated "from 1883 [von 1883]."<ref>{{Citation|title=English: white mourning headdress of Queen Victoria from 1883Deutsch: Trauer Kopfbedeckung Königin Victoria von 1883|url=https://commons.wikimedia.org/wiki/File:Queen_Victoria_white_mourning_head-dress.JPG|date=2015-03-22|accessdate=2026-02-20|last=Jula2812}}</ref> (The only information that might be considered provenance in the description of this third cap is that the person who uploaded the image into Wikimedia Commons titled it in German.)[[File:Queen Victoria (1887).jpg|thumb|Queen Victoria wearing the Small Diamond Crown, the Coronation Necklace and Earrings and the Koh-i-Noor brooch, 1897]] === Crowns === The Royal Collection Trust has a page on [https://www.rct.uk/collection/stories/the-crown-jewels-coronation-regalia The Crown Jewels: Coronation Regalia]. Two crowns are worn for the coronation ceremony, not counting the Consort Crown<ref>{{Cite journal|date=2025-05-17|title=Consort crown|url=https://en.wikipedia.org/w/index.php?title=Consort_crown&oldid=1290790447|journal=Wikipedia|language=en}}</ref>: the [[Social Victorians/People/Queen Victoria#St. Edward's Crown|St. Edward's Crown]] and the [[Social Victorians/People/Queen Victoria#Imperial State Crown|Imperial State Crown]]. The parts of a crown: the band, fleur-de-lys, cross pattée, the cap, arch, monde (the globe on top of the arches), the cross (on top of the monde) ==== Small Crowns ==== The Small Diamond Crown, photograph by Bassano (right): https://commons.wikimedia.org/wiki/File:1887_postcard_of_Queen_Victoria.jpg, was made in March 1870 by Garrard and Co. to fit over QV's widow's cap and to serve as an official crown.<ref>{{Cite journal|date=2025-03-12|title=Small Diamond Crown of Queen Victoria|url=https://en.wikipedia.org/w/index.php?title=Small_Diamond_Crown_of_Queen_Victoria&oldid=1280094126|journal=Wikipedia|language=en}}</ref> The Royal Collection Trust has 3 views of this crown (https://www.rct.uk/collection/31705/queen-victorias-small-diamond-crown). Its discussion of the Small Diamond Crown is here:<blockquote>The priorities in creating the design were lightness and comfort and the crown may have been based on Queen Charlotte's nuptial crown which had been returned to Hanover earlier in the reign. Queen Victoria wore this crown for the first time at the opening of Parliament on 9 February 1871, and frequently used it after that date for State occasions, and for receiving guests at formal Drawing-rooms. It was also her choice for many of the portraits of her later reign, sometimes worn without the arches. By the time of her death, the small crown had become so closely associated with the image of the Queen, that it was placed on her coffin at Osborne.<ref name=":10">{{Cite web|url=https://www.rct.uk/collection/31705/queen-victorias-small-diamond-crown|title=Garrard & Co - Queen Victoria's Small Diamond Crown|website=www.rct.uk|language=en|access-date=2026-01-20}}</ref></blockquote>This crown was on the catafalque for her funeral procession along with the Imperial State Crown, the Orb and the Sceptre. An 1897 political cartoon in Hindi shows QV wearing the Small Diamond Crown, veil and lappets, which might be a symbolic rather than a literal representation (https://commons.wikimedia.org/wiki/File:Queen_Victoria,_1897.jpg). The Royal Collection Trust's technical description of the Small Diamond Crown is here: <blockquote>The crown comprises an openwork silver frame set with 1,187 brilliant-cut and rose-cut diamonds in open-backed collet mounts. The band is formed with a frieze of lozenges and ovals in oval apertures, between two rows of single diamonds, supporting four crosses-pattée and four fleurs-de-lis, with four half-arches above, surmounted by a monde and a further cross-pattée.<ref name=":10" /></blockquote> These small crowns are not part of the collection of official coronation wear, but they were part of what QV wore as sovereign or monarch. She is not wearing them in the photographs of her ''en famille''. [[File:Saint Edward's Crown.jpg|alt=Gold bejeweled crown with purple velvet and fur around the rim|thumb|St Edward's Crown, traditionally used at the moment of coronation]] ==== St. Edward's Crown ==== Putting the St. Edward's Crown on the monarch's head marks the moment of the coronation. This crown is used once in a monarch's lifetime.<ref name=":7">{{Cite web|url=https://www.rct.uk/collection/stories/the-crown-jewels-coronation-regalia|title=The Crown Jewels: Coronation Regalia|website=www.rct.uk|language=en|access-date=2025-12-27}}</ref> The current St. Edward's Crown (right) was made in 1661, for the coronation of Charles II, and it was most recently used in the coronation of Charles III.<ref>{{Cite journal|date=2025-12-29|title=St Edward's Crown|url=https://en.wikipedia.org/w/index.php?title=St_Edward%27s_Crown&oldid=1330156300|journal=Wikipedia|language=en}}</ref> Because of its weight, the St. Edward's Crown has not always used for coronations. In the period between the coronation of William III (William of Orange) in 1689<ref>{{Cite journal|date=2025-12-02|title=William III of England|url=https://en.wikipedia.org/w/index.php?title=William_III_of_England&oldid=1325339468|journal=Wikipedia|language=en}}</ref> and that of George V in 1911, new monarchs did not use the St. Edward's Crown but had new crowns made for the ceremony. Lucy Worsley says,<blockquote>St Edward’s Crown, traditionally used at the climax of the ceremony, had been made for Charles II, a man over 6 feet tall and well able to bear its 5-lb weight. But here [for Victoria's coronation] problems had been anticipated. A new and smaller ‘Crown of State’ had been specially made ‘according to the Model approved by the Queen’ at a cost of £1,000.45{{rp|45 TNA LC 2/67, p. 66}} ... Her new crown weighed less than half the load of St Edward’s Crown, but it still gave Victoria a headache. She’d had it made to fit her head extra tightly, so that ‘accident or misadventure’ could not cause it to fall off.^{47:"47 Lady Wilhelmina Stanhope, quoted in Lorne (1901) pp. 83–4"} The jewellers Rundell, Bridge & Rundell had made the new crown, and during the build-up towards the coronation it had become the focus [173–174] of an angry controversy. Mr Bridge had displayed his firm’s finished handiwork to the public in his shop on Ludgate Hill. This was much to the dismay of the touchy Mr Swifte, Keeper of the Regalia at the Tower of London. It was Mr Swifte’s privilege to display the Crown Jewels kept at the Tower to anyone who wanted to see them, for one shilling each, and he’d been counting on a lucrative flood of visitors to pay for the feeding of his numerous and sickly infants. But the new crown proved a greater attraction, and hundreds of people went to Mr Bridge’s shop, Mr Swifte complained, when they would otherwise have come to the Tower. Mr Bridges was not very sympathetic about stealing Mr Swifte’s business. ‘If we were to close our Doors,’ he claimed, ‘I fear they would be forced.’⁴⁸{{rp|"48 TNA LC 2/68 (22 June 1838)"}} Victoria later confessed that her firmly fitting crown had hurt her ‘a good deal’, but nevertheless she had to sit on her throne in it, while the peers came up one by one to swear loyalty and kiss her hand.⁴⁹{{rp|49 RA QVJ/1838: 28}} <ref name=":5" />{{rp|173–174; nn. 45, 47, 48, 49, p. 661}}</blockquote> ==== Imperial State Crown ==== [[File:Imperial State Crown.png|alt=Gold bejeweled crown with purple velvet and many large colorful gemmstones|thumb|The Current Imperial State Crown (digitally edited image)|left]][[File:Imperial State Crown of Queen Victoria (2).jpg|alt=Gold bejeweled crown with velvet cap and ermine rim|thumb|Drawing of the Imperial State Crown of Queen Victoria, 1838]]The new monarch wears a different crown from the St. Edward's Crown as he or she leaves Westminster Abbey after the coronation. This crown is used for very formal state occasions like appearing in public after the coronation and for the State Opening of Parliament. Used relatively frequently, it has had to be replaced in the past when it gets damaged or begins to show wear. Victoria had the Imperial State Crown (right) made for her coronation on 28 June 1838. It was broken in a procession in 1845 (dropped by the Duke of Argyll), so it no longer exists (which is why this image is a drawing). What is now the current Imperial State Crown (left) was rebuilt after the 1845 accident, altered to accommodate the Cullinan II diamond in 1909, copied and remade in 1937 for the coronation of George IV.<ref name=":7" /> Then it was redesigned slightly for the coronation of Queen Elizabeth II.<ref>{{Cite journal|date=2025-08-14|title=Imperial State Crown|url=https://en.wikipedia.org/w/index.php?title=Imperial_State_Crown&oldid=1305824792|journal=Wikipedia|language=en}}</ref>[[File:Victoria in her Coronation (cropped).jpg|alt=Old painting of a white woman very richly dressed, wearing a crown|thumb|Queen Victoria wearing the State Diadem, Winterhalter 1858]] ==== The Diamond Diadem ==== The Diamond Diadem was made for the coronation of George IV and worn by every queen — regnant or consort — since. Called the Diadem by Queen Victoria and the Diamond Diadem or the George IV State Diadem now, this crown (right, on Queen Victoria's head) is a circlet of two rows of pearls enclosing a row of diamonds.<ref>{{Cite journal|date=2026-01-02|title=Diamond Diadem|url=https://en.wikipedia.org/w/index.php?title=Diamond_Diadem&oldid=1330716296|journal=Wikipedia|language=en}}</ref> On top are 4 crosses pattée and 4 bouquets of the national emblems of the thistle, the shamrock and the rose.<ref>{{Citation|title=The Diamond Diadem|url=https://www.youtube.com/watch?v=zmDAYqKiGZM|date=2022-05-12|accessdate=2026-02-04|last=Royal Collection Trust}}</ref> Queen Victoria wore it on some official state occasions before the [[Social Victorians/People/Queen Victoria#Small Crowns|Small Diamond Crown]] was made in 1871. ==== Diadems, Tiaras ==== A diadem is may be simpler than a crown, or it may be a simple crown. Crowns and diadems have a band that is a full circle. A Tiara is a semi-circular headpiece, typically a piece of jewelry, that can sit on top of the head or on the forehead. Worn by women at white tie, very formal events. A Coronet of Rank in the UK is a kind of crown that signifies rank and whose design indicates which rank in the nobility the wearer holds. A coronet does not have the high arches that crowns have. Coronets of rank indicate non-royal rank. Something called the State Diadem was designed by Albert in 1845? and made by Joseph Kitching. == QV's Wedding == Ideas about QV's wedding dress are encrusted with misinformation: # QV was not the first royal (or first woman) to wear a white wedding dress. # She did not wear white to signal her virginity and purity. # Everybody has not worn white since then because she did. None of this is true, and some of it is easy to set aside. It is not true that Queen Victoria invented the white wedding dress. The first record of a white wedding dress in what is now the UK is the early 15th century, and they appear to be popular both in Europe and North America among royals as well as upper middle class in the mid century. Princess Charlotte, the last royal woman to wed (?), in 1816, wore gold cloth "with three layers of machine-made lace."<ref>{{Cite web|url=https://www.rct.uk/collection/71997/princess-charlottes-wedding-dress|title=Mrs Triaud (active 1816) - Princess Charlotte's Wedding Dress|website=www.rct.uk|language=en|access-date=2025-12-31}}</ref> Her dress is in the Royal Collection Trust (https://www.rct.uk/collection/71997/princess-charlottes-wedding-dress). Royals were expected to appear regal. Gold and silver cloth and adornments would not have been surprising for a monarch, so QV's choice is worth examining, regardless of the actual color. Given that churches in 1840 were lit with candles and torches and rooms were warmed by coal or wood, white would have been difficult to maintain. So it expressed status and wealth (the association between the white dress and virginity may have arisen in the mid-20th century in the context of widely available birth control and the sexual revolution). White was not uncommon, however, for dresses in the mid-19th century, particular in cotton and particularly for warmer weather.<ref name=":9" /> Violet Paget writing as Vernon Lee addresses the Victorian moral implications in the colors white and black in her 1895 ''Fortnightly Review'' article "Beauty and Insanity." She is not talking about race, and she does not mention brides [does she talk about Victoria?]. She regards as an aesthetic cultural imposition the association between whiteness and purity, virginity and heterosexuality, and between blackness and evil.<ref>Renes, Liz. “Vernon Lee’s ‘Beauty and Sanity’ and 1895: Color and Cultural Response.” Academica.edu https://d1wqtxts1xzle7.cloudfront.net/41271981/LeeText-libre.pdf?1452968345=&response-content-disposition=inline%3B+filename%3DVernon_Lees_Beauty_and_Sanity_and_1895_C.pdf&Expires=1767736568&Signature=SvA5MHz3LY7x~GCxwa6pSRVwF5scY-jOgI6QAEvRyp1j5tk4uy8MWI1pj0kdJOJDLP~XMUwXuLMIVkwPwCxFut6~uLf5PI5~CnZ3arxlKFeK-LWGL1vlF7QeIzRqTkNDnyXitYiJ83DVsidWCJ8DyIHHajtl0Dk0gGzb0L-I547s-EIM~lEmWxchyLqyCnhG4o0fmEcTZqUEaJ84uImLfmosdnphQKUAIEfNai9cEdh33~wfWWfirM29CfEgtsIkoZRvsioM7fKcO79VSVsYecYySCg7GvRikf9zJ~dtJ2NNpjvtXO0tnVmv8lvVbtRM8m1fQ7jZ-hrhgF-nUOVKaQ__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA (retrieved January 2026).</ref> It is true, however, that the press coverage of QV's wedding likely increased the popularity of white for weddings. === White Wedding Dress === The Royal Collection has QV's wedding dress, in 3 views. It says the dress is made of cream-colored silk satin. It doesn't say the color has yellowed. In her journals, QV describes her dress as "a white satin gown, with a very deep flounce of Honiton lace, imitation of old."²¹{{rp|"21 RA QVJ/1840: 10 February"}} <ref name=":5" /> (238) "Onlookers," Worsley says, commenting on the wedding and Victoria's dress, said Victoria and her party looked like "village girls, presumably rather than a monarch and her ladies in waiting."<ref name=":5" /> (244 [of 786], citing Wyndham, ed. (1912) p. 297). Others saw the simplicity of the wedding dress similarly, though less negatively. Worsley says,<blockquote>'I saw the Queen’s dress at the palace,’ wrote one eager letter-writer, ‘the lace was beautiful, as fine as a cobweb.’ She wore no jewels at all, this person’s account continues, ‘only a bracelet with Prince Albert’s picture’.²⁸ {{rp|"28 Mundy, ed. (1885) p. 413}} This was in fact [240–241] completely incorrect. Albert had given her a huge sapphire brooch, which she wore along with her ‘Turkish diamond necklace and earrings’.²⁹ {{rp|"29 RA QVJ/1840: 10 February}} It was the beginning of a lifetime trend for Victoria’s clothes to be reported as simpler, plainer, less ostentatious than they really were. The reality was that they were not quite as ostentatious as people expected for a queen.<ref name=":3" /> (240–241)</blockquote>Is it possible that ''white'' actually was used for a range of very light colors? Certainly, not all whites are the same color, and not all viewers are precise with their language. ==== What Was White Used For? ==== The layers worn under dresses were sometimes white. Undergarments would generally have been made of cotton by the 1890s, although some wool and linen was still in use. Mechanical bleaches were available, so fabric could be made pale enough to have been called white. Kate Strasdin quotes a mid-19th-century use of "snow white" to distinguish it from other kinds of white.<ref name=":9" /> Debutants being presented to the monarch wore white, it was court dress [confirm this], and the train added to Victoria's dress raised it into court dress.<ref name=":5" /> (239? [22 Staniland (1997) p. 118]) Perhaps what was striking about Victoria's white dress was not just its color but its simplicity. When the "onlookers" at Victoria's wedding compare her bridal party to village girls, they are not suggesting that the bridal party is wearing underwear indecently or that they're in court dress. The touchstone here is class — they don't look like the ruling class or the upper class. But Victoria's white dress was influential nonetheless. Lucy Worsley says it "launched a million subsequent white weddings."<ref name=":3" /> (238) However, other women were wearing white around the same time, including Mary Todd's sister Frances and Sophie of Württembert, Queen of the Netherlands in 1839. Mary Todd is said to have worn white at her wedding to Abraham Lincoln because they married quickly, so she just borrowed her sisters dress. # 1839 May 21: Frances Todd's wedding dress was white; she later loaned it to her sister, Mary Todd, for her wedding. # 1839 June 18: Sophie of Württembert, Queen of the Netherlands wore white.<ref>{{Cite journal|date=2025-12-02|title=Sophie of Württemberg|url=https://en.wikipedia.org/w/index.php?title=Sophie_of_W%C3%BCrttemberg&oldid=1325386567|journal=Wikipedia|language=en}}</ref> She knew Napoleon III and QV; was progressive politically, favoring democracy; was buried in her wedding dress. # '''1840 February 10''': QV's wedding dress was white. # 1842 November 4: Mary Todd wore her sister Frances's white satin wedding dress.<ref>{{Cite journal|date=2025-12-05|title=Mary Todd Lincoln|url=https://en.wikipedia.org/w/index.php?title=Mary_Todd_Lincoln&oldid=1325904504|journal=Wikipedia|language=en}}</ref> # 1853 January 30: Eugénie of France wore white.<ref>{{Cite journal|date=2025-11-18|title=Eugénie de Montijo|url=https://en.wikipedia.org/w/index.php?title=Eug%C3%A9nie_de_Montijo&oldid=1322973534|journal=Wikipedia|language=en}}</ref> # 1854 April 24: Empress Elisabeth of Austria wore white for her wedding.<ref>{{Cite journal|date=2025-12-17|title=Empress Elisabeth of Austria|url=https://en.wikipedia.org/w/index.php?title=Empress_Elisabeth_of_Austria&oldid=1327984118|journal=Wikipedia|language=en}}</ref> # 1858 January 25: Victoria the Princess Royal<ref>{{Cite journal|date=2025-12-22|title=Victoria, Princess Royal|url=https://en.wikipedia.org/w/index.php?title=Victoria,_Princess_Royal&oldid=1328868015|journal=Wikipedia|language=en}}</ref> # 1863 March 10: Alexandra of Denmark<ref>{{Cite journal|date=2025-12-14|title=Alexandra of Denmark|url=https://en.wikipedia.org/w/index.php?title=Alexandra_of_Denmark&oldid=1327524766|journal=Wikipedia|language=en}}</ref> All royal clothing is deliberately "symbolic" — or semiotic — to some degree. Lucy Worsley interprets the simple white dress as Victoria marrying as a woman rather than as "Her Majesty the Queen."<ref name=":5" /> (239) Kay Staniland and Santina M. Levey (and the [https://thedreamstress.com/2011/04/queen-victorias-wedding-dress-the-one-that-started-it-all/ Dreamstress blog]) claim that the salient article from QV's wedding dress was the Honiton lace, which the dress showcased, which they decided should be white, which is why her dress was white.<ref>{{Cite web|url=https://thedreamstress.com/2011/04/queen-victorias-wedding-dress-the-one-that-started-it-all/|title=Queen Victoria's wedding dress: the one that started it all|last=Dreamstress|first=The|date=2011-04-17|website=The Dreamstress|language=en-US|access-date=2025-12-17}}</ref> [[File:Queen Victoria's Wedding Lace Veil c.1889-91 Detail.jpg|alt=Old photograph of a square of fine fabric edged with ornate white lace, with a wreath of small artificial flowers on the side|thumb|Queen Victoria's Wedding Veil, c. 1889–91]] === Wedding Veil === The late-19th-century image of QV's veil (right) makes it look a lot smaller than it is. The circlet to its right, which is a wreath of artificial flowers worn around the head over the veil, suggests its scale. A contemporary (1855) photograph of 1840 QV's wedding veil and wreath is in the Royal Trust collection (https://www.rct.uk/collection/search#/34/collection/2905584/veil-worn-by-queen-victoria-at-her-marriage), from a page in a scrapbook that includes 2 photos of paintings made after the wedding, one photo of the veil, showing its lace, and one photo of the bonnet she wore after the wedding. The veil and [[Social Victorians/Terminology#Flounce|flounce]] on QV's wedding dress were made of Honiton lace, in Devon, partly designed "by the Pre-Raphaelite artist William Dyce<ref name=":6" /> and attached to a very fine netting. QV seems to have saved both the dress and the veil. She used both until the end of her life as well as other pieces of lace using the same Dyce design. Elizabeth Abbott, in her ''A History of Marriage'', says her veil was<blockquote>one and half yards of diamond-studded Honiton lace draped over her shoulders and back. ... The flounce of the dress was also Honiton lace, four yards of it, specially made in the village of Beer by over two hundred lace workers, at a cost of more than £1,000.<ref>Abbott, Elizabeth. ''A History of Marriage''. Duckworth Overlook, 2011. Internet Archive [[iarchive:historyofmarriag0000abbo_w6u8/page/76/mode/2up|https://archive.org/details/historyofmarriag0000abbo_w6u8]].</ref> (76)</blockquote> N. Hudson Moore's 1904 ''Lace Book'' describes (perhaps a touch hyperbolically) the Honiton lace used on Victoria's coronation and wedding dresses as well as her "body linen" and the dresses of Alexandra, Princess of Wales and the Princess Alice:<blockquote> The wedding trousseau of Queen Victoria was trimmed with English laces only, and this set such a fashion for their use that the market could not be supplied, and the prices paid were fabulous. The patterns were most jealously guarded, and each village and sometimes separate families were noted for their particular designs, which could not be obtained elsewhere. Such laces as these were what were used on Queen Victoria’s body linen. Her coronation gown was of white satin with a deep flounce of Honiton lace, and with trimmings of the same lace on elbow sleeves and about the low neck. Her mantle was of cloth of gold trimmed with bullion fringe and enriched with the rose, the thistle, and other significant emblems. This cloth of gold is woven in one town in England. The present Queen’s mantle was made there also. Queen Victoria's wedding dress was composed entirely [sic] of Honiton lace, and was made in the small fishing village of Beers. It cost £1,000 ($5,000) and after the dress was made the patterns were destroyed. Royalty has done all it could to promote the use of this lace, and the wedding dresses of the Princess Alice and of Queen Alexandra were of Honiton also, the pattern of the latter showing the design of the Prince of Wales’s feathers and ferns.<ref>{{Cite book|url=http://archive.org/details/lacebook0000nhud|title=The lace book|last=N. Hudson Moore|date=1904|publisher=Frederick A. Stokes Company|others=Internet Archive}}</ref>{{rp|184}}</blockquote> QV wore her wedding veil to all her children's christenings.<ref name=":5" />{{rp|492 of 786}} Beatrice wore that veil at her own wedding, a sign that QV had relented and agreed to Beatrice marrying. Worsley says,<blockquote>Beatrice could only squint at her groom-to-be through the folds of the very same Devon lace veil her mother had worn when she'd married Albert. This was hugely significant. Victoria attached great importance to clothes, and a well-informed source tells us that ‘almost without exception, her wardrobe woman can produce the gown, bonnet, or mantle she wore on any particular occasion.'⁴⁷<ref name=":5" />{{rp|"47 Anon. 'Private Life' (1897; 1901 edition) p. 69"}} The veil was one of the most precious items in the Albertian reliquary. ‘I look upon it as a holy charm,’ Victoria wrote, ‘as it was under that veil our union was blessed forever.’⁴⁸ {{rp|"48 RA QVJ/1843: 19 May; Bartley (2016) p. 82"}} Her loan of it to Beatrice was an important act of blessing.<ref name=":5" />{{rp|500 of 786; n. 47, 48, p. 721 of 786}}</blockquote> == Sartorial Style == In clothing and perhaps also in jewelry but not in furnishings or architecture. When matters. * She had her own sense of style, influenced as she may have been by her maids, dressers and modistes, over time and through events in her life. The evolution of her sense of style changed as her life changed and she aged. She was never haute couture, although before she married Albert, she wore French fashion and Brussels lace. But she never really did glamour? Early on, a lot of bare shoulders. A construction of a feminine identity in all that frou-frou, from girly to romantic to maternal to widowed to regal. She came out of her depression with a changed identity. * She liked frills, layers and decorative trim, and some frou-frou, especially perhaps while Albert was still alive. But over her life, her general look was a simple dress made in sophisticated ways with very high-quality fabrics, laces and trim. After she developed her "uniform," the frou-frou can be hard to see and impossible to see from a distance. In a way, she was beyond haute couture, her style was classic and less mutable, decorative elements were often sentimental. ** Albert's role *** QV told people that "she 'had no taste, ... used only to listen to him,'" Albert. Taste here is probably art and architecture, as the context is Osborne House.<ref name=":5" />{{rp|318 of 786 [n. 26, p. 689: "Quoted in Marsden, ed. (2012) p. 12"]}} *** QV "and Albert — '''for Albert must approve every outfit''' — were conservative in their taste [in clothing]. A Frenchman found her frumpy, and laughed at her old-fashioned handbag 'on which was embroidered a fat poodle in gold'."<ref name=":5" />{{rp|311 of 786}} Something sentimental made by Vicky? *** Elizabeth Jane Timms says, "Prince Albert had played an essential role in the Queen’s wardrobe, on whose highly refined artistic taste the Queen relied. In her own words: ‘''He did everything – everywhere… the designing and ordering of Jewellery, the buying of a dress or a bonnet… all was done together''…’ [sic ital]."<ref name=":15" /> *** 1861 January at Osborne after the servants' ball:<blockquote>As she and Albert passed the time ‘talking over the company’, Victoria also gives details of how her ‘maids would come in and begin to undress me – and he would go on talking, and would make his observations on my jewels and ornaments and give my people good advice as to how to keep them or would occasionally reprimand if anything had not been carefully attended to’.⁵⁰ <ref name=":5" />{{rp|327 of 786; n. 50, p. 590: "RA VIC/MAIN/RA/491 (January 1861)"}}</blockquote> * We know some things about her dressers, modistes, dressmakers, etc. * She had a couple of "uniforms": the Widow of Windsor and the riding habit with the red coat. * She like fine, complex laces. Even when laces were typically machine made, hers were not. * She liked tartan. Many of her clothing choices were emotional or sentimental: favorite and meaningful veils, shawls, tartan. * Shape of skirt (see [[Social Victorians/Terminology#Hoops|Hoops]] for one photograph that shows the style of fabric moving to the back). When she visited Paris in 1855 she wasn't wearing hoops yet, though Eugénie was. The French women thought she was dowdy. Her shawl clashed with her dress. * Alexandra, Princess of Wales had a very different sense of style and moved in very different social networks, regardless of her own official responsibilities. She wore haute couture and at one event — a [[Social Victorians/Timeline/1889#The Shah at a Covent Garden Opera Performance|performance at Covent Garden attended by the Shah]] — wore a red dress, which was reported on without moralizing comment. She wore dresses made by designers outside the UK. * The contexts for how Victoria dressed: ** expectations for royalty and wives ** her relationships with the middle classes and the aristocracy *** set herself up in opposition to the aristocracy and haute couture, and Bertie's side of the aristocracy. *** The aristocracy did not look to her as fashion leader, but did the middle classes? Was she dressing more like some of them rather than them like her? *** Middle-class perspective on aristocracy: Harriet Martineau attended QV's coronation, disapproved of how the peeresses were dressed and "would have preferred 'the decent differences of dress which, according to middle-class custom, pertain to contrasting periods of life’. She particularly criticised the peers’ wives, ‘old hags, with their dyed or false hair’, their bare arms and necks so ‘wrinkled as to make one sick’."<ref name=":5" />{{rp|180 of 786}} *** Her sense of style spoke to the middle classes and the mainstream ideas of many of her subjects. *** Worsley says of Randall Davidson, new Dean of Windsor, later Archbishop of Canterbury, "Unlike Albert, unlike even the Ponsonbys, Davidson appreciated her talent for identifying how mainstream opinion among her subjects would respond to almost any issue. Elsewhere in Europe, when revolutions succeeded, it was because middle-class people and the oppressed workers made common cause. In Britain, though, this never quite happened. Perhaps it was because the middle classes somehow believed that the middlebrow queen was ‘on their side’."<ref name=":5" />{{rp|478 of 786}} *** Her identification with the middle class helped her monarchy survive. Louis XVI and Marie Antoinette: completely identified with smaller and smaller elements only of the aristocracy; similarly Franz Josef and Elisabeth of Austria fell for similar reasons, especially his and his mother Sophia's identification with the aristocracy; Nicholas II and Alexandra of Russia; Napoleon III and Eugenie in France. ** the two main approaches to corseting, tight lacing and "artistic" dress (She didn't do the Worth-house style tight laced "traditional" look (in the 1880s Frith painting) or the "aesthetic" or "artistic" style associated with artists and socialists.) ** the practices around mourning (Kate Strasdin's ''The Dress Diary'' summarizes the mourning practices, at least for mid-century, and perhaps for the aspiring middle classes) * Neither Eugenie of France nor Elisabeth of Austria were regarded as beautiful as children. * Empress Eugénie's influence on fashion: "when Mrs. Lincoln first arrived in Washington, she made a point of patterning her gowns after the empress’s wardrobe."<ref>Goldstone, Nancy. ''The Rebel Empresses: Elisabeth of Austria and Eugénie of France, Power and Glamour in the Struggle for Europe''. Little Brown, 2025.</ref>{{rp|566, n. iii}} *According to Lucy Worsley, QV developed some practices early to "memorialise" her life, including writing "the millions of words eventually embodied in the journals that she would keep lifelong, ... keeping significant dresses from her wardrobe, ... the compulsive taking and collecting of photographs," even maintaining "certain rooms of her palaces ... with their furniture unchanged as shrines to earlier times."<ref name=":5" />{{rp|91 of 786}} Another form of memorialization was the books she wrote or had written. *1856: there is a "surviving day dress of lilac silk ..., which has grey silk ribbons running between waist and hem inside so that the skirt can be drawn up for convenient walking," as QV might have done in Scotland, although in the 1856 trip to Scotland, she was pregnant with Beatrice.<ref name=":5" />{{rp|346 of 786; n. 45, p. 693: "'''Madeleine Ginsburg, ‘The Young Queen and Her Clothes'''’, ''Costume'', vol. 3 (Sprint) (1969) p. 42"}} == Class == Early in their marriage, QV and Albert "had a powerful and popular domestic image and were often seen at home wearing ‘ordinary’ clothes, further appealing to the middle classes."<ref>{{Cite web|url=https://www.londonmuseum.org.uk/collections/london-stories/marriage-queen-victoria-prince-albert/|title=The marriage of Queen Victoria & Prince Albert|website=London Museum|language=en-gb|access-date=2026-02-16}}</ref> After the 1870 Mordaunt divorce case, according to Lytton Strachey, speaking at first from QV's perspective,<blockquote>It was clear that the heir to the throne had been mixing with people of whom she did not at all approve. What was to be done? She saw that it was not only her son that was to blame — that it was the whole system of society; and so she despatched a letter to Mr. Delane, the editor of ''The Times'', asking him if he would "frequently write articles pointing out the immense danger and evil of the wretched frivolity and levity of the views and lives of the Higher Classes." And five years later Mr. Delane did write an article upon that very subject.<ref name=":0" /> (424 of 555)</blockquote>The upper-middle-class Florence Nightingale "had developed a great fondness for Victoria, shy in 'her shabby little black silk gown'" by the time of Albert's death.<ref name=":11" /> (592 of 1203) She had visited Balmoral during the Crimean War and<blockquote>had been struck by the difference between the bored, frivolous court members and Victoria and Albert, both consumed with thoughts of war, foreign policy, and "all things of importance." Even before Albert’s death, she thought Victoria conscientious "but so mistrustful of herself, so afraid of not doing her best, that her spirits are lowered by it." With Albert gone, "now she is even doubting whether she is right or wrong from the habit of consulting him." Nightingale found this touching, a sign that "she has not been spoilt by power."<ref name=":11" /> (592 of 1203)</blockquote>Lucy Worsley sees this lack of self-confidence on Victoria's part as one of the effects of Albert's critical, controlling treatment of her. The general election of 1886, according to Lytton Strachey, "the majority of the nation"<blockquote>showed decisively that Victoria’s politics were identical with theirs by casting forth the contrivers of Home Rule — that abomination of desolation — into outer darkness, and placing Lord Salisbury in power. Victoria’s satisfaction was profound.<ref name=":0" /> (439–440 of 555)</blockquote>Prime Minister Salisbury believed that the queen had an uncanny ability to reflect the view of the public; he felt that when he knew [736–737] Victoria’s opinion, he "knew pretty certainly what views her subjects would take, and especially the middle class of her subjects."<ref name=":11" /> (736–737 of 1203) Summing up her reign, Strachey says,<blockquote>The middle classes, firm in the triple brass of their respectability, rejoiced with a special joy over the most respectable of Queens. They almost claimed her, indeed, as one of themselves; but this would have been an exaggeration. For, though many of her characteristics were most often found among the middle classes, in other respects — in her manners, for instance — Victoria was decidedly aristocratic. And, in one important particular, she was neither aristocratic nor middle-class: her attitude toward herself was simply regal.<ref name=":0" /> (478 of 555)</blockquote> == Proposals == Queen Victoria's Sense of Style, her taste in clothes and jewelry To talk about her sartorial style is to address both jewelry (which includes crowns, diadems and tiaras) and clothing (including accessories like shawls, veils and caps, bonnets and hats). One of the secrets of her style was that she wore elements of Victorian frou-frou without looking over-trimmed or visually busy, mostly because it was black on black (or, before Albert's death, white on white, but also because the materials and work were so fine. What she selected of the frou-frou was very fashionable, but the trim is not high contrast, as for example what a Worth gown might have. The silhouette was not high-fashion, but elements were: she knew what was fashionable, she or her dressmakers, etc. The close-up/far-away thing contrasts with Bertie, who understood ceremony and pageantry differently and probably better. Periods in her sartorial styles, but made more complex by state occasions vs less formal, many of them in-family occasions: # Before she came to the throne, she may not have been in control of her own look. # After her accession and before her marriage, she had control as well as an experienced Mistress of the Robes and experienced maids and dressmakers. She experimented, wore for example a dark tartan dress to meet Albert and his brother and chose simple styles, like village girls, at the wedding; expectations for what a monarch would wear; she seems to have liked an off-the-shoulder look when she was young, and very formal dress later might be off the shoulder. # Marriage to Albert: he had a lot of say, though she resisted in some ways, but her identity was tied up in his, as his wife; he attempted to constrain her clothing budget was not successful long term; influenced by styles, but not at the front edge; crinoline cage 3 years later than Eugenie and Elisabeth of Austria (Mary Todd Lincoln?). Photographs, so a medium different from the official portraits documenting empire and sovereignty, more candid, more at-home, less formal, modest, but would any of her subjects have seen them? Change as well as memorializing (Worsley). Some changes she adopted: double pommel side saddle, photography, cage (not immediately, but ...) Her friends in the monarchy, Eugénie, Elisabeth of Austria and Mary Todd Lincoln were all very fashion forward. A. N. Wilson says QV was parsimonious "in such matters as heating and wardrobe."<ref name=":13" /> (609 of 1204) # The 1st year, 2 1/2 years (Strasdin), and then decade of mourning, then she decides never to wear color again (not counting honors and order), and her "brand" begins to develop and solidify, a look friendly to the middle classes, especially the upper middle class. The Widow of Windsor. At the beginning her black thigh-length jackets were largely untrimmed, sometimes completely; a large band at the bottom of her skirt, with trim between that and the more satiny fabric above, but otherwise very little or no other trim. White around her face, including neck and headdress, and at her cuffs, but not much and not a lot of frou-frou, perhaps a ruffle. # In 1871, under pressure from her ministers and newspapers, she had the Small Diamond Crown made and wore it to open Parliament. So she was missing from the public for about a decade. Her grief was profound, possibly compound because of the death of her mother earlier in the same year as the death of Albert. She may have been vulnerable to depression, sometimes finding pregnancies difficult to recover from. But also, her Widow of Windsor look is not just her being "gloomy" or being stuck in grief, though she may have been, this is her brand, her nuance on her regal identity. # By the 1880s, her look is well established: plain from a distance; up close, very fine materials and beautiful needlework. Her clothing has trim, but generally black on black or white on white, not contrasting on a field of one color. Not wearing a corset, depending on not-very-heavy boning in her bodices, caps, shawls, At this point, Bertie's place in the aristocracy is also well established, and he and Alex are set up with a very different sense of style, wearing haute couture, House of Worth type stylishness. # By the Jubilees and the end of the century, "Despite their sombre aspect, even her mourning gowns were finely made. She had settled into a series of very minor variations upon a square-necked bodice and skirt, customised with quirky little pockets for keys and seals, all cut pretty much the same to save her the trouble of fittings. On her head went a white cap, with streamers of lace, and round her neck a locket containing miniatures of two of her children: Alice, now lost to diphtheria, and Leopold, to haemophilia.16"<ref name=":5" /> (511 of 786; n. 16, p. 723: "Princess Marie Louise (1956) p. 141") One design we see a lot is the usual black with a little white at neckline and wrists, with sophisticated black trim not really visible from a distance. The wide skirt with a deep band of a different fabric at the bottom, a thigh-length jacket with wide sleeves; might be dress with a bodice or a vest and blouse under the jacket. # Jubilees, end of life and her funeral, which she had planned in detail. === CFPs === * Uniform Mourning * After Prince Albert's death death in 1861, Victoria returned to her earlier project of experimenting and finding sartorial styles that served not only as self-expression but that also communicated how she expected to be treated in what role. The extreme mourning was a reflection of how she felt and her identity as a faithful, grieving widow, but it was also performative and communicative, depending on who was looking and from what distance. * In her private sphere, in the unofficial and family-centered photographs, in her journals (including Princess Beatrice's revision of her journals) and the preserved clothing, and in the accounts in the papers written by reporters familiar with fashion and dressmaking, we see a sophisticated understanding of fashion and subtle, complex dresses. The materials and dressmaking are rich and fine. Victoria aligned her appearance with respectable matrons of the growing middle classes, but the quality of the materials used in her clothing aligned her with those in her private sphere, including other royals and aristocrats. * This opposition between the private and public spheres is falsely simple because, for example, Victoria "memorialized" herself (Worsley), preserving elements of her personal life exactly because she was monarch. The different versions of herself was a complexity present in her lifetime and useful to her. * Also, her sense of self changed over time, especially after she acceded to the throne, after she married and after she was widowed. * Focusing on Victoria's clothes and sense of style leads us to see some understandings of her and her reign differently: her periods of seclusion and her absences from governmental and state occasions; the loss of power for the monarchy as well as the survival of the constitutional monarchy when almost every other monarchy in Europe was falling; the ways she managed her relationships with the aristocracy, the middle classes, the press; her mood and mental health; the white wedding dress and her influence in the wedding dresses of her daughters and Alex; Albert's nature; even what we believe to be the rules and conventions around mourning dress; and the size of her body. * To study Queen Victoria's sartorial sense of style, we look at painted and drawn portraits and at photographs of her, we read the few accounts from biographers and fashion historians, especially those who have looked at the clothing and accessories preserved by Victoria herself and now in the Royal Trust Collection, the London Museum and so on, we read her own accounts (or Princess Beatrice's construction of her mother in her revision of her journals her as well as Esher's books about her based on the journals before Beatrice revised them), and we read accounts of her public appearances in contemporary periodicals, especially newspapers that employed reporters knowledgeable about fashion and dressmaking as well as those more focused on news and, perhaps, a male readership. These sources represent different versions of Victoria and her subjects, a complexity that was already occurring in Victoria's lifetime, that looks to have been deliberate and that was, I argue, very useful to her. These different versions of Victoria and different audiences lead to different readings of her senses of style as they evolved over time and what they might be signaling. The journals and many of the photographs existed in what we might call Victoria's private sphere, by which we mean in the presence of some aristocrats (who worked in government, who attended her and who were ministers), of people who were employed as servants and of her family, which was quite extensive and whose edges were porous, especially toward the end of the century and the end of her life, as well as the small number of people she "adopted" like Duleep Singh and XX [African girl]. The preservation of Victoria's clothing belongs to this "private sphere," although much of it was worn during public or official events like her coronation or wedding; some, though, like the chemise she wore for the birth of all of her children, was more or less but not completely private, and the "memorializing" (Worsley) of herself entailed in this preservation was done in her role as monarch. The paintings and newspaper accounts depict the public Victoria, and from this distance Victoria looked plain — even dowdy — and clearly unaristocratic: she looks like a middle-class or upper-middle-class widow, the Widow of Windsor. Up close, though, we see complex and sophisticated dresses and dressing. Albert had tastes and preferences for how he wanted her to look, some of which were about looking familiar to the growing middle classes, and after he died and she very deliberately turned her widow's weeds into a uniform, the bifurcation between what she looked like from a distance and to the public and what she looked like up close and to those in her private circles gets clearer. Looking at her as monarch and daughter, wife, mother and grandmother through the lens of her clothing reopens some questions that up to now have seemed settled. Focusing on Victoria's clothes and sense of style causes us to see some uncontroversial and "well-understood" summaries of her and her reign differently: her periods of seclusion, such as they were, and her absences from governmental and state occasions; the loss of power for the monarchy as well as the survival of the constitutional monarchy when almost every other monarchy in Europe was falling; the ways she managed her relationships with the aristocracy, the middle classes, the press; her mood and mental health (the regal, disinterested face, which isn't really gloomy the way it is usually described); the white wedding dress and her influence in the wedding dresses of her daughters and Alex; Albert's nature; the size and shape of her body. * Many of the newspaper reports of her dress are in descriptions of events involving aristocrats and oligarchs at official social events like garden parties, state balls and, of course, processions, especially for her Golden and Diamond Jubilees. The reports in the news-reporting papers, not the ladies' papers or papers with a lot of fashion reporting, seem to have been written by reporters who did not know how to describe sophisticated clothing, fabrics, trim and techniques; they do not use the technical vocabulary required to report on fashion, or if they attempt it, they end up being confusing. Often, these news reports list only the names of those invited. Garden parties might have as many as 6000 invitées listed; the most said about the queen would list who was attending. Occasionally, we hear a very general description of what she wore and perhaps if she did or did not seem to have difficulty walking, but the reporters seem to have been at a distance and may not know the names of fabrics or dressmaking techniques. * The reports in the newspapers vs reports written by fashion specialists in women's newspapers (and magazines?). * Both Oscar Wilde and Jack the Ripper are understood in the context of their "management" (or not) of the media, but Victoria's sense of her identity as a celebrity and public person was at least as sophisticated as theirs. She "memorialized" herself and important moments in her life in her extremely prolific use of photographs as well as painted and drawn images; in her keeping rooms in the palaces frozen in time; in her X millions words recorded in her journals; and in her clothing, both for formal as well as more candid images (Worsley). Her awareness of her responsibility to memorialize herself had to have included the newspapers as well. Politically, her absence from politics after Alfred's death until 1871, when she wore the Small Diamond Crown to open Parliament for the first time, was notable and noted, but a carte de visite with her portrait on it sold X million copies (Worsley) and kept her present in the mind of the citizenry at the same time that she was being criticized for her political absence in the newspapers and among her ministers and the members of Parliament, some of whom questioned the value of an absent monarch. Lytton Strachey says that monarchs up to Victoria's time did not attempt to be fashionable or belong to the fashionable "set," except, tellingly, George IV. But Victoria's fashion choices occurred in a content different from that of George IV, both politically and journalistically. Especially as Albert's influence waned and Bertie's own social identity developed, the direction of Victoria's sartorial gestures was to the middle classes, especially the upper middle classes, but not the aristocracy, not the fashionable world of haute couture, like, for instance, what the House of Worth might provide. In this 1881 image by Frith, in fact, we see the two main streams of fashion in the economic and cultural elite, but this is not Victoria. * Alex and her sister Dagmar (who became the mother of Czar Nicolas II) were raised to make their own clothing (their father was not wealthy), so Alex knew a lot about building dresses, already had a wedding dress when she arrived in England but didn't wear it. * Although she was widely criticized for her absence at state occasions in the press, Parliament and among her ministers, her widely circulated photographic portraits and her books — memoirs mostly of her family life with Albert and their children, her love of Scotland and Balmoral, and later the biographical works she asked and then helped courtiers close to her to write — she was present for the mass of her subjects who bought cartes de visite and read books. * Worsley says some of her always wearing mourning was to arrange the world so she was treated more gently, with a dispensation; there were other benefits to the "uniform" she developed, but this one suggests she saw herself as marginal and weakened by grief. * The newspapers described her clothing, but by the end of her life never the way the clothing of women (and occasionally men) wearing haute couture was described? Does the close-up/far-away thing pertain here? ==== '''MVSA: Due 5 January''' (email 4 December, from Laura Fiss) ==== The Underground: Prohibition, Abolition, Expression, '''April 10-12, 2026''', hosted by Xavier University, Cincinnati, Ohio Style and Sensibility: Victoria, Eugénie, Elisabeth and Mary Todd and Their Dressmakers (383 words) Looking at Queen Victoria's sartorial sense of style troubles some conclusions we have reached about her, her reign, her "private" life and her body. Her style became strongly individuated and intentionally symbolic. The "uniform" worn by the Widow of Windsor — that all-black dress with the touches of white at her neckline and cuffs — made her instantly recognizable, even in a crowd and from a distance, and allied her with the middle class rather than the aristocracy. Up close (in the hundreds of personal photographs, her journals, and the clothing she saved) is a sophisticated and nuanced sense of style and self. Putting Victoria's use of dress (and jewelry) in the context of a social network of political women that includes Empress Eugénie of France, Elisabeth of Bavaria, Empress of the Holy Roman Empire, and Mary Todd Lincoln removes her from the usual social isolation scholarly scrutiny gives her, emphasizing what clothing did for her, although few biographies and histories see Victoria in this way. These women knew each other, wrote to each other and had friends in common. They thought about what message their clothing choices sent and made those choices in the context of community, not only of who saw them but also each other and the modistes and couturiers who dressed them. Victoria patronized establishments with shops in London, Paris and New York, and a complex staff made what she wore, dressed her in it and looked after it. Both Eugénie and Elisabeth were clients of the British Frederick Worth of Paris. Lincoln's modiste was the brilliant, elegant, formerly enslaved Elizabeth Keckley, who had also — with her 20-seamstress staff — dressed Mrs. Robert E. Lee, Mrs. Stephen Douglas, Mrs. Jefferson Davis, and the daughter of General Sumner. Mary Anna Lee's dress was for a dinner in honor of the Prince of Wales in 1860. (Keckley introduced Abraham Lincoln to Sojourner Truth, but she also cut his hair and made his dressing gown.) The class alliances these women's dress signaled had implications for their lives and their reigns. Designed to work from a distance, Queen Victoria’s identity as the Widow of Windsor in her barely relieved black was a valuable construction. Face to face and in the personal photographs, the complexities of the dresses are as fine as the eye can see. They all wore white wedding gowns (unexpected for monarchs at this time). Family relations and threats and instability for the monarchies in Europe kept QV in touch with fashion in Europe. Not so much underground or rebellious or revolutionary as crosswise. In some ways, QV's style of dress was '''covert''', looking subtly rich and stylish up close but plain and dowdy from a distance: the Widow of Windsor. Speaking to different groups of her subjects differently, a polyvocal style. QV chose not to do haute courture. She adopted the cage 1858, for example, well after Eugénie and Elisabeth of Austria, and vest and suit coat in the 1890s?, but she's not wearing the vest and suit coat the way Alexandra is, it's not the up-to-the-minute silhouette, but some of the element are. Queen Victoria helped the two European monarchs with difficult and dangerous moments, sometimes contributing to saving their lives, sometimes directly and sometimes through friends. Her relationships with Eugénie, Empress of France; Elisabeth of Austria, Empress of the Holy Roman Empire and Mary Todd Lincoln are based on shared understanding of themselves as public female leaders. Mary Todd Lincoln's wedding skirt: https://www.facebook.com/photo/?fbid=1314628790709593&set=pcb.1314628920709580, closeup: https://www.facebook.com/photo/?fbid=1314628800709592&set=pcb.1314628920709580; in museum case: https://www.facebook.com/photo/?fbid=1314628814042924&set=pcb.1314628920709580 Turney, Thomas J. "'Lincoln: A Life and Legacy' Opens at Presidential Museum in Springfield." ''The State Journal Register'' 30 September 2025 https://www.sj-r.com/picture-gallery/news/2025/09/30/new-lincoln-exhibit-opens-at-presidential-museum-in-springfield/86353769007/. == Self-Memorializing == The term is really Lucy Worsley's, QV memorialising herself, but because QV deliberately saved so much, other biographers noticed it as well. A. N. Wilson says,<blockquote>In a recent study, Yvonne M. Ward calculated that Victoria wrote as many as 60 million words.⁶ (6 "Yvonne M. Ward, ''Censoring Queen Victoria'', p. 9.") Giles St Aubyn, in his biography of the Queen, said that had she been a novelist, her outpouring of written words would have equalled 700 volumes.⁷ (7 "Giles St Aubyn, ''Queen Victoria: A Portrait'', p. 601.") Her diaries were those of a compulsive recorder, and she sometimes would write as many as 2,500 words of her journal in one day.<ref name=":13" /> (33 of 1204. nn. 6, 7, p. 1057)</blockquote>If an average Victorian novel is 150,000 words, then Victoria's "outpouring" would equal about 400 volumes, not 700. * Queen Victoria's journals * Her personal letters * Her official letters and memoranda * Saved clothing and accessories * Portraits and photographs * Anniversaries and important dates * Preserved rooms, including all the stuff she collected over the years and the policy of keeping it in exactly the same place, recorded by photographs and albums * Works and memoirs, both commanded and self-written *# 1862: Sir Arthur Helps, "a collection of [Prince Albert's] speeches and addresses" <ref name=":0" /> (363 of 555), a "weighty tome." (364 of 505) *# 1866: General Grey, "an account of the Prince’s early years — from his birth to his marriage; she herself laid down the design of the book, contributed a number of confidential documents, and added numerous notes."<ref name=":0" /> (364 of 505) *# 1868: QV published her ''Leaves from the Journal of Our Life in the Highlands from 1848 to 1861''.<ref name=":4" /> *# 1874–1880: Theodore Martin, it took him 14 years to write an Albert's biography, the 1st volume came out in 1874, the last 1880. He got a knighthood, but the books were not popular, the image of Albert was not popular, too idealized and beatified.<ref name=":0" /> (364 of 505) *# Poet Laureate *# 1884: QV published her ''More Leaves from the Journal of Our Life in the Highlands from 1862 to 1882''.<ref name=":4" /> === Preserved Rooms and Possessions === Strachey says,<blockquote>She gave orders that nothing should be thrown away — and nothing was. There, in drawer after drawer, in wardrobe after wardrobe, reposed the dresses of seventy years. But not only the dresses — the furs and the mantles and subsidiary frills and the muffs and the parasols and the bonnets — all were ranged in chronological order, dated and complete. A great cupboard was devoted to the dolls; in the china room at Windsor a special table held the mugs of her childhood, and her children’s mugs as well. Mementoes of the past surrounded her in serried accumulations. In every room the tables were powdered thick with the photographs of relatives; their portraits, revealing them at all ages, covered the walls; their figures, in solid marble, rose up from pedestals, or gleamed from brackets in the form of gold and silver statuettes. The dead, in every shape — in miniatures, in porcelain, in enormous life-size oil-paintings — were perpetually about her. John Brown stood upon her writing-table in solid [460–461] gold. Her favourite horses and dogs, endowed with a new durability, crowded round her footsteps. Sharp, in silver gilt, dominated the dinner table; Boy and Boz lay together among unfading flowers, in bronze. And it was not enough that each particle of the past should be given the stability of metal or of marble: the whole collection, in its arrangement, no less than its entity, should be immutably fixed. There might be additions, but there might never be alterations. No chintz might change, no carpet, no curtain, be replaced by another; or, if long use at last made it necessary, the stuffs and the patterns must be so identically reproduced that the keenest eye might not detect the difference. No new picture could be hung upon the walls at Windsor, for those already there had been put in their places by Albert, whose decisions were eternal. So, indeed, were Victoria’s. To ensure that they should be the aid of the camera was called in. Every single article in the Queen’s possession was photographed from several points of view. These photographs were submitted to Her Majesty, and when, after careful inspection, she [461–462] had approved of them, they were placed in a series of albums, richly bound. Then, opposite each photograph, an entry was made, indicating the number of the article, the number of the room in which it was kept, its exact position in the room and all its principal characteristics. The fate of every object which had undergone this process was henceforth irrevocably sealed. The whole multitude, once and for all, took up its steadfast station. And Victoria, with a gigantic volume or two of the endless catalogue always beside her, to look through, to ponder upon, to expatiate over, could feel, with a double contentment, that the transitoriness of this world had been arrested by the amplitude of her might.<ref name=":0" /> (460–462 of 555)</blockquote> == Demographics == *Nationality: English === Residences === == Questions and Notes == # == Bibliography == # Anon. "One of Her Majesty's Servants," the Private Life of Queen Victoria. London, 1897, 1901. # Fawcett, Millicent Garrett. ''Life of Her Majesty Queen Victoria''. Roberts Bros., 1895. WikiSource copy: https://en.wikisource.org/wiki/Index:Life_of_Her_Majesty_Queen_Victoria_(IA_lifeofhermajesty01fawc).pdf. # Homans, Margaret. "'To the Queen's Private Apartments': Royal Family Portraiture and the Construction of Victoria's Sovereign Obedience." ''Victorian Studies'' vol. 37, no. 1 (1993) pp. 1–41. # Homans, Margaret. 1998. # Mitchell, Rebecca Nicole, editor. ''Fashioning the Victorians: A Critical Sourcebook''. Bloomsbury visual arts, 2018. OCLC # [https://search.worldcat.org/title/1085349620 1085349620] . # Staniland, Kay. ''In Royal Fashion: The Clothes of Princess Charlotte of Wales and Queen Victoria 1796-1901''. London, 1997. # Staniland, Kay, and Santina M. Levey. ''Queen Victoria's Wedding Dress and Lace''. Museum of London, 1983?. OCLC # [https://search.worldcat.org/title/473453762 473453762] . [Repr. from ''Costume, The Journal of the Costume Society'' (17:1983), pp. 1–32.] # Wackerl, Luise. ''Royal Style: A History of Aristocratic Fashion Icons.'' Peribo, 2012. [T.C. Magrath Library: Quarto GT1754 .W33 2012] == References == {{reflist}} sw517h6rfwrthlyksfwj25y1f0gns11 2817778 2817777 2026-07-06T09:35:15Z ShakespeareFan00 6645 2817778 wikitext text/x-wiki == Overview == According to the Museum of London, Queen Victoria was 4'8" by the end of her life.<ref>Austin, Emily. "Mounting Queen Victoria's mourning dress." 13 August 2020 ''London Museum''. [https://www.londonmuseum.org.uk/blog/mounting-queen-victorias-mourning-dress/#:~:text=Comprising%20a%20bodice%20and%20skirt,a%20certain%20stage%20of%20mourning. https://www.londonmuseum.org.uk/blog/mounting-queen-victorias-mourning-dress/#:~:text=Comprising%20a%20bodice%20and%20skirt,a%20certain%20stage%20of%20mourning.] Retrieved 2026-03-09.</ref> Most people say she was about 5 feet tall at her tallest, although sometimes some will say 5'2". Lytton Strachey describes the shrinking of Queen Victoria's power over the course of her reign, attributing it to her inability to think clearly about the constitution or constitutional monarchy:<blockquote>Victoria’s comprehension of the spirit of her age has been constantly asserted. It was for long the custom for courtly historians and polite politicians to compliment the Queen upon the correctness of her attitude towards the Constitution. But such praises seem hardly to be justified by the facts. ... The complex and delicate principles of the Constitution cannot be said to have come within the compass of her mental faculties; and in the actual developments which it underwent during her reign she [472–473] played a passive part. From 1840 to 1861 the power of the Crown steadily increased in England; from 1861 to 1901 it steadily declined. The first process was due to the influence of the Prince Consort, the second to that of a series of great Ministers. During the first Victoria was in effect a mere accessory; during the second the threads of power, which Albert had so laboriously collected, inevitably fell from her hands into the vigorous grasp of Mr. Gladstone, Lord Beaconsfield, and Lord Salisbury. Perhaps, absorbed as she was in routine, and difficult as she found it to distinguish at all clearly between the trivial and the essential, she was only dimly aware of what was happening. Yet, at the end of her reign, the Crown was weaker than at any other time in English history. Paradoxically enough, Victoria received the highest eulogiums for assenting to a political evolution, which, had she completely realised its import, would have filled her with supreme displeasure. Nevertheless it must not be supposed that she was a second George III. Her desire to impose her will, vehement as it was, and unlimited by [473–474] any principle, was yet checked by a certain shrewdness.<ref name=":0">Strachey, Lytton. ''Queen Victoria''. Standard Ebooks, 2025 (2020). [http://standardebooks.org/ebooks/lytton-strachey/queen-victoria standardebooks.org/ebooks/lytton-strachey/queen-victoria]. Apple Books: https://books.apple.com/us/book/queen-victoria/id6444770015.</ref>{{rp|472–474 of 555}} </blockquote> The American writer Henry James on Queen Victoria's death:<blockquote>the ensuing mood [was] "strange and indescribable": people spoke in whispers, as though scared of something. He was surprised at the reaction, because her death was not sudden or unusual: it was "a simple running down of the old used up watch," the death of an old widow who had thrown "her good fat weight into the scales of general decency." Yet in the following days, the American-born writer felt unexpectedly distressed. He, like so many, mourned the "safe and motherly old middle-class Queen, who held the nation warm under the fold of her big, hideous Scotch-plaid shawl."<ref name=":11" />{{rp|846 of 1203}}</blockquote> According to A. N. Wilson, Queen Victoria's reputation for prudishness is not quite deserved. The "raffishness" of George IV, for example, or most of the other children of George III, was distasteful, but<blockquote>Having been brought up by a [324–325] widow was different from being brought up, as Albert was, in a home broken by adultery; so her distaste for raffishness, though she would loyally echo her husband’s strong moral line, lacked the pathological edge which it possessed in his case.<ref name=":13" />{{rp|324–325 of 1204}}</blockquote> And Wilson says of her enduring liking for the "poor relation" cousin George Cambridge, 2nd Duke of Cambridge,<blockquote>Although all her biographers stress Victoria’s need, in marrying the virtuous Prince Albert, to escape the dissipations and clumsiness of her ‘wicked uncles’, there was always a distinctly Hanoverian side to her. George Cambridge was a throwback to the world of William IV and George IV, to a lack of stiffness and a lack of side which was always part of Victoria’s character also.<ref name=":13" />{{rp|879 of 1204}}</blockquote> Wilson says of the distance between the actual woman and the external perception of her,<blockquote>Arthur C. Benson and the 1st Viscount Esher, both homosexual men of a certain limited outlook determined by their class and disposition, were the pair entrusted with the task of editing the earliest published letters. It is a magnificent achievement, but they chose to concentrate on Victoria’s public life, omitting the thousands of letters she wrote relating to health, to children, to sex and marriage, to feelings and the ‘inner woman’. It perhaps comforted them, and others who revered the memory of the Victorian era, to place a posthumous gag on Victoria’s emotions. The extreme paradox arose that one of the most passionate, expressive, humorous and unconventional women who ever lived was paraded before the public as a [39–40] stiff, pompous little person, the ‘figurehead’ to an all-male imperial enterprise.<ref name=":13" />{{rp|39–40 of 1204}}</blockquote> Besides what some say was a German accent, Queen Victoria spoke in what A. N. Wilson calls<blockquote>an unreformed Regency English. In Osborne, on Christmas Day 1891, she asked Sir Henry Ponsonby, 'Why the blazes don't Mr Macdonnell telegraph hear the results of the election? He used to do so and now he don’t.' ... If William IV had lived in the age of the telegraph, it is just the sort of question, with 'don't' for 'doesn't', and the blunt 'why the blazes' which he would have asked. One sees here [857–858] how much she had in common with her cousin the Duke of Cambridge, who likewise appeared in many ways to be a pre-Victorian. During a drought, he went to church and the parson prayed for rain. The duke involuntarily exclaimed, 'Oh God! My dear man, how can you expect rain with wind in the east?' When the chaplain, later in the service, said, 'Let us pray,' the duke replied, 'By all means.'<ref name=":13" />{{rp|857–858 of 1204}}</blockquote> == Also Known As == *Victoria Regina *Family name: Saxe-Coburg and Gotha *Nickname, as a child: Drina *Alexandrina Victoria == Family == *Victoria — Alexandrina Victoria (24 May 1819 – 22 January 1901)<ref name=":4" /> *Albert, Prince Consort — Franz August Karl Albert Emanuel (26 August 1819 – 14 December 1861)<ref name=":2">{{Cite journal|date=2025-10-04|title=Prince Albert of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/w/index.php?title=Prince_Albert_of_Saxe-Coburg_and_Gotha&oldid=1315065374|journal=Wikipedia|language=en}}</ref> #Victoria Adelaide Mary Louisa, "Vicky," German Empress, Empress Frederick (21 November 1840 – 5 August 1901)<ref>{{Cite journal|date=2025-10-08|title=Victoria, Princess Royal|url=https://en.wikipedia.org/w/index.php?title=Victoria,_Princess_Royal&oldid=1315724049|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Albert Edward, Prince of Wales | Albert Edward, "Teddy," King Edward VII]] (4 November 1841 – 6 May 1910)<ref>{{Cite journal|date=2025-10-23|title=Edward VII|url=https://en.wikipedia.org/w/index.php?title=Edward_VII&oldid=1318322588|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Princess Alice | Alice Maud Mary, Princess Alice]], Grand Duchess of Hesse (25 April 1843 – 14 December 1878)<ref>{{Cite journal|date=2025-10-02|title=Princess Alice of the United Kingdom|url=https://en.wikipedia.org/w/index.php?title=Princess_Alice_of_the_United_Kingdom&oldid=1314683419|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Alfred of Edinburgh | Alfred Ernest Albert, "Affie"]]: Duke of Edinburgh — (6 August 1844 – 30 July 1900),<ref>{{Cite journal|date=2025-10-20|title=Alfred, Duke of Saxe-Coburg and Gotha|url=https://en.wikipedia.org/w/index.php?title=Alfred,_Duke_of_Saxe-Coburg_and_Gotha&oldid=1317824547|journal=Wikipedia|language=en}}</ref> Duke of Saxe-Coburg (24 May 1866 – 30 July 1900) and Gotha (2 August 1893 – 30 July 1900) #[[Social Victorians/People/Christian of Schleswig-Holstein | Helena Augusta Victoria, "Lenchen,"]] Princess Christian of Schleswig-Holstein (25 May 1846 – 9 June 1923)<ref>{{Cite journal|date=2025-10-26|title=Princess Helena of the United Kingdom|url=https://en.wikipedia.org/w/index.php?title=Princess_Helena_of_the_United_Kingdom&oldid=1318943746|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Princess Louise | Louise Caroline Alberta, Princess Louise]], Marchioness of Lorne, [[Social Victorians/People/Argyll | Duchess of Argyle]] (18 March 1848 – 3 December 1939)<ref>{{Cite journal|date=2025-09-25|title=Princess Louise, Duchess of Argyll|url=https://en.wikipedia.org/w/index.php?title=Princess_Louise,_Duchess_of_Argyll&oldid=1313272998|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Connaught | Arthur William Patrick Albert]], Duke of Connaught and Strathearn (1 May 1850 – 16 January 1942)<ref>{{Cite journal|date=2025-10-03|title=Prince Arthur, Duke of Connaught and Strathearn|url=https://en.wikipedia.org/w/index.php?title=Prince_Arthur,_Duke_of_Connaught_and_Strathearn&oldid=1314802923|journal=Wikipedia|language=en}}</ref> #[[Social Victorians/People/Leopold | Leopold George Duncan Albert]], Duke of Albany (7 April 1853 – 28 March 1884)<ref name=":1">{{Cite journal|date=2025-10-19|title=Prince Leopold, Duke of Albany|url=https://en.wikipedia.org/w/index.php?title=Prince_Leopold,_Duke_of_Albany&oldid=1317724959|journal=Wikipedia|language=en}}</ref> #Beatrice Mary Victoria Feodore, Princess Henry of Battenberg (14 April 1857 – 26 October 1944)<ref>{{Cite journal|date=2025-10-21|title=Princess Beatrice of the United Kingdom|url=https://en.wikipedia.org/w/index.php?title=Princess_Beatrice_of_the_United_Kingdom&oldid=1318045123|journal=Wikipedia|language=en}}</ref> === "Adopted" Godchildren === # Victoria Gouramma, of Coorg (c. 1841–), brought to London in 1852 at 11, QV stood as godmother 1 July 1852.<ref name=":13" /> (346 of 1204) # Maharajah Duleep Singh, the Lion of the Punjab, presented to QV in July 1854.<ref name=":13" /> (350 of 1204) === Relations === == Acquaintances, Friends and Enemies == === Acquaintances === === Friends === * Lord Melbourne — Henry William Lamb, 2nd Viscount Melbourne (15 March 1779 – 24 November 1848)<ref>{{Cite journal|date=2025-09-25|title=William Lamb, 2nd Viscount Melbourne|url=https://en.wikipedia.org/w/index.php?title=William_Lamb,_2nd_Viscount_Melbourne&oldid=1313293647|journal=Wikipedia|language=en}}</ref> * Benjamin Disraeli, 1st Earl of Beaconsfield (21 December 1804 – 19 April 1881)<ref>{{Cite journal|date=2025-10-09|title=Benjamin Disraeli|url=https://en.wikipedia.org/w/index.php?title=Benjamin_Disraeli&oldid=1315865798|journal=Wikipedia|language=en}}</ref> * Harriet, Duchess of Sutherland, [[Social Victorians/Victoria/Queen's Household#Mistress of the Robes|Mistress of the Robes]] 1837 and 1861, very close friend.<ref>{{Cite journal|date=2026-03-13|title=Harriet Sutherland-Leveson-Gower, Duchess of Sutherland|url=https://en.wikipedia.org/w/index.php?title=Harriet_Sutherland-Leveson-Gower,_Duchess_of_Sutherland&oldid=1343226719|journal=Wikipedia|language=en}}</ref> The Duchess of Sutherland was an abolitionist, personally criticized by Karl Marx for her mother's clearing of the Sutherland lands for sheep grazing. * Anne Murray, Duchess of Atholl, [[Social Victorians/Victoria/Queen's Household#Mistress of the Robes|Mistress of the Robes]] 1852–1853 and then Lady of the Bedchamber until 1892, when she and the Duchess of Roxburghe shared the duties of the Mistress of the Robes, among her closest of friends<ref>{{Cite journal|date=2026-01-25|title=Anne Murray, Duchess of Atholl|url=https://en.wikipedia.org/w/index.php?title=Anne_Murray,_Duchess_of_Atholl&oldid=1334678470|journal=Wikipedia|language=en}}</ref> * [[Social Victorians/People/Sophie of Wurttemberg|Sophie of Württemberg, Queen of the Netherlands]] (17 June 1818 – 3 June 1877)<ref>{{Cite journal|date=2025-12-02|title=Sophie of Württemberg|url=https://en.wikipedia.org/w/index.php?title=Sophie_of_W%C3%BCrttemberg&oldid=1325386567|journal=Wikipedia|language=en}}</ref> *[[Social Victorians/People/Mary Todd Lincoln|Mary Todd Lincoln]] (December 13, 1818 – July 16, 1882)<ref>{{Cite journal|date=2026-01-08|title=Mary Todd Lincoln|url=https://en.wikipedia.org/w/index.php?title=Mary_Todd_Lincoln&oldid=1331838569|journal=Wikipedia|language=en}}</ref> *[[Social Victorians/People/Eugenie of France|Empress Eugénie of France]] (5 May 1826 – 11 July 1920)<ref>{{Cite journal|date=2025-11-18|title=Eugénie de Montijo|url=https://en.wikipedia.org/w/index.php?title=Eug%C3%A9nie_de_Montijo&oldid=1322973534|journal=Wikipedia|language=en}}</ref> * [[Social Victorians/People/Elisabeth of Austria|Empress Elisabeth of Austria]] (24 December 1837 – 10 September 1898)<ref>{{Cite journal|date=2026-01-09|title=Empress Elisabeth of Austria|url=https://en.wikipedia.org/w/index.php?title=Empress_Elisabeth_of_Austria&oldid=1332040784|journal=Wikipedia|language=en}}</ref> * "Lady Augusta Bruce, lady-in-waiting to Queen Victoria’s mother, and already [by 1853] a great friend of the Queen’s, attended [Eugénie and Napoleon's] wedding at Notre-Dame"<ref name=":13">Wilson, A. N. ''Victoria: A Life''. Penguin, 2014. Apple Books: https://books.apple.com/us/book/victoria/id828766078.</ref> (325 of 1204) === Enemies === == Organizations == [[Social Victorians/Victoria/Queen's Household|Queen's Household]] == Pastimes == * [[Social Victorians/Royals Amateur Theatricals | Amateur Theatricals with the Royal Family]], often at Balmoral or Osborne == Timeline == This Timeline includes both a list of signal events in Queen Victoria's social life and a separate [[Social Victorians/People/Queen Victoria#Her Dresses|chronological list of the dresses]] as they appear in her painted and photographed portraits. Information about what she wore at particular events might be in both places. '''1835''', Rosie Harte in ''The Royal Wardrobe'' says,<blockquote>In 1835, Victoria first met the French Princess Louise, who had recently married her uncle Leopold and whose continental wardrobe fascinated the young Princess. Victoria’s addiction to French wares began with little gifts and accessories, before eventually Louise was supplying her with full outfits of pastel-toned silk dresses and matching bonnets, which Victoria swooned over in her diary: ‘They are quite lovely. They are so well made and so very elegant.’¹⁸ ^{"18 RA VIC/MAIN/QVJ (W) 17 September 1836."} <ref>Harte, Rosie. ''The Royal Wardrobe: Peek into the Wardrobes of History's Most Fashionable Royals''. </ref>{{rp|270 of 595}}</blockquote> '''1836 May 18''', Victoria and Albert met for the first time. Worsley says,<blockquote>On this particular day that Albert first set eyes upon her, there’s also cause to suspect that we can identify the very gown Victoria was wearing. The reason is that she was a great hoarder of the clothes worn on significant occasions, and the Royal Collection today still contains a high-waisted, dark-coloured, tartan velvet dress. With short puffed sleeves worn just off the shoulder, its style dates it to exactly the right period.²¹{{rp|"21 Staniland (1997) p. 92"}} [new paragraph] The tartan was important, for despite the fact she had never been there Victoria had fallen passionately in love with the country of [129–130] Scotland. This had happened four months previously when she’d devoured Sir Walter Scott’s ''The Bride of Lammermoor''. In it, a fearsome Scottish lord feasts upon the human flesh of his tenants, shocking observers when he throws back ‘the tartan plaid with which he had screened his grim and ferocious visage’.²²{{rp|"22 Scott (1819; 1858 edition) p. 368"}} ‘Oh!’ Victoria panted in her journal, ‘Walter Scott is my beau ideal of a Poet; I do so admire him both in Poetry and Prose!’²³{{rp|"23 RA QVJ/1836: 1 November"}} ‘Grim and ferocious’ does not sound like a particularly winsome look. Yet Victoria, at odds with the authority figures in her life, wanted to demonstrate independence and maturity through her dark, tartan gown. Casting aside the white or pink muslin dresses that had previously dominated her wardrobe, she was going through a phase and adopting a look that in our own times we might call goth.<ref name=":5">Worsley, Lucy. ''Queen Victoria: Twenty-Four Days That Changed Her Life''. St. Martin's Press, Hodder & Stoughton, 2018.</ref>{{rp|129–130 of 786; nn. 21, 22, 23, p. 653}}</blockquote> '''1837 June 20''', Victoria acceded to the throne.<ref name=":4">{{Cite journal|date=2025-09-28|title=Queen Victoria|url=https://en.wikipedia.org/w/index.php?title=Queen_Victoria&oldid=1313837777|journal=Wikipedia|language=en}}</ref> She put on a white dressing gown to hear the news, and then she changed to a black dress, because she was in mourning for the death of William IV, to begin her work. Worsley says that in spite of contemporary reports, Victoria did not cry:<blockquote>'The Queen was not overwhelmed,’ Victoria [later] claimed, and was ‘rather full of courage, she may say. She took things as they came, as she knew they must be.’²⁸{{rp|"28 Theodore Martin, Queen Victoria as I Knew Her, London (1901) p. 65"}} [new paragraph] Even her grief for her uncle had to be kept measured. ‘Poor old man,’ she thought, ‘I feel sorry for him, he was always personally kind to me.’²⁹{{rp|"29 RA VIC/MAIN/QVLB/19 June 1837"}} Yet there was no time to mourn. Victoria quickly returned to her maid’s room to be dressed. She already had a black mourning gown just waiting to be put on. Still remaining at Kensington Palace to this day, this dress is a tiny garment, with an extraordinarily small waist and cuffs. With it, she wore a white collar and, as usual, ‘her light hair’ was ‘simply parted over the forehead’.³⁰{{rp|"30 Anon., The Annual Register and Chronicle for the Year 1837, London (1838) p. 65"}} Her girlish appearance explains quite a lot of the indulgence and romance with which her reign was greeted. It also meant that she would consistently be underestimated.<ref name=":5" />{{rp|148 of 786; nn. 28, 29, 30, p. 656}}</blockquote> === Formatting === '''1838 June 28, Victoria's Coronation'''. Worsley says,<blockquote>For her journey to Westminster Abbey, Victoria was wearing red robes over a stiff white satin dress with gold embroidery. She had a ‘circlet of splendid diamonds’ on her head. Her long crimson velvet cloak, with its gold lace and ermine, flowed out so far behind her little figure that it became a ‘very ponderous appendage’.²{{rp|"2 Lady Wilhelmina Stanhope, quoted in Lorne (1901) p. 82"}} Harriet, the beautiful and statuesque Duchess of Sutherland, Mistress of the Robes, was responsible for Victoria’s appearance. This ‘ponderous’ mantle must have made her anxious, and indeed it would get in the way and cause kerfuffle all day long. The stately duchess rather dwarfed the queen when they stood side by side, and Victoria was slightly jealous of Harriet’s habit of flirting with Melbourne. But she did trust her surer dress sense. Onto [160–161] Victoria’s little feet went flat white satin slippers fastened with ribbons.³{{rp|"3 Staniland (1997) p. 114"}}<ref name=":5" />{{rp|160–161; nn. 2, 3, p. 659}}</blockquote>The coronation was under-rehearsed, and Victoria herself had not seen the kind of pomp and splendor that came with such an important official event:<blockquote>Victoria gasped at the sight that met her within. Lady Wilhelmina Stanhope, one of the young ladies carrying the queen’s train, noticed that ‘the colour mounted to her cheeks, brow and even neck, and her breath came quickly.’²⁹{{rp|"29 Lady Wilhelmina Stanhope, quoted in Lorne (1901) p. 82"}} ‘Splendid’, Victoria thought the congregation, many of them, like herself, swathed in red velvet, ‘the bank of Peeresses quite beautiful, all in their robes’.³⁰{{rp|"30 RA QVJ/1838: 28 June"}} Among a host of impressive outfits, that of the Austrian ambassador was particularly noteworthy. Even the heels of his boots were bejewelled. One lady thought that he looked like he’d ‘been caught out in a rain of diamonds, and had come in dripping!’³¹{{rp|"31 Grace Greenwood, ''Queen Victoria, Her Girlhood and Womanhood'', London (1883) p. 117"}} Victoria was accompanied not only by the young ladies who were to carry her train, but also by the Duchess of Sutherland as Mistress of the Robes, who ‘walked, or rather stalked up the Abbey like Juno; she was full of her situation.’³²{{rp|"32 Ralph Disraeli, ed., ''Lord Beaconsfield’s Correspondence with His Sister'', London (1886 edition) p. 109"}} Throughout the whole ceremony the Bishop of Durham stood near to the queen, supposedly to guide her through the ritual. But he proved to be hopelessly unreliable. The unfortunate bishop ‘never could tell me’, Victoria recorded later, [169–170] what was to take place’. At one point, he was supposed to hand her the orb, but when he noticed that she had already got it, he was left, once again, ‘so confused and puzzled’.³³{{rp|"33 RA QVJ/1838: 28 June"}} Another hindrance came in the form of the trainbearers’ dresses. Their ‘little trains were serious annoyances’, wrote one of their number, ‘for it was impossible to avoid treading upon them … there certainly should have been some previous rehearsing, for we carried the Queen’s train very jerkily and badly, never keeping step properly’.³⁴{{rp|"34 Lady Wilhelmina Stanhope, quoted in Lorne (1901) p. 82"}} It was the Duchess of Richmond, not the stylish Sutherland, who had signed off the design of the bearers’ dresses, and she found herself ‘much condemned by some of the young ladies for it’. But the Duchess of Richmond had decreed that she would ‘have no discussion with their Mammas’ about what they were to wear. An executive decision was the only way to get the design agreed.³⁵{{rp|"35 RA QVJ/1838: 28 June"}} <ref name=":5" />{{rp|169–170 of 786; nn. 29, 30, 31, 32, 33, 34, 35, p. 660–661}}</blockquote>After the peers swore homage<blockquote>it was now time for a change of dress, to mark the beginning of Victoria’s transformation from girl to sovereign. Retreating to a special robing room, she took off her crimson cloak and put on ‘a singular sort of little gown of linen trimmed with lace’. This white dress represented her purified, prepared state. When she re-entered the abbey, she did so bare-headed. ... Then at last came the very moment of ‘the Crown being placed on my head – which was, I must own, a most beautiful impressive moment; all the Peers and Peeresses put on their Coronets at the same instant.’⁴¹{{rp|"41 RA QVJ/1838: 28 June"}} The sound of this moment of the lifting of the coronets had been heard at coronations going back to the Middle Ages, and was once exquisitely described as ‘a sort of feathered, silken thunder’.⁴²{{rp|"42 Benjamin Robert Haydon, ''The Diary of Benjamin Robert Haydon'', Cambridge, MA (1960) p. 350"}} <ref name=":5" />{{rp|172 of 786; nn. 41, 42, p. 661}}</blockquote>Her coronation robes were "specially woven in the Spitalfields silk-weaving area of London," like her wedding dress.<ref name=":8">Goldthorpe, Caroline. ''From Queen to Empress: Victorian Dress 1837–1877''. An Exhibition at The Costume Institute 15 December 1988 – 16 April 1989. The Metropolitan Museum of Art, 1988. ''Google Books'': https://www.google.com/books/edition/From_Queen_to_Empress/UJLxwwrVEyoC.</ref> (15) '''1840 February 10''', Victoria and Albert married at the Chapel Royal, St. James's Palace.<ref>{{Cite journal|date=2025-07-11|title=Wedding of Queen Victoria and Prince Albert|url=https://en.wikipedia.org/w/index.php?title=Wedding_of_Queen_Victoria_and_Prince_Albert&oldid=1300012890|journal=Wikipedia|language=en}}</ref> Worsley says,<blockquote>She had her hair dressed in loops upon her cheeks, and a ‘wreath of orange flowers put on.’ Her dress was ‘a white satin gown, with a very deep flounce of Honiton lace, imitation of old’.²¹{{rp|1="21 RA QVJ/1840: 10 February [QVJ = Queen Victoria's Journals]"}} This simple cream gown of Victoria’s was a dress that launched a million subsequent white weddings. She broke with monarchical [238–239] convention by rejecting royal robes in favour of a plain dress, with just a little train from the waist at the back to make it appropriate for court wear.²²{{rp|"22 Staniland (1997) p. 118"}} It was a signal that on this day she wasn’t Her Majesty the Queen, but an ordinary woman. She wore imitation orange blossom [sic] in her hair in place of the expected circlet of diamonds. She’d had the lace for the dress created by her mother’s favoured lacemakers of Honiton, in Devon, as opposed to the better-known artisans of Brussels. A royal commission like this was a welcome boost – then as now – to British industry.²³ "{{rp|23 Ibid., p. 120"}} This piece of lace would become totemic for Victoria. She would preserve it, treasure it and indeed wear it until the end of her life. Victoria had personally designed the dresses of her bridesmaids, giving a sketch to her Mistress of the Robes, still Harriet, Duchess of Sutherland.<ref name=":5" />{{rp|238–239 of 786; nn. 21, 22, 23, p. 674}}</blockquote> The Royal Collection has the sketch Victoria made.<blockquote>The bridesmaids wore white roses around their heads, with further blooms pinned to the tulle overskirts of their dresses. Victoria’s opinion was that they ‘had a beautiful effect’, but others disagreed.³⁶ [36 RA QVJ/1840: 10 February] Used to seeing golden tassels, velvet robes and colourful jewels at royal ceremonies, onlookers thought that the trainbearers ‘looked like village girls’.³⁷{{rp|"37 Wyndham, ed. (1912) p. 297"}} <ref name=":5" />{{rp|243–244 of 786; nn. 36, 37, p. 674}}</blockquote>The aristocrat who thought the bridesmaids "looked like village girls" was Sarah Spencer, Lady Lyttelton.<ref>The Hon. Mrs Hugh Wyndham, ed., ''The Correspondence of Sarah Spencer, Lady Lyttelton, 1787–1870''. London, 1912. Cited in Worsley, p. 629 [of 786].</ref><blockquote><p>At the coronation her train had been too long to handle, but now there was the opposite problem. The long back part of Victoria’s white satin skirt, trimmed with orange blossom, was ‘rather too short for the number of young ladies who carried it’ and they ended up ‘kicking each other’s heels and treading on each other’s gowns’.⁵⁰{{rp|50 Lady Wilhelmina Stanhope, quoted in Lorne (1901) p. 112}} <ref name=":5" />{{rp|246 of 786; n. 50, p. 675}}</p></blockquote>Victoria changed from the wedding dress to something for her trip back to Buckingham Palace [check that it's Buckingham]:<blockquote>Then [after the ceremony] she went to change, putting on ‘a white [249–250] silk gown trimmed with swansdown’, and a going-away bonnet trimmed with false orange flowers that still survives to this day at Kensington Palace.<ref name=":5" />{{rp|249–250 of 786}}</blockquote> The 1855 photograph of QV's 1840 going-away bonnet is in the Royal Collection Trust: https://www.rct.uk/collection/search#/58/collection/2905582/bonnet-worn-by-queen-victoria-at-her-marriage]. Victoria changed to a different dress for the evening.<blockquote>The gown that Victoria wore that evening was possibly the plainer, and very slender, cream silk one surviving in the Royal Collection with a traditional association with her wedding evening. If she did wear it for that first dinner together, then she could hardly have eaten a thing. It laced even tighter than her wedding dress.<ref name=":5" />{{rp|251 of 786}}</blockquote>QV was sick by the time the long day of highly formal ritual was over:<blockquote>But there would be no ritual undoing by the groom of his bride’s ethereal gown. That, as always, had to be done by Victoria’s dressers. ‘At ½ p.10 I went and undressed and was very sick,’ she says. These women, the bedrock of her life, ever present, ever watchful, must have been with her as she finished retching and went into the bedchamber, where ‘we both went to bed; (of course in one bed), to lie by his side, and in his arms, and on his dear bosom’.⁷² {{rp|"72 RA QVJ/1840: 10 February"}} <ref name=":5" />{{rp|252 of 786; n. 72, p. 676}}</blockquote> The separation between how finely QV was dressed and what it looked like to people, including both the effect of physical distance and the effect of the distance between what people expected a queen to wear and what QV wore. Also, QV's appeal "to the respectable slice of opinion at society’s upper middle":<blockquote>'I saw the Queen’s dress at the palace,’ wrote one eager letter-writer, ‘the lace was beautiful, as fine as a cobweb.’ She wore no jewels at all, this person’s account continues, ‘only a bracelet with Prince Albert’s picture’.²⁸ {{rp|"28 Mundy, ed. (1885) p. 413}} This was in fact [240–241] completely incorrect. Albert had given her a huge sapphire brooch, which she wore along with her ‘Turkish diamond necklace and earrings’.²⁹ {{rp|"29 RA QVJ/1840: 10 February}} '''It was the beginning of a lifetime trend for Victoria’s clothes to be reported as simpler, plainer, less ostentatious than they really were. The reality was that they were not quite as ostentatious as people expected for a queen.''' This is really what they meant by their descriptions of her clothes as austere, and pleasingly middle-class. In other countries, members of the middle classes would join the working classes on streets and at barricades and bring monarchies tumbling down. '''But in Britain, part of the reason this did not happen is that Victoria, her values and her low-key style appealed with peculiar power to the respectable slice of opinion at society’s upper middle.''' And so, dressed but not overdressed, the unqueenly looking queen was ready for her wedding day to begin.<ref name=":5" />{{rp|240–241; nn. 28, 29; p. 674}}</blockquote>Her wedding dress was "specially woven in the Spitalfields silk-weaving area of London," like her coronation robes.<ref name=":8" />{{rp|15}}<p>'''1840''', QV's first pregnancy, with Vicky, and a relic petticoat with blood from her first birth:</p><blockquote>She had left off wearing stays, becoming ‘more like a barrel than anything else’.²¹ {{rp|"21 Stratfield Saye MS, quoted in Longford (1966) p. 76"}} Victoria herself, although she felt well, ‘unhappily’ had to admit that she was ‘a great size’.²² {{rp|"22 RA VIC/MAIN/QVLB/10 November 1840"}} '''A fine cotton lawn petticoat from this early married period''', which once had the same dimensions as her wedding dress, shows evidence of having been let out around its high empire waist, quite possibly to accommodate this pregnancy.²³ {{rp|"23 In the Royal Ceremonial Dress Collection, Historic Royal Palaces."}} The work was done with tiny stitches as if by the needle of a fairy. There were many hands available in Victoria’s wardrobe department, and indeed no shortage of clothes either. '''This particular petticoat survives because it was given away after becoming soiled with blood.''' She also had an expandable dressing gown for pregnancy, of thin white cotton, with ‘gauging tapes’ to widen the waist as pregnancy progressed.²⁴ {{rp|"Staniland (1997) p. 126"}}<ref name=":5" />{{rp|262 of 786; nn. 21, 22, 23, 24, p. 678}}</p></blockquote> '''1840 November 21''', Victoria went into labor with Vicky.<ref name=":5" />{{rp|255 of 786}} Her dress:<blockquote>Early on in labour, Victoria would have been given a dose of castor oil to empty her bowels, to avoid ‘exceedingly disagreeable’ consequences later. She would have worn her loose dressing gown over a chemise and bedgown ‘folded up smoothly to the waist’ and beneath that, ‘a petticoat’. Stays were absent, despite the common belief among women that wearing them during labour would ‘assist’, by ‘affording support’. The latest medical advice was that this was ‘improper’.³⁶ {{rp|"36 Bull (1837) pp. 130–2"}} The chemise that Victoria was wearing would acquire special lucky significance for her. Nine childbirths later, she’d still insist upon donning the exact same one.³⁷ {{rp|"37 Dennison (2007) p. 2"}}<ref name=":5" />{{rp|265 of 7886; nn. 36, 37, p. 679}}</blockquote> '''1843, around''', Albert "cut [Victoria's] dress expenditure down from £5,000 to £2,000 a year" in order to put money away for later.<ref name=":5" />{{rp|299 of 786}} '''1843 May 19''', QV wrote in her journal that she dressed "all in white and had my wedding veil on, as a shawl," for Vicky's christening.<ref name=":5" />{{rp|270 of 786; n. 63, p. 681 of 786}} '''1849''', Duleep Singh "surrendered" the Koh-i-nûr necklace to England.<ref name=":17">{{Cite web|url=https://www.rct.uk/collection/406698/queen-victoria-1819-1901|title=Franz Xaver Winterhalter (1805-73) - Queen Victoria (1819-1901)|website=www.rct.uk|language=en|access-date=2026-03-06}}</ref> '''1854''', Queen "Victoria's spending on her wardrobe had crept up again, to roughly £6,000 annually, or six times a very good annual income for a professional gentleman."<ref name=":5" />{{rp|311 of 786}} '''1854''', when QV met Duleep Singh, "the woman the Maharaja saw before him still looked younger than her [310–311] thirty-five years. In the photograph, at least, her hair shines, she hardly looks like a mother of eight and her white dress is demure and girlish."<ref name=":5" />{{rp|310–311}} '''1855 April 16–''', Empress Eugénie and Napoleon III of France began a 5-day visit to the U.K.<ref name=":3">Goldstone, Nancy. ''The Rebel Empresses: Elisabeth of Austria and Eugénie of France, Power and Glamour in the Struggle for Europe''. Little, Brown, 2025.</ref>{{rp|276}} '''1855 August 18–28 or so''', Queen Victoria, Prince Albert, Princess Royal Vicky and Prince of Wales Bertie visited Paris and the Exposition Universelle.<ref name=":3" />{{rp|287}} Caroline Goldthorpe says,<blockquote>For the state entry of Queen Victoria and Prince Albert into Paris in 1855, the Queen wore a dress of white Spitalfields silk, its design representing an English flower garden (figure 2). While in Paris, however, she attended a ball at the Hôtel de Ville, wearing "my diamond diadem with the Koh-i-noor in it, a white net dress, embroidered with gold and (as were all my dresses) very full. It was very much admired by the Emperor and the ladies. The Emperor asked if it was English; I said No, it had been made on purpose in Paris." In addition / to the ball gown, made in France as a diplomatic gesture, she evidently wore both English and French silks for less public occasions."<ref name=":8" /> (15, 17) [The English-made Spitalfields-silk dress is at tthe Museum of London.]</blockquote>A. N. Wilson suggests that the sense that Victoria was dowdy is down in part to "the exacting standards of Parisian journalists":<blockquote>They went to the opera and displayed the difference between a true-born queen and a parvenue empress. When the national anthems had been played, the Empress looked behind her to make sure that her chair was in place. The Queen of England, confident that the chair would be there, sat down without turning. Mary Bulteel, her Maid of Honour who noticed this detail, was also able to reassure Eugénie’s baffled entourage that the Queen was always ‘badly dressed’. It did not prevent Victoria from being unaffectedly enraptured by Eugénie’s range of gorgeous outfits. Victoria adored the Empress and it was a friendship which lasted for life. ‘Altogether,’ she told her diary, ‘I am delighted to see how much my Albert likes and admires her, as it is so seldom I see him do so with any woman.’²⁷ ("27 Quoted Edith Saunders, ''A Distant Summer'', p. 49.") Perhaps it was so, or perhaps he was being polite. The Queen’s dowdiness and (by the exacting standards of Parisian journalists) poor dress sense were more than outshone by the splendour of her jewels.<ref name=":13" /> (365 of 1204)</blockquote>'''1857 August 6–''', Eugénie and Napoleon visit QV again. QV describes how Eugénie is dressed. Wilson says of the admiring precision of QV's descriptions of Eugénie's dresses, <blockquote>The wistfulness with which Victoria described Eugénie’s outfits whenever the two met is touching. She was the Queen of England and could have afforded the finest couturier; but she was tiny, increasingly rotund, much of the time depressed or petulant. Her homely dress sense reflected a growing dissatisfaction with her appearance: clothes were for swathing a body which was by any ordinary standards a very peculiar shape, not for adorning it or drawing it to people’s attention.<ref name=":13" /> (389 of 1204)</blockquote> And maybe she just wasn't very good at style. Evidence from later suggests she had an appreciation for fine fabrics and laces. '''1858, June''', when Victoria began wearing a crinoline cage. Worsley says,<blockquote>She had attended reviews of her troops increasingly often as they came shipping back from Crimea. For the purpose, she often wore the superbly tailored outdoor wear that suited her much better than frou-frou evening gowns. Her self-adopted ‘uniform’ was a scarlet, made-to-measure military-style jacket combined with the skirt of a riding habit. Albert had a matching outfit too, its chest padded out to simulate the muscles that his sedentary lifestyle had failed to give him. [361–362] [new paragraph] Today, though, as she was travelling by carriage, Victoria wore a dark cloak over her now-customary daywear of the crinolined skirt. She’d held out until the end of the 1850s before adopting this novel steel structure to puff out the skirt, which was widely thought to be an ‘indelicate, expensive, hideous and dangerous article’.¹⁹{{rp|"19 ''Punch, Or the London Charivari'' (8 August 1863) p. 59"}} A crinoline, or ‘cage’, could swing the skirts out so unexpectedly that they caught fire, or got stuck in carriage wheels. But the stylish Empress Eugénie, whom Victoria much admired, is said to have popularised the crinoline during an 1855 visit to England. ‘Carter’s Crinoline Saloon’ opened soon afterwards, offering London ladies not only the crinoline but also the new ‘elastic stays … as worn by the Empress of the French’.²⁰{{rp|"20 “Adburgham (1964) p. 93"}} Victoria nevertheless resisted the fashion until a heatwave three years later made her feel that her customary stiff muslin petticoats were ‘unbearable’. ‘Imagine!’ she wrote, to her married daughter in Germany, ‘since 6 weeks I wear a “Cage”!!! What do you say?’²¹{{rp|"21 RA VIC/ADDU/32, p. 178 (21 July 1858)"}} Having realised how convenient it was, she now only took her crinoline off to go sailing.<ref name=":5" />{{rp|361–362, nn. 19, 20, 21, p. 696}}</blockquote> '''1861 December 14''', Prince Albert, Prince Consort died.<ref name=":2" /> According to Julia Baird<blockquote>Victoria decreed that the entire court would mourn for an unprecedented official period of two years. (When this ended, her ladies and daughters could discard the black and wear half mourning, which was gray, white, or light purple shades.) Many of her subjects decided to join them in mourning. Her ladies were draped in jet jewelry and crêpe, a thick black rustling material made of silk, crimped to make it look dull.<ref name=":11">Baird, Julia. ''Victoria the Queen: An Intimate Biography of the Woman Who Ruled an Empire''. Random House, 2016. Apple Books: https://books.apple.com/us/book/victoria-the-queen/id953835024.</ref> (585 of 1203)</blockquote>After Albert's death Queen "Victoria never attended or held another public ball."<ref name=":11" /> (592 of 1203) '''1863 March 10''', Bertie (Albert Edward, Prince of Wales) and Alix (Alexandra) married in St. George's Chapel, Windsor. QV, who sat high up and out of the way, wore widow's weeds, "the blue sash and star of the Order of the Garter" and (according to Lord Clarendon) "a cap ‘more hideous than any I have yet seen.'"<ref name=":13" />{{rp|495 of 1204}} '''1865 April 15''', Abraham Lincoln was assassinated. Eugénie's was among the first letters of condolence from a head of state that Mary Todd Lincoln got; Victoria's was dated the day after Eugénie's.<ref name=":3" />{{rp|555 of 909}} '''1866–1871''', [[Social Victorians/People/Princess Louise | Princess Louise]] was Victoria's private secretary. '''1866 February''', QV opened Parliament for the first time since Albert's death.<blockquote>She wore plain evening dress, with a small diamond and sapphire coronet on top of her widow’s cap. The wind whipped her veil as she rode silently in an open carriage past curious crowds, many of whom had not glimpsed her for years.<ref name=":11" /> (609 of 1203)</blockquote>'''1866 February 6''', Princess Helena's wedding to Prince Christian of Schleswig-Holstein. QV wrote in her journal that it "was 'an ''execution''<nowiki/>' to which she was 'dragged in ''deep mourning''.'"<ref name=":12">Longford, Elizabeth. ''Queen Victoria''. The History Press, 2011 (1999). Apple Books: https://books.apple.com/us/book/queen-victoria-essential-biographies/id1142259733.</ref>{{rp|118 of 223}} Instead of a crown she wore a black widow's cap. '''1867 Spring''', annual exhibition at the Royal Academy, which included a large canvas by Sir Edwin Landseer that QV had commissioned as "Shadow" to show her grief. It was called ''Her Majesty at Osborne, 1866''. The center of this painting is dominated by black.<blockquote> <p>In it, the queen [sits] sidesaddle on a sleek dark horse, dressed in her customary black. She [is] reading a letter from the dispatch box on the ground, next to her dogs. Opposite [is] a tall figure in a black kilt and jacket solemnly holding [634–635] the horse’s bridle. ...</p> <p>It caused a scandal. The ''Saturday Review'' art critic wrote: "If anyone will stand by this picture for a quarter of an hour and listen to the comments of visitors he will learn how great an imprudence has been committed." It was not long before the gossip became crude: Were the queen and Mr. Brown lovers? Was she pregnant with his child? Had they secretly married? In 1868, an American visitor said he was gobsmacked by constant, crass jokes about the queen commonly referred to as "Mrs. Brown." "I have been told," he wrote, "that the Queen was insane, and John Brown was her keeper; the Queen was a spiritualist, and John Brown was her medium.</p> <p>Victoria adored the painting and ordered an engraving.<ref name=":11" /> (634–635 of 1203)</p></blockquote>'''1871 March 21''', Princess Louise and John Campbell, Marquis of Lorne, were married.<ref>"Supplement." ''The London Gazette'' 24 March 1871 (23720) Friday: 1587 https://www.thegazette.co.uk/London/issue/23720/page/1587.</ref> QV wore rubies as well as diamonds.<ref name=":11" />{{rp|644 of 1203}} '''1871, end of, around the time of Bertie's illness with typhoid, by this time''', according to Lucy Worseley, QV had decided never to wear color again (a decision she had made after the first year of full mourning Albert's death?) and had developed her "brand." She had not made many personal appearances, but because of her photographs, the carte-de-visite with Albert, and her memoirs about the Highlands, she was known to her subjects:<blockquote>Victoria was extraordinary in her dedication to black. If wearing mourning was a [413–414] demand for greater-than-usual understanding, it’s certainly true that she felt entitled to it for the rest of her life. Mourning was turned into a sort of disguise for her. It indicated that she was a victim, bereaved, which was a way of pre-empting criticism. And within the conventions of black, Victoria insisted that her clothes be cut in a way that she found comfortable and convenient: a bodice with only light boning, a skirt with capacious pockets. She no longer followed fashion; she had created a fashion all her own. [new paragraph] Victoria’s black clothing also had terrific ‘brand value’ in creating a recognisable royal image. Although she rarely appeared in person, Victoria’s physical appearance was more widely known than ever before. In 1860, she and Albert had taken the decision to allow photographs of themselves to be published on cartes de visite, highly collectible little rectangles of illustrated cardboard. Within two years, between three and four million of these cards depicting the queen had been sold. ²⁷{{rp|27 Plunkett (2003) p. 156."}} The people who bought them understood that they were in possession of something more potent than a lithograph or an engraving. The effect, in terms of making the queen’s subjects feel they ‘knew’ her, has been compared by the Royal Collection’s photography curator to the sensational 1969 television [414–415] documentary series, Royal Family.²⁸{{rp|"28 Dimond and Taylor (1987) p. 20"}} So even if Victoria had been bodily absent from public life for the last decade, in paper form she had been more present than ever.²⁹{{rp|"29 ''The Photographic News'' (28 February 1862) quoted in Dimond and Taylor (1987) p. 22"}} <ref name=":5" />{{rp|413–414, nn. 27, 28. 29, p. 707}}</blockquote> '''1872 February 27''', thanksgiving service for Bertie's survival in St. Paul's Cathedral:<blockquote>Victoria was bored in the church, and found St. Paul’s "cold, dreary and dingy," but the roars of millions who stood outside in the cold under a lead-colored sky made her triumphant, and she pressed Bertie’s hand in a dramatic flourish. It was "a great holy day" for the people of London, ''The Times'' declared gravely. They wished to show the queen she was as beloved as ever. Their delight at seeing her in person was as much a cause for celebration as Bertie’s recovery. This moment revealed something that Bertie would quickly grasp though his mother had not: the British public requires ceremony and pageantry, and the chance to glimpse a sovereign in finery. It was not a republic her subjects were hankering for, but a visible queen. As Lord Halifax said, people wanted their queen to look like a queen, with a crown and scepter: "They want the gilding for their money."<ref name=":11" />{{rp|655 of 1203}}</blockquote> '''1878 December 14''', Princess Alice died. '''1879 June 1''',<ref name=":32">{{Cite journal|date=2025-11-29|title=Louis-Napoléon, Prince Imperial|url=https://en.wikipedia.org/w/index.php?title=Louis-Napol%C3%A9on,_Prince_Imperial&oldid=1324821881|journal=Wikipedia|language=en}}</ref> Louis Napoleon, son of Eugénie, "to whom Victoria ... had become devotedly attached, was killed in the Zulu War."<ref name=":0" />{{rp|432 of 555}} '''1880 February 5''', Queen Victoria attended the state opening of Parliament. She wrote in her journal<blockquote>I wore the same dress, black velvet, trimmed with minniver, my small diamond crown & long veil. Got in, at the Great Entrance, & went in the new state coach which is very handsome with much gilding, a crown at the top, & a great deal of glass, which enables the people to see me. ... Beatrice stood to my right, Leopold to my left. Bertie, Affie & Arthur were all there.<ref name=":13" /> (707 of 1204)</blockquote>'''1881 April 19''', Benjamin Disraeli, Lord Beaconsfield died.<ref>{{Cite journal|title=Benjamin Disraeli|url=https://en.wikipedia.org/w/index.php?title=Benjamin_Disraeli&oldid=1335428395|journal=Wikipedia|date=2026-01-29|language=en}}</ref> '''1882 March 2''',<ref name=":12" /> (152 of 223) the 7th and last assassination attempt on QV, by Roderick Maclean, another adolescent male possibly not intent on killer her, although his pistol was loaded.<ref name=":0" />{{rp|433 of 555}} '''1882 April 27''', Prince Leopold, Duke of Albany and Princess Helen of Waldeck married. "The Queen celebrated by wearing white over her black dress for the first time since Albert’s death – it was her own white wedding veil."<ref name=":12" />{{rp|154 of 223}} '''1883 March 17''', QV fell down stairs in Windsor, probably some marble stairs. She was "lame until July."<ref name=":4" /> '''1883 March 27''', QV's Scots servant John Brown died.<ref>{{Cite journal|title=John Brown (servant)|url=https://en.wikipedia.org/w/index.php?title=John_Brown_(servant)&oldid=1312942175|journal=Wikipedia|date=2025-09-23|language=en}}</ref> '''1884 March 28''', Prince Leopold, Duke of Albany died.<ref name=":1" /> '''1886''', the general election of 1886, according to Lytton Strachey, "the majority of the nation" voted down Home Rule and Gladstone<blockquote>and placing Lord Salisbury in power. Victoria’s satisfaction was profound. A flood of new unwonted hopefulness swept over her, stimulating her vital spirits with a surprising force. Her habit of life was suddenly altered; abandoning the long seclusion which Disraeli’s persuasions had only momentarily interrupted, she threw herself vigorously into a multitude of public activities. She appeared at drawing-rooms, at concerts, at reviews; she laid foundation-stones; she went to Liverpool to open an international exhibition, driving through the streets in her open carriage in heavy rain amid vast applauding crowds. Delighted by the welcome which met her everywhere, she warmed to her work.<ref name=":0" />{{rp|439–440 of 555}}</blockquote> '''1887''', the Golden Jubilee. Strachey says that QV had begun wearing the color violet in her bonnet by now:<blockquote>Little by little it was noticed that the outward vestiges of Albert’s posthumous domination grew less complete. At Court the stringency of mourning was relaxed. As the Queen drove through the Park in her open carriage with her [444–445] Highlanders behind her, nursery-maids canvassed eagerly the growing patch of violet velvet in the bonnet with its jet appurtenances on the small bowing head.<ref name=":0" /> (444–445 of 555)</blockquote> QV wore a bonnet rather than a crown or widow's cap.<ref name=":13" /> (822 of 1204) At dinner on the day of the procession, QV wore a dress, as she says, with "the rose, thistle & shamrock embroidered in silver on it, & my large diamonds."<ref name=":13" /> (824 of 1204) '''1888 June 15''', Vicky's husband Emperor Frederick (Fritz) died. '''1890 July 15''', Garden Party at Marlborough House with QV as the most important guest, with some description of QV's dress, more details in the descriptions of the dresses of some of the other women:<blockquote>But if not favoured with model "Queen's weather," a good imitation set in as the Life Guards struck up "God Save the Queen," and her Majesty descended the flight of steps on the Prince of Wales's arm, and slowly passed through the eager ranks of her assembled subjects. Her Majesty was conducted to a canopy at the lower end of the garden, and was soon surrounded by children and grandchildren; she walked with the aid of a stick, but did not appear to be troubled by rheumatism, and moved without difficulty. The Queen's dress was of black striped [[Social Victorians/Terminology#Broché|broché]], a lace shawl, and black bonnet, trimmed with white roses. She talked to people to right and left, and looked smiling and happy. ... AN ACCOUNT OF SOME OF THE DRESSES. Her Majesty was attired completely in black, with the slight relief of white flowers in her black bonnet.<ref>"From One Who Was There." "The Marlborough House Garden Party." ''Pall Mall Gazette'' 15 July 1890 (Tuesday): p. 5, Col. 1. ''British Newspaper Archive'' http://www.britishnewspaperarchive.co.uk/viewer/bl/0000098/18900715/016/0006 (Accessed April 2015).</ref></blockquote> '''1891 January 14''', Albert Victor (Eddy), Bertie's and Alex's son, died of pneumonia.<ref name=":12" />{{rp|190 of 223}} '''1893 February 28, Tuesday, 3:00 p.m''', QV hosted a Queen's drawing-room at Buckingham Palace:<blockquote>Her Majesty wore a dress and train of rich black silk, trimmed with crape and chenille. Headdress and coronet of diamonds and pearls. Ornaments — Pearls. Her Majesty wore the Star and Ribbon of the Garter, the Orders of Victoria and Albert, the Crown of India, the Prussian Order, the Spanish and Portuguese Orders, the Russian Order of St. Catherine, and the Hessian and Bulgarian Orders.<ref>"The Queen's Drawing Room." ''Morning Post'' 1 March 1893, Wednesday: 7 [of 12], Col. 6a–7c [of 7]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18930301/072/0007. Same print title and p.</ref></blockquote> '''1895 December 14''', George and May's 2nd son, who would become Elizabeth II's father, was born. Thinking of the anniversary of Albert's and Alice's deaths, QV "said that the child might be a gift of God."<ref name=":12" />{{rp|191 of 223}} '''1896 September 26''', QV wrote in her journal, "Today is the day on which I have reigned longer, by a day, than any English sovereign."<ref name=":12" />{{rp|191 of 223}} '''1897 April 4''', QV vacations in Nice, as she did almost every year, and a little on her "uniform":<blockquote>The pattern of her hotel days in Cimiez, an upmarket suburb on a hill behind Nice, was undemanding. She was dressed by the servants who were almost a second family. One of her wardrobe maids spent the night on call in the dressing room just next door to her bedroom.¹²{{rp|"12 Stoney and Weltzien, eds. (1994) pp. 11–12"}} At half past seven, the maid on the next shift would come into Victoria’s bedroom to open the green silk blinds and shutters. Her silver hairbrush, hot water, folded towels and sponges were all laid out by these wardrobe maids. Her pharmacist’s account book records the purchase of beauty products such as ‘lavender water’, ‘Mr Saunders’ Tooth Tincture’ and ‘cakes of soap for bath’.¹³{{rp|"13 Royal Pharmaceutical Society, account book for ‘The Queen’ (1861–1869)"}} [new paragraph] Victoria’s clothes were handled by the dressers, who were better paid than the maids. Their duties, ran Victoria’s instructions, included ‘scrupulous tidiness and exactness in looking over everything that Her Majesty takes [510–511] off … to think over well everything that is wanted or may be wanted’.¹⁴{{rp|"14 Staniland (1997) p. 186"}} Her black silk stockings with white soles had for decades been woven by one John Meakin, while Anne Birkin embroidered the garments with ‘VR’.¹⁵ {{rp|"15 Quoted in King (2007) p. 100"}} Victoria grew fond of faithful servants like Anne, and even had Birkin’s portrait among her collection of photographs. Despite their sombre aspect, even her mourning gowns were finely made. She had settled into a series of very minor variations upon a square-necked bodice and skirt, customised with quirky little pockets for keys and seals, all cut pretty much the same to save her the trouble of fittings. On her head went a white cap, with streamers of lace, and round her neck a locket containing miniatures of two of her children: Alice, now lost to diphtheria, and Leopold, to haemophilia.¹⁶{{rp|"16 Princess Marie Louise (1956) p. 141"}} <ref name=":5" /> {{rp|510–511; nn. 12, 13, 14, 15, 16, p. 722}}</blockquote> [[File:Queen Victoria's Diamond Jubilee Service, 22 June 1897.jpg|alt=Old painting of very large crowd and an old woman dressed in black in a carriage in the center|thumb|Diamond Jubilee Thanksgiving Service on the Steps of St. Paul's]] ==== Diamond Jubilee ==== '''1897 June 22, Diamond Jubilee''', with Thanksgiving service on the steps of St. Paul's, painted in 1899 by Andrew Carrick Gow (right; better image at https://artuk.org/discover/artworks/queen-victorias-diamond-jubilee-service-22-june-1897-51041). QV stayed in the carriage for the service. Worsley says, QV's dress had "decorative 'panels of grey satin veiled with black net & steel embroideries, & some black lace'"<blockquote>Rising from her bed, Victoria dressed, as always, in black. The crowds who saw her today would consider her ‘dress of black silk’ to be [532–533] modest and widowly, almost dingy. Her taste in clothing had become ever more subdued. Departing from Windsor Castle to travel to Buckingham Palace for these few days of the Jubilee, she’d been worried about the stains the sooty train to Paddington might leave on her outfit. ‘I could have cried,’ said the woman who ran the draper’s shop in Windsor, ‘to see Her Majesty start for the Jubilee in her second-best “mantle” – after all the beautiful things I had sent her.’7{{rp|7 Weintraub (1987) p. 581}} If you’d had the chance to examine the queen’s outfit closely, though, you’d’ve seen that it was in fact sombrely splendid, her black cape embroidered with swirling silver sequins, huge pearls hanging from each ear and upon the gown itself decorative 'panels of grey satin veiled with black net & steel embroideries, & some black lace'. Round her neck now went a ‘lovely diamond chain’, a Jubilee present from her younger children, while her ‘bonnet was trimmed with creamy white flowers & white aigrette’.⁸{{rp|8 RA QVJ/1897: 22 June}} This bonnet, worn with resolution, had caused some upset. Her government had asked its queen to appear more … queenly. ‘The symbol that unites this vast Empire is a Crown not a bonnet,’ complained Lord Rosebery. But Victoria stoutly refused, and ‘the bonnet triumphed’. She would [533–534] wear it today, just as she’d worn it at her Golden Jubilee a decade before.⁹{{rp|"9 Ponsonby (1942) p. 79"}} The queen looked just like a ‘wee little old lady’. The only touch of colour about her black-clad figure was her ‘wonderful, blue, childlike eyes’.¹⁰{{rp|10 Smyth (1921) p. 99}} <ref name=":5" />{{rp|532–534 of 786; nn. 7, 8, 9, 10, p. 727}}</blockquote> One source somewhere, however, says there was some purple in her bonnet. She carried "a black chiffon parasol. It was a gift from the House of Commons, presented to her two days earlier by its oldest member, who was ninety-five."<ref name=":5" />{{rp|539 of 786}} According to A. N. Wilson, QV was "dressed in grey and black":<blockquote>In the case of Queen Victoria, the intensity of crowd reaction was especially strong, because she made public parade of herself so seldom. The emotional atmosphere was overpowering on that hot, sunny day. The Queen, dressed in grey and black, but smiling and bowing, held a parasol above her and bowed her smiling head to left and right as the landau passed through the streets of London – Constitution Hill, to Hyde Park Corner; then along [976–977] Piccadilly, down St James's Street to Pall Mall, past all the clubs, into Trafalgar Square, up the Strand and into Ludgate Hill to St Paul’s.<ref name=":13" />{{rp|976–977 of 1204}}</blockquote> The bonnet QV wore for the Diamond Jubilee Procession was decorated with diamonds according the ''Lady's Pictorial'':<blockquote>I HEAR on reliable authority that, although the fact has hitherto escaped the notice of all the describers of the Diamond Jubilee Procession, the bonnet worn by the Queen on that occasion was liberally adorned with diamonds. It is a tiny bit of flotsam, but worth rescuing, as every detail of the historic pageant will one day be of even greater interest than it is now.<ref name=":14" /></blockquote>At least 3 official photographs show QV and made available as cabinet cards (2 anyhow) for this Jubilee: # One was made in 1893 at the time of George and Mary's wedding. It was made by W. & D. Downey and is in the Royal Collection (https://www.rct.uk/collection/2912658/queen-victoria-1819-1901-diamond-jubilee-portrait) # One was made in July 1896 by Gunn & Stuart and published as a cabinet card by Lea, Mohrstadt & Co. (https://commons.wikimedia.org/wiki/File:Victoria_of_the_United_Kingdom_(by_Gunn_%26_Stuart,_1897).jpg<nowiki/>) # One was made 5 days after the Jubilee Procession (so, on 27 June 1897). # One was made by Mullen (according to the Royal Trust [#4] '''1897 June 27, Sunday''' (or 5 days after the Jubilee procession), QV's official Jubilee photograph.<blockquote>at Osborne, Victoria had an official Jubilee photograph taken, wearing her Jubilee dress and, of course, her wedding lace.^{71:"71 RA QVJ/1885: 27 July"} The whole royal family was becoming familiar with manipulating its photographic image. In 1863, ''The Times'' reported that Vicky and Alice had themselves retouched their brother Bertie’s [551–552] wedding photos.⁷²^: ^{"72The Times, London (9 April 1863) p. 7, quoted in Plunkett (2003) p. 189"} (The princesses really preferred sitting to an old-fashioned artist, like a sculptor, who excelled in ‘making them look like ladies, while the Photographs are common indeed’.⁷³^{: "73 “RA VIC/ADDX/2/211, p. 29"}) After each new photographic sitting, Victoria ‘carefully criticised’ the results.⁷⁴^{: "74 “Private Life (1897; 1901 edition) p. 69"} In her later photographs, like this Diamond Jubilee portrait, she was heavily retouched, a double chin removed, inches shaved off her waist. The Photographic News criticised a photo from her Golden Jubilee for making her look as if she had ‘oedematous disease’, a condition where the body bloats up with excess fluid. Her skin had been smoothed to the extent that she looked like a waxwork.⁷⁵^{: "75 “Plunkett (2003) p. 192"} <ref name=":5" /> ^{fn 771, 72, 73, 74, 75, p. 731}</blockquote> '''1897 June 28, Monday''', the Jubilee Garden Party at Buckingham Palace took place, with good weather and about 6,000 attendees. The ''Lady's Pictorial'' gives detai about QV's dress:<blockquote>The Queen, whom every one delighted to see looking well and bright, evidently not at all the worse for the great doings of last week, was attired in black silk. The front of her dress was veiled with white chiffon, over which was a single tissue of black silken embroidered muslin, the embroidery in a small floral design, with inserted bands of openwork lace. The bodice was of black grenadine with tucks at either side, bordering a front of white chiffon veiled with black embroidered muslin, and the basque finished with a frill of pleated black chiffon. Round the hem were two frills of black chiffon festooned on, and each headed by a tiny puffing. Her Majesty’s cape was of black chiffon over white silk, fitting in slightly at the back to the figure, and finished in front with fichu ends. Round the cape were frills of white silk with over frills of black chiffon. The Queen’s bonnet was black relieved with white, and her Majesty had the sunshade presented to her by her oldest Parliamentary member, Mr. C. Villiers. It was of black satin draped with very fine real Chantilly lace, and with a frill of the same all round. It was lined with soft white silk, and the ebony handle terminated in a gun metal ball, on which was a crown and "V. R. I." in diamonds.<ref>"The Queen's Garden Party." ''Lady's Pictorial'' 3 July 1897, Saturday: 55 [of 76], Col. 2a [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0005980/18970703/126/0055. Same print title, p. 27.</ref></blockquote> The ''Globe'' described her with perhaps slightly less detail than the other women:<blockquote>The Queen appeared about half-past five in a carriage drawn by two cream-coloured ponies, and '''attended one''' outrider. The Princess of Wales was seated beside the Queen, and the Earl of Lathom walked beside the carriage. Her Majesty drove very slowly twice round the lawn, frequently stopping to speak to one or other of the guests. The Queen was in black, with a good deal of jet on her mantle, and wore a white lace bonnet, and carried a black parasol, almost covered with white lace. The Princess of Wales was in white silk veiled in mousseline soie, worked over in silver and lace applique, and a mauve tulle toque with flowers to match. After driving round, the Queen entered the Royal tent, where refreshments were served by the Indian attendants. Her Majesty had on her right hand the Grand Duchess of Hesse, dressed in white, with black velvet and ribbons, and a large Tuscan hat, with black and white plumes; on her left the Grand Duchess of Mecklenburg-Strelitz, in mauve satin, and white aigrette in her bonnet. The Empress Frederick’s black broché gown had a collar of white lace, and her black bonnet was relieved by white flowers, and tied with white tulle strings.<ref name=":22">“The Queen’s Garden Party. Brilliant Scene at Buckingham Palace.” ''Globe'' 29 June 1897, Tuesday: 6 [of 8], Col. 3a–c [of 5]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0001652/18970629/050/0006. Print p. 6.</ref>{{rp|Col. 3b–c}}</blockquote>From the ''North British Daily Mail'', <blockquote>The Queen was evidently in excellent health, and there was no trace whatever of the fatigues which she has recently undergone. Indeed she walked with greater ease than usual, and really had no need of the proffered help of her attendants. ... The Queen and her daughter were dressed in black, but the former had upon her bonnet a little trimming of delicate white lace, which somewhat toned down the sombre effect of the mourning. Two Highland attendants having taken their places in the rumble, one of them handed to the Queen a black and white parasol, and then the signal to start was given.<ref name=":02">"Jubilee Festivities. The Queen Again in London. Interesting Functions. A Visit to Kensington. The Garden Party." ''North British Daily Mail'' 29 June 1897, Tuesday: 5 [of 8], Col. 3a–7b [of 9]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0002683/18970629/083/0005. Print p. 5.</ref>{{rp|Col. 3c}} ... The Queen wore a black gauze gown over white, and a white lace bonnet. The Princess of Wales wore white muslin over silk embroidered in silver and lace. The Empress Frederick wore a black silk dress with a good deal of white lace about the bodice, and a black bonnet with white plumes.<ref name=":02" />{{rp|Col. 5c}}</blockquote>'''1897 June 30, Wednesday''', Royal Banquet at Buckingham Palace, with the Queen in a very ornate dress, with gold and jewels as well as the colors brought by the orders and ribbon of the Garter:<blockquote>over eighty Royal guests. The Queen herself was magnificent!y attired in black renaiscance moiré antique (it is a curious fact that her Majesty never wears satin or velvet, having an antipathy to touching these materials). The whole of the front of the dress was embroidered in a magnificent design with real gold thread. There was a waved band of gold in the pattern, enclosing suns and stars, all of gold, raised from the surlace of the silk; the suns had centres of jewels, and the whole design was richly jewelled, and was bordered at either side by coquillés of real lace. This embroidery was all wrought at Agra. The bodice was finished with a pointed stomacher of the gold and jewelled work, and across it her Majesty wore the blue riband of the Garter and many magnificent Orders.<ref>"Court & Society Notes." ''Lady's Pictorial'' 3 July 1897, Saturday: 56 [of 76], Col. 2c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/bl/0005980/18970703/282/0056. Print title same, p. 28.</ref></blockquote>The assertion that she never wore satin or velvet doesn't seem right (e.g., see Bassano 1882 dress). '''1899''', Susan B. Anthony attended a reception at Windsor Castle and met QV: to look at "her wonderful face" was a "thrill."<ref name=":11" />{{rp|852 of 1203}} === Her Dresses === #'''1822''': Wikipedia page #2, painting (https://en.wikipedia.org/wiki/Queen_Victoria), Victoria and her mother, Duchess of Kent, by William Beechey. Victoire is in mourning, Victoria is holding a portrait of her father. Royal Collection Trust: https://www.rct.uk/collection/407169/victoria-duchess-of-kent-1786-1861-with-princess-victoria-1819-1901. ##"After William Beechey." Wikimedia Commons, possibly a contemporary copy of the painting: https://commons.wikimedia.org/wiki/File:Sir_William_Beechey_(1753-1839)_-_Victoria,_Duchess_of_Kent,_(1786-1861)_with_Princess_Victoria,_(1819-1901)_-_RCIN_407169_-_Royal_Collection.jpg #'''1827''', an engraving of a bust of Victoria (from a 1908 book) by Plant, after Stewart's painted miniature: she is wearing family honors on the left shoulder of her dress; she is about 6 years old in this image; she looks like a princess. https://commons.wikimedia.org/wiki/File:The_Letters_Of_Queen_Victoria,_vol_1_-_H.R.H._The_Princess_Victoria,_1827.png #'''1835 August 10 [maybe 1837?]''': print portrait of a teenaged QV published in Chapter 2 of Millicent Garrett Fawcett's 1895 ''Life of Her Majesty Queen Victoria'' (but possibly published in 1835 in a magazine?). QV's dress is in the off-the-shoulder romantic style with a high, Empire waist. She is wearing a 4-strand necklace, probably pearls, and large dangling earrings, with a 4-strand pearl bracelet on her right arm. She has a glove on her left hand, not elbow length but definitely longer than wrist length, and she is wearing a wire net-like headdress on the top of her head that contracted to contain and shape her hair. A very similar image was published in ''The Graphic'' on 26 January 1901 claiming that QV was 17; the image is not identical, but must have been made from the same sitting (the 1901 image is full length and her left hand is empty). The caption for the image from ''The Graphic'' — "The Queen at the Age of Seventeen" — says that it came from a painting by George Hayter.<ref>{{Cite web|url=https://viewer.library.wales/5254866#?xywh=-3550,-523,12266,7776|title=The Life of Queen Victoria ... National Library of Wales Viewer|website=viewer.library.wales|language=en|access-date=2026-03-18}}</ref> Wikimedia Commons 1895 image: https://commons.wikimedia.org/wiki/File:Life_of_Her_Majesty_Queen_Victoria_-_Victoria_Aug_10th_1835.png. 1901 ''Graphic'' image, National Library of Wales: https://viewer.library.wales/5254866#?xywh=-3550%2C-523%2C12266%2C7776. Wikimedia Commons ''Graphic'' 1901 image: https://commons.wikimedia.org/wiki/File:The_life_of_Queen_Victoria_Claremont,_where_the_Queen_spent_the_happiest_days_of_her_childhood_-_the_South_side,_the_view_from_the_ballroom_;_the_Queen_at_the_age_of_seventeen_(from_the_painting_by_Sir_George_Hayter)_(5254866).jpg. #'''1836''': print of Winterhalter portrait, QV surrounded by books, empire dress and jewelry. Very stylish and up-to-date fashion, off the shoulder, with some frou-frou, but not contrasting colors for the frou-frou. The skirt is divided into 2 parts at about the knees by a wide band of trim. This design with the divided skirt and non-contrasting frou-frou lasted her entire life (maybe with a break when Albert was alive?). She did it a lot but not exclusively, but enough for it to be characteristic. https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Princess_Victoria_in_1836.png #'''1837''': print of watercolor portrait<ref>{{Cite journal|date=2024-09-04|title=John Deffett Francis|url=https://en.wikipedia.org/w/index.php?title=John_Deffett_Francis&oldid=1244015737|journal=Wikipedia|language=en}}</ref> by John Deffett Francis of Victoria, who was not queen yet: print "to William 4th & Leopold, King of Belgium"; V is wearing a cap with a lacy edge around her face, with a wide-brimmed bonnet, trimmed with ribbon and a veil; no jewelry, dress is off the shoulder, fabric appears to be silk, with gathers, with a dark shawl trimmed with dark lace; she is holding a folding fan; dark slippers. Dash romping at her feet. Unostentatious outfit but appears to be exquisitely made with quality materials. Not loaded up with frou-frou, simply made but high-quality. National Library of Wales: https://viewer.library.wales/4674631#?xywh=-1346%2C976%2C7852%2C4710; Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Most_Gracious_Majesty_Queen_Victoria_(4674631).jpg #'''1837 Summer''', probably: print by Richard James Lane of a watercolor by Alfred Edward Chalon. Idealized portrait of QV between the accession and the coronation. The portrait has her features but is not a good likeness. The British Museum description says, "seated to left looking to right; wearing a lace collar, ruffled cape and black satin apron said to have been embroidered by herself, holding letter and handkerchief; on terrace with view of St George’s chapel, Windsor."<ref>"Her Majesty the Queen." O'Donoghue 1908-25 / Catalogue of Engraved British Portraits preserved in the Department of Prints and Drawings in the British Museum (108). Object: 1912,1012.76. https://www.britishmuseum.org/collection/object/P_1912-1012-76</ref> The bodice has huge sleeves, narrow at the wrist but puffing out over the elbows. The fabric of the dress looks like moiré. The black apron on her lap, though she may have embroidered it, seems odd, like why would the new queen wear an apron, even a decorative one? The plain hairstyle, the apron and what may be a bonnet on the tile floor to her left do not present her as regal but as simple and girly, perhaps as a contrast to the excesses of the prior courts. British Museum: https://www.britishmuseum.org/collection/object/P_1912-1012-76. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Her_Majesty_the_Queen_(BM_1912,1012.76).jpg. #'''1837 November''': portrait of QV standing in the royal box at the Drury Lane Theatre by Edmund Thomas Parris (this image is a contemporary copy of Parris's painting). Not a very strong likeness and so highly idealized that her clothing isn't readable. Also, the color may not be true; this copy may be too red. She has decorative gauntlets on her gloves, a transparent black lace shawl, the ribbon of the Order of the Garter, some tiara or diadem that could be the Fringe Tiara except that the metal is wrong, complicated lace things with dags at the turned-back cuffs. She is holding a few flowers in a bouquet holder and a lace-trimmed handkerchief; on the ledge in front of her are the program, with a bookmark, a folded fan and a folded material that might be supposed to be ermine? can't tell. https://commons.wikimedia.org/wiki/File:Queen_Victoria_at_the_theatre.jpg. This image was published in the 21 May 1887 ''Supplement to Pen and Pencil'': https://commons.wikimedia.org/wiki/File:Her_Majesty_Queen_Victoria_in_1837_(BM_1902,1011.8639).jpg. #'''1838''': etching of QV riding side saddle, caption says, "Her Majesty the Queen on Her Favourite Charger '''Thxxx'''"; published in 1840, after a painting by Ed. Curcould; etching by Fredk A. Heath; riding habit and top hat with veil, falling collar, tie may be 4-in-hand (Wikimedia Commons copy, from L. Strachey's 1921 biog: https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Queen_Victoria_in_1838.png). British Museum: https://www.britishmuseum.org/collection/image/1454391001 #'''1838''', stipple engraving of a waist-up portrait of QV by James Thomson, yet another idealized coronation portrait not drawn from life. Filet in her hair with pendant pearl at the center part, pearl earrings and necklace we've never seen before. Neck length is highly flattering. https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Majesty_the_Queen_Victoria_(4674629).jpg #'''1838''': stipple engraving of a flattering portrait of QV by Frederick Christian Lewis, probably not drawn from life. She is wearing a bonnet with a large brim over a cap with lace ruffles, the brim is covered with gathered fabric, sort of a halo effect. The off-the-shoulder style of the dress was fashionable, as are the sloped shoulders. Dark shawl over a light dress. She is wearing light gloves. National Library of Wales: https://viewer.library.wales/4674631#?xywh=2044%2C1782%2C928%2C588. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Most_Gracious_Majesty_Queen_Victoria_(4674631).jpg #'''1838''': 2 George Hayter portraits of QV, plus a painting of the coronation: ##Portrait of QV with her hand on a Bible and light shining on her upturned face, wearing the white dress worn after the peers swore allegiance and before the crown is placed on her head. The St. Edward's crown is on 2 pillows with the scepter. She is wearing an enormous elaborate robe over a sheer, lacy white dress, but the complexity of the layers and perhaps the artistic license make it impossible to really describe how the garments were constructed. The gold brocade robe with fringed edges is spectacular but does not match Worsley's description of the robe QV wore as she entered the Abbey. https://commons.wikimedia.org/wiki/File:Queen_Victoria_taking_the_Coronation_Oath_by_George_Hayter_1838.jpg ##in Wikimedia Commons called ''Queen Victoria Enthroned in the House of Lords''. It may not have been drawn from life; Hayter's painting of the wedding cannot really be seen as a historical record of what occurred, and so this may not have been what she wore at the coronation. QV seated on the lion's head chair or throne, with the St. Edward's crown on a table to her right. She is wearing the Diamond Diadem and the coronation necklace and earrings. She is wearing an ermine-lined red velvet robe tied together at the waist with a tasseled gold cord. A jeweled "collar" falls from her right shoulder to her waist and then goes back up to her left shoulder. Her dress is not the dress she wore to the coronation, white satin with gold embroidery. This one appears to be a silver and gold brocade with a deep gold fringe at the bottom. She is traditionally corseted. She has a white glove on her left hand, which rests on the other glove. The gloves are decorated with a double row of gathered lace. The heavily jeweled bodice is off the shoulder. The point of one satin slipper peeks out from under her skirt on the low footrest. Art UK: https://artuk.org/discover/artworks/queen-victoria-18191901-enthroned-in-the-house-of-lords-50933. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_Throne.png. ##''The Coronation of Queen Victoria in Westminster Abbey, 28 June 1838,'' Hayter's large painting of the coronation, completed 1840.<ref>{{Cite web|url=https://www.rct.uk/collection/405409/the-coronation-of-queen-victoria-in-westminster-abbey-28-june-1838|title=Sir George Hayter (1792-1871) - The Coronation of Queen Victoria in Westminster Abbey, 28 June 1838|website=www.rct.uk|language=en|access-date=2026-04-22}}</ref> Hayter made drawings during the coronation ceremony and then recreated Westminster Abbey as he preferred, rather than painting what the Abbey actually looked like. QV is wearing the Imperial Crown of State, but this is the moment after the coronation when the peers put on their coronets. The painting has 64 individual portraits painted in their gowns and robes by Hayter later. Royal Collection Trust: https://www.rct.uk/collection/405409/the-coronation-of-queen-victoria-in-westminster-abbey-28-june-1838; Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Coronation_of_Queen_Victoria_28_June_1838_by_Sir_George_Hayter.jpg. #'''1838''': Thomas Sully portrait of QV ##'''1838 May 15''': study for the full-length portrait by Thomas Sully, bust, bare shoulders, no clothing for analysis, but romantic and sensual, crown, possibly coronation necklace. "This oil sketch was painted '''from during''' several sittings in the spring of 1838, just before the coronation, in preparation for a full-length portrait. Victoria, who wears a diamond diadem, earrings, and necklace, is said to have considered this a nice picture.'"<ref name=":8" /> (11) Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/12702. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_MET_DT5422.jpg ##Full-length portrait, which QV sat for and which Sully finished after having returned to the US. Not sure which crown this is, neither of the coronation crowns. Very flattering of Victoria, who is in her state robe with a white dress. Metropolitan Museum of Art: https://www.metmuseum.org/art/collection/search/14826. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Thomas_Sully_in_the_Metropolitan_Museum_of_Art.jpg. ##Copy from the Sully full-length portrait of head and bust by W. Warman, though not a faithful copy, as if he was copying the painting without having it in front of him. National Portrait Gallery: https://www.npg.org.uk/collections/search/portrait/mw06507/Queen-Victoria. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_by_W._Warman_after_Thomas_Sully.jpg. #'''1838''': engraved mezzotint print from a painting by Agostino Aglio the Elder (https://www.lelandlittle.com/items/384935/antique-portrait-of-a-young-queen-victoria/), which cannot have been painted from life. QV is dressed as if for her coronation, with the St. Edward's crown and the throne in the background. The face does not look like Victoria's, the dress with its ermine hem is not a representation of any dresses we're aware of, and the robe with its transparent falling sleeves is not the official coronation robe. The mezzotint by James Scott shows detail more clearly than the painting does, which is dark. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Queen_of_the_United_Kingdom.jpg #'''1838 August 5''': engraving of QV, published in ''The News'' on this date, may not have been taken from life. She may be wearing the white satin with gold embroidery dress she wore to Westminster Abbey; the crown on her head is not the Imperial State Crown; she is wearing long earrings (which we've never seen before) and no necklace. The cape has a shorter layer on top, trimmed in bands of gold, it looks like, which we've also never seen before. Her right hand is wearing a glove, probably silk, pushed down to 3/4 length. National Library of Wales: https://viewer.library.wales/4674621#?xywh=-2124%2C-568%2C8542%2C7730. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Portrait_of_Queen_Victoria_(4674621).jpg #'''1839''': engraving of Edwin Landseer portrait of QV in a very flattering and fashionable riding habit, less masculine than some, ribbon and badge of the Order of the Garter, top hat with veil, corseted, with the jacket fitted, large sleeves to the elbow, fitted below the elbow; a peplum may be part of the jacket, can't tell; she may be riding side-saddle with the newly invented horn to stabilize the rider. It's a good likeness of Victoria. https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Majesty_the_Queen-_1839_(4672716).jpg. #1840 February 10: QV's Wedding ##QV's wedding dress on a mannequin. Royal Collection Trust, 3 photos: https://www.rct.uk/collection/71975. Mary Bettans, QV's "longest serving dressmaker," probably made this wedding dress.<ref name=":6">{{Cite web|url=https://www.rct.uk/collection/71975|title=Mary Bettans - Queen Victoria's wedding dress|website=www.rct.uk|language=en|access-date=2025-12-15}}</ref> The [https://thedreamstress.com/2011/04/queen-victorias-wedding-dress-the-one-that-started-it-all/ Dreamstress blog posting on QV's wedding dress] has clear photos of her shoes. The Royal Collection description says, in part, "Wedding dress ensemble of cream silk satin; comprising pointed boned bodice lined with silk, elbow length gathered sleeves; deep lace flounces at neck and sleeves and plain untrimmed skirt en suite, gathered into waist with unpressed pleats.<ref name=":6" /> The color of the dress is definitely not white now, but the RCT description doesn't suggest that the color has changed. The materials are "Cream silk satin with Honiton lace" and "silk (textile), satin, flowers, lace."<ref name=":6" /> The "flowers" perhaps explains the wreath of artificial orange blossoms that the mannequin is wearing; the description doesn't say whether the headdress was the one worn by QV at the wedding. ##QV's watercolor sketch of her design for the bridesmaids' dresses: "a white dress trimmed with sprays of roses on the bodice and skirt. A matching spray of roses is shown in her hair. She is wearing white gloves and holding a handkerchief in one hand."<ref>{{Cite web|url=https://www.rct.uk/collection/search#/13/collection/980021-o/design-for-queen-victorias-bridesmaids-dresses|title=Explore the Royal Collection online|website=www.rct.uk|language=en|access-date=2025-12-20}}</ref> Royal Collection Trust: https://www.rct.uk/collection/search#/13/collection/980021-o/design-for-queen-victorias-bridesmaids-dresses. #1840–1842: George Hayter's painting of the moment in the wedding when QV and Albert clasp hands ##1840 February 10 – 1842: George Hayter's wedding portrait at the moment they clasped hands (what was commissioned), sketched at the time, portraits and background filled in later, not an actual depiction of what the chapel looked like, the environment sketched in before the ceremony and the people during the ceremony, followed by people sitting for their individual portrait within the larger painting. Royal Collection Trust: https://www.rct.uk/collection/407165/the-marriage-of-queen-victoria-10-february-1840. Wikimedia Commons: https://en.wikipedia.org/wiki/The_Marriage_of_Queen_Victoria#/media/File:Sir_George_Hayter_(1792-1871)_-_The_Marriage_of_Queen_Victoria,_10_February_1840_-_RCIN_407165_-_Royal_Collection.jpg. Along with almost everybody else, both QV and Albert posed later for the portraits in the painting, QV in March 1840 in, as she says, " Bridal dress, veil, wreath & all."<ref>{{Cite web|url=https://www.rct.uk/collection/407165/the-marriage-of-queen-victoria-10-february-1840|title=Sir George Hayter (1792-1871) - The Marriage of Queen Victoria, 10 February 1840|website=www.rct.uk|language=en|access-date=2025-12-19}}</ref> ##A number of reproductions of all or part of Hayter's painting were made. Engraving after Hayter's wedding portrait: amazingly tight outfit on Albert, QV has long train with ladies holding it; QV's dress off the shoulder, very lacy: https://commons.wikimedia.org/wiki/File:Marriage_of_Queen_Victoria_MET_MM78359.jpg #'''1840 c.''': miniature of QV by Franz Winterhalter, very idealized; QV is wearing a large pendant on a gold-bead necklace with matching earrings and jeweled fillet, strands of diamonds wrapped around the coiled hair high on the back of her head. Her off-the-shoulder dress is white lace with yellow bows, very girly with an unusual amount of frou-frou. She is wearing a blue sash across her chest from left to right, perhaps the ribbon of the Order of the Garter? Something puffy and pink — perhaps a shawl? — is over the dress. https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_La_reine_Victoria.jpg #'''1840 c.''': mezzotint print of QV by T. W. Huffam, may not have been drawn from life, and not perfectly realistic. QV is wearing a cap on the back of her head and perhaps a double row of what might be pearls across the top of her head, with pearl drop earrings. Off-the-shoulders cream-colored dress with pleating around the neckline and from the waist down. Broach at the center of the neckline, ring on her left hand; possible heavy chain bracelet on her left wrist. Colorful red-and-blue patterned shawl; what may be the Ribbon of the Order of the Garter, but on the wrong shoulder (and color is too dark, but the color may not be true); probably an odd wadded-up handkerchief in her right hand, with a lacy edge. National Library of Wales: https://viewer.library.wales/4674795#?xywh=935%2C2586%2C2207%2C1324. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Portrait_of_Her_Gracious_Majesty_Queen_Victoria_(4674795).jpg #'''1840''': QV and Albert return from the wedding at St. James's Palace ##1840 February 10: engraving by S. Reynolds (after F. Lock). May not have been made from life, the dress QV is wearing does not match the descriptions of any of the dresses she wore that day. Albert is dressed more or less the way he was for the wedding. This is an image of how she was imagined by the artist or perceived by the public, not how she looked. https://commons.wikimedia.org/wiki/File:Wedding_of_Queen_Victoria_and_Prince_Albert.jpg ##F. Lock #'''1840''': not very realistic illustration of Edward Oxford's assassination attempt on QV (illustration by Ebenezer Landells; lithograph by J. R. Jobbins). We see QV in white, with a yellow bonnet and something white streaming, veil or shawl, protected by heroic male figure, Albert? or the driver? https://commons.wikimedia.org/wiki/File:Edward_Oxford_tries_to_shoot_Queen_Victoria_in_1840_by_JR_Jobbins.jpg #'''1840''': 2 versions of what looks like the same portrait of QV by John Partridge, one painting in Dublin Castle and another in the Royal Collection Trust, both apparently made by Partridge with sittings in September and October 1840.<ref name=":16">{{Cite web|url=https://www.rct.uk/collection/403022/queen-victoria-1819-1901|title=John Partridge (1790-1872) - Queen Victoria (1819-1901)|website=www.rct.uk|language=en|access-date=2026-02-27}}</ref> QV is in black formal dress with red background and objects associating her with Albert. The RCT description: "The Queen, in a black evening dress with a black and silver head-dress, wears the ribbon and star of the Garter and the Garter round her left arm. She stands with her hand resting on a letter on the table. The gilt metal inkstand set with semi-precious stones was a present from Prince Albert to the Queen on her birthday, 24 May 1840. The bracelet on her right arm is set with a miniature portrait of Prince Albert by Sir William Ross for which the Prince had sat in February and March 1840 and the locket round her neck was given to her by Prince Albert."<ref name=":16" /> QV's modest, black velvet, off-the-shoulder dress is very Romantic. The puffed sleeves have a separate, fine lace ruffle that is shorter over the front of the arm and longer in back. She is holding a large white lace handkerchief and a folding fan. ##The Royal Collection Trust painting may have been restored or conserved differently because it is lighter and the background is much brighter red. Besides the interesting black headdress with a silver fringe on two levels, attached possibly to a bun on the back of her head, she is wearing a [[Social Victorians/Terminology#Ferronnière|ferronnière]] with a large brooch-like jewel piece in the center front. This version of the painting was probably a gift to Albert for Christmas 1840.<ref name=":16" /> https://www.rct.uk/collection/403022/queen-victoria-1819-1901. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Partridge_1840.jpg. ##The painting in Dublin Castle is much darker and QV's necklace and headdress are different. In this case, she is wearing the [[Social Victorians/People/Queen Victoria#The Diamond Diadem|Diamond Diadem]] rather than the less-official ferronnière. Dublin Castle: https://dublincastle.ie/the-state-apartments/queen-victoria/. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Dublin_Castle.jpg. #'''1841''': print of drawing of QV, stylish and romantic look, braids loops around her ears, off the shoulders, corseted, wearing honors, elbow-length lace-edged sleeves, full skirts, holding folding fan and lacy handkerchief in her left hand, very stylish pointed waist: https://commons.wikimedia.org/wiki/File:Queen_victoria_by_DESMAISONS,_PIERRE_EMILIEN_-_GMII.jpg #'''1841''': watercolor miniature by George Freeman of a pretty good likeness of QV for Mrs Andrew Stevenson, the wife of the American ambassador. QV is in white evening dress, red shawl with orange trim, ribbon of the Order of the Garter, tiara on the back of her head, miniature of Albert on her right wrist, wedding ring, hair in braided loops in front of the ears, very lacy at the elbows and top of bodice but otherwise no frou-frou. Royal Collection Trust: https://www.rct.uk/collection/421456/queen-victoria-1819-1901. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Miniature_portrait_of_Queen_Victoria_(1819-1901),_1841.jpg. #'''1841 March 21''': mezzotint print of QV and Vicky as a baby (Ellen Cole made the original art, G. H. Phillips made the messotint, printmaker Henry Graves & Co.)<ref>{{Cite web|url=https://wellcomecollection.org/works/wthk5hpy|title=Queen Victoria with the infant Princess Victoria on her lap. Mezzotint by G.H. Phillips after E. Cole, 1841.|website=Wellcome Collection|language=en|access-date=2025-10-15}}</ref>, unclear what kind of dress QV is wearing, could be morning dress or even negligé, although she is wearing jewelry and a cap, appears to be wearing a corset, but the fabric of this loose and flowing dress is very likely silk, some sheer, very feminine, limp lace ruffles, unstiffened silk; could be a christening outfit?, Vicky is also wearing sheer flowing fabric, has a cap with stiffened ruffle, around the neck, unstiffened ruffle: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_the_infant_Princess_Victoria_Adelaide_Wellcome_V0048381.jpg #1842: portrait by Winterhalter of QV in her wedding dress. This pose is a recreation; the lower half of the skirt is lace covered. QV is facing left, holding a length of lace and a small bouquet of flowers. Tiara on the back of her head, pendant on a gold chain around her neck, perhaps the sapphire brooch, and rings. QV sat for the painting "in June and July 1842. The Queen wears a dress of heavy ivory satin, enhanced by a bertha and a deep flounce of lace like those on her wedding dress (see Figure 39). Her jewelry includes a diadem of sapphires and diamonds, the huge sapphire-and-diamond brooch given to her by Prince Albert on their wedding day, and the Order of the Garter insignia."<ref name=":8" /> (15) "The portrait was completed in August and set into the wall of the White Drawing Room at Windsor Castle. Winterhalter was immediately commissioned to paint at least three copies, and a number of others exist, including enamel miniatures that the Queen had made up into bracelets for her friends."<ref name=":8" /> (15) #'''1843''': portrait by Winterhalter, bust of QV, bare shoulders, hair has fallen down, simple jewelry, sensual, sexual, romantic: https://commons.wikimedia.org/wiki/File:Franz_Xaver_Winterhalter_(1805-73)_-_Queen_Victoria_(1819-1901)_-_RCIN_406010_-_Royal_Collection.jpg. #'''1843''': flattering, fashion-illustration-style portrait by Winterhalter, QV is wearing the Diamond Diadem created for George IV and standing with the Imperial State Crown near her right hand, which means it's not a coronation recreation. She is wearing the mantle of the Garter with its jeweled chain-like collar and St. George hanging from it with the Garter on her left arm. Winterhalter did a companion portrait of Albert at the same time, and they are hanging in the Garter Throne Room in Windsor Castle.<ref>{{Cite web|url=https://www.rct.uk/collection/404388/queen-victoria-1819-1901-0|title=Franz Xaver Winterhalter (1805-73) - Queen Victoria (1819-1901)|website=www.rct.uk|language=en|access-date=2026-02-06}}</ref> Queen Victoria is wearing the Turkish diamonds necklace and earrings. She has bare shoulders and arms, suggestive of court or evening dress; besides the mantle of the Garter, she is wearing a white dress with a complex overdress that is open at the waist. The skirt of the white dress has gold threads (that might be brocade) with 7 horizontal graduated rows of a soutache-like trim around the bottom 2/3. Royal Collection Trust: https://www.rct.uk/collection/404388/queen-victoria-1819-1901-0. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_1843.jpg. #'''1843''': line and stipple engraving (by Skelton and Hopwood) of a painting by Eugène Modeste Edmond Lepoittevin. QV visiting Helene, Duchesse d'Orléans at the Château d'Eu (Eu, Normandy, France). Two of the Duchesse d'Orléans' sons are with her in the portrait; she appears to be in mourning with a lot of frou-frou and touches of white. QV is wearing a stylish, romantic (off the shoulder) dress with a small white ruffle at the neck, lacy cuffs at the wrist; the sleeves are divided by 2 rows above the elbow of some kind of 3-dimensional trim; below the elbow the sleeves are fitted. The skirt is very full; her hair is simple, pulled in front of her ears into a bun in the back, with no headdress; she is wearing little or no jewelry. National Portrait Gallery: https://www.npg.org.uk/collections/search/portrait/mw145636/Visit-of-Queen-Victoria-to-the-Duchesse-DOrlans?LinkID=mp93326&role=sit&rNo=0. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Visit_of_Queen_Victoria_to_the_Duchess_of_Orleans.jpg. #'''1845''': photograph of QV and Vicky, earliest photograph of them, Description from Royal Collection Trust: "They are shown in three quarter view, facing left. The queen is wearing a dark coloured silk gown, with a white lace fichu, adorned with a brooch. The Princess Royal looks directly at the viewer and leans against her mother, nestled under her right arm. She is wearing a dark coloured silk dress, trimmed with white lace. She is wearing a pendant on a black ribbon around her neck, and is holding a doll in her arms." White v-shaped bodice front connected to the rest of the bodice. Copy from the Royal Collection Trust: https://www.rct.uk/collection/search#/-/collection/2931317-c (Wikimedia Commons copy: https://commons.wikimedia.org/wiki/File:Queen_Victoria_the_Princess_Royal_Victoria_c1844-5.png) #'''1846''': Winterhalter portrait of QV with Bertie, one of a pair of portraits by Winterhalter of QV and Prince Albert. QV is wearing an unusual, off-the-shoulder outfit, no crown but a headdress that is black lace, sheer, ruffled, attached above her ears, with a rose on the left side, no necklace but bracelets and rings and the Order of the Garter ribbon and star. The top of this dress may be a bustier rather than a bodice, resting on rather than attached to the skirt; it is boned and very smooth and comes to a deep point in front, emphasizing her small waist. The skirt may be in two layers, pink satin (to match the bustier or bodice) covered by a sheer black lace-and-tulle overskirt. Bertie is in long pants and a belted "loose Russian blouse" that falls to his knees.<ref>{{Cite web|url=https://www.rct.uk/collection/406945/queen-victoria-with-the-prince-of-wales|title=Franz Xaver Winterhalter (1805-73) - Queen Victoria with the Prince of Wales|website=www.rct.uk|language=en|access-date=2026-03-26}}</ref> The portrait was a gift to Sir Robert Peel and shows QV in evening dress and Bertie (and Prince Albert in his separate portrait) as a family in nonregal clothing, what Peel called "private society." Royal Collection Trust: https://www.rct.uk/collection/406945/queen-victoria-with-the-prince-of-wales. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_the_Prince_of_Wales.jpg. #'''1846 October – 1847 January''', sittings for Winterhalter family portrait of QV and Albert and 5 children (Vicky, Bertie, Alice, Affie, Helena as a baby). QV is wearing a very ornate white dress with a smooth bodice, with a corset beneath: a lot of lace in her lap, either a large shawl coming around from the back or the top layer of her skirt (?), which is a series of 4 lacy ruffles starting at her knees and going down; gathers over her bust, sleeves are gathered; whole dress is a lot of frou-frou, very white, feminine, soft and flowing. She is wearing an emerald and diamond diadem, part of a parure of other emerald jewelry as well as a locket around her neck. (Albert designed the diadem in 1845, made by Joseph Kitching). Painting was exhibited in 1847 in St. James's Palace and released as an engraving in 1850. Royal Collection Trust: https://www.rct.uk/collection/405413/the-royal-family-in-1846. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Franz_Xaver_Winterhalter_Family_of_Queen_Victoria.jpg. Engraving: https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Queen_Victoria,_Prince_Albert_and_the_Royal_Family.png #'''1847 February 24''': Winterhalter portrait of QV in a version of her at her wedding, wearing her wedding veil and wreath of orange blossoms in her hair and the sapphire brooch that "Albert gave her on their wedding day and the ear-rings and necklace made from the Turkish diamonds given to her by the Sultan Mahmúd II in 1838."<ref>{{Cite web|url=https://www.rct.uk/collection/search#/20/collection/400885/queen-victoria-1819-1901|title=Winterhalter Portrait of Queen Victoria, 1846|website=www.rct.uk|language=en|access-date=2025-12-31}}</ref> This portrait is dated 1847, so it is not a portrait of her at her wedding but an anniversary gift for Albert of her dressed as for her wedding. RCT: https://www.rct.uk/collection/search#/20/collection/400885/queen-victoria-1819-1901 Wikimedia: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_1847.jpg #'''1851 August 30''', line drawing of QV, Albert and Bertie visiting the opening (?) of a train station, published in the ILL. QV's clothing is approximate, but she is wearing a bonnet; we don't know if the artist drew her from life or from his expectation of what she would have looked like, stylish but not haute couture, she looks more middle class? https://commons.wikimedia.org/wiki/File:Queen_Victoria_visiting_the_GNR.jpg #'''1854''', portrait Stephen Catterson Smith the Elder. QV in Order of St. Patrick, wearing crown, next to throne; white or cream-colored dress, which looks unironed? horizontal section of the skirt??, off the shoulder, lacy ruffles on top, not much frou-frou, not a cage. Bracelet on her right arm of Albert?, coronation necklace? Standing by the chair with lion's head on the armrest. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_the_sash_of_the_Order_of_St_Patrick,_1854.png ##'''1854''', engraving that is a copy of the Smith portrait. Royal Trust: https://www.nationaltrustcollections.org.uk/object/565054. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_victoria_indian_circlet.jpg. '''Indian circlet'''? #'''1854''', photograph of QV, Albert, Duchess of Kent and 7 children, boys in kilts, women in what looks like cages, but probably petticoats: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_her_family.jpg #'''1854''', photograph by Roger Fenton, QV seated, facing our right, holding a portrait of Albert, light very lacy dress, cap on the back of her head, can't see much detail of the dress: https://commons.wikimedia.org/wiki/File:Queen_Victoria_1854.jpg #'''1854 May 11''': Roger Fenton photographs from a session showing either QV and Albert in court dress or one of the recreations of their wedding: ##QV standing, looking to her left, wearing a very floral, lacy light-colored dress that has been called her wedding dress, but the Royal Collection Trust says it's a court dress with a train.<ref>"Queen Victoria in court dress 1854.jpg." ''Wikimedia Commons''. https://commons.wikimedia.org/wiki/File:Queen_Victoria_in_court_dress_1854.jpg (retrieved March 2026).</ref> She is wearing the ribbon of the Order of the Garter, a cap perched on top of her head above a wreath or crown of flowers, veil, romantic off-the-shoulder neckline with short puffy sleeves, something fluffy and translucent on the front of her dress (like an apron?), a white glove on her left hand, a bouquet of flowers, and it looks like actual flowers attached to the dress itself. More frou-frou than we've seen on her. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_in_court_dress_1854.jpg. ##Low-resolution photo of QV and Albert facing each other, bouquet on plinth, expensive long lace veil, shawl or big white lace collar?, dress has a lot of frou-frou (including flowers) and texture to break up the solid whiteness: https://commons.wikimedia.org/wiki/File:Queen_victoria_and_Prince_Albert.jpg #'''1854 May 22''': Roger Fenton photograph of QV, Albert and 7 children, one in a wagon, at Buckingham Palace. Albert is wearing a top hat although they seem to be indoors. QV wearing a bonnet tied under her chin with a big bow, a plaid skirt, thigh-length jacket. https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Prince_Albert_%26_royal_children_at_Buckingham_Palace,_1854.jpg #'''1854 June 30''', photograph by Roger Fenton, QV profile facing our left; very light-colored dress, embroidered (or stamped??) floral pattern on skirt, bodice and sleeves with additional 3-dimensional trim, and apron?, with a wide sash, translucent maybe linen fabric with very fine lace at the edge, very girly; at least one gathered flounce; brimless bonnet on the back of her head, lacy, ribbon, flowers?: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Roger_Fenton.jpg #'''1855''', Winterhalter portrait: petticoats, lace and satin, a tiara, on the back of her head around the bun, not a symbol of of sovereignty, instead a beautiful decorative piece of jewelry that probably matched her eyes: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Franz_Xaver_Winterhalter.jpg. Rosie Harte says she is wearing the Sapphire Tiara designed for QV as a wedding present by Albert. #'''1855 March 10''': Illustrated London News wood engraving showing QV and her entourage visiting wounded soldiers in a hospital. It shows how QV was perceived, not so much what she actually wore. She's shown wearing a bonnet, a thigh-length jacket; her tiered skirt has 3 large ruffles that we can see, dividing it horizontally. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_her_entourage_visiting_invalided_soldier_Wellcome_V0015776.jpg #'''1855 April 19''', James Roberts painting of QV, Napoleon III, Eugénie and Albert at Covent Garden, from the perspective of the stage, or at least behind the orchestra. They are dressed formally; QV's white, off the shoulder young-person image, big jewelry; Eugénie looks like she's wearing a cage. Royal Collection Trust: https://www.rct.uk/collection/search#/46/collection/920055/the-queen-visiting-covent-garden-with-the-emperor-and-empress-of-the-french-19. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Napoleon_III_at_the_Royal_Opera_House_19_April_1855.jpg #'''1856 May 10''', oval half-length portrait of QV by Winterhalter, finished after sittings on 2, 3, 5, 6 and 8 May.<ref name=":17" /> QV, who thought the portrait was "very like," is wearing a distinctive off-the-shoulder red velvet dress with burnt-velvet (?) ruffle, the Koh-i-nûr diamond set in a brooch, a necklace with large diamonds (the Coronation necklace? '''Queen Adelaide's necklace'''?) and the ribbon of the Order of the Garter. She is wearing a corset under the dress (the bodice is so smooth and it comes to a point below the waist), with lace at the décolletage and shoulder and possibly a shawl that matches the ruffle. '''The crown is not the Diamond State Diadem but another crown'''. Royal Collection Trust: https://www.rct.uk/collection/406698/queen-victoria-1819-1901. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Franz_Xaver_Winterhalter_Queen_Victoria.jpg. #'''1856 December 16''' (lithograph made in 1859), color lithograph of a William Simpson painting showing QV on board a ship being returned to the Brits by Americans. Full-length, winter dress with fur muff, bonnet, matching fur-trimmed coat over dark rich purple and green dress. Albert and some of their children are with her. Library of Congress: https://loc.gov/pictures/resource/pga.03087/. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:William_Simpson_-_George_Zobel_-_England_and_America._The_visit_of_her_majesty_Queen_Victoria_to_the_Arctic_ship_Resolute_-_December_16th,_1856.jpg #'''1857''': photo of QV and Vicky, Princess Royal, in dark dresses but not mourning, QV has very voluminous ruffled skirt, probably not a cage, wearing a cap: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_her_daughter_Victoria,_Princess_Royal.jpg #'''1857''': large painting by George Housman Thomas of QV distributing the first Victoria Crosses in Hyde Park, 26 June 1857, shows large military display in a large field, QV giving out VCs to a long line of soldiers. Related to the 1859 Thomas painting, as QV is wearing another scarlet military jacket, waist is cinched, etc. (see the 1859 painting). If the awarding of the VCs occurred in 1857, this painting would have been later? https://commons.wikimedia.org/wiki/File:Queen_Victoria_presenting_VC_in_Hyde_Park_on_26_June_1857.jpg #'''1858 Summer – 14 December 1861, between''', photograph by Southwell, "photographist to the Queen," of QV wearing a light-colored plaid skirt over a cage and a large dark shawl, reading a piece of paper. (We dated this image between the time she first wore a cage and when Albert died.) She has a cap with a gathered edge under her light-colored bonnet, which has a wide band tied in a bow under her chin with long streamers that hang past her waist. The photograph has been damaged, so patterns on the fabric are impossible to see. https://commons.wikimedia.org/wiki/File:England_Queen_Victoria.JPG #'''1859''': Winterhalter portrait, 2 crowns, the one behind her is the [[Social Victorians/People/Queen Victoria#Imperial State Crown|Imperial State Crown]], "coronation necklace and earrings?," a vast quantity of ermine, diamonds and gold, parliament in the distance. ArtUK: https://artuk.org/discover/artworks/queen-victoria-18191901-187983. Wikimedia: https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Winterhalter_1859.jpg, on Wikipedia page for "Victorian Era": https://en.wikipedia.org/wiki/Victorian_era. The off-the-shoulder look she wore when she was young, short sleeves, gold lace ruffles on the skirt. Another example of elaborate but not crowded frou-frou. Georg Koberwein made a copy of this painting in 1862. #'''1859 June''': group photograph that includes QV, Albert, Bertie and Princess Alice (who is wearing a cage) as well as Prince Philippe, Count of Flanders; Infante Luís, Duke of Porto, later King Luís I of Portugal; and King Leopold I of Belgium. Photograph attributed to Dudley FitzGerald-de Ros, 23rd Baron de Ros. QV is seated, facing her right, wearing a cape (can't tell if it has wide sleeves), a feathered hat that ties under her chin with a wide ribbon down the back, a 3-flounce skirt with dark stripes, wider at the bottom, probably over a cage, the 2 top flounces have gathered lace edging; white lace in her lap and over her right shoulder; holding an umbrella. Royal Collection Trust: https://albert.rct.uk/collections/photographs-collection/childrens-albums/group-portrait-with-prince-albert-leopold-i-and-queen-victoria-0?_ga=2.71530067.1155757026.1769614443-1044324474.1768234449. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Group_photograph_of_Queen_Victoria,_Prince_Albert,_Albert_Edward,_Prince_of_Wales,_Count_of_Flanders,_Princess_Alice,_Duke_of_Oporto,_and_King_Leopold_I_of_the_Belgians,_1859.jpg. #'''1859 July 9''': 1859–1864 painting by George Housman Thomas of QV, Albert and attendants on horses at Aldershot, QV in military-style, with red jacket with trim at the cuffs collar (though technically the jacket is collarless), wearing sash, honors, white blouse with back necktie, white sleeves gathered at the wrist, sitting side saddle, hat with wide brim, low crown, feminized version of the helmet the men are wearing, complete with red and white feathers. Royal Collection Trust says she is wearing a "scarlet military riding jacket with a General's sash and a General's plume in her riding hat" link: https://www.rct.uk/collection/405295/queen-victoria-and-the-prince-consort-at-aldershot-9-july-1859. Wikimedia link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_the_Prince_Consort_at_Aldershot,_9_July_1859.jpg #'''1860 May 15''': full-length photograph of QV by John Jabez Edwin Paisley Mayall. Dark dress, white ruffled cap and collar, ornate patchworky shawl with fringe and lace. https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_JJE_Mayall,_1860.png #'''Circa 1861''', photograph of QV, Albert and 9 children by John Jabez Edwin Mayall. Another portrait where Albert is really the center. The women and girls appear to be wearing hoops.https://commons.wikimedia.org/wiki/File:Prince_Albert_of_Saxe-Coburg-Gotha,_Queen_Victoria_and_their_children_by_John_Jabez_Edwin_Mayall_(n%C3%A9e_Jabez_Meal).jpg #'''1861''', full-length photograph of QV by C. Clifford of Madrid; QV is standing mostly profile facing her right, with her head turned slightly to us; state occasion, formal dress with crown and jewelry; short sleeves with light-colored, ornate trim above the elbows; the neckline is at the corner of the shoulder with lace inside, making it be less off-the-shoulder than it looks; cage under the full skirt, train attached at the waist, in the front the train is cut away, towards the back; very clearly a silk, shiny fabric that reflected a lot of light; color is unknown; which crown is this? Wellcome Collection: https://wellcomecollection.org/works/ppgcfuck/images?id=zbrn4cjm; Wiki Commons: https://commons.wikimedia.org/wiki/File:HM_Queen_Victoria._Photograph_by_C._Clifford_of_Madrid,_1861_Wellcome_V0027547.jpg #'''1861 March 1''', looks like a session with photographer John Jabez Edwin Paisley Mayall and QV, from while Albert was still alive, dark but not mourning dress, with what may be a large [[Social Victorians/Terminology#Moiré|moiré]] pattern in the fabric. Lots of frou-frou. 2 images from this session: ##Full-length photograph of QV by Mayall. Shiny dark satiny fabric, cage, large white-lace shawl, white collar, white cap on the back of her head, book in front of her on plinth: https://commons.wikimedia.org/wiki/File:Queen_Victoria.jpg ##Full-length photograph of QV by Mayall. Shiny dark satiny dress fabric, cage but not the half-sphere, skirt is fuller than the cage, defined waist, more fullness in back, same white collar and cap, sleeve of jacket gets wider at the wrist, showing how full the lacy/ruffly sleeve of the blouse is, large black lace shawl. Wellcome Collection: https://wellcomecollection.org/works/yuuj2gdr/images?id=fpxwnbzg. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:HM_Queen_Victoria,_Empress_of_India._Photograph._Wellcome_V0028492.jpg #'''Circa 1862''', photo of QV seated with Prince Leopold standing next to her, QV is wearing a heavy cloak with a hood, which is up and covering what she's wearing on her head, which has a white and what may be a ruffled edge. The cloak has a wide band of what might be brocade stitched to the bottom of the cloak; the fabric of the cloak and hood and the skirt beneath may have a nap; she is not wearing a cage. Leopold is wearing short pants and gloves and carries a walking stick; his face may show bruises (or the photo is damaged): (Royal Trust link: https://www.rct.uk/collection/2900563/queen-victoria-and-prince-leopold; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Leopold_of_Albany.jpg). #'''1862''', drawing from a newspaper showing QV and Beatrice of how she was perceived, not how she was: highly idealized image of mother and child, clothing not presented realistically, QV's dress is plain and her identity is that of the loving mother. https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Princess_Beatrice_as_baby.jpg #'''1863''', photograph of QV seated, skirt is full, though she's not wearing hoops; white on head, collar and at wrists. She may not be wearing a corset (per Worsley), but the top is boned. ##QV is facing our left, 3/4. The top part of her skirt and her sleeves are made of a fabric perhaps with a satin weave, though the bottom half of her skirt is still matte. https://commons.wikimedia.org/wiki/File:Queen_Victoria_-_Queen_Victoria_in_1863.png. ##Same session, another pose, body still 3/4, but now she is facing the camera. The edges of the matte sections of her skirt and jacket are trimmed with rows of tiny ball fringe, oddly unobtrusive, especially from a distance. She is wearing a white blouse with puffed sleeves under the jacket. George Eastman Collection: https://www.flickr.com/photos/george_eastman_house/3333247605/. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_(3333247605).jpg. #'''1863''', QV on horse with John Brown holding the bridle ##'''1863''', unattributed photograph of QV at Osborne seated on a horse, with Princess Louise and John Brown nearby. QV is seated side-saddle, has a cap with a hood over it; cap has white ruffled edge; white ruffles at her wrists. Louise is handing QV her whip? and wearing a cage; her skirt is short, ankle-length, several inches above the ground; she wears a thigh-length full jacket. Brown's back is to us, he wears a kilt. https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Princess_Louise_and_John_Brown.jpg ##'''1863''', carte-de-visite photograph by George Washington Wilson, QV on Fyvie side-saddle; wearing a cap with a hood over it, cap has white ruffled edge; dark gloves; wide sleeves on the jacket. The black riding habit has a simple surface with little decoration.https://commons.wikimedia.org/wiki/File:Queen_Victoria,_photographed_by_George_Washington_Wilson_(1863).jpg; https://commons.wikimedia.org/wiki/File:Queen_Victoria_on_%27Fyvie%27_with_John_Brown_at_Balmoral.jpg #'''1864''', QV seated, holding the future Kaiser Wilhelm (Vicky's eldest), her 1st grandchild ##Willie looking at us, QV right arm around his shoulder, an early version of what became her uniform dress, this one is a winter outfit, and she's bundled up, wearing a white ruffled cap, black bonnet and veil, which may be tied under her chin; gloves; a thigh-length loose jacket with wide sleeves, a deep band of a different fabric for the bottom of her skirt; she may be wearing a brocade vest under the jacket that is not snug against her torso; it looks like she's wearing a corset (the edge near the top button of her vest). https://commons.wikimedia.org/wiki/File:Queen_Victoria_holding_her_eldest_grandchild_Willy.png ##Willie facing QV, very clear view of her bonnet with scarfy veil; jacket is thigh-length, sleeves widening toward the cuff, may be a blouse underneath, also with full, loose sleeves, edged in white; top part of the full skirt is shiny, deep band of fabric at the bottom is wooly looking, narrow trim between the two parts of the skirt, could be petticoats under the skirt.https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_her_eldest_grandchild_Willy.png #'''1865–1867''': Edwin Landseer painting of QV on horseback at Osborne, reading letters and dispatches, with John Brown, dressed formally in a kilt, holding the horse's head. (Aquatint print made in c. 1870 https://commons.wikimedia.org/wiki/File:Portrait_of_Queen_Victoria_and_John_Brown_at_Osborne_House_(4674627).jpg<nowiki/>.) See "1867 Spring" in the [[Social Victorians/People/Queen Victoria#Timeline|Timeline]] for a discussion of the painting itself. Princesses Louise and Helena are seated on a park bench in the background. QV is wearing a bonnet tied under her chin with a large bow and a short hood-like veil. This does not look like a fitted riding habit, although the skirt is a riding skirt. The jacket is shorter than her usual thigh-length and has full sleeves that widen toward the wrist. The fitted cuffs of the sleeves of her white blouse extend beyond the jacket sleeve. She has white at her cuffs and on the cap under her bonnet. Except for a ring on her left hand, no jewelry shows. Royal Collection Trust: https://www.rct.uk/collection/403580/queen-victoria-at-osborne. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Sir_Edwin_Landseer_(1803-73)_-_Queen_Victoria_at_Osborne_-_RCIN_403580_-_Royal_Collection.jpg #'''1867''': QV seated with Empress Victoria, both in mourning, but not full mourning, wearing a cage, some frou-frou, probably a cap on her head, because there's no brim, with a short dark veil over it. QV is wearing a [[Social Victorians/Terminology#Paletot|paletot]] with an overskirt with the same fabric and matching trim; the sleeves are not fitted but also not as wide at the wrists as some of her paletots. The bottom of the underskirt has a pleated ruffle. QV has quite a bit of light-colored fabric at her neck that falls down the front of her bodice, although she is not wearing the white shawl. The photograph was overexposed, so we have clarity in the black but the detail for the white parts is obliterated. https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Empress_Victoria_Augusta.jpg #'''1867''', photograph of QV seated, with her back towards us, and the Queen of Prussia (or the Empress Augusta of Germany?), both in mourning, with light-colored umbrella: https://commons.wikimedia.org/wiki/File:The_Queen_of_England_and_The_Queen_of_Prussia.jpg. Darker image: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Empress_Augusta.jpg #'''1867''', stylized drawing/painting by Takahashi Yūkei, doctor of the Japanese Embassy to Europe in 1862, so may have been drawn from life; black dress may have faded to this purple, honors sash draping is not understandable but it is beautiful; military (?) style hat with aigrette: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Japanese_doctor_Takahashi_Y%C5%ABkei_1862.png #'''1867''', photograph of QV with border collie Sharp, outdoors, on rugs?. QV is wearing a bonnet with a veil-like scarf that ties under her chin with streamers down the front; the full, thigh-length jacket has long, full sleeves, and the jacket has no trim on it, apparently, at all. The skirt is held out smoothly by a cage, made in 2 fabrics, one satiny and the other wool or something not shiny, with 3-dimensional trim with faceted jet (?) in 3 rows. Shiny black leather gloves, with white ruffled cuffs. She looks heavier-set than she was, perhaps our sense that she was always big comes because she wasn't trying to look thin? https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_her_dog_%22Sharp%22.jpg #'''1868''', photograph of QV and John Brown by W. & D. Downey. QV is wearing a riding habit and a hat tied under the chin, perhaps with a small plume, the jacket has some decoration. https://commons.wikimedia.org/wiki/File:Queen_Victoria_mounted_and_John_Brown_by_W._and_D._Downey.png #'''1869–1879''', QV was in her 60s: "At state occasions in her sixties, Victoria appeared in a black dress, black velvet train, pearls and a small diamond crown."<ref name=":5" /> (480 of 786) #'''c. 1870''', photograph by Andre-Adolphe-Eugene Disderi (probably not retouched) with QV seated, facing her left, 3/4 profile: that white cap pointed towards the forehead, covering the center part nearly completely, white flat-band collar, whites ruffles at cuffs, heavily trimmed black jacket with short peplum, including ball fringe and braid; the plain-from-a-distance, rich-up-close look: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_c.1870._(7936242480).jpg #'''1871 September 10''', photograph of QV standing, almost full length, facing our right, with head turned our way, some books on the small table in front of her. The usual dark dress with white blouse with knife pleats and a cap covered with double ruffled lace and with veil down the back; heavy voluminous black shawl, looks like it's wool; it's probably a dress not a suit, with different textures, which are subtle Up close, the black ball-fringe (or bead fringe?) trim is 3-dimensional and different fabrics add another dimension. Skirt has wide band at the bottom, with ball fringe at the top. Wellcome Institute: https://wellcomecollection.org/works/x4hug3jt; Wiki Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria._Photograph._Wellcome_V0018085.jpg. #'''1874–?''': photograph of QV and Princess Beatrice ice skating on a lake at Eastwell Park, home of Prince Alfred (who got the property in 1874). Can't tell, but QV might be in the sledge chair and Beatrice in the center standing on skates. That woman standing on skates in the center is wearing a cage, which holds her dress out and above the ground. 1874 is late for cages, but the British court was not fashion forward: https://commons.wikimedia.org/wiki/File:Queen_Victoria_skating_-_Eastwell_Park.jpg #'''1875''': watercolor copy by Lady Julia Abercromby made in 1883 of an oil painting by Heinrich von Angeli showing QV before adopting the title Empress of India. This is a good example of a slightly formal version of her uniform. She is wearing the usual white cap and veil, clearly lace gathered into double ruffles; square-neck black bodice, sleeves are very wide at the wrists, black with complicated decorative angles layered over white, ruffly. The skirt has a horizontal division with satiny ribbon and wide ruffle (maybe pleated?) and then a border at the bottom that may be brocade; there is a train. Lots of jewelry, including double strand necklace of very large pearls, ribbon and badge of the Order of the Garter and the badge of the Order of Victoria and Albert, pearl brooch, bracelets and rings, holding a large white handkerchief. NPG: https://www.npg.org.uk/collections/search/portrait/mw06517. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Julia_Abercromby.jpg. #'''1876 May 1''': QV is declared Empress of India. Lytton Strachey says, "On the day of the Delhi Proclamation, the new Earl of Beaconsfield went to Windsor to dine with the new Empress of India. That night the Faery, usually so homely in her attire, appeared in a glittering panoply of enormous uncut jewels, which had been presented to her by the reigning Princes of her Raj."<ref name=":0" /> (414 of 555) #'''1877 May''': photograph of QV, Princess Beatrice and the Duchess of Edinburgh (probably Maria Alexandrovna Romanova, Affie's wife) by Charles Bergamasco. Impossible to tell how the dress is layered, but it has a lot of frou-frou, but not a lot of lace except for the shawl and the cuffs of her blouse. QV's dress might have 2 different fabrics, like the Duchess's dress; it may have a jacket or vest or both. Her bodice looks like it is boned (assuming she's not wearing a corset). The frou-frou on the skirt are controlled pleated ruffles with tassels, which are more controlled than fringe. Visually very complex outfit, but from a distance, all that complexity would disappear. It would look textured, depending on the distance, at most. All 3 women have high-contrast lapels; 2 fabrics, matte and shiny; big buttons down the front; the 2 younger women have a row of ruffled lace at the neck; all wearing dark fabric, perhaps black. https://commons.wikimedia.org/wiki/File:Queen_Victoria,_The_Duchess_of_Edinburg_and_Prince_Beatrice.jpg #'''1879''', painting by Tito Conti of QV and Vicky at "Napoleon's boudoir"; Vicky is in mourning, having lost an 11-year-old child in March 1879; the two women are dressed in v different styles: Vicky is stylish, interest at the back of her dress, long train, narrow skirt, haute couture; QV is in her uniform, a hat? perched high on her head, a light-colored fichu? at her neck, black shawl; shorter train and fuller skirt, the shawl hiding how fitted the dress is. The point is the contrast between the 2 styles. https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_her_eldest_daughter_Vicky,_German_Crown_Princess.jpg. #'''1879 February''', QV seated with Hesse family (Alice's family, two months after her death and that of Marie, the youngest), everyone in full mourning. QV is wearing her "uniform" but no white anywhere; black cap with streamers? with what might be feathers down the back; heavy wool fringed shawl; jacket is lined and warm, possibly padded, may be long (thigh-length?); she may be wearing a corset or boning in her bodice here bc of the way the bodice drapes (there's an edge?); full skirt with deep tucked bands at the bottom: https://commons.wikimedia.org/wiki/File:Queen_Victoria_Ludwig_IV_240-011.jpg. Darker image from what looks like the same sitting by William & Daniel (W. & D.) Downey, without the father: https://commons.wikimedia.org/wiki/File:The_Hessian_children_with_their_grandmother,_Queen_Victoria.jpg #'''1881''': Cabinet photograph by Arthur J. Melhuish of QV and Princess Beatrice, neither is in full mourning. QV is smiling and wearing her white widow's cap, at least 2 necklaces and perhaps one brooch, a black lace shawl. Beatrice is holding an umbrella over their heads.https://commons.wikimedia.org/wiki/File:Victoria_and_Princess_Beatrice.jpg #'''1881 September 3''': woodcut engraving from the ''Illustrated London News'' of QV visiting the new Royal Infirmary, Edinburgh. Clear impression of QV's "uniform," black dress with thigh-length jacket, edged with fur or velvet; skirt is divided horizontally with zigzag trim about knee level and a ruffle at the hem of the skirt. Unusual pillbox-like hat tied under her chin, trimmed with something light colored. Wellcome Collection: https://wellcomecollection.org/works/ev7tepmd/images?id=h8aq62mn. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_visiting_the_Royal_Infirmary_Edinburgh._Wellcome_L0000896.jpg #'''1882 April 27''': 3 photographs of QV dressed for the wedding of the Duke and Duchess of Albany, probably from one session with Alexander Bassano. These photographs look like they have been retouched to smooth QV's skin and remove a double chin. The black satin-weave dress is complex, but cut as her "uniform" usually was. What makes this outfit different is how much white lace covers the skirt and train as well as how big a piece of lace the veil is and the unusual-for-QV berthe. Under the black jacket sleeve are two white (may or may not be a separate blouse, can't tell). QV is wearing her classic thigh-length jacket with 3/4-length sleeves, buttoned down the front, smoothly fitted to her shape but not tight fitting; she seems to be wearing a white lacy top under everything, a bodice that buttons and looks like it has a rows of fleur-de-lys diamonds operating somewhat like a stomacher comes down below her waist; over the bodice is a thigh-length jacket with thick fluffy fringe (chenille?) trimming the sleeves and bottom of the jacket and down the front on both sides. Those distinctive black jacket sleeves are cut very full at the bottom edge; they are short under her arm and have a long point below her elbow on the outside of her arm. The train is visible in 2 of the photographs and pulled around to QV's left, over some of the skirt. The skirt and train have a narrow box-pleated ruffle at the bottom. The full skirt and train are covered by a lace overskirt. QV is not wearing her wedding veil, but the veil looks like Honiton lace, as do the trim on the bodice, sleeves and skirt. The wide light-colored or white lace [[Social Victorians/Terminology#Berthe|berthe]] is slightly gathered and stitched to the neck of the bodice. A lacy white edge shows under the black jacket sleeve (may or may not be a separate blouse, can't tell), plus another white layer under that lacy sleeve edge. What looks like a chemise shows at the neckline; a row of diamonds separates the berthe from the chemise. She is holding a lacy handkerchief and a folding fan. She is wearing the Small Diamond Crown on top of the veil and a lot of diamond jewelry, including the Koh-I-Nor diamond as a brooch, the Coronation necklace and earrings, two wide diamond bracelets and rings as well as Family Honors and the ribbon of the Order of the Garter. ##'''1882''' Bassano photograph, official state portrait, reused in 1887 for Golden Jubilee as a postcard; close-up cropped bust. https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Bassano_(3x4_close_cropped).jpg. Wikipedia page #1 (https://en.wikipedia.org/wiki/Queen_Victoria): https://commons.wikimedia.org/wiki/File:1887_postcard_of_Queen_Victoria.jpg. Different pose, same sitting, worse resolution: https://commons.wikimedia.org/wiki/File:Queen_Victoria_bw.jpg. ##'''1882''' Bassano photograph, same sitting, different pose, best image for analysis because it shows her whole body. This is not the lion-head chair, but we can see a lot of this throne-like chair. Royal Collection Trust: https://www.rct.uk/collection/search#/-/collection/2105818/portrait-photograph-of-queen-victoria-1819-1901-dressed-for-the-wedding-of-the; National Portrait Gallery cabinet card: https://www.npg.org.uk/collections/search/portrait/mw119710; Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_1887.jpg. ##'''1882 April 27''', photograph of QV and page Arthur Ponsonby, same dress as 1882, she is standing next to Ponsonby, who is holding some article of dress that seems to have more diamond fleurs-de-lys, perhaps to match the bodice. Royal Trust Collection: https://www.rct.uk/collection/2105757/queen-victoria-and-her-page-arthur-ponsonby; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_her_page,_Arthur_Ponsonby.jpg. #'''1882 May''', Bassanno photograph of QV, same session, the first photograph (from a [[Social Victorians/Victorian Things#Cabinet Card|cabinet card]]) is a great deal easier to read because, even though the white is overexposed, the patterns in the black fabrics and fabric treatments are unusually easy to see, although the layers are still impossible to distinguish. ##QV is sitting on a chair and Princess Beatrice is sitting perhaps on the arm of the chair to QV's left. QV is wearing that fuzzy white widow's cap with veil edged with gathered tulle. The 3 main areas of white — the cap, neckline and the fan and cuffs — are so overexposed that the detail is obliterated. QV is wearing a ribbon necklace with a pendant that might be a cameo, painted portrait or a locket, a brooch on the center front of the neckline, small earrings (likely diamonds) and at least one bracelet and ring. She is holding a partially unfolded fan, and the front of the bodice shows either something like a pocket-watch chain attached to the 3rd button from the bottom, perhaps, or a flaw in the surface of the photograph. She is wearing a very large lace shawl over her shoulders and lap. The bodice/jacket garment buttons down the center, has QV's usual wide sleeves and may be built using a princess line. This garment is similar at the neckline and bottom of the sleeves and the overdress or jacket — it is trimmed with 2 rows of tightly pleated ruffles edged with an elaborate, 3-dimensional design that includes braid with reflective bits, perhaps jet, and gathered ruffles. Princess Beatrice is wearing a restrained, less-decorated style, with a narrow, pleated skirt, made of a moiré silk whose pattern provides visual interest (without the frou-frou associated with haute couture) and tight, tailored, princess-line jacket trimmed with the moiré silk. The jacket includes the unpatterned draped fabric that is pulled toward the back for a bustle. National Portrait Gallery: [https://www.npg.org.uk/collections/search/portrait/mw123930/Queen-Victoria-Princess-Beatrice-of-Battenberg#:~:text=The%20series%20gets%20its%20name%20from%20a,home%20match%20to%20Australia%20at%20the%20Oval. https://www.npg.org.uk/collections/search/portrait/mw123930/Queen-Victoria-Princess-Beatrice-of-Battenberg#:~:text=The%20series%20gets%20its%20name%20from%20a,home%20match%20to%20Australia%20at%20the%20Oval.] Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Victoria_Beatrice_Bassano.jpg. ##QV is holding granddaughter Margaret, Crown Princess of Sweden, eldest daughter of Prince Arthur (QV's 3rd son) and great-granddaughter Princess Louise Margaret of Prussia, who was born 15 January 1882.<ref>{{Cite journal|date=2025-12-26|title=Princess Margaret of Connaught|url=https://en.wikipedia.org/w/index.php?title=Princess_Margaret_of_Connaught&oldid=1329585710|journal=Wikipedia|language=en}}</ref> QV does not appear to be wearing a corset, buttoned bodice is not tight, dark shawl, that fuzzy white cap with veil/streamers, maybe ruffled lace. Black ribbon around her neck, white at collar and cuffs, wide sleeves on the jacket. https://commons.wikimedia.org/wiki/File:Bassano_Victoria_and_Margaret.jpg #'''1883''': W. &. D. Downey photograph of QV seated with baby great-grandson William (Vicky's grandson, Kaiser Wilhelm's son) on her knees. The usual black dress, with 3-dimensional, almost geometric trim, ruffled but not lacy. A very dramatic shawl with cording in 3 parallel lines at the edges, looks like the same fabric as dress. QV's face is kind looking at the baby. Black hat with white cap beneath it, shaped like the white one she often wore. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_her_great-grandson_Prince_William.jpg #'''1884 May 2''', QV, Vicky, her daughter Charlotte and her daughter Princess Feodore of Saxe-Meiningen, 4 generations. QV not wearing bustle, the usual black on black for trim, black jacket, black shawl, black cap with black hangy-downy thing down the back: https://commons.wikimedia.org/wiki/File:VICTORIA_Queen_of_England_by_Carl_Backofen_of_Darmstadt.jpg #'''1885 or so''': portrait published in the 1901 biography of QV by John, Duke of Argyll, probably from a photograph. That odd cap we've seen before with a point down to her hairline in front, this version with trimmed lappets (?) down the front: it's impossible to tell the layers, how things are attached and what the trim on this cap is made of, feathers or ruffles. White collar on bodice, white cuffs, black lace shawl around her shoulders, jacket or coat over a blouse; the frou-frou is the same color as what it trims, making it visually recede, but up close ppl would have been able to see how sophisticated and finely made it was: https://commons.wikimedia.org/wiki/File:V._R._I._-_Queen_Victoria,_her_life_and_empire_(1901)_(14766746965).jpg #1885: screen print bust from book ''Daughters of Genius'' by James Parson, showing unusually realistic face and detailed trim on the black; the usual white cap and a collar, locket on ribbon around her neck, small earrings. https://commons.wikimedia.org/wiki/File:Daughters_of_Genius_-_Queen_Victoria.png #'''1885 May 16''', reproduction of a wood engraving showing QV visiting a soldier wounded in Sudan. Flattering drawing of QV, dress looks plain, unprepossessing, unostentatious Wellcome Collection: https://wellcomecollection.org/works/nhhej66v. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_visiting_a_wounded_soldier._Reproduction_of_a_Wellcome_V0015340.jpg #'''1886''', Bassano photograph of QV, full-length, seated, holding the infant Alexander, Marquess of Carisbrooke, Beatrice's son. QV's uniform, ornate square-neck black dress, white blouse with ironed pleats shows at the neck; ruffles and 3-dimensional trim with jet beads on both sides of the front, with trim at the bottom as well, black ironed pleats; black lace shawl, white frothy cap that we've seen many times, with white veil. Royal Trust Collection link: https://www.rct.uk/collection/2507501/queen-victoria-with-alexander-marquess-of-carisbrooke-as-a-baby; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Alexander,_Marquess_of_Carisbrooke.jpg. Elements of the Victorian frou-frou without looking over-trimmed or crowded. #'''1888''', trading card from American tobacco company advertising cigarettes, QV in colorized image, white headdress with small crown; wearing Order of the Garter (?) sash and family honors, Link to MET collection: https://www.metmuseum.org/art/collection/search/711888; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_of_England,_from_the_Rulers,_Flags,_and_Coats_of_Arms_series_(N126-1)_issued_by_W._Duke,_Sons_%26_Co._MET_DPB873774.jpg #'''1889''', photographs by Byrne & Co. from apparently the same session of QV and Vicky, both in mourning dress because Frederick III had died June 1888, but not full mourning. QV seated in the lion's-head chair and Vicky on her right. QV is wearing a black and frothy widow's cap that is made of '''something''' transparent, tightly gathered, that comes to a point over her forehead and that she wears on the back of her head. She has a black lace shawl over her shoulder, ornate under-bodice (with lots of jet?) with lacy sleeves and a lacy ruffle at the bottom, the under bodice longer than the outer bodice (or jacket) and outside the skirt, not tucked in; the outer bodice (or jacket) is tailored but not tightly fitted to the body or restrictive, skirt is not fussy; very fashionable suit, but the silhouette is not high fashion. Vicky's widow's cap has an obvious point halfway down her forehead, seems to be made of velvet with something piled on top. She also is wearing a transparent black veil, which may have 2 layers. ##Vicky standing, hand on back of lion’s head chair, QV turned a little to her right, looking up at Vicky: https://commons.wikimedia.org/wiki/File:Empress_Frederick_with_her_mother_Queen_Victoria.jpg ##Vicky with hand on chair, slightly different angle, QV’s face more visible, facing our left. Royal Collection: https://www.rct.uk/collection/2904703/victoria-empress-frederick-of-germany-and-queen-victoria-1889-in-portraits-of. Wikimedia Commmons copy: https://commons.wikimedia.org/wiki/File:Victoria,_Empress_Frederick_of_Germany,_and_Queen_Victoria,_1889.jpg ##QV w photo of Frederick III, looking to her right, Vicky seated (or kneeling?) and looking at the photo: https://www.rct.uk/collection/2105953/queen-victoria-with-victoria-princess-royal-when-empress-frederick-1889 ##Vicky seated (?) looking at photo, QV into the distance to our right (Photo filename says 1888, but the photo is lower res and less clear): https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Princess_Royal_1888.jpg #'''1889 November''', photograph of QV and Beatrice and her family; QV is seated, wearing her uniform and that ubiquitous white fluffy cap; you can see the edge of the boning (in the bodice?), white lacy collar, white ruffle at the wrist, layers, lacy shawl, lace trim at the bottom of the skirt, bunched places on the skirt with black lace trim. Beatrice's sleeves are fitted with puffy shoulders, but QV's are not. Royal Trust link: https://www.rct.uk/collection/2904837/queen-victoria-with-prince-and-princess-henry-of-battenberg-and-their-children; Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Prince_and_Princess_Henry_of_Battenberg_and_their_children,_1889.jpg. #'''1890''': Britannica #1 https://en.wikipedia.org/wiki/Queen_Victoria. Photograph mid-thigh up, very lacy: https://www.britannica.com/biography/Victoria-queen-of-United-Kingdom. Different small crown. #'''1890''': b/w photo, from the knees up, may be seated. Her hair is dark, so 1890 looks too late a date for this. White frill on her cap, has attached veil down the back, double ruffle at the neck, a few button, plain to another bit of trim around the skirt at knee level; jewelry looks personal, not ostentatious; white cuffs, lacy black shawl, square neck on dress, wrinkles in the bodice suggest she's not wearing a corset and the bodice is not heavily boned: https://upload.wikimedia.org/wikipedia/commons/1/18/Queen_Victoria_in_1890.jpg #'''c1890 (see 1882 Bassano portraits)''': Color portrait in official dress, with small crown with arch, a lot of white lace over and under sheer black, coronation parure, 1890s portrait in 1870s style: https://commons.wikimedia.org/wiki/File:A_Portrait_of_Queen_Victoria_(1819-1901).JPG #'''1892''': not-very-clear photograph of QV sitting, her arm on the lion's-head chair, black cap and veil; lots of jewelry, faceted jet or diamonds or something metal at her neck and wrists. She is wearing a black lace shawl over her shoulders and arms. https://commons.wikimedia.org/wiki/File:Queen_Victoria_of_the_United_Kingdom,_c._1890.jpg #'''1893''': watercolor portrait of QV by Josefine Swoboda, who had been made court painter in 1890.<ref>{{Cite journal|date=2024-12-03|title=Josefine Swoboda|url=https://en.wikipedia.org/w/index.php?title=Josefine_Swoboda&oldid=1260867558|journal=Wikipedia|language=en}}</ref> Not unrealistic or unduly flattering, QV not in full mourning, wearing a white widow's cap and white jewelry. All we can see of what she is wearing is the shawl and a little bit of neck treatment. https://commons.wikimedia.org/wiki/File:Josefine_Swoboda_-_Queen_Victoria_1893.jpg #'''1893''': VQ with "Indian servant," seated working behind table, blanket or rug over her knees and feet, wearing a cloak and hat: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_an_Indian_servant.jpg #'''1893, issued for the 1897 Diamond Jubilee''': Photograph by W. & D. Downey taken for the wedding of George V and Mary. QV seated, facing our left, 3/4 front. Very large and ornate veil coming over her shoulder, possibly a lace overskirt? X claims that the white lace veil is QV's Honiton lace wedding veil and what looks like an apron or overskirt may be the 4x3/4 yards Honiton "flounce" on her wedding dress (ftnyc). A lot of light color on this for her, coronation parure? large light folding fan open on lap, small crown. Royal Trust Collection: https://www.rct.uk/collection/2912658/queen-victoria-1819-1901-diamond-jubilee-portrait. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_60._crownjubilee.jpg. Another copy: https://apollo-magazine.com/wp-content/uploads/2014/01/gm_342139EX2.jpg #'''1893 August 12''': formal photograph of QV w George, Duke of York and Mary, Dss of York, who are very 1893 stylish; QV seated, profile, facing our left, holding a rose, black dress, bodice not heavily boned, no corset; white ruffle at cuffs and at the neck; black lacy shawl; white very fluffy brimless cap, may be her own style; from a distance very plain dress, but up close very rich, with tiny unostentatious details; moved on from all the frou-frou, but not in the haute couture way: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_the_Duchess_and_Duke_of_York.jpg #'''1894''': QV with Beatrice, George and Mary at Balmoral, in a carriage, the women wearing stylish hats (Royal Collection Trust link: https://www.rct.uk/collection/search#/2/collection/2300501/queen-victoria-princess-beatricenbspthe-duke-and-duchess-of-york-at-balmora) (Wikimedia Commons link: https://commons.wikimedia.org/wiki/File:Queen_Victoria,_Princess_Beatrice,_the_Duke_and_Duchess_of_York.jpg) #'''1894 April 21''': QV in 30-person photograph "following the wedding of Princess Victoria Melita of Saxe-Coburg and Gotha, and Grand Duke Ernest of Hesse," QV seated, in shawl, all bundled up, <ins>from a distance, dress looks very plain, the richness is visible only up close;</ins> white mohawk on head??: https://commons.wikimedia.org/wiki/File:Queen_Victoria_surrounded_by_her_family_-_Coburg,_1894_(1_of_2).jpg; https://commons.wikimedia.org/wiki/File:Queen_Victoria_surrounded_by_her_family_-_Coburg,_1894_(2_of_2).jpg #'''1894 June 23, before,''' looks like a winter photograph, they're bundled up ##'''1894 June 23''', published in the ''Illustrated London News'', photograph of QV and Bertie, dressed warmly. Lots of beautiful, complex layers, as always; maybe skirt, vest, jacket, shawl, boa, hat and gloves, cane in her right hand and a handkerchief in her left?; the hat may be one of the "timeless" elements, shaped like one she wore a lot over the years but not locatable to a particular year or style. QV seated, Bertie standing behind her, both bundled up, she is wearing gloves, a shawl, a jacket and perhaps a vest; cap with white feathers and white poufs or flowers (?), cap is mostly black, comes down to cover her ears, tied in a lacy bow under her chin, black feather boa, wrapped closely around her neck like a scarf and falling down the front to the ground; cane in her right hand; brocade shawl, looks woolen: https://commons.wikimedia.org/wiki/File:The_funeral_procession_of_Queen_Victoria_(5254840).jpg. Perhaps used again in later publications? Page says, "By our Special Photographer, Mr. Russell of Baker Street London." Photo taken outdoors, on steps with rugs and a bearskin. Sword under Bertie's coat. ##Same session, slightly different pose; looks like a carte-de-visite, with "Gunn & Stuart, Richmond, Surrey," printed in logo form at the bottom. https://commons.wikimedia.org/wiki/File:Queen_Victoria_And_Prince_of_Wales_Edward.jpg #'''1895''': photograph of QV published in Millicent Fawcett's ''Life of Her Majesty Queen Victoria'' in 1895, so the portrait predates it, though not by much. The white is overexposed, but the black is legible. QV is wearing her white widow's cap with a white veil made of tulle that is not transparent or even very translucent. The black shawl is very lacy and 3-dimensional, possibly made by crochet or knitting or bobbin lacemaking. The jacket with wide, kimono sleeves has a wide decorative cuff with a lacy edge and a 3-dimensional pattern. Between the cuff and the sleeve is a row of what may be faceted jet in some kind of ivy-like design. She is wearing a single strand of pearls and small round earrings that may be a gold ball with a small sparkly. This photo does not look retouched: the skin on her face and hands is wrinkled, and her hair is light; normal for a woman around 70. https://commons.wikimedia.org/wiki/File:Life_of_Her_Majesty_Queen_Victoria_-_Frontispiece.jpg. #'''1895 May 21''': photograph by Mary Steen of QV and Princess Beatrice; QV appears to be making lace (either knitted or crocheted), Beatrice reading the newspaper, possibly to her; the Queen's Sitting Room at Windsor Castle. QV is wearing the white cap with the fluffy streamers, lacy white collar, white cuffs, black lace shawl, possibly a pattern at the bottom of her skirt. NPG: https://www.npg.org.uk/collections/search/portrait/mw233741/Princess-Beatrice-of-Battenberg-Queen-Victoria?_gl=1*ii2xmh*_up*MQ..*_ga*NjAzODY0NTUyLjE3Njc2MjcxMDk.*_ga_3D53N72CHJ*czE3Njc2MjcxMDgkbzEkZzEkdDE3Njc2MjcxMTMkajU1JGwwJGgw. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Princess_Beatrice_of_Battenberg_and_Queen_Victoria.jpg. #'''September 1895''': unusually clear photograph of QV with some family in Balmoral, QV is seated in a very well-made suit with rich trim and a loose, open jacket (rather than the fitted jackets worn by the younger women with big sleeves up by the shoulders), perhaps pelisse-adjacent, full at the bottoms of the sleeves, with a shawl-like collar, long lacy sleeves under the jacket's sleeves, coming down over her hand (perhaps held there by a loop?), stylish hat; her style is individualized with very stylish elements, so we know she's conscious of 1890s haute couture; but it also has a more timeless quality, the modified or updated pelisse, for example, not a memorializing of her early days, though that did sometimes happen, but an echo of styles she liked from the past? So her style is a fusing of up-to-date stylish and other elements that were more comfortable and practical but always well made of very high-quality materials. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_family_members.jpg #'''1896 July''': QV photograph by Gunn & Stuart and published as a cabinet card by Lea, Mohrstadt & Co., Ltd., and used as an official image of her as sovereign for the 1897 Diamond Jubilee. Retouched at some point, her face is very smooth, no double chin, etc. Bracelet on right arm, with portrait of Albert (?) and a 4-diamond wide rivière band. Multiple bracelets on left arm, one may be a charm bracelet. Rings. Pointed small crown or tiara that is not the Small Diamond Crown, a veil (that is not her wedding veil but is likely Honiton lace) is pulled to the front over her left shoulder and appears to be coming out of the crown or tiara, many diamonds, some in brooches, coronation necklace and earrings, lots of diamonds. https://commons.wikimedia.org/wiki/File:Victoria_of_the_United_Kingdom_(by_Gunn_%26_Stuart,_1897).jpg #'''1897''': QV with Princess Victoria Eugénie of Battenburg, who is kneeling next to QV, who is seated, facing (her) right, unrelieved black except for white linen (?) veil; the solid and plain dress has some lace, but the veil is not; black lacy shawl, rings; something very frou-frou at the back of her skirt: https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Princess_Victoria_Eug%C3%A9nie_of_Battenberg,_1897.jpg. Empress Eugénie was Princess Victoria Eugénie of Battenburg's godmother. #'''1897''': painting onto ivory of QV in that white cap by M. H. Carlisle, profile, facing right, still can't tell what the fringy, feathery, lacy edge is: https://www.rct.uk/collection/search#/45/collection/421112/queen-victoria-1819-1901 #'''1897''': QV Elliott and Fry photograph: that cap, the meandering ruffles on the veil and lappets (?): https://commons.wikimedia.org/wiki/File:Queen_Victoria_(Elliott_%26_Fry).png #'''1897''': realistic engraving or print of QV in a state occasion, receiving the address from the House of Lords, realistic enough that we can recognize faces. QV is seated, wearing a white cap with a veil, large lacy white collar, big cuffs, and a large panel of trim at the bottom of her skirt that looks similar to the pattern on her collar; ribbon of the Order of the Garter; no recognizable crown even though this is a state occasion. https://commons.wikimedia.org/wiki/File:Queen_Victoria,_pictured_at_Buckingham_Palace_as_the_Lord_Chancellor_presents_the_adress_of_the_House_of_Lords.jpg #'''1897 January 1''', unflattering political cartoon of QV in the context of India? (the language is Marathi according to Google Translate). Her face has an unpleasant expression, perhaps disapproval or skepticism? She is wearing a small state crown and the coronation jewels. [[commons:File:Queen_Victoria,_1897.jpg|https://commons.wikimedia.org/wiki/File:Queen_Victoria,_1897.jpghttps://commons.wikimedia.org/wiki/File:Queen_Victoria,_1897.jpg]] #1897 June 17, painting published in Vanity Fair of QV riding in a small open carriage with a canopy. QV is wearing a black dress with a ruffle and also black lace at the bottom edge (of the back of the skirt?) and a light-colored cape with black trim. The bow at her neck could be from the cape or her hat, which has a small brim, a large black decoration in front, small floral things along the side, and perhaps a veil around the brim to the back. This image was reproduced after QV's death as a monochrome print. https://commons.wikimedia.org/wiki/File:Queen_Victoria_Vanity_Fair_17_June_1897.jpg. #'''1897 July 27''', photograph from a distance of QV in a carriage on the Isle of Wight. This is what she looked like from a distance on a not state occasion, you can't see any embellishments at all. https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Princess_Beatrice,_Princess_Helena_Victoria_of_Schleswig-Holstein,_Cowes,_Isle_of_Wight.jpg #'''1897 October 16''', photograph with Abdul Karim, in the Garden Cottage at Balmoral; white or light-colored mantle or cloak; stylish 1890s hat with feathers, etc.: https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Abdul_Karim.jpg #'''1898''': photograph by Robert Milne of QV and 3 great-grandchildren (the 3 eldest children of George and Mary), at Balmoral. QV is the Widow of Windsor with plain skirt and possibly a jacket with a pattern on the bodice and at the large cuffs. The usual white cap and veil. ('''find RCT copy''')https://commons.wikimedia.org/wiki/File:Queen_Victoria_with_Prince_Edward,_Prince_Albert_and_Princess_Mary_of_York,_Balmoral.jpg #'''1898 January 16''': French political cartoon by Henri Meyer unflatteringly showing QV, Kaiser Wilhelm II, Czar Nicolas II, Chinese statesman Li Hongzhang, France and a Japanese samurai carving up China. Neither France nor Li Hongzhang have knives, but the rest of the figures do. QV is dressed for a state occasion, heavily jeweled and in her signature lacy veil and small crown. https://commons.wikimedia.org/wiki/File:China_imperialism_cartoon.jpg #'''1899''': Heinrich von Angeli portrait, copied in 1900 by (Angeli's student) Bertha Müller. QV portrait, with a lot of black, which makes it difficult to discern the layers and structure of what she is wearing. The top layer may have a stiffened, pleated chiffon layer that covers the arm of the chair and that she holds a bit of in her right hand. QV is wearing the ribbon and the Order of the Garter, the white widow's cap and generally pearl jewelry. The white at her neck and wrists frames her face and hands, which are slightly idealized and less wrinkly than one might expect. National Portrait Gallery: https://www.npg.org.uk/collections/search/portrait/mw06522. Wikimedia Commons: https://commons.wikimedia.org/wiki/File:Queen_Victoria_after_Heinrich_von_Angeli.jpg #'''c. 1899-1900''': photograph of QV with 3 children — Victoria Eugenie of Battenberg (1887–1969), Princess Elisabeth of Hesse and by Rhine (1895–1903) and Prince Maurice of Battenberg (1891–1914). The 2 older women are Princess Helena Victoria of Schleswig-Holstein (1870–1948) and Princess Victoria Melita of Saxe-Coburg and Gotha (1876–1936), possibly with Princess Helena Victoria of Schleswig-Holstein, in the light-colored hat, on the right. QV is in an ornate version of her uniform: jacket, possibly a vest and a skirt, with lace and ruffles, and a hat (possibly a straw hat with something dark as trim on the edge of the brim) topped with a pile of light-colored flowers and probably an aigret or short feather. Royal Collection Trust: . Wikimedia Commons: https://commons.wikimedia.org/wiki/File:VictoriaBattenbergsHessians.jpg. #'''c. 1900''': QV photograph (reprinted from book), not or less retouched than the 1897 Jubilee photos, with feathered (or at least fluffier than the usual slightly fluffy widow's cap) headdress, sheer veil, can't really see anything else: https://commons.wikimedia.org/wiki/File:Queen_Victoria_old.jpg #'''c. 1900''': print published in book of image by François Flameng showing QV in coronation robes, with ermine, and necklace, pointing to someplace NW of India on the globe, with Bertie and George behind her, portrait of her and Albert on the table with the scepter and the Imperial State crown, Koh-I-Noor diamond, ribbon of the Order of the Garter, lots of jewelry on her arms and fingers. She is standing and her legs are longer than they were in life, ruffled lace, perhaps, at neck and cuffs with a white lace flounce on the skirt, which is divided horizontally, the lace part making up the middle third. https://commons.wikimedia.org/wiki/File:Queen_Victoria_by_Fran%C3%A7ois_Flameng.jpg #'''1900 February 9''', a very unflattering but accurate political cartoon of QV and Paul Kruger playing chess, he appears to be winning, with a map of Africa in the back, published in an Argentinian periodical. QV's clothing is captured pretty realistically, including the small crown and distinctive Coronation (?) necklace and earrings, the cap and veil, ribbon of the Order of the Garter, white lace overskirt, short-sleeved jacket over a white blouse with lacy cuffs. We can see very clearly how she looked to people. https://commons.wikimedia.org/wiki/File:Queen_Victoria_and_Paul_Kruger_by_Dem%C3%B3crito_(Eduardo_Sojo).jpg #'''1901''', dated 1901, but QV went to Ireland in 1900, possibly commemorating her death in 1901? Could this be a card from a cigarette pack? She's inside a shamrock that is outlined in a light color; the white on her cloak may be beads and sequins? Could this be a photograph from the 1897 Diamond Jubilee, the cloak with the silver "swirling" sequins? She is seated on a chair, and the photograph of her seated is like pasted onto the shamrock. Her headdress is a hat (not a bonnet or a cap, so this is not the headdress from the Diamond Jubilee procession), with shamrocks on the hat and black plumes, and some other decoration that is too hard to distinguish. https://commons.wikimedia.org/wiki/File:Queen_Victoria_(HS85-10-12024%C2%BD).jpg == QV's "Uniform" == After the 1st year of mourning QV writes Vicky that she will never wear color again (not counting honors and the sashes of the orders, etc.; also, Rosie Harte says she wore the Sapphire Tiara that Albert had had made for her as a wedding present, which would have matched her eyes). Her "brand" (Worsley) and what we call her "uniform" begins to develop and solidify, the Widow-of-Windsor look friendly to the middle classes, especially the upper middle class. Early in her mourning, her clothing was not very ornate, with little frou-frou to interrupt the unrelieved blackness. As time passed, however, the blackness was relieved by white touches on her head and at her neck and wrists, but the biggest change was in the amount and kind of frou-frou, particularly black-on-black frou-frou, including how lacy it was. The quantity and type of frou-frou increased in scale over time, like the touches of white. By the 1870s, her look is well established: plain from a distance; up close, very fine materials and beautiful needlework with non-contrasting frou-frou. According to Lucy Worsley, she did not wear a corset but depended on light boning in her bodices. Worsley says,<blockquote>Despite their sombre aspect, even her mourning gowns were finely made. She had settled into a series of very minor variations upon a square-necked bodice and skirt, customised with quirky little pockets for keys and seals, all cut pretty much the same to save her the trouble of fittings. On her head went a white cap, with streamers of lace, and round her neck a locket containing miniatures of two of her children: Alice, now lost to diphtheria [14 December 1878], and Leopold, to haemophilia [28 March 1884].¹⁶"<ref name=":5" />{{rp|511 of 786; n. 16, p. 723: "Princess Marie Louise (1956) p. 141"}}</blockquote> This design is her usual: a black dress or suit (it might be a dress with a bodice or a skirt and vest with a blouse under the jacket). Except in cases of full mourning, she typically wore a little white at the neckline and wrists, with sophisticated black trim not really visible from a distance. The wide skirt was often divided horizontally, with a deep band of a different fabric at the bottom. The divided skirt is a characteristic feature of QV's look, not the only way she did skirts but a design she often wore from before her accession to the end of her life. She often wore a loose-fitting thigh-length jacket with wide sleeves, which sometimes divided the skirt visually. The jackets and bodices are not constricting or tight against her torso. The fitted suit was popular at the end of the century — [[Social Victorians/People/Dressmakers and Costumiers#Redfern|Redfern's]] (in Cowes on the Isle of Wight) and Worth's versions were all around her, and she had always liked a riding habit. The thigh-length jackets were loose-fitting but not shapeless even as early as the 1860s. She seems always to have had something on her head: caps, bonnets, hats, veils. She often wears a shawl. We can see the ruling sovereign version of her style in the photographs of her for the 1887 Golden and the 1897 Diamond Jubilees. By the 1880s, Bertie's place in the aristocracy was also well established, and he and Alex had a very different sense of style, wearing haute couture and a stylishness typical of the House of Worth. By the end of her life, when she couldn't move very much on her own, her body had gotten pretty large, but our sense that she was generally fat is not borne out by her clothes (Worsley talks about the small waists and the weight she lost during crises in her life) or by the photographs of her ''en famille'' in which we can see that she is probably not wearing stays and is not wearing tight-fitting, constricting clothes. === Shawls === Caroline Goldthorpe says,<blockquote>The importance of visible royal patronage was not lost on commercial enterprise, and in 1863 the Norwich shawl manufacturers Clabburn Sons & Crisp sent to Princess Alexandra of Denmark, as a gift on the occasion of her marriage to the Prince of Wales, a magnificent silk shawl woven in the Danish royal colors (figure 3). The Queen herself already patronized Norwich shawls, for in 1849 the ''Journal of Design'' had claimed: "The shawls of Norwich now equal the richest production of the looms of France. The successs which attended the exhibition of Norwich shawls ... [sic] may fairly be considered the result of Her Majesty's direct regard." Another splendid silk shawl by Clabburn Sons & Crisp was displayed at the International Exhibition of 1862 (figure 4), but it was not eligible for a prize because William Clabburn himself was on the panel of judges.<ref name=":8" /> (17)</blockquote>Elizabeth Jane Timmons says that QV's black was relieved only<blockquote>by white cuffs, scarfs, trimmings, or the ubiquitous patterned shawls which the Queen wore and which were the subject of comment by at least two of her granddaughters, Princess Louis of Battenberg and Princess Alix of Hesse, who helped her change them when they accompanied her driving out.<ref name=":15">Timms, Elizabeth Jane. "Queen Victoria's Widow's Cap." ''Royal Central'' 31 October 2018. https://royalcentral.co.uk/features/queen-victorias-widows-cap-111104/ (retrieved February 2026).</ref></blockquote> == Headdresses == === Bonnets, Caps, Hats === We discuss the headdresses QV wears in each portrait in the detailed description in the "[[Social Victorians/People/Queen Victoria#Her Dresses|Her Dresses]]" section of the Timeline. In some photographs, QV has a mourning hood over her bonnet and tied under her chin, worn sort of as if it were a veil on her bonnet. It looks like it would be warm in cold weather. [[Social Victorians/People/Queen Victoria#Wedding Veil|QV's wedding veil]] is handled separately, as are the [[Social Victorians/People/Queen Victoria#Crowns|crowns]]. ==== Bonnet ==== '''1887''', QV wore a bonnet in her public carriage ride to Westminster Abbey for her Golden Jubilee. Inside the Abbey, "she sat on top of the scarlet and ermine robes draped over her coronation chair in Westminster Abbey — but, pointedly, 'in no way wore them around her person.'"<ref name=":11" /> (760)<blockquote>The queen did make one concession: for the first time in twenty-five years she trimmed her bonnet with white lace and rimmed it with diamonds. Within days, fashionable women of London were wearing similar diamond-bedecked bonnets. One reporter noted this trend disapprovingly at a royal garden party at Buckingham Palace in July, the month after the Jubilee: "Her Majesty and the Princesses at the Abbey wore their bonnets so trimmed in lieu of wearing coronets. It is quite a different matter for ladies to make bejeweled bonnets their wear at garden-parties."<ref name=":11" /> (761)</blockquote>'''1893 July 5''', (was there another garden party at Marlborough House between the 5th and the 15th?), from the ''Pall Mall Gazette'' by "The Wares of Autolycus," possibly Alice Meynell says that QV preferred bonnets for full-dress occasions:<blockquote>It was noticeable at the Marlborough House garden party the other day, that many of the younger married women, and, indeed, some of the unmarried girls, wore bonnets instead of hats. This was in deference to the Queen's taste. Her Majesty is not fond of hats, except for girls in the schoolroom, and considers that bonnets are more suitable for full dress occasions.<ref>"Wares of Autolycus, The." ''Pall Mall Gazette'' 15 July 1893, Saturday: p. 5 [of 12], Col. 1a. ''British Newspaper Archive''. http://www.britishnewspaperarchive.co.uk/viewer/bl/0000098/18930715/016/0005 (accessed April 2015).</ref></blockquote> '''1897 June 22, Monday''', the bonnet QV wore for the Diamond Jubilee Procession was decorated with diamonds, from the ''Lady's Pictorial'':<blockquote>I HEAR on reliable authority that, although the fact has hitherto escaped the notice of all the describers of the Diamond Jubilee Procession, the bonnet worn by the Queen on that occasion was liberally adorned with diamonds. It is a tiny bit of flotsam, but worth rescuing, as every detail of the historic pageant will one day be of even greater interest than it is now.<ref name=":14">Miranda. "Boudoir Gossip." ''Lady's Pictorial'' 10 July 1897, Saturday: 24 [of 92], Col. 3c [of 3]. ''British Newspaper Archive'' https://www.britishnewspaperarchive.co.uk/viewer/BL/0005980/18970710/281/0024. Print title same, p. 40.</ref></blockquote> [[File:Queen Victoria white mourning head-dress.JPG|alt=A museum photograph of a sheer, frilly cap with streamers|thumb|Queen Victoria's White Widow's Cap]] ==== Widow's Cap ==== The distinctive white or sometimes black cap QV wore with "crinkled crape"<ref name=":9">Strasdin, Kate. ''The Dress Diary: Secrets from a Victorian Woman's Wardrobe''. Pegasus, 2023.</ref>{{rp|734 of 1124}} is a [[Social Victorians/Terminology#Widow's Cap|widow's cap]], sometimes called a mourning bonnet or mourning headdress. The now-damaged, once-white widow's cap (right) is said to have belonged to Queen Victoria. It is a cap with two streamers, like lappets, that have been decorated with meandering clumps of ruffled tulle matching the cap itself. The streamers would have been a consistent width, suggesting that the tulle background is torn. Describing some point in time after Albert's death, Elizabeth Jane Timms says,<blockquote>The Queen began to be photographed in her white peaked caps, spinning; an occupation that the Queen took up, which perhaps underlined her solitary state and one which, like her painting box, enabled creativity within that solitude. Sir Joseph Boehm sketched the Queen in 1869 spinning, by which time a spinning wheel had been placed in her sitting room .... Again, Boehm shows her wearing her mourning weeds and her white cap, tantamount now to a type of widow’s uniform. She also wore the caps engaged in another solitary occupation, knitting or crochet work.<ref name=":15" /></blockquote> What Princess Beatrice called ''Ma's sad caps'',<ref name=":15" /> Queen Victoria's white widow's caps<blockquote>were made of tulle, although where they were manufactured is not clear. By the late 1880s, she wore them pinned higher up than the rather sunken fashion of the 1860s, when they were worn close to the head, creating a flat impression. In later years, these ornate creations had evolved into deep, stately frills of tulle or silk with streamers and may have been supported by wires .... Only one of the Queen’s white widow’s caps was apparently known to have survived and was preserved at the Museum of London. A fragile survivor, it is loaded with Queen Victoria’s personal symbolism and dates from around 1899. It is extremely rare and may have been discarded when it ceased to be in wearable condition.<ref name=":15" /></blockquote> [[File:Four Generations (by William Quiller Orchardson) – Government Art Collection, Lancaster House.jpg|alt=Dark painting showing an old woman and 2 men dressed in black and a small boy dressed in white and holding a big bouquet of roses|left|thumb|Four Generations: Queen Victoria and Her Descendants]] Although Timms says that only one of Queen Victoria's widow's caps has survived, at least two and possibly three can be found. One widow's cap, said to have belonged to Queen Victoria, is "displayed in a glass case at Kensington Palace, listed as Historic Royal Palaces 3502037, ‘''Widow’s Cap, 1864-1899, Tulle''.'"<ref name=":15" /> Sir William Quiller Orchardson was given what seems to be a different white widow's cap to use for his 1899 ''Four Generations: Queen Victoria and Her Descendants'' (left). His widow donated this cap, also said to have belonged to Queen Victoria, to the Museum of London in 1917.<ref name=":15" /> Timms says that the cap in the Museum of London is dated about 1899, "contains far more tulle frills" and "is considerably more fragile ... because it has been washed."<ref name=":15" /> What may be a separate, third cap (above right), which is called a "white mourning head-dress [Trauer Kopfbedeckung]" belonging to Queen Victoria, is dated "from 1883 [von 1883]."<ref>{{Citation|title=English: white mourning headdress of Queen Victoria from 1883Deutsch: Trauer Kopfbedeckung Königin Victoria von 1883|url=https://commons.wikimedia.org/wiki/File:Queen_Victoria_white_mourning_head-dress.JPG|date=2015-03-22|accessdate=2026-02-20|last=Jula2812}}</ref> (The only information that might be considered provenance in the description of this third cap is that the person who uploaded the image into Wikimedia Commons titled it in German.)[[File:Queen Victoria (1887).jpg|thumb|Queen Victoria wearing the Small Diamond Crown, the Coronation Necklace and Earrings and the Koh-i-Noor brooch, 1897]] === Crowns === The Royal Collection Trust has a page on [https://www.rct.uk/collection/stories/the-crown-jewels-coronation-regalia The Crown Jewels: Coronation Regalia]. Two crowns are worn for the coronation ceremony, not counting the Consort Crown<ref>{{Cite journal|date=2025-05-17|title=Consort crown|url=https://en.wikipedia.org/w/index.php?title=Consort_crown&oldid=1290790447|journal=Wikipedia|language=en}}</ref>: the [[Social Victorians/People/Queen Victoria#St. Edward's Crown|St. Edward's Crown]] and the [[Social Victorians/People/Queen Victoria#Imperial State Crown|Imperial State Crown]]. The parts of a crown: the band, fleur-de-lys, cross pattée, the cap, arch, monde (the globe on top of the arches), the cross (on top of the monde) ==== Small Crowns ==== The Small Diamond Crown, photograph by Bassano (right): https://commons.wikimedia.org/wiki/File:1887_postcard_of_Queen_Victoria.jpg, was made in March 1870 by Garrard and Co. to fit over QV's widow's cap and to serve as an official crown.<ref>{{Cite journal|date=2025-03-12|title=Small Diamond Crown of Queen Victoria|url=https://en.wikipedia.org/w/index.php?title=Small_Diamond_Crown_of_Queen_Victoria&oldid=1280094126|journal=Wikipedia|language=en}}</ref> The Royal Collection Trust has 3 views of this crown (https://www.rct.uk/collection/31705/queen-victorias-small-diamond-crown). Its discussion of the Small Diamond Crown is here:<blockquote>The priorities in creating the design were lightness and comfort and the crown may have been based on Queen Charlotte's nuptial crown which had been returned to Hanover earlier in the reign. Queen Victoria wore this crown for the first time at the opening of Parliament on 9 February 1871, and frequently used it after that date for State occasions, and for receiving guests at formal Drawing-rooms. It was also her choice for many of the portraits of her later reign, sometimes worn without the arches. By the time of her death, the small crown had become so closely associated with the image of the Queen, that it was placed on her coffin at Osborne.<ref name=":10">{{Cite web|url=https://www.rct.uk/collection/31705/queen-victorias-small-diamond-crown|title=Garrard & Co - Queen Victoria's Small Diamond Crown|website=www.rct.uk|language=en|access-date=2026-01-20}}</ref></blockquote>This crown was on the catafalque for her funeral procession along with the Imperial State Crown, the Orb and the Sceptre. An 1897 political cartoon in Hindi shows QV wearing the Small Diamond Crown, veil and lappets, which might be a symbolic rather than a literal representation (https://commons.wikimedia.org/wiki/File:Queen_Victoria,_1897.jpg). The Royal Collection Trust's technical description of the Small Diamond Crown is here: <blockquote>The crown comprises an openwork silver frame set with 1,187 brilliant-cut and rose-cut diamonds in open-backed collet mounts. The band is formed with a frieze of lozenges and ovals in oval apertures, between two rows of single diamonds, supporting four crosses-pattée and four fleurs-de-lis, with four half-arches above, surmounted by a monde and a further cross-pattée.<ref name=":10" /></blockquote> These small crowns are not part of the collection of official coronation wear, but they were part of what QV wore as sovereign or monarch. She is not wearing them in the photographs of her ''en famille''. [[File:Saint Edward's Crown.jpg|alt=Gold bejeweled crown with purple velvet and fur around the rim|thumb|St Edward's Crown, traditionally used at the moment of coronation]] ==== St. Edward's Crown ==== Putting the St. Edward's Crown on the monarch's head marks the moment of the coronation. This crown is used once in a monarch's lifetime.<ref name=":7">{{Cite web|url=https://www.rct.uk/collection/stories/the-crown-jewels-coronation-regalia|title=The Crown Jewels: Coronation Regalia|website=www.rct.uk|language=en|access-date=2025-12-27}}</ref> The current St. Edward's Crown (right) was made in 1661, for the coronation of Charles II, and it was most recently used in the coronation of Charles III.<ref>{{Cite journal|date=2025-12-29|title=St Edward's Crown|url=https://en.wikipedia.org/w/index.php?title=St_Edward%27s_Crown&oldid=1330156300|journal=Wikipedia|language=en}}</ref> Because of its weight, the St. Edward's Crown has not always used for coronations. In the period between the coronation of William III (William of Orange) in 1689<ref>{{Cite journal|date=2025-12-02|title=William III of England|url=https://en.wikipedia.org/w/index.php?title=William_III_of_England&oldid=1325339468|journal=Wikipedia|language=en}}</ref> and that of George V in 1911, new monarchs did not use the St. Edward's Crown but had new crowns made for the ceremony. Lucy Worsley says,<blockquote>St Edward’s Crown, traditionally used at the climax of the ceremony, had been made for Charles II, a man over 6 feet tall and well able to bear its 5-lb weight. But here [for Victoria's coronation] problems had been anticipated. A new and smaller ‘Crown of State’ had been specially made ‘according to the Model approved by the Queen’ at a cost of £1,000.45{{rp|45 TNA LC 2/67, p. 66}} ... Her new crown weighed less than half the load of St Edward’s Crown, but it still gave Victoria a headache. She’d had it made to fit her head extra tightly, so that ‘accident or misadventure’ could not cause it to fall off.^{47:"47 Lady Wilhelmina Stanhope, quoted in Lorne (1901) pp. 83–4"} The jewellers Rundell, Bridge & Rundell had made the new crown, and during the build-up towards the coronation it had become the focus [173–174] of an angry controversy. Mr Bridge had displayed his firm’s finished handiwork to the public in his shop on Ludgate Hill. This was much to the dismay of the touchy Mr Swifte, Keeper of the Regalia at the Tower of London. It was Mr Swifte’s privilege to display the Crown Jewels kept at the Tower to anyone who wanted to see them, for one shilling each, and he’d been counting on a lucrative flood of visitors to pay for the feeding of his numerous and sickly infants. But the new crown proved a greater attraction, and hundreds of people went to Mr Bridge’s shop, Mr Swifte complained, when they would otherwise have come to the Tower. Mr Bridges was not very sympathetic about stealing Mr Swifte’s business. ‘If we were to close our Doors,’ he claimed, ‘I fear they would be forced.’⁴⁸{{rp|"48 TNA LC 2/68 (22 June 1838)"}} Victoria later confessed that her firmly fitting crown had hurt her ‘a good deal’, but nevertheless she had to sit on her throne in it, while the peers came up one by one to swear loyalty and kiss her hand.⁴⁹{{rp|49 RA QVJ/1838: 28}} <ref name=":5" />{{rp|173–174; nn. 45, 47, 48, 49, p. 661}}</blockquote> ==== Imperial State Crown ==== [[File:Imperial State Crown.png|alt=Gold bejeweled crown with purple velvet and many large colorful gemmstones|thumb|The Current Imperial State Crown (digitally edited image)|left]][[File:Imperial State Crown of Queen Victoria (2).jpg|alt=Gold bejeweled crown with velvet cap and ermine rim|thumb|Drawing of the Imperial State Crown of Queen Victoria, 1838]]The new monarch wears a different crown from the St. Edward's Crown as he or she leaves Westminster Abbey after the coronation. This crown is used for very formal state occasions like appearing in public after the coronation and for the State Opening of Parliament. Used relatively frequently, it has had to be replaced in the past when it gets damaged or begins to show wear. Victoria had the Imperial State Crown (right) made for her coronation on 28 June 1838. It was broken in a procession in 1845 (dropped by the Duke of Argyll), so it no longer exists (which is why this image is a drawing). What is now the current Imperial State Crown (left) was rebuilt after the 1845 accident, altered to accommodate the Cullinan II diamond in 1909, copied and remade in 1937 for the coronation of George IV.<ref name=":7" /> Then it was redesigned slightly for the coronation of Queen Elizabeth II.<ref>{{Cite journal|date=2025-08-14|title=Imperial State Crown|url=https://en.wikipedia.org/w/index.php?title=Imperial_State_Crown&oldid=1305824792|journal=Wikipedia|language=en}}</ref>[[File:Victoria in her Coronation (cropped).jpg|alt=Old painting of a white woman very richly dressed, wearing a crown|thumb|Queen Victoria wearing the State Diadem, Winterhalter 1858]] ==== The Diamond Diadem ==== The Diamond Diadem was made for the coronation of George IV and worn by every queen — regnant or consort — since. Called the Diadem by Queen Victoria and the Diamond Diadem or the George IV State Diadem now, this crown (right, on Queen Victoria's head) is a circlet of two rows of pearls enclosing a row of diamonds.<ref>{{Cite journal|date=2026-01-02|title=Diamond Diadem|url=https://en.wikipedia.org/w/index.php?title=Diamond_Diadem&oldid=1330716296|journal=Wikipedia|language=en}}</ref> On top are 4 crosses pattée and 4 bouquets of the national emblems of the thistle, the shamrock and the rose.<ref>{{Citation|title=The Diamond Diadem|url=https://www.youtube.com/watch?v=zmDAYqKiGZM|date=2022-05-12|accessdate=2026-02-04|last=Royal Collection Trust}}</ref> Queen Victoria wore it on some official state occasions before the [[Social Victorians/People/Queen Victoria#Small Crowns|Small Diamond Crown]] was made in 1871. ==== Diadems, Tiaras ==== A diadem is may be simpler than a crown, or it may be a simple crown. Crowns and diadems have a band that is a full circle. A Tiara is a semi-circular headpiece, typically a piece of jewelry, that can sit on top of the head or on the forehead. Worn by women at white tie, very formal events. A Coronet of Rank in the UK is a kind of crown that signifies rank and whose design indicates which rank in the nobility the wearer holds. A coronet does not have the high arches that crowns have. Coronets of rank indicate non-royal rank. Something called the State Diadem was designed by Albert in 1845? and made by Joseph Kitching. == QV's Wedding == Ideas about QV's wedding dress are encrusted with misinformation: # QV was not the first royal (or first woman) to wear a white wedding dress. # She did not wear white to signal her virginity and purity. # Everybody has not worn white since then because she did. None of this is true, and some of it is easy to set aside. It is not true that Queen Victoria invented the white wedding dress. The first record of a white wedding dress in what is now the UK is the early 15th century, and they appear to be popular both in Europe and North America among royals as well as upper middle class in the mid century. Princess Charlotte, the last royal woman to wed (?), in 1816, wore gold cloth "with three layers of machine-made lace."<ref>{{Cite web|url=https://www.rct.uk/collection/71997/princess-charlottes-wedding-dress|title=Mrs Triaud (active 1816) - Princess Charlotte's Wedding Dress|website=www.rct.uk|language=en|access-date=2025-12-31}}</ref> Her dress is in the Royal Collection Trust (https://www.rct.uk/collection/71997/princess-charlottes-wedding-dress). Royals were expected to appear regal. Gold and silver cloth and adornments would not have been surprising for a monarch, so QV's choice is worth examining, regardless of the actual color. Given that churches in 1840 were lit with candles and torches and rooms were warmed by coal or wood, white would have been difficult to maintain. So it expressed status and wealth (the association between the white dress and virginity may have arisen in the mid-20th century in the context of widely available birth control and the sexual revolution). White was not uncommon, however, for dresses in the mid-19th century, particular in cotton and particularly for warmer weather.<ref name=":9" /> Violet Paget writing as Vernon Lee addresses the Victorian moral implications in the colors white and black in her 1895 ''Fortnightly Review'' article "Beauty and Insanity." She is not talking about race, and she does not mention brides [does she talk about Victoria?]. She regards as an aesthetic cultural imposition the association between whiteness and purity, virginity and heterosexuality, and between blackness and evil.<ref>Renes, Liz. “Vernon Lee’s ‘Beauty and Sanity’ and 1895: Color and Cultural Response.” Academica.edu https://d1wqtxts1xzle7.cloudfront.net/41271981/LeeText-libre.pdf?1452968345=&response-content-disposition=inline%3B+filename%3DVernon_Lees_Beauty_and_Sanity_and_1895_C.pdf&Expires=1767736568&Signature=SvA5MHz3LY7x~GCxwa6pSRVwF5scY-jOgI6QAEvRyp1j5tk4uy8MWI1pj0kdJOJDLP~XMUwXuLMIVkwPwCxFut6~uLf5PI5~CnZ3arxlKFeK-LWGL1vlF7QeIzRqTkNDnyXitYiJ83DVsidWCJ8DyIHHajtl0Dk0gGzb0L-I547s-EIM~lEmWxchyLqyCnhG4o0fmEcTZqUEaJ84uImLfmosdnphQKUAIEfNai9cEdh33~wfWWfirM29CfEgtsIkoZRvsioM7fKcO79VSVsYecYySCg7GvRikf9zJ~dtJ2NNpjvtXO0tnVmv8lvVbtRM8m1fQ7jZ-hrhgF-nUOVKaQ__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA (retrieved January 2026).</ref> It is true, however, that the press coverage of QV's wedding likely increased the popularity of white for weddings. === White Wedding Dress === The Royal Collection has QV's wedding dress, in 3 views. It says the dress is made of cream-colored silk satin. It doesn't say the color has yellowed. In her journals, QV describes her dress as "a white satin gown, with a very deep flounce of Honiton lace, imitation of old."²¹{{rp|"21 RA QVJ/1840: 10 February"}} <ref name=":5" /> (238) "Onlookers," Worsley says, commenting on the wedding and Victoria's dress, said Victoria and her party looked like "village girls, presumably rather than a monarch and her ladies in waiting."<ref name=":5" /> (244 [of 786], citing Wyndham, ed. (1912) p. 297). Others saw the simplicity of the wedding dress similarly, though less negatively. Worsley says,<blockquote>'I saw the Queen’s dress at the palace,’ wrote one eager letter-writer, ‘the lace was beautiful, as fine as a cobweb.’ She wore no jewels at all, this person’s account continues, ‘only a bracelet with Prince Albert’s picture’.²⁸ {{rp|"28 Mundy, ed. (1885) p. 413}} This was in fact [240–241] completely incorrect. Albert had given her a huge sapphire brooch, which she wore along with her ‘Turkish diamond necklace and earrings’.²⁹ {{rp|"29 RA QVJ/1840: 10 February}} It was the beginning of a lifetime trend for Victoria’s clothes to be reported as simpler, plainer, less ostentatious than they really were. The reality was that they were not quite as ostentatious as people expected for a queen.<ref name=":3" /> (240–241)</blockquote>Is it possible that ''white'' actually was used for a range of very light colors? Certainly, not all whites are the same color, and not all viewers are precise with their language. ==== What Was White Used For? ==== The layers worn under dresses were sometimes white. Undergarments would generally have been made of cotton by the 1890s, although some wool and linen was still in use. Mechanical bleaches were available, so fabric could be made pale enough to have been called white. Kate Strasdin quotes a mid-19th-century use of "snow white" to distinguish it from other kinds of white.<ref name=":9" /> Debutants being presented to the monarch wore white, it was court dress [confirm this], and the train added to Victoria's dress raised it into court dress.<ref name=":5" /> (239? [22 Staniland (1997) p. 118]) Perhaps what was striking about Victoria's white dress was not just its color but its simplicity. When the "onlookers" at Victoria's wedding compare her bridal party to village girls, they are not suggesting that the bridal party is wearing underwear indecently or that they're in court dress. The touchstone here is class — they don't look like the ruling class or the upper class. But Victoria's white dress was influential nonetheless. Lucy Worsley says it "launched a million subsequent white weddings."<ref name=":3" /> (238) However, other women were wearing white around the same time, including Mary Todd's sister Frances and Sophie of Württembert, Queen of the Netherlands in 1839. Mary Todd is said to have worn white at her wedding to Abraham Lincoln because they married quickly, so she just borrowed her sisters dress. # 1839 May 21: Frances Todd's wedding dress was white; she later loaned it to her sister, Mary Todd, for her wedding. # 1839 June 18: Sophie of Württembert, Queen of the Netherlands wore white.<ref>{{Cite journal|date=2025-12-02|title=Sophie of Württemberg|url=https://en.wikipedia.org/w/index.php?title=Sophie_of_W%C3%BCrttemberg&oldid=1325386567|journal=Wikipedia|language=en}}</ref> She knew Napoleon III and QV; was progressive politically, favoring democracy; was buried in her wedding dress. # '''1840 February 10''': QV's wedding dress was white. # 1842 November 4: Mary Todd wore her sister Frances's white satin wedding dress.<ref>{{Cite journal|date=2025-12-05|title=Mary Todd Lincoln|url=https://en.wikipedia.org/w/index.php?title=Mary_Todd_Lincoln&oldid=1325904504|journal=Wikipedia|language=en}}</ref> # 1853 January 30: Eugénie of France wore white.<ref>{{Cite journal|date=2025-11-18|title=Eugénie de Montijo|url=https://en.wikipedia.org/w/index.php?title=Eug%C3%A9nie_de_Montijo&oldid=1322973534|journal=Wikipedia|language=en}}</ref> # 1854 April 24: Empress Elisabeth of Austria wore white for her wedding.<ref>{{Cite journal|date=2025-12-17|title=Empress Elisabeth of Austria|url=https://en.wikipedia.org/w/index.php?title=Empress_Elisabeth_of_Austria&oldid=1327984118|journal=Wikipedia|language=en}}</ref> # 1858 January 25: Victoria the Princess Royal<ref>{{Cite journal|date=2025-12-22|title=Victoria, Princess Royal|url=https://en.wikipedia.org/w/index.php?title=Victoria,_Princess_Royal&oldid=1328868015|journal=Wikipedia|language=en}}</ref> # 1863 March 10: Alexandra of Denmark<ref>{{Cite journal|date=2025-12-14|title=Alexandra of Denmark|url=https://en.wikipedia.org/w/index.php?title=Alexandra_of_Denmark&oldid=1327524766|journal=Wikipedia|language=en}}</ref> All royal clothing is deliberately "symbolic" — or semiotic — to some degree. Lucy Worsley interprets the simple white dress as Victoria marrying as a woman rather than as "Her Majesty the Queen."<ref name=":5" /> (239) Kay Staniland and Santina M. Levey (and the [https://thedreamstress.com/2011/04/queen-victorias-wedding-dress-the-one-that-started-it-all/ Dreamstress blog]) claim that the salient article from QV's wedding dress was the Honiton lace, which the dress showcased, which they decided should be white, which is why her dress was white.<ref>{{Cite web|url=https://thedreamstress.com/2011/04/queen-victorias-wedding-dress-the-one-that-started-it-all/|title=Queen Victoria's wedding dress: the one that started it all|last=Dreamstress|first=The|date=2011-04-17|website=The Dreamstress|language=en-US|access-date=2025-12-17}}</ref> [[File:Queen Victoria's Wedding Lace Veil c.1889-91 Detail.jpg|alt=Old photograph of a square of fine fabric edged with ornate white lace, with a wreath of small artificial flowers on the side|thumb|Queen Victoria's Wedding Veil, c. 1889–91]] === Wedding Veil === The late-19th-century image of QV's veil (right) makes it look a lot smaller than it is. The circlet to its right, which is a wreath of artificial flowers worn around the head over the veil, suggests its scale. A contemporary (1855) photograph of 1840 QV's wedding veil and wreath is in the Royal Trust collection (https://www.rct.uk/collection/search#/34/collection/2905584/veil-worn-by-queen-victoria-at-her-marriage), from a page in a scrapbook that includes 2 photos of paintings made after the wedding, one photo of the veil, showing its lace, and one photo of the bonnet she wore after the wedding. The veil and [[Social Victorians/Terminology#Flounce|flounce]] on QV's wedding dress were made of Honiton lace, in Devon, partly designed "by the Pre-Raphaelite artist William Dyce<ref name=":6" /> and attached to a very fine netting. QV seems to have saved both the dress and the veil. She used both until the end of her life as well as other pieces of lace using the same Dyce design. Elizabeth Abbott, in her ''A History of Marriage'', says her veil was<blockquote>one and half yards of diamond-studded Honiton lace draped over her shoulders and back. ... The flounce of the dress was also Honiton lace, four yards of it, specially made in the village of Beer by over two hundred lace workers, at a cost of more than £1,000.<ref>Abbott, Elizabeth. ''A History of Marriage''. Duckworth Overlook, 2011. Internet Archive [[iarchive:historyofmarriag0000abbo_w6u8/page/76/mode/2up|https://archive.org/details/historyofmarriag0000abbo_w6u8]].</ref> (76)</blockquote> N. Hudson Moore's 1904 ''Lace Book'' describes (perhaps a touch hyperbolically) the Honiton lace used on Victoria's coronation and wedding dresses as well as her "body linen" and the dresses of Alexandra, Princess of Wales and the Princess Alice:<blockquote> The wedding trousseau of Queen Victoria was trimmed with English laces only, and this set such a fashion for their use that the market could not be supplied, and the prices paid were fabulous. The patterns were most jealously guarded, and each village and sometimes separate families were noted for their particular designs, which could not be obtained elsewhere. Such laces as these were what were used on Queen Victoria’s body linen. Her coronation gown was of white satin with a deep flounce of Honiton lace, and with trimmings of the same lace on elbow sleeves and about the low neck. Her mantle was of cloth of gold trimmed with bullion fringe and enriched with the rose, the thistle, and other significant emblems. This cloth of gold is woven in one town in England. The present Queen’s mantle was made there also. Queen Victoria's wedding dress was composed entirely [sic] of Honiton lace, and was made in the small fishing village of Beers. It cost £1,000 ($5,000) and after the dress was made the patterns were destroyed. Royalty has done all it could to promote the use of this lace, and the wedding dresses of the Princess Alice and of Queen Alexandra were of Honiton also, the pattern of the latter showing the design of the Prince of Wales’s feathers and ferns.<ref>{{Cite book|url=http://archive.org/details/lacebook0000nhud|title=The lace book|last=N. Hudson Moore|date=1904|publisher=Frederick A. Stokes Company|others=Internet Archive}}</ref>{{rp|184}}</blockquote> QV wore her wedding veil to all her children's christenings.<ref name=":5" />{{rp|492 of 786}} Beatrice wore that veil at her own wedding, a sign that QV had relented and agreed to Beatrice marrying. Worsley says,<blockquote>Beatrice could only squint at her groom-to-be through the folds of the very same Devon lace veil her mother had worn when she'd married Albert. This was hugely significant. Victoria attached great importance to clothes, and a well-informed source tells us that ‘almost without exception, her wardrobe woman can produce the gown, bonnet, or mantle she wore on any particular occasion.'⁴⁷<ref name=":5" />{{rp|"47 Anon. 'Private Life' (1897; 1901 edition) p. 69"}} The veil was one of the most precious items in the Albertian reliquary. ‘I look upon it as a holy charm,’ Victoria wrote, ‘as it was under that veil our union was blessed forever.’⁴⁸ {{rp|"48 RA QVJ/1843: 19 May; Bartley (2016) p. 82"}} Her loan of it to Beatrice was an important act of blessing.<ref name=":5" />{{rp|500 of 786; n. 47, 48, p. 721 of 786}}</blockquote> == Sartorial Style == In clothing and perhaps also in jewelry but not in furnishings or architecture. When matters. * She had her own sense of style, influenced as she may have been by her maids, dressers and modistes, over time and through events in her life. The evolution of her sense of style changed as her life changed and she aged. She was never haute couture, although before she married Albert, she wore French fashion and Brussels lace. But she never really did glamour? Early on, a lot of bare shoulders. A construction of a feminine identity in all that frou-frou, from girly to romantic to maternal to widowed to regal. She came out of her depression with a changed identity. * She liked frills, layers and decorative trim, and some frou-frou, especially perhaps while Albert was still alive. But over her life, her general look was a simple dress made in sophisticated ways with very high-quality fabrics, laces and trim. After she developed her "uniform," the frou-frou can be hard to see and impossible to see from a distance. In a way, she was beyond haute couture, her style was classic and less mutable, decorative elements were often sentimental. ** Albert's role *** QV told people that "she 'had no taste, ... used only to listen to him,'" Albert. Taste here is probably art and architecture, as the context is Osborne House.<ref name=":5" />{{rp|318 of 786 [n. 26, p. 689: "Quoted in Marsden, ed. (2012) p. 12"]}} *** QV "and Albert — '''for Albert must approve every outfit''' — were conservative in their taste [in clothing]. A Frenchman found her frumpy, and laughed at her old-fashioned handbag 'on which was embroidered a fat poodle in gold'."<ref name=":5" />{{rp|311 of 786}} Something sentimental made by Vicky? *** Elizabeth Jane Timms says, "Prince Albert had played an essential role in the Queen’s wardrobe, on whose highly refined artistic taste the Queen relied. In her own words: ‘''He did everything – everywhere… the designing and ordering of Jewellery, the buying of a dress or a bonnet… all was done together''…’ [sic ital]."<ref name=":15" /> *** 1861 January at Osborne after the servants' ball:<blockquote>As she and Albert passed the time ‘talking over the company’, Victoria also gives details of how her ‘maids would come in and begin to undress me – and he would go on talking, and would make his observations on my jewels and ornaments and give my people good advice as to how to keep them or would occasionally reprimand if anything had not been carefully attended to’.⁵⁰ <ref name=":5" />{{rp|327 of 786; n. 50, p. 590: "RA VIC/MAIN/RA/491 (January 1861)"}}</blockquote> * We know some things about her dressers, modistes, dressmakers, etc. * She had a couple of "uniforms": the Widow of Windsor and the riding habit with the red coat. * She like fine, complex laces. Even when laces were typically machine made, hers were not. * She liked tartan. Many of her clothing choices were emotional or sentimental: favorite and meaningful veils, shawls, tartan. * Shape of skirt (see [[Social Victorians/Terminology#Hoops|Hoops]] for one photograph that shows the style of fabric moving to the back). When she visited Paris in 1855 she wasn't wearing hoops yet, though Eugénie was. The French women thought she was dowdy. Her shawl clashed with her dress. * Alexandra, Princess of Wales had a very different sense of style and moved in very different social networks, regardless of her own official responsibilities. She wore haute couture and at one event — a [[Social Victorians/Timeline/1889#The Shah at a Covent Garden Opera Performance|performance at Covent Garden attended by the Shah]] — wore a red dress, which was reported on without moralizing comment. She wore dresses made by designers outside the UK. * The contexts for how Victoria dressed: ** expectations for royalty and wives ** her relationships with the middle classes and the aristocracy *** set herself up in opposition to the aristocracy and haute couture, and Bertie's side of the aristocracy. *** The aristocracy did not look to her as fashion leader, but did the middle classes? Was she dressing more like some of them rather than them like her? *** Middle-class perspective on aristocracy: Harriet Martineau attended QV's coronation, disapproved of how the peeresses were dressed and "would have preferred 'the decent differences of dress which, according to middle-class custom, pertain to contrasting periods of life’. She particularly criticised the peers’ wives, ‘old hags, with their dyed or false hair’, their bare arms and necks so ‘wrinkled as to make one sick’."<ref name=":5" />{{rp|180 of 786}} *** Her sense of style spoke to the middle classes and the mainstream ideas of many of her subjects. *** Worsley says of Randall Davidson, new Dean of Windsor, later Archbishop of Canterbury, "Unlike Albert, unlike even the Ponsonbys, Davidson appreciated her talent for identifying how mainstream opinion among her subjects would respond to almost any issue. Elsewhere in Europe, when revolutions succeeded, it was because middle-class people and the oppressed workers made common cause. In Britain, though, this never quite happened. Perhaps it was because the middle classes somehow believed that the middlebrow queen was ‘on their side’."<ref name=":5" />{{rp|478 of 786}} *** Her identification with the middle class helped her monarchy survive. Louis XVI and Marie Antoinette: completely identified with smaller and smaller elements only of the aristocracy; similarly Franz Josef and Elisabeth of Austria fell for similar reasons, especially his and his mother Sophia's identification with the aristocracy; Nicholas II and Alexandra of Russia; Napoleon III and Eugenie in France. ** the two main approaches to corseting, tight lacing and "artistic" dress (She didn't do the Worth-house style tight laced "traditional" look (in the 1880s Frith painting) or the "aesthetic" or "artistic" style associated with artists and socialists.) ** the practices around mourning (Kate Strasdin's ''The Dress Diary'' summarizes the mourning practices, at least for mid-century, and perhaps for the aspiring middle classes) * Neither Eugenie of France nor Elisabeth of Austria were regarded as beautiful as children. * Empress Eugénie's influence on fashion: "when Mrs. Lincoln first arrived in Washington, she made a point of patterning her gowns after the empress’s wardrobe."<ref>Goldstone, Nancy. ''The Rebel Empresses: Elisabeth of Austria and Eugénie of France, Power and Glamour in the Struggle for Europe''. Little Brown, 2025.</ref>{{rp|566, n. iii}} *According to Lucy Worsley, QV developed some practices early to "memorialise" her life, including writing "the millions of words eventually embodied in the journals that she would keep lifelong, ... keeping significant dresses from her wardrobe, ... the compulsive taking and collecting of photographs," even maintaining "certain rooms of her palaces ... with their furniture unchanged as shrines to earlier times."<ref name=":5" />{{rp|91 of 786}} Another form of memorialization was the books she wrote or had written. *1856: there is a "surviving day dress of lilac silk ..., which has grey silk ribbons running between waist and hem inside so that the skirt can be drawn up for convenient walking," as QV might have done in Scotland, although in the 1856 trip to Scotland, she was pregnant with Beatrice.<ref name=":5" />{{rp|346 of 786; n. 45, p. 693: "'''Madeleine Ginsburg, ‘The Young Queen and Her Clothes'''’, ''Costume'', vol. 3 (Sprint) (1969) p. 42"}} == Class == Early in their marriage, QV and Albert "had a powerful and popular domestic image and were often seen at home wearing ‘ordinary’ clothes, further appealing to the middle classes."<ref>{{Cite web|url=https://www.londonmuseum.org.uk/collections/london-stories/marriage-queen-victoria-prince-albert/|title=The marriage of Queen Victoria & Prince Albert|website=London Museum|language=en-gb|access-date=2026-02-16}}</ref> After the 1870 Mordaunt divorce case, according to Lytton Strachey, speaking at first from QV's perspective,<blockquote>It was clear that the heir to the throne had been mixing with people of whom she did not at all approve. What was to be done? She saw that it was not only her son that was to blame — that it was the whole system of society; and so she despatched a letter to Mr. Delane, the editor of ''The Times'', asking him if he would "frequently write articles pointing out the immense danger and evil of the wretched frivolity and levity of the views and lives of the Higher Classes." And five years later Mr. Delane did write an article upon that very subject.<ref name=":0" /> (424 of 555)</blockquote>The upper-middle-class Florence Nightingale "had developed a great fondness for Victoria, shy in 'her shabby little black silk gown'" by the time of Albert's death.<ref name=":11" /> (592 of 1203) She had visited Balmoral during the Crimean War and<blockquote>had been struck by the difference between the bored, frivolous court members and Victoria and Albert, both consumed with thoughts of war, foreign policy, and "all things of importance." Even before Albert’s death, she thought Victoria conscientious "but so mistrustful of herself, so afraid of not doing her best, that her spirits are lowered by it." With Albert gone, "now she is even doubting whether she is right or wrong from the habit of consulting him." Nightingale found this touching, a sign that "she has not been spoilt by power."<ref name=":11" /> (592 of 1203)</blockquote>Lucy Worsley sees this lack of self-confidence on Victoria's part as one of the effects of Albert's critical, controlling treatment of her. The general election of 1886, according to Lytton Strachey, "the majority of the nation"<blockquote>showed decisively that Victoria’s politics were identical with theirs by casting forth the contrivers of Home Rule — that abomination of desolation — into outer darkness, and placing Lord Salisbury in power. Victoria’s satisfaction was profound.<ref name=":0" /> (439–440 of 555)</blockquote>Prime Minister Salisbury believed that the queen had an uncanny ability to reflect the view of the public; he felt that when he knew [736–737] Victoria’s opinion, he "knew pretty certainly what views her subjects would take, and especially the middle class of her subjects."<ref name=":11" /> (736–737 of 1203) Summing up her reign, Strachey says,<blockquote>The middle classes, firm in the triple brass of their respectability, rejoiced with a special joy over the most respectable of Queens. They almost claimed her, indeed, as one of themselves; but this would have been an exaggeration. For, though many of her characteristics were most often found among the middle classes, in other respects — in her manners, for instance — Victoria was decidedly aristocratic. And, in one important particular, she was neither aristocratic nor middle-class: her attitude toward herself was simply regal.<ref name=":0" /> (478 of 555)</blockquote> == Proposals == Queen Victoria's Sense of Style, her taste in clothes and jewelry To talk about her sartorial style is to address both jewelry (which includes crowns, diadems and tiaras) and clothing (including accessories like shawls, veils and caps, bonnets and hats). One of the secrets of her style was that she wore elements of Victorian frou-frou without looking over-trimmed or visually busy, mostly because it was black on black (or, before Albert's death, white on white, but also because the materials and work were so fine. What she selected of the frou-frou was very fashionable, but the trim is not high contrast, as for example what a Worth gown might have. The silhouette was not high-fashion, but elements were: she knew what was fashionable, she or her dressmakers, etc. The close-up/far-away thing contrasts with Bertie, who understood ceremony and pageantry differently and probably better. Periods in her sartorial styles, but made more complex by state occasions vs less formal, many of them in-family occasions: # Before she came to the throne, she may not have been in control of her own look. # After her accession and before her marriage, she had control as well as an experienced Mistress of the Robes and experienced maids and dressmakers. She experimented, wore for example a dark tartan dress to meet Albert and his brother and chose simple styles, like village girls, at the wedding; expectations for what a monarch would wear; she seems to have liked an off-the-shoulder look when she was young, and very formal dress later might be off the shoulder. # Marriage to Albert: he had a lot of say, though she resisted in some ways, but her identity was tied up in his, as his wife; he attempted to constrain her clothing budget was not successful long term; influenced by styles, but not at the front edge; crinoline cage 3 years later than Eugenie and Elisabeth of Austria (Mary Todd Lincoln?). Photographs, so a medium different from the official portraits documenting empire and sovereignty, more candid, more at-home, less formal, modest, but would any of her subjects have seen them? Change as well as memorializing (Worsley). Some changes she adopted: double pommel side saddle, photography, cage (not immediately, but ...) Her friends in the monarchy, Eugénie, Elisabeth of Austria and Mary Todd Lincoln were all very fashion forward. A. N. Wilson says QV was parsimonious "in such matters as heating and wardrobe."<ref name=":13" /> (609 of 1204) # The 1st year, 2 1/2 years (Strasdin), and then decade of mourning, then she decides never to wear color again (not counting honors and order), and her "brand" begins to develop and solidify, a look friendly to the middle classes, especially the upper middle class. The Widow of Windsor. At the beginning her black thigh-length jackets were largely untrimmed, sometimes completely; a large band at the bottom of her skirt, with trim between that and the more satiny fabric above, but otherwise very little or no other trim. White around her face, including neck and headdress, and at her cuffs, but not much and not a lot of frou-frou, perhaps a ruffle. # In 1871, under pressure from her ministers and newspapers, she had the Small Diamond Crown made and wore it to open Parliament. So she was missing from the public for about a decade. Her grief was profound, possibly compound because of the death of her mother earlier in the same year as the death of Albert. She may have been vulnerable to depression, sometimes finding pregnancies difficult to recover from. But also, her Widow of Windsor look is not just her being "gloomy" or being stuck in grief, though she may have been, this is her brand, her nuance on her regal identity. # By the 1880s, her look is well established: plain from a distance; up close, very fine materials and beautiful needlework. Her clothing has trim, but generally black on black or white on white, not contrasting on a field of one color. Not wearing a corset, depending on not-very-heavy boning in her bodices, caps, shawls, At this point, Bertie's place in the aristocracy is also well established, and he and Alex are set up with a very different sense of style, wearing haute couture, House of Worth type stylishness. # By the Jubilees and the end of the century, "Despite their sombre aspect, even her mourning gowns were finely made. She had settled into a series of very minor variations upon a square-necked bodice and skirt, customised with quirky little pockets for keys and seals, all cut pretty much the same to save her the trouble of fittings. On her head went a white cap, with streamers of lace, and round her neck a locket containing miniatures of two of her children: Alice, now lost to diphtheria, and Leopold, to haemophilia.16"<ref name=":5" /> (511 of 786; n. 16, p. 723: "Princess Marie Louise (1956) p. 141") One design we see a lot is the usual black with a little white at neckline and wrists, with sophisticated black trim not really visible from a distance. The wide skirt with a deep band of a different fabric at the bottom, a thigh-length jacket with wide sleeves; might be dress with a bodice or a vest and blouse under the jacket. # Jubilees, end of life and her funeral, which she had planned in detail. === CFPs === * Uniform Mourning * After Prince Albert's death death in 1861, Victoria returned to her earlier project of experimenting and finding sartorial styles that served not only as self-expression but that also communicated how she expected to be treated in what role. The extreme mourning was a reflection of how she felt and her identity as a faithful, grieving widow, but it was also performative and communicative, depending on who was looking and from what distance. * In her private sphere, in the unofficial and family-centered photographs, in her journals (including Princess Beatrice's revision of her journals) and the preserved clothing, and in the accounts in the papers written by reporters familiar with fashion and dressmaking, we see a sophisticated understanding of fashion and subtle, complex dresses. The materials and dressmaking are rich and fine. Victoria aligned her appearance with respectable matrons of the growing middle classes, but the quality of the materials used in her clothing aligned her with those in her private sphere, including other royals and aristocrats. * This opposition between the private and public spheres is falsely simple because, for example, Victoria "memorialized" herself (Worsley), preserving elements of her personal life exactly because she was monarch. The different versions of herself was a complexity present in her lifetime and useful to her. * Also, her sense of self changed over time, especially after she acceded to the throne, after she married and after she was widowed. * Focusing on Victoria's clothes and sense of style leads us to see some understandings of her and her reign differently: her periods of seclusion and her absences from governmental and state occasions; the loss of power for the monarchy as well as the survival of the constitutional monarchy when almost every other monarchy in Europe was falling; the ways she managed her relationships with the aristocracy, the middle classes, the press; her mood and mental health; the white wedding dress and her influence in the wedding dresses of her daughters and Alex; Albert's nature; even what we believe to be the rules and conventions around mourning dress; and the size of her body. * To study Queen Victoria's sartorial sense of style, we look at painted and drawn portraits and at photographs of her, we read the few accounts from biographers and fashion historians, especially those who have looked at the clothing and accessories preserved by Victoria herself and now in the Royal Trust Collection, the London Museum and so on, we read her own accounts (or Princess Beatrice's construction of her mother in her revision of her journals her as well as Esher's books about her based on the journals before Beatrice revised them), and we read accounts of her public appearances in contemporary periodicals, especially newspapers that employed reporters knowledgeable about fashion and dressmaking as well as those more focused on news and, perhaps, a male readership. These sources represent different versions of Victoria and her subjects, a complexity that was already occurring in Victoria's lifetime, that looks to have been deliberate and that was, I argue, very useful to her. These different versions of Victoria and different audiences lead to different readings of her senses of style as they evolved over time and what they might be signaling. The journals and many of the photographs existed in what we might call Victoria's private sphere, by which we mean in the presence of some aristocrats (who worked in government, who attended her and who were ministers), of people who were employed as servants and of her family, which was quite extensive and whose edges were porous, especially toward the end of the century and the end of her life, as well as the small number of people she "adopted" like Duleep Singh and XX [African girl]. The preservation of Victoria's clothing belongs to this "private sphere," although much of it was worn during public or official events like her coronation or wedding; some, though, like the chemise she wore for the birth of all of her children, was more or less but not completely private, and the "memorializing" (Worsley) of herself entailed in this preservation was done in her role as monarch. The paintings and newspaper accounts depict the public Victoria, and from this distance Victoria looked plain — even dowdy — and clearly unaristocratic: she looks like a middle-class or upper-middle-class widow, the Widow of Windsor. Up close, though, we see complex and sophisticated dresses and dressing. Albert had tastes and preferences for how he wanted her to look, some of which were about looking familiar to the growing middle classes, and after he died and she very deliberately turned her widow's weeds into a uniform, the bifurcation between what she looked like from a distance and to the public and what she looked like up close and to those in her private circles gets clearer. Looking at her as monarch and daughter, wife, mother and grandmother through the lens of her clothing reopens some questions that up to now have seemed settled. Focusing on Victoria's clothes and sense of style causes us to see some uncontroversial and "well-understood" summaries of her and her reign differently: her periods of seclusion, such as they were, and her absences from governmental and state occasions; the loss of power for the monarchy as well as the survival of the constitutional monarchy when almost every other monarchy in Europe was falling; the ways she managed her relationships with the aristocracy, the middle classes, the press; her mood and mental health (the regal, disinterested face, which isn't really gloomy the way it is usually described); the white wedding dress and her influence in the wedding dresses of her daughters and Alex; Albert's nature; the size and shape of her body. * Many of the newspaper reports of her dress are in descriptions of events involving aristocrats and oligarchs at official social events like garden parties, state balls and, of course, processions, especially for her Golden and Diamond Jubilees. The reports in the news-reporting papers, not the ladies' papers or papers with a lot of fashion reporting, seem to have been written by reporters who did not know how to describe sophisticated clothing, fabrics, trim and techniques; they do not use the technical vocabulary required to report on fashion, or if they attempt it, they end up being confusing. Often, these news reports list only the names of those invited. Garden parties might have as many as 6000 invitées listed; the most said about the queen would list who was attending. Occasionally, we hear a very general description of what she wore and perhaps if she did or did not seem to have difficulty walking, but the reporters seem to have been at a distance and may not know the names of fabrics or dressmaking techniques. * The reports in the newspapers vs reports written by fashion specialists in women's newspapers (and magazines?). * Both Oscar Wilde and Jack the Ripper are understood in the context of their "management" (or not) of the media, but Victoria's sense of her identity as a celebrity and public person was at least as sophisticated as theirs. She "memorialized" herself and important moments in her life in her extremely prolific use of photographs as well as painted and drawn images; in her keeping rooms in the palaces frozen in time; in her X millions words recorded in her journals; and in her clothing, both for formal as well as more candid images (Worsley). Her awareness of her responsibility to memorialize herself had to have included the newspapers as well. Politically, her absence from politics after Alfred's death until 1871, when she wore the Small Diamond Crown to open Parliament for the first time, was notable and noted, but a carte de visite with her portrait on it sold X million copies (Worsley) and kept her present in the mind of the citizenry at the same time that she was being criticized for her political absence in the newspapers and among her ministers and the members of Parliament, some of whom questioned the value of an absent monarch. Lytton Strachey says that monarchs up to Victoria's time did not attempt to be fashionable or belong to the fashionable "set," except, tellingly, George IV. But Victoria's fashion choices occurred in a content different from that of George IV, both politically and journalistically. Especially as Albert's influence waned and Bertie's own social identity developed, the direction of Victoria's sartorial gestures was to the middle classes, especially the upper middle classes, but not the aristocracy, not the fashionable world of haute couture, like, for instance, what the House of Worth might provide. In this 1881 image by Frith, in fact, we see the two main streams of fashion in the economic and cultural elite, but this is not Victoria. * Alex and her sister Dagmar (who became the mother of Czar Nicolas II) were raised to make their own clothing (their father was not wealthy), so Alex knew a lot about building dresses, already had a wedding dress when she arrived in England but didn't wear it. * Although she was widely criticized for her absence at state occasions in the press, Parliament and among her ministers, her widely circulated photographic portraits and her books — memoirs mostly of her family life with Albert and their children, her love of Scotland and Balmoral, and later the biographical works she asked and then helped courtiers close to her to write — she was present for the mass of her subjects who bought cartes de visite and read books. * Worsley says some of her always wearing mourning was to arrange the world so she was treated more gently, with a dispensation; there were other benefits to the "uniform" she developed, but this one suggests she saw herself as marginal and weakened by grief. * The newspapers described her clothing, but by the end of her life never the way the clothing of women (and occasionally men) wearing haute couture was described? Does the close-up/far-away thing pertain here? ==== '''MVSA: Due 5 January''' (email 4 December, from Laura Fiss) ==== The Underground: Prohibition, Abolition, Expression, '''April 10-12, 2026''', hosted by Xavier University, Cincinnati, Ohio Style and Sensibility: Victoria, Eugénie, Elisabeth and Mary Todd and Their Dressmakers (383 words) Looking at Queen Victoria's sartorial sense of style troubles some conclusions we have reached about her, her reign, her "private" life and her body. Her style became strongly individuated and intentionally symbolic. The "uniform" worn by the Widow of Windsor — that all-black dress with the touches of white at her neckline and cuffs — made her instantly recognizable, even in a crowd and from a distance, and allied her with the middle class rather than the aristocracy. Up close (in the hundreds of personal photographs, her journals, and the clothing she saved) is a sophisticated and nuanced sense of style and self. Putting Victoria's use of dress (and jewelry) in the context of a social network of political women that includes Empress Eugénie of France, Elisabeth of Bavaria, Empress of the Holy Roman Empire, and Mary Todd Lincoln removes her from the usual social isolation scholarly scrutiny gives her, emphasizing what clothing did for her, although few biographies and histories see Victoria in this way. These women knew each other, wrote to each other and had friends in common. They thought about what message their clothing choices sent and made those choices in the context of community, not only of who saw them but also each other and the modistes and couturiers who dressed them. Victoria patronized establishments with shops in London, Paris and New York, and a complex staff made what she wore, dressed her in it and looked after it. Both Eugénie and Elisabeth were clients of the British Frederick Worth of Paris. Lincoln's modiste was the brilliant, elegant, formerly enslaved Elizabeth Keckley, who had also — with her 20-seamstress staff — dressed Mrs. Robert E. Lee, Mrs. Stephen Douglas, Mrs. Jefferson Davis, and the daughter of General Sumner. Mary Anna Lee's dress was for a dinner in honor of the Prince of Wales in 1860. (Keckley introduced Abraham Lincoln to Sojourner Truth, but she also cut his hair and made his dressing gown.) The class alliances these women's dress signaled had implications for their lives and their reigns. Designed to work from a distance, Queen Victoria’s identity as the Widow of Windsor in her barely relieved black was a valuable construction. Face to face and in the personal photographs, the complexities of the dresses are as fine as the eye can see. They all wore white wedding gowns (unexpected for monarchs at this time). Family relations and threats and instability for the monarchies in Europe kept QV in touch with fashion in Europe. Not so much underground or rebellious or revolutionary as crosswise. In some ways, QV's style of dress was '''covert''', looking subtly rich and stylish up close but plain and dowdy from a distance: the Widow of Windsor. Speaking to different groups of her subjects differently, a polyvocal style. QV chose not to do haute courture. She adopted the cage 1858, for example, well after Eugénie and Elisabeth of Austria, and vest and suit coat in the 1890s?, but she's not wearing the vest and suit coat the way Alexandra is, it's not the up-to-the-minute silhouette, but some of the element are. Queen Victoria helped the two European monarchs with difficult and dangerous moments, sometimes contributing to saving their lives, sometimes directly and sometimes through friends. Her relationships with Eugénie, Empress of France; Elisabeth of Austria, Empress of the Holy Roman Empire and Mary Todd Lincoln are based on shared understanding of themselves as public female leaders. Mary Todd Lincoln's wedding skirt: https://www.facebook.com/photo/?fbid=1314628790709593&set=pcb.1314628920709580, closeup: https://www.facebook.com/photo/?fbid=1314628800709592&set=pcb.1314628920709580; in museum case: https://www.facebook.com/photo/?fbid=1314628814042924&set=pcb.1314628920709580 Turney, Thomas J. "'Lincoln: A Life and Legacy' Opens at Presidential Museum in Springfield." ''The State Journal Register'' 30 September 2025 https://www.sj-r.com/picture-gallery/news/2025/09/30/new-lincoln-exhibit-opens-at-presidential-museum-in-springfield/86353769007/. == Self-Memorializing == The term is really Lucy Worsley's, QV memorialising herself, but because QV deliberately saved so much, other biographers noticed it as well. A. N. Wilson says,<blockquote>In a recent study, Yvonne M. Ward calculated that Victoria wrote as many as 60 million words.⁶ (6 "Yvonne M. Ward, ''Censoring Queen Victoria'', p. 9.") Giles St Aubyn, in his biography of the Queen, said that had she been a novelist, her outpouring of written words would have equalled 700 volumes.⁷ (7 "Giles St Aubyn, ''Queen Victoria: A Portrait'', p. 601.") Her diaries were those of a compulsive recorder, and she sometimes would write as many as 2,500 words of her journal in one day.<ref name=":13" /> (33 of 1204. nn. 6, 7, p. 1057)</blockquote>If an average Victorian novel is 150,000 words, then Victoria's "outpouring" would equal about 400 volumes, not 700. * Queen Victoria's journals * Her personal letters * Her official letters and memoranda * Saved clothing and accessories * Portraits and photographs * Anniversaries and important dates * Preserved rooms, including all the stuff she collected over the years and the policy of keeping it in exactly the same place, recorded by photographs and albums * Works and memoirs, both commanded and self-written *# 1862: Sir Arthur Helps, "a collection of [Prince Albert's] speeches and addresses" <ref name=":0" /> (363 of 555), a "weighty tome." (364 of 505) *# 1866: General Grey, "an account of the Prince’s early years — from his birth to his marriage; she herself laid down the design of the book, contributed a number of confidential documents, and added numerous notes."<ref name=":0" /> (364 of 505) *# 1868: QV published her ''Leaves from the Journal of Our Life in the Highlands from 1848 to 1861''.<ref name=":4" /> *# 1874–1880: Theodore Martin, it took him 14 years to write an Albert's biography, the 1st volume came out in 1874, the last 1880. He got a knighthood, but the books were not popular, the image of Albert was not popular, too idealized and beatified.<ref name=":0" /> (364 of 505) *# Poet Laureate *# 1884: QV published her ''More Leaves from the Journal of Our Life in the Highlands from 1862 to 1882''.<ref name=":4" /> === Preserved Rooms and Possessions === Strachey says,<blockquote>She gave orders that nothing should be thrown away — and nothing was. There, in drawer after drawer, in wardrobe after wardrobe, reposed the dresses of seventy years. But not only the dresses — the furs and the mantles and subsidiary frills and the muffs and the parasols and the bonnets — all were ranged in chronological order, dated and complete. A great cupboard was devoted to the dolls; in the china room at Windsor a special table held the mugs of her childhood, and her children’s mugs as well. Mementoes of the past surrounded her in serried accumulations. In every room the tables were powdered thick with the photographs of relatives; their portraits, revealing them at all ages, covered the walls; their figures, in solid marble, rose up from pedestals, or gleamed from brackets in the form of gold and silver statuettes. The dead, in every shape — in miniatures, in porcelain, in enormous life-size oil-paintings — were perpetually about her. John Brown stood upon her writing-table in solid [460–461] gold. Her favourite horses and dogs, endowed with a new durability, crowded round her footsteps. Sharp, in silver gilt, dominated the dinner table; Boy and Boz lay together among unfading flowers, in bronze. And it was not enough that each particle of the past should be given the stability of metal or of marble: the whole collection, in its arrangement, no less than its entity, should be immutably fixed. There might be additions, but there might never be alterations. No chintz might change, no carpet, no curtain, be replaced by another; or, if long use at last made it necessary, the stuffs and the patterns must be so identically reproduced that the keenest eye might not detect the difference. No new picture could be hung upon the walls at Windsor, for those already there had been put in their places by Albert, whose decisions were eternal. So, indeed, were Victoria’s. To ensure that they should be the aid of the camera was called in. Every single article in the Queen’s possession was photographed from several points of view. These photographs were submitted to Her Majesty, and when, after careful inspection, she [461–462] had approved of them, they were placed in a series of albums, richly bound. Then, opposite each photograph, an entry was made, indicating the number of the article, the number of the room in which it was kept, its exact position in the room and all its principal characteristics. The fate of every object which had undergone this process was henceforth irrevocably sealed. The whole multitude, once and for all, took up its steadfast station. And Victoria, with a gigantic volume or two of the endless catalogue always beside her, to look through, to ponder upon, to expatiate over, could feel, with a double contentment, that the transitoriness of this world had been arrested by the amplitude of her might.<ref name=":0" /> (460–462 of 555)</blockquote> == Demographics == *Nationality: English === Residences === == Questions and Notes == # == Bibliography == # Anon. "One of Her Majesty's Servants," the Private Life of Queen Victoria. London, 1897, 1901. # Fawcett, Millicent Garrett. ''Life of Her Majesty Queen Victoria''. Roberts Bros., 1895. WikiSource copy: https://en.wikisource.org/wiki/Index:Life_of_Her_Majesty_Queen_Victoria_(IA_lifeofhermajesty01fawc).pdf. # Homans, Margaret. "'To the Queen's Private Apartments': Royal Family Portraiture and the Construction of Victoria's Sovereign Obedience." ''Victorian Studies'' vol. 37, no. 1 (1993) pp. 1–41. # Homans, Margaret. 1998. # Mitchell, Rebecca Nicole, editor. ''Fashioning the Victorians: A Critical Sourcebook''. Bloomsbury visual arts, 2018. OCLC # [https://search.worldcat.org/title/1085349620 1085349620] . # Staniland, Kay. ''In Royal Fashion: The Clothes of Princess Charlotte of Wales and Queen Victoria 1796-1901''. London, 1997. # Staniland, Kay, and Santina M. Levey. ''Queen Victoria's Wedding Dress and Lace''. Museum of London, 1983?. OCLC # [https://search.worldcat.org/title/473453762 473453762] . [Repr. from ''Costume, The Journal of the Costume Society'' (17:1983), pp. 1–32.] # Wackerl, Luise. ''Royal Style: A History of Aristocratic Fashion Icons.'' Peribo, 2012. [T.C. Magrath Library: Quarto GT1754 .W33 2012] == References == {{reflist}} e3fnz3zf4uyd43ljvjj5f8thrhbsk4a 0 292720 2817768 2744546 2026-07-06T04:32:35Z Evan Mercer 3071189 2817768 wikitext text/x-wiki <!-- TO CONTEST THIS PROPOSED DELETION, remove the following template, including this comment, up to the CLOSING COMMENT --> {{Ombox | type = delete | image = [[File:Orologio rosso.svg|45x45px|center|No license|link=]] | text = Please [{{fullurl:{{FULLPAGENAME}}|action=edit}} help improve] the [[Wikiversity:What is Wikiversity?|educational quality]] of this resource to increase [[Wikiversity:Learning|engagement]] by [[Wikiversity:Who are Wikiversity participants?|participants]]. Any concrete improvements made by '''{{#time:F j, Y|{{REVISIONTIMESTAMP}} +90 days}}''' may allow it to be [[WV:PROD|kept]]. <br> You may remove {{tl|proposed deletion}} from this resource's source text to contest this proposal, with or without [[{{TALKPAGENAME}}|discussion]]. {{#if:|---- <div style="text-align:center; margin-bottom:0em;"> The nominator's rationale: <p>{{{1}}}</p> </div> }}}}{{center|[[Special:PrefixIndex/{{FULLPAGENAME}}/|''Link to any subpages this page might have'']]}} {{event trigger|date=July 6, 2026|when=90 days|[[Category:Pending deletions|{{PAGENAME}}]]}} {{event trigger|date=July 6, 2026|when=60 days|[[Category:60-day proposed deletions|{{PAGENAME}}]]}} [[Category:Proposed deletions|{{PAGENAME}}]] <!-- CLOSING COMMENT, remove up to and including this comment --> =Objective= In this lesson, we will cover ''variables'', ''expressions'', ''equations'', and methods of ''manipulating'' them. Methods of manipulation include ''simplifying'', ''substituting'', and ''solving''. =Key Terminology= {| class="wikitable sortable" |+ Caption text |- ! Term !! Definition !! Part of Speech |- | '''Variable''' || A symbol used to represent a quantity that can change. Variables ''are'' numbers. || Noun |- | '''Expression''' || A representation of a quantity that uses numbers or variables, or the mathematical product of both. || Noun |- | '''Equation''' || A statement of equality using the symbol <math>=</math>. The quantities on each side of the equal sign ''are'' the same as each other. || Noun |- | '''Solution''' || A value or values that make equations true. || Noun |- | '''Manipulate''' || Modify an expression or an equation in a way that changes what's written on the page. || Verb |- | '''Solve''' || Look for solutions || Verb |- | '''Simplify''' || Rewrite an expression as a less complicated expression || Verb |- | '''Substitute''' || Replace a value with another thing of equal value || Verb |} =Variables and Expressions = =Equations= A simple equation: 2a+3b+c = 0 This equation has 3 variables (a,b and c);; 3 terms (2a, 3b and c);; and this equation is an equality, because here is an equal sign (=) between both sides of the equation. Next: solution to a simple algebra problem. Solve the following equation for (a): <math>\begin{align} 2a + 3a - 30 &= 10 \\ \phantom{2a + 3a }+30 &\phantom{=} +30 \\ 2a + 3a &= 40 \\ 5a & = 40 \\ \frac{5a}{5} &= \frac{40}{5} \\ a &= 8 \end{align}</math> - -- - - - - - - - - Some trig stuff: sin ɵ = Opposite-Side/Hypotenuse cos ɵ = Adjacent-Side/Hypotenuse ø == See Also == * [[Equations]] * [[Expressions]] [[Category:Equations]] r94j0fq9ppfh588y47nr0s0zsj5ggi3 2817769 2817768 2026-07-06T04:40:54Z Evan Mercer 3071189 2817769 wikitext text/x-wiki =Objective= In this lesson, we will cover ''variables'', ''expressions'', ''equations'', and methods of ''manipulating'' them. Methods of manipulation include ''simplifying'', ''substituting'', and ''solving''. =Key Terminology= {| class="wikitable sortable" |+ Caption text |- ! Term !! Definition !! Part of Speech |- | '''Variable''' || A symbol used to represent a quantity that can change. Variables ''are'' numbers. || Noun |- | '''Expression''' || A representation of a quantity that uses numbers or variables, or the mathematical product of both. || Noun |- | '''Equation''' || A statement of equality using the symbol <math>=</math>. The quantities on each side of the equal sign ''are'' the same as each other. || Noun |- | '''Solution''' || A value or values that make equations true. || Noun |- | '''Manipulate''' || Modify an expression or an equation in a way that changes what's written on the page. || Verb |- | '''Solve''' || Look for solutions || Verb |- | '''Simplify''' || Rewrite an expression as a less complicated expression || Verb |- | '''Substitute''' || Replace a value with another thing of equal value || Verb |} =Variables and Expressions = =Equations= A simple equation: 2a+3b+c = 0 This equation has 3 variables (a,b and c);; 3 terms (2a, 3b and c);; and this equation is an equality, because here is an equal sign (=) between both sides of the equation. Next: solution to a simple algebra problem. Solve the following equation for (a): <math>\begin{align} 2a + 3a - 30 &= 10 \\ \phantom{2a + 3a }+30 &\phantom{=} +30 \\ 2a + 3a &= 40 \\ 5a & = 40 \\ \frac{5a}{5} &= \frac{40}{5} \\ a &= 8 \end{align}</math> - -- - - - - - - - - Some trig stuff: sin ɵ = Opposite-Side/Hypotenuse cos ɵ = Adjacent-Side/Hypotenuse ø == See Also == * [[Equations]] * [[Expressions]] [[Category:Equations]] k3ud6cy78o8pf6zp0dybq6v6byh2l1j 2817770 2817769 2026-07-06T04:41:09Z Evan Mercer 3071189 2817770 wikitext text/x-wiki {{dr}} =Objective= In this lesson, we will cover ''variables'', ''expressions'', ''equations'', and methods of ''manipulating'' them. Methods of manipulation include ''simplifying'', ''substituting'', and ''solving''. =Key Terminology= {| class="wikitable sortable" |+ Caption text |- ! Term !! Definition !! Part of Speech |- | '''Variable''' || A symbol used to represent a quantity that can change. Variables ''are'' numbers. || Noun |- | '''Expression''' || A representation of a quantity that uses numbers or variables, or the mathematical product of both. || Noun |- | '''Equation''' || A statement of equality using the symbol <math>=</math>. The quantities on each side of the equal sign ''are'' the same as each other. || Noun |- | '''Solution''' || A value or values that make equations true. || Noun |- | '''Manipulate''' || Modify an expression or an equation in a way that changes what's written on the page. || Verb |- | '''Solve''' || Look for solutions || Verb |- | '''Simplify''' || Rewrite an expression as a less complicated expression || Verb |- | '''Substitute''' || Replace a value with another thing of equal value || Verb |} =Variables and Expressions = =Equations= A simple equation: 2a+3b+c = 0 This equation has 3 variables (a,b and c);; 3 terms (2a, 3b and c);; and this equation is an equality, because here is an equal sign (=) between both sides of the equation. Next: solution to a simple algebra problem. Solve the following equation for (a): <math>\begin{align} 2a + 3a - 30 &= 10 \\ \phantom{2a + 3a }+30 &\phantom{=} +30 \\ 2a + 3a &= 40 \\ 5a & = 40 \\ \frac{5a}{5} &= \frac{40}{5} \\ a &= 8 \end{align}</math> - -- - - - - - - - - Some trig stuff: sin ɵ = Opposite-Side/Hypotenuse cos ɵ = Adjacent-Side/Hypotenuse ø == See Also == * [[Equations]] * [[Expressions]] [[Category:Equations]] 8cr4g4l4jruqnnqq7kiqix782caocgw 3 322509 2817758 2722991 2026-07-05T23:00:04Z Atcovi 276019 /* Recently created pages */ new section 2817758 wikitext text/x-wiki == Unblock request (with provided reason) == {{unblocked|1=''Hello Mr. MathXplore,'' ''I hope this finds you well. I'm new to Wikiversity and wish to become a contributor. I was writing a draft of my user page and got impressed to find out that "blocked" and "deleted" as if I was SPAM.'' ''I'm not a spam, I'm a person; Couldn't you've contacted me before taking such radical actions?'' ''Therefore I humbly I ask you to be unblocked; My IP address as given by my notice is {{Redacted}}. My intention was never to "Cross-Wiki advertising" or be opportunistic towards the community; If I did such harm  I wish to understand how, as I understood that an user page is where I should write about myself in order to users know me, or am I mistaken?'' ''If I should write about myself in a "Wikipedia" style, please understand that I was developing the text. Yet too soon I got blocked and "killed" without the chance to elaborate my own user page.'' ''I'm sorry for any inconvenience. Please restore my page.'' ''Sincerely,'' ˷˷˷˷ ''Marcio Hendrik'' ''--'' ''This email was sent by Marciohendrik to MathXplore by the "Email this user" function at Wikiversity. If you reply to this email, your email will be sent directly to the original sender, revealing your email address to them.'' ''To manage email preferences for user Marciohendrik, please visit the following URL:'' [[Special:Mute/Marciohendrik|''https://en.wikiversity.org/wiki/Special:Mute/Marciohendrik'']]|2=Per [[Special:Diff/2722831]], [[Special:Diff/2722836]], please try to contribute to learning by editing related pages e.g., about music. [[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 11:39, 22 July 2025 (UTC)}} [[User:Marciohendrik|Marcio Hendrik]] ([[User talk:Marciohendrik|discuss]] • [[Special:Contributions/Marciohendrik|contribs]]) 21:48, 21 July 2025 (UTC) ==Welcome== {{Robelbox|theme=9|title='''[[Wikiversity:Welcome|Welcome]] to [[Wikiversity:What is Wikiversity|Wikiversity]], Marciohendrik!'''|width=100%}} <div style="{{Robelbox/pad}}"> You can [[Wikiversity:Contact|contact us]] with [[Wikiversity:Questions|questions]] at the [[Wikiversity:Colloquium|colloquium]] or get in touch with [[User talk:MathXplore|me personally]] if you would like some [[Help:Contents|help]]. Remember to [[Wikiversity:Signature#How to add your signature|sign]] your comments when [[Wikiversity:Who are Wikiversity participants?|participating]] in [[Wikiversity:Talk page|discussions]]. Using the signature icon [[File:OOjs UI icon signature-ltr.svg]] makes it simple. We invite you to [[Wikiversity:Be bold|be bold]] and [[Wikiversity|assume good faith]]. Please abide by our [[Wikiversity:Civility|civility]], [[Wikiversity:Privacy policy|privacy]], and [[Foundation:Terms of Use|terms of use]] policies. To find your way around, check out: <!-- The Left column --> <div style="width:50.0%; float:left"> * [[Wikiversity:Introduction|Introduction to Wikiversity]] * [[Help:Guides|Take a guided tour]] and learn [[Help:Editing|how to edit]] * [[Wikiversity:Browse|Browse]] or visit an educational level portal:<br>[[Portal:Pre-school Education|pre-school]] | [[Portal:Primary Education|primary]] | [[Portal:Secondary Education|secondary]] | [[Portal:Tertiary Education|tertiary]] | [[Portal:Non-formal Education|non-formal]] * [[Wikiversity:Introduction explore|Explore]] links in left-hand navigation menu </div> <!-- The Right column --> <div style="width:50.0%; float:left"> * Read an [[Wikiversity:Wikiversity teachers|introduction for teachers]] * Learn [[Help:How to write an educational resource|how to write an educational resource]] * Find out about [[Wikiversity:Research|research]] activities * Give [[Wikiversity:Feedback|feedback]] about your observations * Discuss issues or ask questions at the [[Wikiversity:Colloquium|colloquium]] </div> <br clear="both"/> To get started, experiment in the [[wikiversity:sandbox|sandbox]] or on [[special:mypage|your userpage]]. See you around Wikiversity! --[[User:MathXplore|MathXplore]] ([[User talk:MathXplore|discuss]] • [[Special:Contributions/MathXplore|contribs]]) 11:39, 22 July 2025 (UTC)</div> <!-- Template:Welcome --> {{Robelbox/close}} :Hello Mr. MathXplore, :Thank you for the warm welcome and guidelines. I will follow your suggestions starting from the above, and I will edit pages about music. :I foresee my contributions as a way to gain experience in artistic research. :Sincerely, :Marcio :[[User:Marciohendrik|Marcio Hendrik]] ([[User talk:Marciohendrik|discuss]] • [[Special:Contributions/Marciohendrik|contribs]]) 09:25, 23 July 2025 (UTC) == Recently created pages == Hey Marcio, I'm sorry that I had to mass delete your recent pages. I'm not sure what you were trying to accomplish with those new creations, but if you want to redirect pages to Wikipedia, the proper way is through the {{tl|Softredirect}} template, as demonstrated here: [[Social self]]. Feel free to re-create your pages with the proper template. Thanks! —[[User:Atcovi|Atcovi]] [[User talk:Atcovi|(Talk]] - [[Special:Contributions/Atcovi|Contribs)]] 23:00, 5 July 2026 (UTC) qmmmsmw2gmxrpbkckb8flbgz7v8jca7 0 327384 2817759 2790163 2026-07-06T01:53:10Z Dronebogus 3054149 /* Structural alternatives to permanent territorial ownership */ 2817759 wikitext text/x-wiki Territorial Disputes and Land Ownership is an analytical study within the Human Awakening project, examining how territorial disputes emerge, persist, and repeat across human history. Rather than addressing specific cases or taking political positions, this page adopts a long-term, third-person observational perspective to explore the underlying structures that link land, power, governance, and conflict. The focus is not on assigning blame, but on understanding the mechanisms that generate recurring disputes and evaluating alternative approaches to their resolution. == Territory and Disputed Land == === Introduction === Territorial disputes are among the most persistent sources of conflict in human civilization. Across different historical periods, political systems, and cultural contexts, disputes over land have repeatedly emerged, transformed, and reappeared, often resisting permanent resolution. This study does not examine specific disputes or assign responsibility to particular actors. Instead, it approaches territorial conflict as a structural phenomenon, asking how the concept of territory itself emerged, why disputes tend to recur, and why many existing resolution models struggle to produce long-term stability. By examining territory not as a fixed object of ownership but as a dynamic relationship between land, power, governance, and collective organization, this analysis seeks to clarify the underlying mechanisms that sustain territorial conflict across time. === The emergence of territorial concepts === In early human societies, land was primarily defined through usage rather than ownership. Communities occupied and utilized areas for survival, agriculture, or settlement without formalized boundaries or permanent legal claims. The concept of territory gradually emerged alongside the development of centralized authority. Feudal systems introduced land grants, domains, and estates, linking control over land to political hierarchy and loyalty. As states formed, land became abstracted into national territory—defined through administrative control, taxation, and military defense. In this sense, territory did not arise as an inherent property of land itself, but as a construct produced by organized power. === Power and land claims === Territorial claims are expressions of authority rather than attributes of geography. A claim exists only insofar as an institution can enforce, defend, and legitimize control over a given area. Throughout history, such claims have relied on conquest, inheritance, treaties, legal frameworks, or cultural narratives. When authority is consolidated, territorial definitions tend to stabilize. When authority fragments, overlaps, or transitions, ambiguity and competing claims increase. The persistence of territorial disputes reflects this underlying relationship between land and power. === The formation of territorial disputes === Territorial disputes arise when multiple systems of authority assert legitimacy over the same geographic space. This situation often follows historical ruptures such as war, imperial collapse, decolonization, or state dissolution. From a structural perspective, disputes do not necessarily indicate deception or moral failure by any single party. Instead, they emerge from overlapping legal narratives, incompatible historical claims, and unresolved transitions of power. As long as land is treated as an object of exclusive and permanent ownership, such conflicts remain difficult to resolve. === Limitations of existing resolution models === Common approaches to territorial disputes include military confrontation, prolonged stalemate, external arbitration, or unilateral control. While these methods may produce temporary outcomes, they often fail to address the structural conditions that generate conflict. Most existing models assume that territory must ultimately belong to a single authority on a permanent basis. This assumption frames disputes as zero-sum contests and reinforces cycles of militarization, grievance accumulation, and intergenerational transmission of unresolved claims. From a long-term historical perspective, these approaches have shown limited capacity to produce durable stability. === Reconsidering foundational assumptions === Many approaches to territorial disputes implicitly rely on a foundational assumption: that land can be permanently owned by a single political entity. This assumption is rarely examined directly. Instead, it functions as an underlying premise shaping legal systems, diplomatic negotiations, and security doctrines. Once accepted, disputes are framed as questions of rightful ownership rather than questions of structural design. From a long-term observational perspective, however, the permanence of territorial ownership appears inconsistent with historical patterns. Across centuries, borders have shifted, authorities have dissolved, and populations have adapted, while the physical land itself has remained unchanged. This contrast suggests a structural asymmetry: political systems are transient, while land endures. Under such conditions, treating territory as an object of absolute and perpetual possession may introduce systemic instability. Claims become difficult to reconcile, transitions become violent, and compromise is interpreted as loss rather than adaptation. Reexamining this foundational assumption does not require denying historical narratives or legal frameworks. It requires recognizing that the persistence of disputes may be linked less to competing claims themselves than to the underlying model through which land is conceptualized. This reframing opens the possibility that alternative relationships between authority and land—based on temporality, shared usage, or adaptive governance—may reduce the structural incentives that sustain territorial conflict. === Structural alternatives to permanent territorial ownership === [[File:Map of a hypothetical shared territory rotation scheme.png|thumb|Map of a hypothetical shared territory rotation scheme]] If territorial conflict is sustained by assumptions of exclusive and permanent ownership, then alternative structural models may be explored that redefine the relationship between authority and land. One such approach is a rotational usage framework for disputed territories. Under this model, land is not treated as an object of final possession, but as a shared resource subject to temporally defined administration. Multiple parties could negotiate and formalize agreements in which administrative authority is exercised for fixed periods—such as several decades—before transitioning to another participating entity. These transitions would follow predetermined legal and institutional procedures, reducing uncertainty and abrupt power shifts. Crucially, this framework does not require displacement of local populations or alteration of existing infrastructure. Civilian life, cultural continuity, and economic development may remain stable, while administrative responsibility changes over time. Natural resources associated with the land—such as energy reserves, agricultural output, or strategic facilities—could be managed according to the same temporal agreements, aligning resource allocation with administrative responsibility rather than permanent sovereignty. By separating land usage from absolute ownership, this model reduces the symbolic and existential weight often attached to territorial claims. Authority becomes a function with a defined duration, rather than an irreversible assertion. Such an arrangement also challenges the prevailing assumption that disputed territories must primarily serve defensive or militarized purposes. When land is governed through shared stewardship and predictable rotation, the structural incentives for permanent fortification and confrontation may be diminished. While no framework can eliminate conflict entirely, structural alternatives of this kind may weaken the mechanisms through which territorial disputes reproduce themselves across generations. === Clarifying Scope and Practical Application === This framework applies exclusively to territories under active dispute, where multiple parties assert competing claims. It does not address territories whose sovereignty is internationally recognized or historically uncontested. The proposed approach is intentionally general rather than prescriptive. It outlines a structural direction rather than a fixed political program, allowing adaptation across different legal systems, cultures, and historical contexts. One possible operational interpretation involves multilateral acknowledgment by the disputing parties, witnessed by external states or international bodies. Through joint declarations, the parties may agree to treat the disputed land as a shared developmental space under time-limited administrative rotation. In this view, the land itself is not owned by any single state, but temporarily managed within defined periods, reflecting the principle that land ultimately belongs to the Earth rather than permanent political entities. Under such arrangements, existing populations, infrastructure, and daily life within the disputed territory would remain unchanged. Citizenship, cultural identity, and local continuity would not be altered. Natural resources—such as energy fields, minerals, or agricultural output—would be administered by the designated managing party during its agreed period of responsibility. A rotation interval on the scale of several decades (for example, fifty years) allows the transfer of administration to occur within a single generational memory. This time scale enables observation, adjustment, and accountability, while avoiding the illusion of permanent resolution through force. To address concerns regarding non-compliance, enforcement mechanisms may be defined in advance through contractual terms. These may include financial penalties, loss of trust status, restricted trade access, or other collectively agreed consequences. Such provisions are not intended as threats, but as stabilizing constraints similar to those found in international agreements and economic systems. Beyond conflict reduction, long-term shared development introduces an additional civilizational dimension. Territories shaped by multiple administrative systems and cultural influences tend to develop layered identities. Historically, regions exposed to diverse governance, languages, and customs have often produced distinctive architectural styles, hybrid traditions, and increased economic connectivity. Rather than diluting identity, such plurality can enrich cultural expression and transform contested zones into points of exchange, innovation, and interaction. From a long-term civilizational perspective, this diversity is not a weakness but a generative force. It offers a path in which disputed land no longer functions solely as a symbol of division, but as a space where coexistence, adaptation, and shared stewardship become visible over time. === Implications for long-term civilizational stability === Territorial disputes are not isolated political events, but recurring stress points within human social systems. When land is treated as a permanently owned symbol of identity and power, disputes tend to persist beyond the conditions that originally produced them. Grievances accumulate, historical narratives harden, and unresolved claims are transmitted across generations. Structural approaches that introduce temporality, shared responsibility, and adaptive governance may reduce these long-term pressures. By redefining authority as conditional rather than absolute, such models allow societies to adjust without framing compromise as defeat. Civilizational stability does not require the absence of disagreement. It requires mechanisms that prevent disagreement from escalating into irreversible conflict. In this context, alternative territorial frameworks are not merely diplomatic tools, but components of broader systemic resilience. They influence how societies manage transition, distribute power, and interpret continuity over time. The capacity to redesign foundational assumptions—rather than repeatedly contest outcomes within the same framework—may be a key factor in long-term human survival. === Observational conclusion === This study does not propose a definitive solution to territorial disputes. Instead, it highlights a structural pattern: conflicts persist when land is conceptualized as an object of permanent and exclusive possession. Historical observation suggests that authority changes, borders shift, and systems dissolve, while land remains. Recognizing this asymmetry allows for alternative relationships between governance and geography to be considered. From an observational standpoint, the question is not which claim is strongest, but which structural arrangements reduce the likelihood of repeated conflict across time. Territorial disputes may therefore be understood less as failures of negotiation and more as signals that existing conceptual models have reached their limits. If humanity is to navigate an increasingly interconnected and constrained world, the ability to revise inherited frameworks—without erasing history or denying identity—may prove essential. The future of territorial stability may depend not on final ownership, but on adaptive coexistence. [[File:Conceptual map shared territory rotation scheme.png|thumb|]] [[Category:Human Awakening]] [[Category:Political theory]] [[Category:Territorial disputes]] [[Category:Land ownership]] [[Category:International relations theory]] c57bqwdvrxo22idpffzoabcr4p9cew0 2817760 2817759 2026-07-06T01:53:39Z Dronebogus 3054149 /* Observational conclusion */ 2817760 wikitext text/x-wiki Territorial Disputes and Land Ownership is an analytical study within the Human Awakening project, examining how territorial disputes emerge, persist, and repeat across human history. Rather than addressing specific cases or taking political positions, this page adopts a long-term, third-person observational perspective to explore the underlying structures that link land, power, governance, and conflict. The focus is not on assigning blame, but on understanding the mechanisms that generate recurring disputes and evaluating alternative approaches to their resolution. == Territory and Disputed Land == === Introduction === Territorial disputes are among the most persistent sources of conflict in human civilization. Across different historical periods, political systems, and cultural contexts, disputes over land have repeatedly emerged, transformed, and reappeared, often resisting permanent resolution. This study does not examine specific disputes or assign responsibility to particular actors. Instead, it approaches territorial conflict as a structural phenomenon, asking how the concept of territory itself emerged, why disputes tend to recur, and why many existing resolution models struggle to produce long-term stability. By examining territory not as a fixed object of ownership but as a dynamic relationship between land, power, governance, and collective organization, this analysis seeks to clarify the underlying mechanisms that sustain territorial conflict across time. === The emergence of territorial concepts === In early human societies, land was primarily defined through usage rather than ownership. Communities occupied and utilized areas for survival, agriculture, or settlement without formalized boundaries or permanent legal claims. The concept of territory gradually emerged alongside the development of centralized authority. Feudal systems introduced land grants, domains, and estates, linking control over land to political hierarchy and loyalty. As states formed, land became abstracted into national territory—defined through administrative control, taxation, and military defense. In this sense, territory did not arise as an inherent property of land itself, but as a construct produced by organized power. === Power and land claims === Territorial claims are expressions of authority rather than attributes of geography. A claim exists only insofar as an institution can enforce, defend, and legitimize control over a given area. Throughout history, such claims have relied on conquest, inheritance, treaties, legal frameworks, or cultural narratives. When authority is consolidated, territorial definitions tend to stabilize. When authority fragments, overlaps, or transitions, ambiguity and competing claims increase. The persistence of territorial disputes reflects this underlying relationship between land and power. === The formation of territorial disputes === Territorial disputes arise when multiple systems of authority assert legitimacy over the same geographic space. This situation often follows historical ruptures such as war, imperial collapse, decolonization, or state dissolution. From a structural perspective, disputes do not necessarily indicate deception or moral failure by any single party. Instead, they emerge from overlapping legal narratives, incompatible historical claims, and unresolved transitions of power. As long as land is treated as an object of exclusive and permanent ownership, such conflicts remain difficult to resolve. === Limitations of existing resolution models === Common approaches to territorial disputes include military confrontation, prolonged stalemate, external arbitration, or unilateral control. While these methods may produce temporary outcomes, they often fail to address the structural conditions that generate conflict. Most existing models assume that territory must ultimately belong to a single authority on a permanent basis. This assumption frames disputes as zero-sum contests and reinforces cycles of militarization, grievance accumulation, and intergenerational transmission of unresolved claims. From a long-term historical perspective, these approaches have shown limited capacity to produce durable stability. === Reconsidering foundational assumptions === Many approaches to territorial disputes implicitly rely on a foundational assumption: that land can be permanently owned by a single political entity. This assumption is rarely examined directly. Instead, it functions as an underlying premise shaping legal systems, diplomatic negotiations, and security doctrines. Once accepted, disputes are framed as questions of rightful ownership rather than questions of structural design. From a long-term observational perspective, however, the permanence of territorial ownership appears inconsistent with historical patterns. Across centuries, borders have shifted, authorities have dissolved, and populations have adapted, while the physical land itself has remained unchanged. This contrast suggests a structural asymmetry: political systems are transient, while land endures. Under such conditions, treating territory as an object of absolute and perpetual possession may introduce systemic instability. Claims become difficult to reconcile, transitions become violent, and compromise is interpreted as loss rather than adaptation. Reexamining this foundational assumption does not require denying historical narratives or legal frameworks. It requires recognizing that the persistence of disputes may be linked less to competing claims themselves than to the underlying model through which land is conceptualized. This reframing opens the possibility that alternative relationships between authority and land—based on temporality, shared usage, or adaptive governance—may reduce the structural incentives that sustain territorial conflict. === Structural alternatives to permanent territorial ownership === [[File:Map of a hypothetical shared territory rotation scheme.png|thumb|Map of a hypothetical shared territory rotation scheme]] If territorial conflict is sustained by assumptions of exclusive and permanent ownership, then alternative structural models may be explored that redefine the relationship between authority and land. One such approach is a rotational usage framework for disputed territories. Under this model, land is not treated as an object of final possession, but as a shared resource subject to temporally defined administration. Multiple parties could negotiate and formalize agreements in which administrative authority is exercised for fixed periods—such as several decades—before transitioning to another participating entity. These transitions would follow predetermined legal and institutional procedures, reducing uncertainty and abrupt power shifts. Crucially, this framework does not require displacement of local populations or alteration of existing infrastructure. Civilian life, cultural continuity, and economic development may remain stable, while administrative responsibility changes over time. Natural resources associated with the land—such as energy reserves, agricultural output, or strategic facilities—could be managed according to the same temporal agreements, aligning resource allocation with administrative responsibility rather than permanent sovereignty. By separating land usage from absolute ownership, this model reduces the symbolic and existential weight often attached to territorial claims. Authority becomes a function with a defined duration, rather than an irreversible assertion. Such an arrangement also challenges the prevailing assumption that disputed territories must primarily serve defensive or militarized purposes. When land is governed through shared stewardship and predictable rotation, the structural incentives for permanent fortification and confrontation may be diminished. While no framework can eliminate conflict entirely, structural alternatives of this kind may weaken the mechanisms through which territorial disputes reproduce themselves across generations. === Clarifying Scope and Practical Application === This framework applies exclusively to territories under active dispute, where multiple parties assert competing claims. It does not address territories whose sovereignty is internationally recognized or historically uncontested. The proposed approach is intentionally general rather than prescriptive. It outlines a structural direction rather than a fixed political program, allowing adaptation across different legal systems, cultures, and historical contexts. One possible operational interpretation involves multilateral acknowledgment by the disputing parties, witnessed by external states or international bodies. Through joint declarations, the parties may agree to treat the disputed land as a shared developmental space under time-limited administrative rotation. In this view, the land itself is not owned by any single state, but temporarily managed within defined periods, reflecting the principle that land ultimately belongs to the Earth rather than permanent political entities. Under such arrangements, existing populations, infrastructure, and daily life within the disputed territory would remain unchanged. Citizenship, cultural identity, and local continuity would not be altered. Natural resources—such as energy fields, minerals, or agricultural output—would be administered by the designated managing party during its agreed period of responsibility. A rotation interval on the scale of several decades (for example, fifty years) allows the transfer of administration to occur within a single generational memory. This time scale enables observation, adjustment, and accountability, while avoiding the illusion of permanent resolution through force. To address concerns regarding non-compliance, enforcement mechanisms may be defined in advance through contractual terms. These may include financial penalties, loss of trust status, restricted trade access, or other collectively agreed consequences. Such provisions are not intended as threats, but as stabilizing constraints similar to those found in international agreements and economic systems. Beyond conflict reduction, long-term shared development introduces an additional civilizational dimension. Territories shaped by multiple administrative systems and cultural influences tend to develop layered identities. Historically, regions exposed to diverse governance, languages, and customs have often produced distinctive architectural styles, hybrid traditions, and increased economic connectivity. Rather than diluting identity, such plurality can enrich cultural expression and transform contested zones into points of exchange, innovation, and interaction. From a long-term civilizational perspective, this diversity is not a weakness but a generative force. It offers a path in which disputed land no longer functions solely as a symbol of division, but as a space where coexistence, adaptation, and shared stewardship become visible over time. === Implications for long-term civilizational stability === Territorial disputes are not isolated political events, but recurring stress points within human social systems. When land is treated as a permanently owned symbol of identity and power, disputes tend to persist beyond the conditions that originally produced them. Grievances accumulate, historical narratives harden, and unresolved claims are transmitted across generations. Structural approaches that introduce temporality, shared responsibility, and adaptive governance may reduce these long-term pressures. By redefining authority as conditional rather than absolute, such models allow societies to adjust without framing compromise as defeat. Civilizational stability does not require the absence of disagreement. It requires mechanisms that prevent disagreement from escalating into irreversible conflict. In this context, alternative territorial frameworks are not merely diplomatic tools, but components of broader systemic resilience. They influence how societies manage transition, distribute power, and interpret continuity over time. The capacity to redesign foundational assumptions—rather than repeatedly contest outcomes within the same framework—may be a key factor in long-term human survival. === Observational conclusion === This study does not propose a definitive solution to territorial disputes. Instead, it highlights a structural pattern: conflicts persist when land is conceptualized as an object of permanent and exclusive possession. Historical observation suggests that authority changes, borders shift, and systems dissolve, while land remains. Recognizing this asymmetry allows for alternative relationships between governance and geography to be considered. From an observational standpoint, the question is not which claim is strongest, but which structural arrangements reduce the likelihood of repeated conflict across time. Territorial disputes may therefore be understood less as failures of negotiation and more as signals that existing conceptual models have reached their limits. If humanity is to navigate an increasingly interconnected and constrained world, the ability to revise inherited frameworks—without erasing history or denying identity—may prove essential. The future of territorial stability may depend not on final ownership, but on adaptive coexistence. [[Category:Political theory]] [[Category:Territorial disputes]] [[Category:Land ownership]] [[Category:International relations theory]] 2yllk1z9t3uh1obifsl4tffjzeqklvb 2817761 2817760 2026-07-06T02:19:47Z Dronebogus 3054149 2817761 wikitext text/x-wiki [[File:Nicosia by Paride 10.JPG|300px|right]] Territorial Disputes and Land Ownership is an analytical study within the Human Awakening project, examining how territorial disputes emerge, persist, and repeat across human history. Rather than addressing specific cases or taking political positions, this page adopts a long-term, third-person observational perspective to explore the underlying structures that link land, power, governance, and conflict. The focus is not on assigning blame, but on understanding the mechanisms that generate recurring disputes and evaluating alternative approaches to their resolution. == Territory and Disputed Land == === Introduction === Territorial disputes are among the most persistent sources of conflict in human civilization. Across different historical periods, political systems, and cultural contexts, disputes over land have repeatedly emerged, transformed, and reappeared, often resisting permanent resolution. This study does not examine specific disputes or assign responsibility to particular actors. Instead, it approaches territorial conflict as a structural phenomenon, asking how the concept of territory itself emerged, why disputes tend to recur, and why many existing resolution models struggle to produce long-term stability. By examining territory not as a fixed object of ownership but as a dynamic relationship between land, power, governance, and collective organization, this analysis seeks to clarify the underlying mechanisms that sustain territorial conflict across time. === The emergence of territorial concepts === In early human societies, land was primarily defined through usage rather than ownership. Communities occupied and utilized areas for survival, agriculture, or settlement without formalized boundaries or permanent legal claims. The concept of territory gradually emerged alongside the development of centralized authority. Feudal systems introduced land grants, domains, and estates, linking control over land to political hierarchy and loyalty. As states formed, land became abstracted into national territory—defined through administrative control, taxation, and military defense. In this sense, territory did not arise as an inherent property of land itself, but as a construct produced by organized power. === Power and land claims === Territorial claims are expressions of authority rather than attributes of geography. A claim exists only insofar as an institution can enforce, defend, and legitimize control over a given area. Throughout history, such claims have relied on conquest, inheritance, treaties, legal frameworks, or cultural narratives. When authority is consolidated, territorial definitions tend to stabilize. When authority fragments, overlaps, or transitions, ambiguity and competing claims increase. The persistence of territorial disputes reflects this underlying relationship between land and power. === The formation of territorial disputes === Territorial disputes arise when multiple systems of authority assert legitimacy over the same geographic space. This situation often follows historical ruptures such as war, imperial collapse, decolonization, or state dissolution. From a structural perspective, disputes do not necessarily indicate deception or moral failure by any single party. Instead, they emerge from overlapping legal narratives, incompatible historical claims, and unresolved transitions of power. As long as land is treated as an object of exclusive and permanent ownership, such conflicts remain difficult to resolve. === Limitations of existing resolution models === Common approaches to territorial disputes include military confrontation, prolonged stalemate, external arbitration, or unilateral control. While these methods may produce temporary outcomes, they often fail to address the structural conditions that generate conflict. Most existing models assume that territory must ultimately belong to a single authority on a permanent basis. This assumption frames disputes as zero-sum contests and reinforces cycles of militarization, grievance accumulation, and intergenerational transmission of unresolved claims. From a long-term historical perspective, these approaches have shown limited capacity to produce durable stability. === Reconsidering foundational assumptions === Many approaches to territorial disputes implicitly rely on a foundational assumption: that land can be permanently owned by a single political entity. This assumption is rarely examined directly. Instead, it functions as an underlying premise shaping legal systems, diplomatic negotiations, and security doctrines. Once accepted, disputes are framed as questions of rightful ownership rather than questions of structural design. From a long-term observational perspective, however, the permanence of territorial ownership appears inconsistent with historical patterns. Across centuries, borders have shifted, authorities have dissolved, and populations have adapted, while the physical land itself has remained unchanged. This contrast suggests a structural asymmetry: political systems are transient, while land endures. Under such conditions, treating territory as an object of absolute and perpetual possession may introduce systemic instability. Claims become difficult to reconcile, transitions become violent, and compromise is interpreted as loss rather than adaptation. Reexamining this foundational assumption does not require denying historical narratives or legal frameworks. It requires recognizing that the persistence of disputes may be linked less to competing claims themselves than to the underlying model through which land is conceptualized. This reframing opens the possibility that alternative relationships between authority and land—based on temporality, shared usage, or adaptive governance—may reduce the structural incentives that sustain territorial conflict. === Structural alternatives to permanent territorial ownership === [[File:Map of a hypothetical shared territory rotation scheme.png|thumb|Map of a hypothetical shared territory rotation scheme]] If territorial conflict is sustained by assumptions of exclusive and permanent ownership, then alternative structural models may be explored that redefine the relationship between authority and land. One such approach is a rotational usage framework for disputed territories. Under this model, land is not treated as an object of final possession, but as a shared resource subject to temporally defined administration. Multiple parties could negotiate and formalize agreements in which administrative authority is exercised for fixed periods—such as several decades—before transitioning to another participating entity. These transitions would follow predetermined legal and institutional procedures, reducing uncertainty and abrupt power shifts. Crucially, this framework does not require displacement of local populations or alteration of existing infrastructure. Civilian life, cultural continuity, and economic development may remain stable, while administrative responsibility changes over time. Natural resources associated with the land—such as energy reserves, agricultural output, or strategic facilities—could be managed according to the same temporal agreements, aligning resource allocation with administrative responsibility rather than permanent sovereignty. By separating land usage from absolute ownership, this model reduces the symbolic and existential weight often attached to territorial claims. Authority becomes a function with a defined duration, rather than an irreversible assertion. Such an arrangement also challenges the prevailing assumption that disputed territories must primarily serve defensive or militarized purposes. When land is governed through shared stewardship and predictable rotation, the structural incentives for permanent fortification and confrontation may be diminished. While no framework can eliminate conflict entirely, structural alternatives of this kind may weaken the mechanisms through which territorial disputes reproduce themselves across generations. === Clarifying Scope and Practical Application === This framework applies exclusively to territories under active dispute, where multiple parties assert competing claims. It does not address territories whose sovereignty is internationally recognized or historically uncontested. The proposed approach is intentionally general rather than prescriptive. It outlines a structural direction rather than a fixed political program, allowing adaptation across different legal systems, cultures, and historical contexts. One possible operational interpretation involves multilateral acknowledgment by the disputing parties, witnessed by external states or international bodies. Through joint declarations, the parties may agree to treat the disputed land as a shared developmental space under time-limited administrative rotation. In this view, the land itself is not owned by any single state, but temporarily managed within defined periods, reflecting the principle that land ultimately belongs to the Earth rather than permanent political entities. Under such arrangements, existing populations, infrastructure, and daily life within the disputed territory would remain unchanged. Citizenship, cultural identity, and local continuity would not be altered. Natural resources—such as energy fields, minerals, or agricultural output—would be administered by the designated managing party during its agreed period of responsibility. A rotation interval on the scale of several decades (for example, fifty years) allows the transfer of administration to occur within a single generational memory. This time scale enables observation, adjustment, and accountability, while avoiding the illusion of permanent resolution through force. To address concerns regarding non-compliance, enforcement mechanisms may be defined in advance through contractual terms. These may include financial penalties, loss of trust status, restricted trade access, or other collectively agreed consequences. Such provisions are not intended as threats, but as stabilizing constraints similar to those found in international agreements and economic systems. Beyond conflict reduction, long-term shared development introduces an additional civilizational dimension. Territories shaped by multiple administrative systems and cultural influences tend to develop layered identities. Historically, regions exposed to diverse governance, languages, and customs have often produced distinctive architectural styles, hybrid traditions, and increased economic connectivity. Rather than diluting identity, such plurality can enrich cultural expression and transform contested zones into points of exchange, innovation, and interaction. From a long-term civilizational perspective, this diversity is not a weakness but a generative force. It offers a path in which disputed land no longer functions solely as a symbol of division, but as a space where coexistence, adaptation, and shared stewardship become visible over time. === Implications for long-term civilizational stability === Territorial disputes are not isolated political events, but recurring stress points within human social systems. When land is treated as a permanently owned symbol of identity and power, disputes tend to persist beyond the conditions that originally produced them. Grievances accumulate, historical narratives harden, and unresolved claims are transmitted across generations. Structural approaches that introduce temporality, shared responsibility, and adaptive governance may reduce these long-term pressures. By redefining authority as conditional rather than absolute, such models allow societies to adjust without framing compromise as defeat. Civilizational stability does not require the absence of disagreement. It requires mechanisms that prevent disagreement from escalating into irreversible conflict. In this context, alternative territorial frameworks are not merely diplomatic tools, but components of broader systemic resilience. They influence how societies manage transition, distribute power, and interpret continuity over time. The capacity to redesign foundational assumptions—rather than repeatedly contest outcomes within the same framework—may be a key factor in long-term human survival. === Observational conclusion === This study does not propose a definitive solution to territorial disputes. Instead, it highlights a structural pattern: conflicts persist when land is conceptualized as an object of permanent and exclusive possession. Historical observation suggests that authority changes, borders shift, and systems dissolve, while land remains. Recognizing this asymmetry allows for alternative relationships between governance and geography to be considered. From an observational standpoint, the question is not which claim is strongest, but which structural arrangements reduce the likelihood of repeated conflict across time. Territorial disputes may therefore be understood less as failures of negotiation and more as signals that existing conceptual models have reached their limits. If humanity is to navigate an increasingly interconnected and constrained world, the ability to revise inherited frameworks—without erasing history or denying identity—may prove essential. The future of territorial stability may depend not on final ownership, but on adaptive coexistence. [[Category:Political theory]] [[Category:Territorial disputes]] [[Category:Land ownership]] [[Category:International relations theory]] o3gwuns1vw5ubp8xfft8fsimidkuakx 0 327555 2817748 2816153 2026-07-05T14:58:31Z DavidMCEddy 218607 /* Government subsidies */ typo 2817748 wikitext text/x-wiki [[File:Pharoah - James VI and I - Trump.png|thumb|Religious and media leaders from the time of the Pharaohs convinced common folk to give increasing shares of what they produced to elites.]] :''This book uses dates in [[:w:ISO 8601|ISO 8601]], YYYY-MM-DD, when convenient.'' == Invitation to edit this book == You, dear reader, are invited to contribute questions, ideas and citations to support or refute claims made in this book possibly adding chapters. Wikiversity like other Wikimedia Foundation Projects invites humans to [[w:Wikipedia:Be bold|“be bold but not reckless,”]] while writing from a [[Wikiversity:Disclosures|neutral point of view]], [[Wikiversity:Cite sources|citing credible sources]]. Others are invited to change or revert what you wrote. What stays tends to be written from a neutral point of view citing credible sources. If someone reverts your edit or you have a question, take it to the ''[[Wikiversity:FAQ|''''“Discuss”'''' page]]'' associated with the specific Wikiversity page most related to your concerns. Those who teach media literacy are encouraged to invite their students to debate and revise the contents of this book. Doing so would build on a tradition of [[:w:Wikipedia:Student assignments|instructors requiring students to edit wikipedia article(s).]] Editing [[:w:Wikipedia|Wikipedia]] and other [[:w:Wikimedia Foundation|Wikimedia Foundation]] projects like this book is itself an exercise in media literacy: :''Central tenets of media literacy might include writing from a neutral point of view citing credible sources and engaging others, some of whom may disagree, in civil, supportive conversations about what can and cannot be said based on a reasonable evaluation of the available evidence. Wikimedia rules invite contributors to do just that, encouraging them to “be bold but not reckless,” contributing revisions written from a neutral point of view, citing credible sources -- and raising other questions and concerns on the ''''“Discuss”'''' page associated with the specific Wikiversity page most related to your concerns, as mentioned above.''<ref>For more on this, see Graves (2024).</ref> == Text and self-help book and point of discuss == This book is intended both as a text and self-help book and as a point of discussion considering four levels of media literacy: :1. '''Think before you share''': [[Facebook whistleblower Frances Haugen says|Facebook whistleblower Frances Haugen said]], "The shortest path to a click is anger or hate." The social psychology behind this phenomenon exploited also by legacy media has contributed to [[Media Literacy and You/Media consolidation, social media, and political polarization|the dramatic increase in political polarization and violence worldwide]], especially since the end of the [[w:Fairness doctrine|Fairness doctrine]] in 1987. To counter this, DiResta (2024, p. 335) recommends, "Think before you share." :2. '''Look for information to contradict preconceptions''' (Disconfirmation bias): [[w:Information is a public good: Designing experiments to improve government#Previous research|Virtually everyone]] (a) thinks they know more than they do ([[w:Overconfidence effect|overconfidence effect]]), and (b) prefers information and sources consistent with preconceptions ([[w:Confirmation bias|confirmation bias]]). The major media everywhere exploit this to please those who control most of the money for the media. Humans can counter this by searching for sources to help us understand our designated enemies. If we cannot explain circumstances under which we could see ourselves doing what we see our designated enemies doing, we haven't looked hard enough. :3. '''Talk''': Push ourselves to have friendly supportive conversations with others with whom we may vehemently disagree with the goals of agreeing to disagree agreeably and building collaboration on areas of common concern.<ref>Graves and Bailey (2025).</ref> :4. '''Teach''': Humans who develop skills in the first three levels can leverage that knowledge in helping others acquire those skills. If each one teaches two<ref>"[[:w:Each one teach one|Each one teach one]]" is an African-American proverb from the time of legalized slavery. However, if each one teaches only one, the growth in literacy will only be linear. Having "each one teaching two", on average, unleashes the power of doubling and [[:w:exponential growth|exponential growth]], which has the potential of educating the entirety of humanity in a reasonable period of time -- namely after 33 doublings starting from one.</ref> in a certain period of time, that time period becomes a [[:w:Doubling time|doubling time]]. Ten doublings is a thousand -- actually 1,024 to be precise.<ref>2 time 2 = 4 times 2 = 8 times 2 = 16 times 2 = 32 times 2 = 64 times 2 = 128 times 2 = 256 times 2 = 512 times 2 = 1024: That's 10 doublings, as anyone with a modest understanding of modern digital [[:w:computer|computer]]s will tell you.</ref> Twenty doublings become a million. Thirty doublings become a billion. Three more doublings become 8 billion, the [[:w:World population|world population]] as of approximately 2022-11-15.<ref>This book uses dates in [[:w:ISO 8601|ISO 8601]], YYYY-MM-DD, when convenient.</ref> Many organizations, including several United Nations agencies, already have active [[w:media literacy|media literacy]] programs that have already trained many.<ref>''[[Wikibooks:Antiracist Activism for Teachers and Students]]'' includes a chapter on [[Wikibooks:Antiracist Activism for Teachers and Students/Points to Consider for Teaching Anti-racism/Media Literacy In Schools|Media Literacy In Schools]].</ref> This book is being written hoping to increase the effectiveness and accelerate the rate of growth in media literacy and thereby accelerate progress against many of the most pressing issues facing humanity today. Much of this book is a [[w:Monograph|research monograph]] summarizing research that seems to have been underreported by the major media to avoid offending people who control most of the money for the media. These research results seem to be central to major political divisions. Each chapter ends in exercises to help the reader practice media literacy skills and have fun doing it. Remember: :''I am entitled to my [[Wiktionary:cockamamie|cockamamie]] ideas, and you are entitled to yours.'' Humor is important but must be offered in a way that does not offend others. If others are offended, they may be less interested in dialogue. The term "cockamamie" is used here, hoping that this style of [[w:Self-deprecation|self-deprecation]] might be more inviting for dialogue. ''Never say, "You're wrong, and I'm right!" instead, ask, "May I offer a contrary perspective?" Or "May I share with you another view that I've heard?" '' Much of the information in this book seems to have been largely overlooked and perhaps suppressed, apparently because it would increase the cost of producing news, some of which would clearly offend people who control much of the money for the media; see the brief discussion of conflicts of interest by the major media in the next "Key claims" section. ==Key claims== * ''Primary drivers of every major conflict include differences between the media that the different parties find credible''. :-- This works, because everything we think we know is coded in systems of connections between neurons in our brains. These systems are more unique than fingerprints and evolve over time. The words we use do not mean the same to two different humans nor even to the same human at different points in time. In many cases these differences are inconsequential. ''Sometimes they are fatal.''<ref>Graves and Bailey (2026).</ref> :-- ''[[w:Social constructionism|Show me someone who knows the truth]], and I will show you someone who is dangerous'' -- especially during war or any other situation where humans may be moved to violence mandated by their belief system.<ref>[[w:Collateral damage|Collateral damage]] that "they" commit proves to "us" that "they" are subhuman or at best criminally misled and must be resisted by any means necessary. By contrast, collateral damage that "we" commit is unfortunate but necessary.</ref> * The major media everywhere have [[w:Conflict of interest|conflicts of interest ]] in honestly reporting on [[v:Information is a public good per communications prof Pickard|anything that might offend anyone who controls large portions of the money for the media]].<ref>Pickard and Graves (2025), accessed 2026-02-08; Pickard (2020).</ref> [[v:Media Reform Coalition challenges anti-democratic media bias in the UK|British journalist and media reform advocate Dan Hind]] said that the content produced by the [[w:BBC|BBC]] was frivolous, soap opera stuff, because leading media personalities know very little about issues of substance and believe "they might get in trouble if" they produced anything serious. Similar analyses seem to apply to the major media everywhere<ref>Hind and Graves (2025), accessed 2026-02-09.</ref> but may not apply to non-profit and local media, which seem more likely to produce [[w:Investigative journalism|investigative]] / [[v:Dean Starkman and the watchdog that didn't bark|accountability journalism]]:<ref>Usher and Kim-Leffingwell (2022); see also Starkman and Graves (2025), accessed 2026-02-09.</ref> [[w:Watchdog journalism|Watchdogs]] tend to protect the people who feed them. Argentine journalist [[w:Horacio Verbitsky|Horacio Verbitsky]] said, "Journalism is disseminating information that someone does not want known; the rest is [[w:propaganda|propaganda]]."<ref>p. 16 in Verbitsky (1997); English translation from [[Wikiquote:Horacio Verbitsky]], accessed 2026-02-09.</ref> * The major media everywhere create the stage upon which politicians read their lines. :- Their selection of acceptable topics for news and entertainment create and maintain the "[[w:Overton window|Overton window]]", which is the range of acceptable political discourse. For example, in early 1964, US President [[w:Lyndon B. Johnson|Lyndon Johnson]] understood that he could lose the 1964 presidential election that year if he were seen to be soft on communism. His response was to clandestinely provoke an attack on US naval vessels in the Gulf of Tonkin, which he could then denounce as "unprovoked". During a dark and stormy night 1964-08-04 the [[w:USS Maddox (DD-731)|USS ''Maddox'']] and [[w:USS Turner Joy|''Turner Joy'']] spent a couple of hours "defending themselves" against radar snow, then [[w:Gulf of Tonkin incident|reported that they had sunk two attacking North Vietnamese torpedo boats]]; subsequent investigations found no evidence of the reported attacks. That incident was used to justify the [[w:Gulf of Tonkin Resolution|Gulf of Tonkin Resolution]], with only two dissenting votes in the US Congress: Those two dissenters were defeated in their next reelection campaigns, illustrating the point that the major media create the environment in which many politicians cannot get elected without betraying the nation. === The value of noncommercial news outlets === Some of the problems with the media and their contributions to increasing political polarization and violence are documented in the research summary on "[[Information is a public good: Designing experiments to improve government]]" and in the podcast series available on Wikiversity under "[[:Category:Media reform to improve democracy]]" with leading experts discussing their recommendations. One of the most compelling of the references discussed in that podcast series is Usher and Kim-Leffingwell (2022), who tallied all the federal prosecutions for political corruption in each of the 94 [[w:United States federal judicial district|US federal court district]]s between 2003 and 2019. During that period, the number of journalists in the US fell by a factor of roughly 3 -- between 60 and 70 percent. They found no statistically significant impact on federal prosecutions for political corruption of that decline in the number of journalists. However, each member of the [[w:Institute for Nonprofit News|Institute for Nonprofit News]] (INN) in a federal court district in one year was associated with on average 1.4 additional prosecutions for political corruption the following year. This suggests that the major media outlets that had so dramatically reduced their staffs had not substantively reduced the amount of investigative journalism they did. If we assume that the people prosecuted for political corruption also control substantive advertising budgets, then the major media outlets have conflicts of interest in honestly reporting on such. They may report on it if some other organization like a member of INN does the research and they are threatened with a loss of audience from not reporting on it. :'''''Major point''''': You and I benefit, the vast majority of humans on earth benefit, from news reports presumably published by members if INN that contributed to those on average 1.4 additional prosecutions for political corruption estimated by Usher and Kim-Leffingwell (2022). We benefit even if we never heard about the news reports that contributed to those prosecutions. We benefit even if we have never heard of the news outlets that presumably did the investigative journalism behind those additional prosecutions. Why? Because on average those news reports likely deterred other incidents of political corruption, which likely contributed to broadly shared economic growth and the development of new technology that ultimately benefit the vast majority of humanity. Other aspects of this are documented in the research on the impact of [[w:news desert|news desert]]s, which we summarize next. === Costs increase in news deserts=== There's a growing body of research describing what happens when local newspapers die. Perhaps most important, a 2018 research report by Gao et al. reported that the death of a local newspaper was followed by … increases in local tax revenue, averaging $85 per human per year.<ref name = Gao2018>Gao et al. (2018).</ref> That $85 was roughly 13 hundredths of a percent of the 2019 US GDP. That's mentioned in the 2025-07-17 interview with [[Democratic delusions: Fix the media to fix democracy|Natalie Fenton about her new book, ''Democratic Delusions, How the Media Hollows out democracy and What We Can Do About It'']]. One of the most spectacular example of the cost of a news desert is the [[w:City of Bell scandal|Scandal of Bell, California]]. Their local newspaper died around 1999. Roughly a decade later the city was nearly bankrupt in spite of having property tax rates among the highest in the nation. An investigation by the ''[[w:Los Angeles Times|Los Angeles Times]]'' documented that the city manager had a compensation package worth $1.5 million a year, well over double that of the President of the United States. Other senior city officials were similarly well-remunerated. Some of the city officials went to jail over that. Did the city manager decide after 1999, "Wow: The watchdog is dead. Let's have a party"? Malfeasance also increases in business as pollution and workplace accidents increase as does the cost of capital, because investors know their money is not as secure without a local newspaper. That leads to a reduction in investments in new products, services and processes -- slowing economic growth. See "[[Local newspapers limit malfeasance]]", esp. Kim et al. (2021). And executive compensation in increases in nonprofits, so less of what people donate goes to the charitable purpose for which they donated, according to Felix et al. (2024). Also, voter participation and split-ticket voting decline, per Benton (2019) and other references discussed in "[[Information is a public good: Designing experiments to improve government]]". And the ultra-right does better, as noted in [[News from Germany 1900-1945 and implications for today]] and the section on "[[Information is a public good: Designing experiments to improve government#Previous research|Previous research]]" in the Wikiversity article on "[[Information is a public good: Designing experiments to improve government]]".<ref>Flößer (2024).</ref> The 0.13 percent of GDP savings estimated by Gao et al. (2018) is roughly $120 per human per year. With over 300 million humans in the U.S, that is roughly $40 billion nationwide. {| class="wikitable" |+ Table 1. Costs increase in news deserts |- ! Entity !! What !!Source |- | local government || costs incr. 0.13% of GDP || Gao et al. (2018) |- | local businesses || pollution & workplace accidents incr., innovation & econ growth decr. || Kim et al. (2021) |- | nonprofits || exec. compensation incr. || Felix et al. (2024) |- | rowspan=2 | elections | voter participation & split-ticket voting decl. || Benton (2019) |- | Ultra-right does better || Flößer (2024) |} === Government subsidies === John (1995) documented how in the first half of the nineteenth century the US had more independent newspaper publishers per million population than at any other time or place in human history.<ref>This is discussed in the 2025-06-08 [[Media concentration per Columbia History Professor Richard John|interview with him]], available on Wikiversity under [[:Category:Media reform to improve democracy]], accessed 2026-04-30.</ref> This encouraged literacy and limited political corruption, both of which helped [[The Great American Paradox|the early United States stay together and grow]] while contemporary [[w:New Spain|New Spain]] / [[w:Mexico|Mexico]], fractured, shrank, and stagnated economically. As documented with Figure 1 in the chapter below on [[/The impact of the media on political economy since the time of the Pharaohs/]], that growth catapulted the young United States into its current position of dominance in the international political economy, a position it has been losing since at least 1990 -- or since the Reagan Revolution began in 1981, according to the analysis in the chapter below on [[/Fox, the Great Depression, the Great Recession, and our future/]]. Other countries now have stronger democracies due in part to government subsidies for media in the range of 0.05 and 0.25 percent of GDP with a firewall that limits political interference in the content, according to Neff and Pickard (2024). Table 1 in "[[Information is a public good: Designing experiments to improve government]] compares media subsidies in various places with "other points of reference". McChesney and Nichols (2010, pp. 310-311, note 88) suggested that the relatively high rate of economic growth of the economy in the early US was due in part to postal subsidies under the US [[w:Postal Service Act|Postal Service Act]] of 1792.<ref>See also the Wikiversity article on "[[The Great American Paradox]]", accessed 2026-04-30.</ref> They estimated those subsidies at 0.21 percent of GDP. To improve the current political economy of the US, they recommended subsidies of 0.15 percent of GDP distributed to local news nonprofits on the basis of local elections.<ref>McChesney and Nichols (2021, 2022).</ref> The Wikipedia article on "[[Information is a public good: Designing experiments to improve government]]" documents how some jurisdictions can devote that much money to local news nonprofits by matching what they spend on accounting, advertising, and public relations.<ref>See the section on "[[Information is a public good: Designing experiments to improve government#Sampling units / experimental polities|Sampling units / experimental polities]]" in the Wikiversity article on "[[Information is a public good: Designing experiments to improve government]]", accessed 2026-04-30.</ref> Pickard (2023) describes three basic strategies for confronting concentrated commercial media power: (1) break them up, (2) regulate them, and (3) create non-commercial, public alternatives. A fourth possibility might be [[w:externality|a graduated tax on income and wealth]] in proportion to the threat that major corporations pose to democracy. One class of noncommercial alternatives that Pickard mentions is local multimedia / Public Media Centers (PMCs) with management split between local journalists and boards, e.g., selected at random from registered voters. A key here is to have the boards selected in a way that cannot be influenced by people with power, whether business or political elites. Picard recommends considering '''six discrete layers''' when discussing PMCs, each of which, he says, must be radically democratised: # funding, # governance, # ascertainment (to determine a community’s ''critical information needs''), # infrastructure (including universal broadband service), # algorithmic (e.g., not allowing companies like Google and Facebook to suppress indexing information the might challenge their hegemony of those markets, [[w:Deep web|treating them like pedophilia and the Islamic State]]), # engagement, involving local communities in making their own news and in communicating their own stories; this is paramount to building trust and the grassroots-level support that this new local journalistic model requires. All this needs to be managed in ways that provide substantive support to news deserts and underserved communities that have long been subjected to various kinds of informational redlining. This might be done by including the proposed PMCs within local libraries staffed by professional journalists, who provide training in media literacy in local schools for children and supervise students producing school newspapers. PMCs could host regular, e.g., monthly events, where local residents could share their concerns with journalist, who would use that input to help prioritize different issues for news coverage. Journalist could also coach local residents in how to research issues and collaborate with journalists in producing news reports that may be better researched and more relevant to local concerns than could be produced without such collaboration. Management of such PMCs might be split between journalists on staff and boards of, e.g., six members selected at random from voter registration rolls serving staggered terms of one year with a new member rotated in every 2 months. Another alternative that could be done in parallel with local PMCs calls for 200 journalists in each US Congressional district funded at $10 billion annually in 2022 dollars, which is just a little under 4 hundredths of one percent of GDP; if such allocations are expressed as fractions of a percent of GDP, they would grow naturally with the economy. (The nominal GDP for the US was roughly $26.1 trillion in 2022.<ref>Johnston and Williamson (2026).</ref> For 2026 it is estimated at $32.4 trillion.<ref>[[w:United States|United States]], accessed 2026-04-30.</ref>) A similar model is the [[w:BBC|BBC]]’s Local Democracy Reporting Service (LDRS), in which the BBC funds journalists to cover the work of local councils and other local public bodies, funded at £8 million per year, which is a little under 2 hundredths of a percent of the [[w:United Kingdom|UK]]'s GDP of £7.27 trillion.<ref>[[w:United Kingdom|United Kingdom]], accessed 2026-04-30.</ref> Pickard (2023) ended by saying, "Today we face a crossroads: technocracy and oligarchy from above or radical democracy and structural reform from below. ... [T]his is not just a journalism crisis: it is a democracy crisis." ==Table of Contents== *[[/Introduction/]] including an exercise, asking all to discuss perceptions of the settlement of ''[[w:Dominion Voting Systems v. Fox News Network|Dominion Voting Systems v. Fox News Network]]'' in a friendly supportive manner with humans with whom they may vehemently disagree, because the alternative could be killing humans over misunderstandings. ===Part I. The media and political economy=== # [[/The impact of the media on political economy since the time of the Pharaohs/]] describes how hierarchical societies prior to [[w:James VI and I|King James of the King James bible]] were divided between those who fought, prayed, and worked. It was the responsibility of those who prayed to convince those who worked to live in poverty while giving increasing shares of what they produced so those who fought and prayed could live lives of leisure and opulence. During the reign of King James, pamphlets and newspapers began to compete with the church for helping commoners understand their roles in society. This produced the Industrial Revolution and modern democracies. Media consolidation since World War II gradually slowed and then reversed this trend. # [[/Fox, the Great Depression, the Great Recession, and our future/]] describes the unprecedented performance of the US political economy during the presidency of Franklin Roosevelt (FDR), insisting that much of what FDR achieved can be replicated, giving a media system that supports honest discussion of the available evidence. # [[/Media consolidation, social media, and political polarization/]] (Combine from McChesney and Nichols discussing the [[w:Postal Service Act|US Postal Service Act]] of 1792 with [[Media concentration per Columbia History Professor Richard John]], the section on "[[v:Information is a public good: Designing experiments to improve government#Threats from social media|Threats from social media]]" in "[[Information is a public good: Designing experiments to improve government]], and the comments by [[v:Facebook whistleblower Frances Haugen says|Facebook whistleblower Frances Haugen that, "the shortest path to a click is anger or hate."]]. ===Part II. The media and war=== # [[/Deterrence without threat/]]: The historical record is clear: Nations that have prepared for war often got war, not peace. This happens for at least two reasons: First, some leaders cannot resist the temptation to use force inappropriately, sometimes clandestinely provoking others to do things that are then denounced as "unprovoked"; sometimes the media environment pushes them to do such. Alternatively, potential adversaries may believe -- or claim -- that you are actually preparing a first strike, and they must move preemptively or lose their ability to retaliate adequately. We can avoid these possibilities with three supportive policies: [a] Legislation that ''prohibits'' projecting force beyond our own borders. [b] Civilian-based defense training in nonviolent noncooperation like what helped Denmark survive Nazi occupation with minimal damage. And [c] a media system that penalizes rather than encourages a bellicose foreign policy. # [[/Responding to a nuclear attack/]] (draft in [[Responding to a nuclear attack]]. Add a discussion of Russia's Poseidon nuclear powered unmanned underwater vehicle, armed with nuclear weapons. With that, cite the record of "[[w:System accident|system accident]]s". Also add material from [[Nuclear weapons and effective defense]]). # [[/Threats from excessive government secrecy/]] (draft in [https://sanjosepeace.org/restrict-secrecy-more-than-data-collection/ "Restrict secrecy more than data collection"], adding material from [https://kkfi.org/program-episodes/does-us-government-secrecy-threaten-national-security/ Connelly (2023) ''The Declassification Engine: What History Reveals About America's Top Secrets''], [[Wikipedia:Moynihan Commission on Government Secrecy]] and [[1998 Embassy bombings and September 11]]. # [[/Shouting fire in a crowded theater/|Shouting ''fire'' in a crowded theater]]: Legal concerns about "[[w:Shouting fire in a crowded theater|Shouting ''fire'' in a crowded theater]]" date, at least in large part, from the [[w:Supreme Court of the United States|US Supreme Court]] decisions in ''[[w:Schenck v. United States|Schenck v. United States]]'' (1919) and ''[[w: Brandenburg v. Ohio| Brandenburg v. Ohio]]'' (1969). In ''Schenck'' the Court ruled that the government had a right to imprison Schenck and others, because their distribution of fliers encouraging draft resistance presented a [[w:clear and present danger|clear and present danger]] to the efficacy of ongoing military activities during [[w:World War I|World War I]], then in progress. The Court in ''Brandenburg'' held that the government cannot punish inflammatory speech ''unless that speech is "directed to inciting or producing imminent lawless action and is likely to incite or produce such action".'' Some could argue that many uses of military force by the US and Israel since 1948 have violated international law, encouraged by biases in the major US media "directed to inciting or producing imminent lawless action", though it may not be feasible to convince a court of that. Still, it might be useful to simulate such a case in a mock trial like the 1966 [[w:Russell Tribunal|Russell Tribunal]].<ref>Andersen (2006) provides such documentation for several such uses of force. Johnson (2026) ''How to Sell a Genocide: The Media's Complicity in the Destruction of Gaza'' organizes evidence supporting such claims for the current [[w:Gaza war|Gaza war]], which began with [[w:October 7 attacks|Palestinian attacks 2023-10-07]]. See also Andersen (2026). Might, e.g., Palestinians -- or at least Palestinian Americans -- be able to sue the [[w:Anti-Defamation League|Anti-Defamation League]] (ADL), the [[w:AIPAC|American Israel Public Affairs Committee]] (AIPAC), and all the major media outlets in the US for inciting genocide in the current [[w:Gaza war|Gaza war]]? That history includes routine suppression of coverage by the major media especially in the US of routine denial of equal protection of Israeli laws to non-Jews in Israel and under Israeli occupation, including suppression of Israeli violence against nonviolent protestors peaceably assembling and petitioning for a redress of grievances combined with over reporting of Palestinian violence and unquestioning coverage of fraudulent claims of Palestinian violence by Israel and supporters. The suppressions included underreporting of Palestinian nonviolence such as the [[w:2018–2019 Gaza border protests|(2018-2019) Great March of Return]], and suppression of the grievances inspiring such nonviolence such as indefinite detention without charges of thousands of Palestinians, including children, routine destruction of Palestinian property by settlers, confiscation of Palestinian property at gunpoint, closing [[w:Gaza Strip|Gaza]] to international trade, and maintaining Gaza on starvation rations. These routine biases in reporting have been encouraged by charges that more honest reporting would be "[[w:Antisemitism|antisemetic]], according to the ADL and AIPAC. This denial of coverage thereby encouraged Israel to increase the rate of such violations until the [[w:October 7 attacks|2023-10-07 attacks on Israel from Gaza]] unleashed Israeli "retaliations" way out of proportion to the alleged provocation. Sucharov (2022) reported that 69% of American Jews opposed privileging Jews over non-Jews in Israel. Their support of Israel in the current Gaza war is consistent with the media biases documented by Johnson (2026) and others including Andersen (2006, 2026). Regarding whether Israel could achieve anything positive from this war, Samuelson (2025) is skeptical. He summarized quantitative analyses of 60 previous insurgencies. The results including the observation that it is exceedingly difficult to defeat an insurgency without responding to the grievances that support it without force ratios far beyond Israel's resources.</ref> ===Part III. Climate, immigrants, education, public health, and criminal justice=== # [[/Global warming/]] [Summarize research especially on conflicts of interest of major media in honestly reporting on this issue and the research on global warming itself and activities of groups concerned about this issue. Decompose into global population times CO2 equivalents per human.] # [[/Immigrants/]] [Summarize research documenting that [[w:Sanctuary city|sanctuary cities tend to have higher median incomes and no more crime than non-sanctuary jurisdictions]], and some studies report less crime. Moreover economists have documented that immigrants tend to be more entrepreneurial, overrepresented in patent applications, and generally increasing the rate of economic growth. See, e.g., Aghion et al. (2022) ''The power of creative destruction''; Aghion shared the 2025 Nobel Memorial Prize in Economics with two others.] # [[/Education/]] (draft in [[Invest in children]].) # [[/Public health/]] [Draft in [[UN public health data]] to be revised to be consistent with Bezruchka (2023, 2025).] # [[/Substance abuse and addictive behavior/]] (Research in cited in "[[Wikipedia:War on drugs]]" insists that the US and the world would have fewer problems with substance abuse and addiction problems with 100 percent public funding for treatment programs and complete decriminalization of possession and use of retail quantities of addictive substances. We would also likely have fewer problems with immigrants, as that would make it harder for the US to intervene in the internal affairs of foreign countries funded off the books, as exposed in the [[w:Iran–Contra affair|Iran–Contra affair]].) # [[/Criminal justice/]] (The section on "[[w:United States incarceration rate#Editorial policies of major media|Editorial policies of major media]]" in "[[Wikipedia:United States incarceration rate]]" cites research claiming that within the range range of experience in the US political economy since 1925, the incarceration rate is uncorrelated with crime: It's a function of the public's perception of crime, and that's a function of the media. That suggest that the US would be safer and more prosperous if incarceration policies were driving more by research than by editorial policies of the media. For example, there is also research that says that incarcerees who receive visits are less likely to recidivate, but that evidence is overlooked when convicts are incarcerated substantial distance from their family and friends and when the cost of phone services is substantially higher for incarcerees than among the general pubic. Also, it's known that better educated incarcerees are less likely to recidivate, but it's difficult and maybe impossible for many incarcerees to obtain education in prison.) # [[/Empower women and girls/]] [Cite research claiming that a primary restraint on population growth is empowering women and girls. Empowering women and girls is not just a matter of equity: It is also a means to reduce the threats of global warming, of increasing exposure to animal diseases and other problems that come with unrestrained population growth.] === Continuation === * [[/The evolving media literacy movement/]] to invite others to keep this book current with the evolving understanding of media literacy, how to encourage and promote it and the benefits of doing so. ==See also== * [[Wikibooks:Antiracist Activism for Teachers and Students/Points to Consider for Teaching Anti-racism/Media Literacy In Schools]] ==Notes== {{reflist}} ==Bibliography== * <!--Robin Andersen (2006) A century of media, a century of war-->{{cite Q|Q138795568}} * <!--Robin Andersen (2026-06-02) The Complicit Lens: US Media Coverage of Israel’s Genocide in Gaza-->{{cite Q|Q138796307}} * <!--Perry Bacon Jr. (2022-10-17) "America Should Spend Billions to Revive Local News"-->{{cite Q|Q139594786}} * <!-- Joshua Benton (9 April 2019). "When local newspapers shrink, fewer people bother to run for mayor". Nieman Foundation for Journalism -->{{cite Q|Q63127216}} * <!--Stephen Bezruchka (2023) Inequality Kills Us All-->{{cite Q|Q136047815}} * <!--Stephen Bezruchka (2025) ''Born Sick in the USA''-->{{cite Q|Q138749292}} * <!--Renée DiResta (2024) Invisible Rulers: The People Who Turn Lies into Reality-->{{cite Q|Q135107164}} * <!--Robert Felix, Joshua A. Khavis, and Mikhail Pevzner (2024) "The effects of local newspaper closures on nonprofits’ executive compensation"-->{{cite Q|Q132730972}} * <!--Maxim Flößer (2024-03-06) "Keine Lokalzeitung -- mehr AfD", Kontext-->{{cite Q|Q125287792}} * <!--Pengjie Gao, Chang Lee, and Dermot Murphy (2018) "Financing Dies in Darkness? The Impact of Newspaper Closures on Public Finance"-->{{cite Q|Q55670016}} * <!--Spencer Graves (2024) "Wikipedia: The most democratic force on earth-->{{cite Q|Q137796922}} * <!--Spencer Graves and Bryan Bailey (2025) "We have to talk", blog at PeaceWorksKC.org-->{{cite Q|Q136126262}} * [[d:Q138038060|Dan Hind and Spencer Graves (2025) "Media Reform Coalition challenges anti-democratic media bias in the UK" on Wikiversity]]. * <!--Richard R. John (1995) Spreading the News: The American Postal System from Franklin to Morse-->{{cite Q|Q54641943}} * <!--Adam H. Johnson (2026-04-21) How to Sell a Genocide: The Media's Complicity in the Destruction of Gaza-->{{cite Q|Q140073447}} * <!--Louis Johnston and Samuel H. Williamson, "What Was the U.S. GDP Then?" MeasuringWorth, 2026-->{{cite Q|Q56881105}} * <!-- Min Kim, Derrald Stice, Han Stice, and Roger M. White (2021) "Stop the presses! Or wait, we might need them: Firm responses to local newspaper closures and layoffs"-->{{cite Q|Q132459373}} * <!-- Robert W. McChesney; John Nichols (2010). The Death and Life of American Journalism (Bold Type Books) -->{{cite Q|Q104888067}}. * <!-- Robert W. McChesney; John Nichols (2021). "The Local Journalism Initiative: a proposal to protect and extend democracy". Columbia Journalism Review, 30 November 2021 -->{{cite Q|Q109978060}} * <!-- Robert W. McChesney; John Nichols (2022), To Protect and Extend Democracy, Recreate Local News Media (PDF), FreePress.net (updated 25 January 2022) -->{{cite Q|Q109978337|access-date=2024-06-23}} * <!--Neff and Pickard (2024) "Funding Democracy: Public Media and Democratic Health in 33 Countries"-->{{cite Q|Q131468289}} * [[d:Q131398359|Victor Pickard (2020) ''Democracy without journalism? : confronting the misinformation society'' (Oxford U. Pr.)]]. * <!-- Victor Pickard (2023-05-12) "Another Media System is Possible: Ripping Open the Overton Window, from Platforms to Public Broadcasting"-->{{cite Q|Q131398460}} * <!--Doug Samuelson (2025) Assessing Israel’s Approach in Gaza-->{{cite Q|Q138843324}} * [[d:Q138037937|Dean Starkman and Spencer Graves (2025) "Dean Starkman and the watchdog that didn't bark anglais" on Wikiversity]]. * <!--Mira Sucharov (2022) Do American Jews Really Know What 'Zionist' Means?-->{{cite Q|Q125903777}} * [[d:Q134715465|Nikki Usher and Sanghoon Kim-Leffingwell (2022) "How Loud Does the Watchdog Bark? A Reconsideration of Local Journalism, News Non-profits, and Political Corruption", ''SSRN Electronic Journal'']]. * [[d:Q61013892|Horacio Verbitsky (1997) ''Un mundo sin periodistas'' (in Spanish: A world without journalists; Editorial Sudamericana)]]. [[Category:Communication]] [[Category:Political science]] [[Category:Law]] [[Category:Psychology]] [[Category:Sociology]] [[Category:Education]] [[Category:Economics]] [[Category:Media Literacy and You]] [[Category:Freedom and abundance]] <!-- https://en.wikiversity.org/wiki/Category_Review --> 18abiynt5ptx7cy2gwytwr28u5amudq 0 327588 2817751 2812156 2026-07-05T17:15:05Z DavidMCEddy 218607 add discuss 1937-38 recession 2817751 wikitext text/x-wiki [[File:US unemployment.svg|thumb|Figure 1. US unemployment 1800-2024.<ref>"unemployment" in the USGPDpresidents dataset in Croissant and Graves (2025). Various sources identified in the "help" file for USGPDpresidents including LNS14000000 from the Current Population Survey of the Bureau of Labor Statistics for numbers since 1940.</ref>]] [[File:US GDP per capita 1800-2024.svg|thumb|Figure 2. US average annual income (GDP per capita in 2017 K$) 1800-2024. The Herbert Hoover and Franklin D. Roosevelt (FDR) years present a very different image with GDP per capital falling at 8.1% per year during the Hoover presidency and growing at 8.1% per year during FDR. Between 1800 and 1929, the GDP per capita grew at 1.4% per year. Between 1945 and 2024, GDP per capita grew on average 1.7% per year.<ref>If we start at 1790 rather than 1800, then Measuring Worth has US GDP per capita growing at 1.5% per year. We could also add a breakpoint in 1947, which would have GDP per capita falling at 7.9% per year for 2 years and growing at 2% per year since. Data from Johnston and Samuel H. Williamson (2025). Available as "realGDPperCapita" in the USGPDpresidents dataset in Croissant and Graves (2025).</ref>]] :''I am entitled to my [[Wiktionary:cockamamie|cockamamie]] ideas, and you are entitled to yours.'' [Humor is important but must be offered in a way that does not offend others. If others are offended, they may be less interested in dialogue.] :This book is a combination instruction manual on [[w:Media literacy|media literacy]] and an invitation to you to support collaborative / crowd-sourced research on how to improve the world's understanding of media literacy and how to accelerate its understanding and use globally for the betterment of humanity. == Did Fox and the other major media make the Great Recession worse, or did Franklin Roosevelt (FDR) make the Great Depression worse? == During the [[w:2008 financial crisis|2008 financial crisis]] [[w:Fox News|Fox]] featured interviews with supposed experts, who claimed that the [[w:New Deal|New Deal]] policies of the [[w:Presidency of Franklin D. Roosevelt|Franklin D. Roosevelt (FDR) administration]] made the [[w:Great Depression|Great Depression]] worse, not better. That coverage -- and the lack of a substantive rebuttal in the other major media in the US -- reportedly played a major role in preventing the [[w:Presidency of Barack Obama|Obama administration]] from bailing out poor and middle-class humans who lost their homes at that time. This article plots data that visible challenge "evil New Deal" theory by showing that FDR's administration dramatically ''decreased'' unemployment and produced ''unprecedented'' growth in average annual income ([[w:Real gross domestic product|GDP per capita adjusted for inflation]]) with only nominal inflation. Everyone benefitted except the ultra-wealthy. But the ultra-wealthy in recent decades have controlled increasing portions of the money for the media, which may explain why the humans who accepted "[[w:Stated income loan|liar loans]]" were demonized while many banks that were too big to fail before the crisis were bigger after, and over five thousand finance industry leaders, many of whom pushed those fraudulent loans, got million dollar bonuses at taxpayer expense.<ref>Acemoglu and Johnson (2023, ch. 3).</ref> Leading economists in the [[w:Modern Monetary Theory|Modern Monetary Theory]] school insist that we ''can'' repeat the success of FDR's administration. == Introduction == Peck (2016)<ref>See also Peck (2019).</ref> describes how [[w:Fox News|Fox]] helped shape the debate in the US Congress about the proper response to the [[w:2008 financial crisis|2008 financial crisis]]. Fox's coverage included interviews with [[w:Amity Shlaes|Amity Shlaes]]<ref>See esp. Schlaes (2007).</ref> and other conservative authors and politicians pushing two images: # President Franklin Roosevelt's (FDR's) New Deal allegedly prolonged rather than shortened the Great Depression. # The victims of "Liar loans" were portrayed primarily as people of color begging for an unearned handout from government. Economists [[w:Emmanuel Saez|Emmanuel Saez]] and [[w:Gabriel Zucman|Gabriel Zucman]], leaders with [[w:Thomas Piketty|Thomas Piketty]] in studying inequality, say, "Contrary to what many ideologues would like you to believe, economics has not 'proven' that workers 'bear the burden' of the corporate income tax. If this were true, then unions all over the world would be begging governments to slash it. In the real world, the most vocal proponents of the view that ordinary workers—not wealthy shareholders—suffer from high corporate taxes are . . . wealthy shareholders. During the 2018 US midterm elections, lobbies supported by the Koch brothers (worth about $50 billion each) spent $20 million to convince voters that President Trump’s corporate tax cut was good for wages."<ref>Saez and Zucman (2019, p. 106).</ref> This chapter responds to the claim that the New Deal prolonged rather than shortened the Great Depression. First, a plot of unemployment between 1800 and 2024 in Figure 1 shows a dramatic ''increase'' during the [[w:Presidency of Herbert Hoover|administration of Herbert Hoover]] (1929-1933) followed by effective correction during the [[w:Presidency of Franklin D. Roosevelt|Franklin D. Roosevelt (FDR) years]] (1933-1945) except during the [[w:Recession of 1937–1938|Recession of 1937–1938]]. [[w:Keynesian economics|Keynesian economists]] stated that the recession of 1937 was a result of a premature effort by FDR's administration to curb government spending and balance the budget.<ref>Leuchtenburg (1963, p. 244ff).</ref> We also plot average annual income ([[w:Real gross domestic product|GDP per capita adjusted for inflation]], Figure 2), which shows an unprecedented fall during the Hoover years followed by even more unprecedented growth during FDR, except for the 1937-1938 recession. That recession seems to have been caused by FDR's reduction in government spending, as just mentioned in summarizing Figure 1. And we plot the income tax structure in Figure 3. That shows that the ultra-wealthy paid higher taxes under FDR than at any other time in US history with plots showing reductions in inequality (Figures 6 and 7) that declined from FDR until the inauguration of Ronald Reagan in 1981, when inequality started increasing again. Plots of inflation are noisier and harder to read, so we table growth and inflation comparing especially different wars in US history: This shows that previous wars had high inflation and only nominal growth while WW II had unprecedented growth with only nominal inflation. Regarding the impact of Fox's claims on the US government's reactions to the 2007-2009 international financial crisis, Acemoglu and Johnson (2023) describe how "The insurance company AIG was saved by a government support of $182 billion in the fall of 2008, yet it was allowed to pay nearly half a billion dollars in bonuses, including to people who had wrecked the company. ,,, [And] nine financial firms that were among the largest recipients of bailout money paid five thousand employee bonuses of more than $1 million per person—supposedly because this was needed to retain 'talent.'" Meanwhile, other options like "firing or prosecuting bankers who had broken the law—for example, by deceiving customers and contributing to the financial meltdown in the first place [and providing] greater assistance to home owners in distress" were not considered.<ref>For more on how the US political economy responds to violations of US law by major corporations, see the discussion of [[w:Deferred prosecution|deferred prosecution agreements]] in Starkman and Graves (2025) and Eisinger (2017).</ref> == Unemployment == Figure 1 plots US unemployment 1800 to 2024. This shows a dramatic increase during the administration of Herbert Hoover (1929-1933) followed by effective correction during the FDR's presidency (1933-1945). Schlaes (2007) quotes a few unemployment figures sprinkled throughout her book but does not plot them. [[w:List of Nobel Memorial Prize laureates in Economic Sciences|Nobel prize economist]] [[w:Paul Krugman|Paul Krugman]] accused Shlaes of disseminating "misleading statistics."<ref>Krugman (2008).</ref> Shlaes responded by saying that she used the Lebergott (1964) / Bureau of Labor Statistics (BLS) series.<ref>Shlaes (2008).</ref> However, her book does not include a table or plot of unemployment, though she does decorate the first page of each of her 15 chapters with a percent of the workforce unemployed on a specific month or day between 1927 and 1940. Her numbers are generally consistent with Figure 1.<ref>Figure 1 follows the Wikipedia article on "[[w:Unemployment in the United States|Unemployment in the United States]]", accessed 2025-12-01, in using Lebergott (1964) for 1800 - 1889, Romer (1986) for 1890 - 1929, Coen (1973) for 1930-1939, and the BLS since 1940.</ref> == Average annual income == Figure 2 plots average annual income in the US (GDP per capita) 1800 to 2024. This shows an unprecedented fall at 8 percent per year for the 4 years of the Hoover administration followed by an even more unprecedented increase at 8 percent per year for the ''12'' years of FDR. This raises questions about the claims of Shlaes (2007) and Fox's other guests on this topic.<ref>as described by Peck (2016).</ref> The data plotted in Figure 2 has US GDP per capita in 2017 dollars at 6,980.67 in 1933, more than doubling in 9 years to 14,819.07 by 1943, roughly doubling again in 33 years to 29,288.45 by 1976, doubling again in 39 years to 58,363.37 by 2015, according to [[w:MeasuringWorth|MeasuringWorth]].<ref>Johnston and Williamson (2025).</ref> Banerjee and Duflo, who shared the 2019 [[w:List of Nobel Memorial Prize laureates in Economic Sciences|Nobel Memorial Prize in Economics with Michael Kremer]], said "that despite the best efforts of generations of economists, the deep mechanisms of persistent economic growth remain elusive. No one knows" how to make economies grow.<ref>Banerjee and Duflo (2019, pp. 206-207).</ref> Acemoğlu and Johnson (2023) suggest that economies grow from encouraging commoners to become entrepreneurs and allowing broad segments of society to share in the benefits of productivity growth. [[w:Thomas Piketty|Thomas Piketty]], the world's leading expert on inequality, attributes the slowing of the rate of growth in the economy since 1990 to the increase in inequality.<ref>Piketty (2021, p. 139).</ref> However, the increase in consolidation of ownership of the major media including the rise of social media in recent decades could explain both the increase in inequality and the slowing of the rate of growth. == Income taxes == [[File:Historical US personal income tax-annotated.svg|thumb|Figure 3. Historical US personal income tax rates and brackets as a percent of taxable income (to 2021).<ref>Obtained by adding annotations to [[:File:Historical Income Tax Rates and brackets.png]].</ref>]] Figure 3 shows the history of personal income taxes in the US. This shows that income was taxed during the Civil War and for a few years after, but the US did not have substantive taxes on income until shortly before World War I. These tax rates were reduced after World War I and increased again during the Great Depression. For 1944 and 1945, late in World War II, the top rate was raised to an all-time high of 94% applied to income above $200,000 (equivalent to $3.57 million in 2024 dollars). It has generally trended down since the end of the war.<ref>The history of income taxes in the US appears in the section on "[[w:Income tax in the United States#History of top rates|History of top rates]]" in the Wikipedia article on "[[w:Income tax in the United States|Income tax in the United States]]", accessed 2025-12-01.</ref> But personal income taxes and the top bracket are only part of the story for at least two reasons: [[File:UStaxWords.svg|thumb|Figure 4. Millions of words in the US federal tax code and regulations, 1955-2015, according to the [[w:Tax Foundation|Tax Foundation]]. [1=income tax code; 2=other tax code; 3=income tax regulations; 4=other tax regulations; solid line= total]<ref>"UStaxWords" dataset in Croissant and Graves (2022) from the Tax Foundation.</ref>]] [[File:1960- Tax rates of richest versus low income people - US.svg|thumb|Figure 5. Total effective tax rates (includes ''all'' taxes: federal+state income tax, sales tax, property tax, etc) for the 400 richest Americans (just over one millionth of one percent) declined by 2018 to a level beneath that of the bottom 50% of earners,<ref name=CBSnews_20191017>Picci (2019).</ref> Analysis by economists [[w:Emmanuel Saez|Emmanuel Saez]] and [[w:Gabriel Zucman|Gabriel Zucman]]<ref>Saez and Zucman (2019).</ref>.]] # It applies to [[w:Adjusted gross income|adjusted gross income]], ''not'' gross income. This difference has increased dramatically in the 70 years since 1955, when the number of words in US federal tax code and regulations were reported as 1.4 million words. In 2015, there were 10.1 million words in US federal tax code and regulations, according to the [[w:Tax Foundation|Tax Foundation]], plotted in Figure 4. This suggests a massive increase in [[w:Tax break|tax loopholes]].<ref>"UStaxWords" dataset in Croissant and Graves (2022) from the Tax Foundation, which cite the Tax Foundation (2006) and Greenberg (2015). For alternative perspectives on this issue, see Bishop-Henchman (2014).</ref> Eisinger et al. (2021) with [[w:ProPublica|ProPublica]] reported that many billionaires like [[w:Jeff Bezos|Jeff Bezos]], [[w:Elon Musk|Elon Musk]], [[w:Michael Bloomberg|Michael Bloomberg]], [[w:Carl Icahn|Carl Icahn]], and [[w:George Soros|George Soros]], each paid ''zero'' federal income taxes several years when their fortunes grew dramatically. "IRS records show that the wealthiest can — perfectly legally — pay income taxes that are only a tiny fraction of the hundreds of millions, if not billions, their fortunes grow each year." Figure 5 shows how changes in governmental policies, including but not limited to those summarized in Figure 4, have impacted the effective tax rate paid by the 400 wealthiest individuals vs. the bottom 90 percent. # Taxes on corporations have declined from roughly 30 percent of all federal receipts in the early 1950s to roughly 10 percent in 2012.<ref>[[:File:Federal Receipts by Source.svg]], accessed 2025-12-01.</ref> What was the impact of FDR's policies on inequality? == Inequality == [[File:Share of post-tax US national income 50p97.svg|thumb|Figure 6. Shares of post-tax US national income for bottom half and top 3 percent, 1913-2023.<ref>Plots of percentile=='p0p50' and 'p97p100' for variable == 'sdiincj999' in the US data in the [[w:World Inequality Database|World Inequality Database]] (WID) using the WID package for R described by Graves (2025).</ref>]] [[File:Share of US wealth 90p99.svg|thumb|Figure 7. Shares of US wealth - bottom 90 and top 1 percent, 1820-2023.<ref>Plots of percentile=='p0p90' and 'p99p100' for variable == 'shwealj999' in the US data in the World Inequality Database (WID) using the WID package for R described by Graves (2025).</ref>]] Figures 6 and 7 show inequality of income and wealth in the US. Figure 6 plots the evolution of the shares of the bottom half and top 3 percent of post-tax US national income from 1913 to 2023. Figure 7 shows the evolution of the bottom 90 and top 1 percent of US national wealth from 1820 to 2023. Both show roughly the same image: High inequality dramatically reduced during World War II and continuing after the war with the US on average tending to become slightly more egalitarian until Ronald Reagan became President of the US in 1981. Lindert and Williamson report that, "Incomes were more equally distributed in colonial America than in any other place that can be measured."<ref>{{harvnb|Lindert|Williamson|2016|p=37}}</ref> Inequality increased after the Revolution to produce the effects documented in Figures 6 and 7, which include the "great leveling" that began after the Great Depression. Figures 6 and 7 show that the presidency of Ronald Reagan initiated a reversal of that "great leveling". Lindert and Williamson continue, "Our new inequality evidence for 1774 also speaks to a new institutional literature that argues that :''economic inequality breeds political power that favors rent-seeking (or extractive) institutions and policies rather than growth-enhancing institutions and policies, while a large middle class does just the opposite.'' (emphasis added)<ref>Lindert and Williamson (2016, p. 41).</ref> Conclusion: :''When politicians are allowed to reward people they call 'job creators', the humans who actually create most of the jobs and the bottom 99 percent suffer.'' We can reverse the trend toward increasing inequality in a couple of ways. * First more equitably fund fair application of the laws. Eisinger (2017) describes "why the [US] Justice Department fails to prosecute executives", and with progressive taxes on income and [[w:Wealth tax|wealth]], both for individuals and corporations. == Wartime Growth and inflation == Economists and leading politicians have long understood that inflation was often a problem during wars. During the [[w:Napoleonic Wars|Napoleonic Wars]], the Prime Minister of the UK, [[w:William Pitt the Younger|William Pitt]], reportedly said he was more afraid of high prices than he was of the enemy.<ref>Sabaté and Torregrosa-Hetland (2024).</ref> This author has so far failed to find a reference discussing productivity growth, like that visible during World War II in Figure 2 above. Rockoff (2015) provides estimates of inflation during the [[w:American Revolution|American Revolution]], the [[w:War of 1812|War of 1812]], the [[w:American Civil War|American Civil War]], and World Wars I and II. The [[w:MeasuringWorth|MeasuringWorth]] data plotted in Figure 2 above starts in 1790, after the end of the American Revolution. Table 1 summarizes economic growth and inflation during the War of 1812, the Civil War and World Wars I and II: The first three of those wars had economic growth comparable to non-war years and exceptionally high inflation. During World War II, the US had the opposite: unprecedented economic growth with only nominal inflation. In addition to unprecedented income taxes, summarized in Figure 3 above, FDR's administration also had waged and price controls managed by the [[w:Office of Price Administration|Office of Price Administration]] (OPA) that recruited many volunteers to help manage the program. We will not attempt here to assess the relative contribution of higher taxes and the OPA to controlling inflation during World War II, apart from noting that prices jumped on average 6 percent only a few days after the OPA ceased operations, a monthly increase that would have produced 100 percent inflation if continued for a year. However, less than a month later, the US Congress passed legislation to reopen the OPA, and inflation slowed.<ref>Jacobs (1997) and Cohen (2008), cited from the Wikipedia article on "[[w:Office of Price Administration|Office of Price Administration]]".</ref> {| class="wikitable" |+ Table 1. Economic growth and inflation in major wars in US history |- ! war !! colspan=2 | start !! colspan=2 | end !! colspan=2 | annual rate of |- ! !! date !! year !! date !! year !! growth in real GDP per capita !! inflation |- | [[w:War of 1812|War of 1812]] || 1812-06-18 || 1812 || 1815-02-17 || 1814 || 1.8% || 10.6%<ref>The War of 1812 was followed by dramatic deflation and a major recession. Thus, if we change the end year from 2014 to 2015, the economic growth and inflation reported here disappear.</ref> |- | [[w:American Civil War|Civil War]] || 1861-04-12 || 1861 || 1865-06-26 || 1865 || 4.3% || 14.3% |- | [[w:World War I|WW I]] || 1917-04-02 || 1917 || 1918-11-11 || 1918 || 4.2% || 13.7%<ref>WW I began in Europe 1914-07-28. Between 1914 and 1917, the US economy averaged 7.8% growth per year in real GDP per capita with 16.5% annual inflation. Different numbers. Same general conclusion.</ref> |- | [[w:World War II|WW II]] || 1941-12-07 || 1941 || 1945-09-02 || 1945 || 9.1% || 4.5%<ref>WW II began in Europe 1939-09-01. Between 1939 and 1945, the US economy averaged 10.1% growth per year in real GDP per capita with 4.2% inflation. Different numbers. Same general conclusion.</ref> |} Economists in the [[w:Modern Monetary Theory|Modern Monetary Theory]] (MMT) school support [[w:job guarantee|job guarantees]] like the New Deal programs, while more traditional economists prefer a [[w:guaranteed minimum income|guaranteed minimum income]]. When humans are unemployed, their general health and well being tends to decline, they often lose self esteem<ref>Green (2010).</ref> and good work habits.<ref>Hult et al. (2018).</ref> And employers are less likely to request interviews with applicants who have been unemployed a year or more.<ref>Farber et al. (2018).</ref> These arguments favor a job guarantee over a guaranteed minimum income. But many elites seem to prefer to maintain a large reserve army of unemployed to limit the ability of employees to bargain for better wages and working conditions.<ref>Mitchell et al. (2016, esp. sections 12.3. Unemployment buffer stocks and price stability and 12.4. Employment buffer stocks and price stability, pp. 247-259).</ref> European countries led by Denmark are using "[[w:Flexicurity|flexicurity]]<ref>accessed 2025-12-20.</ref> systems that provide generous unemployment and support for adult education for workers while providing employers greater flexibility in expanding and contracting their workforce in response to changes in demand. == Role of the media == How did FDR get the political support needed to tax the ultra-wealthy and create the Office of Price Administration that generated unprecedented economic growth with only nominal inflation, as described above? One possible answer is given in the research by [[w:Daron Acemoglu|Acemoglu]], [[w:Simon Johnson (economist)|Johnson]], and [[w:James A. Robinson|Robinson]], who shared the 2024 [[w:Nobel Memorial Prize in Economic Sciences|Nobel Memorial Prize in Economics]],<ref>Royal Swedish Academy of Sciences (2024).</ref> combined with research on the role of the media in political economy. Acemoglu and Johnson (2023, ch. 4) said that {{quote| Medieval society is often described as a “society of orders,” consisting of * those who fought, * those who prayed, and * those who did all the work. Those who prayed were crucial in persuading those who labored to accept this hierarchy.<ref>Acemoglu and Johnson note that this description applies to many other societies in history and prehistory, e.g., when the [[w:Egyptian pyramids|pyramids]] were built in [[w:Ancient Egypt|Ancient Egypt]] but did not apply elsewhere. See also Graeber and David Wengrow (2021).</ref>}} Acemoglu and Robinson (2012) suggest that the [[w:Industrial Revolution|Industrial Revolution]] began in England, because the English were the first to extend equal protection of the laws to innovative commoners. At other times and places -- including in many countries today -- innovators who threaten powerful individuals and groups can have their innovations blocked,<ref>In 1707 [[w:Denis Papin|Denis Papin]] reportedly built a ship powered by hand-cranked paddles that was destroyed by boatmen of [[w:Hann. Münden|Munden]] who feared it would threaten their livelihood. He left his family in Germany and went to England, where the Royal Society published several of his papers before he died a pauper and was buried in an unmarked grave.</ref> or the fruits of their labors confiscated by members of the first two orders or even imprisoned.<ref>[[w:Jimmy Lai|Jimmy Lai]] is Hong Kong businessman and media figure, imprisoned over his criticism of the Chinese Communist Party.</ref> [[w:Oxfam|Oxfam]] describes how, "Billionaire-owned media systematically neglect the interests of people living in poverty, women and racialized groups" and how the public believe things contrary to fact, "driven in part by misleading news reports, social media and right-wing politicians." Among other things, they recommend we "effectively tax the super-rich to reduce their economic power, and through this their political power; ... legislate to ensure media independence; regulate media companies to increase algorithmic transparency; [and] protect freedom of speech while preventing harmful content."<ref>Maitland et al. (2026). See also Kampmark (2026).</ref> Acemoglu and Johnson (2023) further insist that the ''inequality'' is to a large extent a function not of technology but of political power, and we can have a high rate of economic growth with lower inequality, as suggested by Figures 2, 4 and 6 above. They provide a template for doing this based on # altering the narrative, # building countervailing powers [like organized labor], and # developing technical, regulatory, and policy solutions to tackle specific aspects of technology’s social bias.<ref>Acemoglu and Johnson (2023, ch. 11).</ref> "Altering the narrative" implies a major role for the media. But media outlets have conflicts of interest in honestly reporting on anything that might offend (a) anyone with substantive control of the money for the media or (b) major news sources like public officials, including law enforcement. Usher and Kim-Leffingwell (2022) found on average 1.4 more federal prosecutions for political corruption in each of the 94 US federal court districts between 2003 and 2019 per member of the Institute for Nonprofit News (INN) in that district the previous year. During that period, the number of journalists in the US fell by roughly a factor of 3 -- between 60 and 70 percent -- with no statistically significant impact on federal prosecutions for political corruption. They did not describe the specific mechanisms connecting INN members to prosecutions for political corruption, but major media outlets often disseminate news produced by members of INN, because they could lose audience if they don't, and their advertising rates are a function of their audience. More support for local news nonprofits like members of INN may also make it easier to build countervailing powers and disseminate research on policy alternatives that rarely appear in major media outlets. A more diverse media landscape would reduce the impact of decisions like those of [[w:YouTube|YouTube]] to delete videos posted by Palestinian human rights organizations documenting questionable actions by Israelis.<ref>The Cradle (2025).</ref> For a summary of research on media reform, see the Wikiversity article on "[[Media & Democracy lessons for the future]]".<ref>accessed 2025-12-20.</ref> == Rebuilding the 99 percent == Saez and Zucman, responsible for Figure 5 above, said, "what makes taxation work is more than a simple tax code and diligent auditors. It’s a belief system: shared convictions in the benefits of collective action ..., in government’s central role in organizing this collective action, and in the merits of democracy. When this belief system prevails, even the most progressive tax system can work. When this belief system founders, the forces of tax dodging, unleashed and legitimized, can overwhelm even the most sophisticated tax authority and overpower the best tax code."<ref>Saez and Zucman (2019, pp. 47-48).</ref> To support this, they quoted from President Franklin D. Roosevelt's message to Congress 1937-06-01: {{quote| Mr. Justice Holmes said, ‘Taxes are what we pay for civilized society’. Too many individuals, however, want the civilization at a discount.<ref>Saez and Zucman (2019, p. 48).</ref>}} From that day to the 1970s, business executives agreed that they were "responsible to a broad class of stakeholders beyond their owners: employees, customers, communities, and governments."<ref>Saez and Zucman (2019, p. 69).</ref> In the 1970s the tax-avoidance industry began to grow, but it didn't really take off until Ronald Reagan became president, insisting that, {{quote| Government is not the solution to our problem; government is the problem.<ref>Saez and Zucman (2019, p. 51).</ref>}} Saez and Zucman said that "the revived libertarian creed", popularized with Reagan, included the claim that "taxation was theft". That change in mindset meant that tax avoidance, previously immoral, became moral, even mandatory where feasible.<ref>Saez and Zucman (2019, p. 51).</ref> Saez and Zucman explain how the tax-avoidance industry facilitates a race to the bottom, pushing different countries to compete in cutting taxes on corporations, which also cut taxes on anyone who ones stocks in corporations. Saez and Zucman insist that we can replace this "race to the bottom" with a "race to the top" by applying corporate taxes to the portion of global sales in country. For example, roughy 20 percent of the international business of the Swiss company [[w:Nestlé|Nestlé]] is in the US. Their 2025 revenue and net income were 89 and 9 billion CHF ([[w:Swiss franc|Swiss franc]]s), respectively. The exchange rate of CHF to USD is roughly 1. Thus, the US government could declare that Nestlé's 2025 profit in the US was 20 percent of $9 billion = $1.8 billion and apply a 25 or 50 percent corporate tax rate to that amount. Saez and Zucman further insist that, {{quote| Future trade deals should not be signed unless they contain an agreement on tax coordination. ... [Treaties] protect the property rights of foreign investors ... Ownership cannot come with only rights and no tax duty.<ref>Saez and Zucman (2019, p. 126).</ref>}} Saez and Zucman have other recommendation changes to government policies toward corporations, but key to making it all work is revising the belief system, restoring the idea that corporations are created by government laws, and the public should revise those laws, so corporations benefit the 99 percent. You, dear reader, can help with the main thesis of this book: Educate yourself on what others think, share your concerns in a friendly supportive manner with the goal of finding common ground while agreeing to disagree agreeably in areas where you differ. If enough humans do that, it should restore the mindset that drove the decrease in inequality visible in Figures 6 and 7 through media literacy activism. This ''[[Media Literacy and You]]'' book is being written in the hope that it can inspire and support such activism. == Caveats == === Empirical evidence is never complete === Statistician and management consultant [[w:W. Edwards Deming|W. E. Deming]] said, "Empirical evidence is never complete." He also said that there is no true value to any number obtained as a result of a measurement: If you change the method of measurement, you get a different answer.{{cn}} Also, humans often do not see things that they do not expect. For example, many experimental subjects asked to count passes in a video of a basketball game failed to notice a person in a gorilla suit who appears in the middle of the video.<ref>This was discussed in research reports and a companion book, ''[[w:The Invisible Gorilla|The Invisible Gorilla]]''.</ref> Estimating GDP including adjusting for inflation is difficult. Different researchers use different methods and get different answers. In particular, Lindert and Williamson insist that Maddison's data are deficient, at least regarding the 13 colonies that became the US:{{quote| American world leadership in income per person has waxed and waned for centuries. Before the twentieth century, the period in which Americans most clearly led Britain and all of western Europe in purchasing power per capita was during colonial times—that is, when North Americans were still British. They were already ahead by the late seventeenth century. America lost that lead in the Revolutionary War and the Articles of Confederation years, gained it back by 1860, lost most of it again in the Civil War decade, gained it back once more by 1900, and briefly lost it again in the Great Depression of the 1930s.<ref>Lindert and Williamson (2016, pp. 8-9).</ref>}} The GDP per capita numbers used in this chapter are from [[w:MeasuringWorth|MeasuringWorth]], which are similar but different the GDP per capita numbers from the [[w:Maddison Project|Maddison Project]], used in the chapter on [[Media Literacy and You/The impact of the media on political economy since the time of the Pharaohs|The impact of the media on political economy since the time of the Pharaohs]]. The differences are critical for evaluating the macroeconomic impact of wars but do not otherwise seem relevant to the main thrust of this book. === We need efficient capital markets but not hyper-liquidity === [[w:James Tobin|James Tobin]] won the [[w:List of Nobel Memorial Prize laureates in Economic Sciences|1981 Nobel memorial prize in economics]] for his analysis of financial markets, including recommending taxing financial market transactions. That idea is now known as a "[[w:Tobin tax|Tobin tax]]". He recommended a tax of, e.g., 0.5 percent of the volume of a transaction to dissuades speculators from investing money on very short-term bases, because of their contribution to [[w:Stock market bubble|market bubbles]]. We need liquidity in financial markets but not hyper-liquidity. == Exercise == Share your understanding of the information in this chapter with others, inviting their comments. Stress that no human knows the "truth" about anything as complex as the issues discussed herein and invite feedback. # As before, the primary goal is ''not'' to convince anyone else of anything. Rather it is to build relationships of mutual respect in which humans can agree to disagree disagreeably. If enough humans do this, it will (a) reduce political polarization and violence and (b) facilitate progress on the issues of greatest concern to the most humans. # Summarize what you hear in the ''Discuss'' page associated with this chapter. If you see opportunities to improve this chapter and change this chapter while writing from a neutral point of view citing credible sources, do so. Or at least document those thoughts on the companion ''Discuss'' page. == Appendix. Companion R Markdown vignette == Statistical details that make [[w:Reproducibility|the research in article reproducible]] are provided in an R Markdown vignette on "[[The Media, the Great Depression, and our future/Companion R Markdown vignette]]". <!--== See also ==--> == Notes == {{reflist}} == Bibliography == * <!--Daron Acemoğlu and Simon Johnson (2023) Power and Progress-->{{cite Q|Q125292212}} * <!--Abhijit Banerjee and Esther Duflo (2019) Économie utile pour des temps difficiles-->{{cite Q|Q85764011}} * <!--Joseph Bishop-Henchman (2014-04-15) How Many Words are in the Tax Code?-->{{cite Q|Q137462713}} * <!--Robert Coen (1973) Labor Force and Unemployment in the 1920s and 1930s: A Re-Examination Based on Postwar Experience-->{{cite Q|Q137180971}} * <!--Lizabeth Cohen (2003, 2008) Consumers' Republic: The Politics of Mass Consumption in Postwar America-->{{cite Q|Q137473626}} * <!--The Cradle (2025-11-05) "YouTube deletes hundreds of videos documenting Israeli war crimes"-->{{cite Q|Q137301573|author=The Cradle}} * <!-- Yves Croissant and Spencer Graves (2025) "Ecdat: Data Sets for Econometrics", available from the Comprehensive R Archive Network (CRAN) -->{{cite Q|Q56452356}} * <!--Jesse Eisinger (2017) The chickenshit club : why the Justice Department fails to prosecute executives-->{{cite Q|Q134599351}} * <!--Jesse Eisinger, Jeff Ernsthausen, and Paul Kiel (2021-06-08) "The Secret IRS Files: Trove of Never-Before-Seen Records Reveal How the Wealthiest Avoid Income Tax"-->{{cite Q|Q139919526}} * <!--Henry S. Farber, Chris M. Herbst, Dan Silverman, and Till von Wachter (2018-05) " Whom Do Employers Want? The Role of Recent Employment and Unemployment Status and Age-->{{cite Q|Q105837471}} * <!--Pam Fessler (2017-05-25) "Housing Secretary Ben Carson Says Poverty Is A 'State Of Mind'"-->{{cite Q|Q137475571|author=Pam Fessler}} * <!--David Graeber and David Wengrow (2021) The Dawn of Everything (Q109769508). * <!--Spencer Graves (2025) WID: Tools for use with the World Inequality Database-->{{cite Q|Q137462795}} * <!--Francis Green (2010-12-22) "Unpacking the misery multiplier: how employability modifies the impacts of unemployment and job insecurity on life satisfaction and mental health"-->{{cite Q|Q50528452}} * <!-- Scott Greenberg (2015-10-08) Federal Tax Laws and Regulations are Now Over 10 Million Words Long-->{{cite Q|Q137462350}} * <!--Marja Hult, Anna-Maija Pietilä, Päivikki Koponen, and Terhi Saaranen (2018-07-26) " Association between good work ability and health behaviours among unemployed: A cross-sectional survey"-->{{cite Q|Q91470779}} * <!--Meg Jacobs (1997-12) ""How About Some Meat?": The Office of Price Administration, Consumption Politics, and State Building from the Bottom Up, 1941–1946-->{{cite Q|Q137473579}} * <!-- Louis Dorrance Johnston and Samuel H. Williamson (2025) "What Was the U.S. GDP Then?"-->{{cite Q|Q56881105}} * <!--Binoy Kampmark (2026-01-25) "The Global Billionaire Steal: Wealth, Authoritarianism and Media"-->{{cite Q|Q139987296}} * <!--Paul Krugman (2008-11-19) "Amity Shlaes strikes again"-->{{cite Q|Q137179834}} * <!--Stanley Lebergott (1964) Manpower in Economic Growth: The American Record since 1800-->{{cite Q|Q137180737}} * <!--William Leuchtenburg (1963) Franklin D. Roosevelt and the New Deal, 1932–1940-->{{cite Q|Q140441200}} * <!--Peter H. Lindert and Jeffrey G. Williamson (2016) Unequal Gains: American Growth and Inequality since 1700 (Princeton U. Pr.)-->{{cite Q|Q138296699}} * <!--Alex Maitland, Anjela Taneja, Anthony Kamande, Carlos Brown Solá, Harry Bignell, Max Lawson, and Rune Møller Stahl (2026-01-19) Resisting the Rule of the Rich: Protecting freedom from billionaire power-->{{cite Q|Q139987693}} * <!--Bill Mitchell, L. Randall Wray, and Martin Watts (2016) Modern Monetary Theory and Practice: An introductory text-->{{cite Q|Q137485438}} * <!--Reece Peck (2016) "Usurping the usable past: How Fox News remembered the Great Depression during the Great Recession", Journalism-->{{cite Q|Q135527962}} * <!--Reece Peck (2019) Fox populism: Branding conservatism as working class (Cambridge U. Pr.)-->{{cite Q|Q135513426}} * <!--Aimee Picci (2019-10-17) America's richest 400 families now pay a lower tax rate than the middle class-->{{cite Q|Q139935046}} * <!-- Thomas Piketty (2022) A brief history of equality (Harvard U. Pr.) -->{{cite Q|Q115434513}} * <!--Christina Romer (1986) "Spurious Volatility in Historical Unemployment Data"-->{{cite Q|Q55899853}} * <!--Royal Swedish Academy of Sciences (2024-10-20) "Prize in Economic Sciences in Memory of Alfred Nobel 2024"-->{{cite Q|Q130312646|author=Royal Swedish Academy of Sciences}} * <!--Oriol Sabaté and Sara Torregrosa-Hetland (2024-02) War inflation and taxation-->{{cite Q|Q137465618}} * <!--Emmanuel Saez and Gabriel Zucman (2019) The Triumph of Injustice: How the rich dodge taxes and how to make them pay-->{{cite Q|Q133176715}} * <!-- Amity Shlaes (2008) The Krugman Recipe for Depression: Massive government spending is no solution to unemployment-->{{cite Q|Q137179924}} * <!-- Amity Shlaes (2007) The Forgotten Man: A New History of the Great Depression-->{{cite Q|Q7734832}} * [[d:Q138037937|Dean Starkman and Spencer Graves (2025) "Dean Starkman and the watchdog that didn't bark anglais" on Wikiversity]]. * <!--Tax Foundation(2006-10-26) Number of Words in Internal Revenue Code and Federal Tax Regulations, 1955-2005-->{{cite Q|Q137462681|author = Tax Foundation}} [[Category:Original research]] [[Category:Research]] [[Category:Great Depression]] [[Category:Macroeconomics]] [[Category:Gross domestic product]] [[Category:Economic growth]] [[Category:Media literacy]] [[Category:Communication]] [[Category:Political science]] [[Category:Law]] [[Category:Psychology]] [[Category:Sociology]] [[Category:Education]] [[Category:Media Literacy and You]] <!-- https://en.wikiversity.org/wiki/Category_Review --> b9u9g0luox1o4tgy00m0mo77cxpq4jn 0 329836 2817763 2811482 2026-07-06T04:05:36Z Evan Mercer 3071189 Better 2817763 wikitext text/x-wiki What happens if you want to add a note about your code? 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Example comment--> </nowiki> [[Category:HTML]] g99jkrszzw54a60xll8td2w7y7kt6ps 10 330127 2817783 2815114 2026-07-06T09:38:53Z ShakespeareFan00 6645 2817783 wikitext text/x-wiki <div style="float:left;border:solid black 1px;margin:1px"> {| cellspacing="0" style="width:238px;background:#AAA;{{Text color default}};" | style="width:45px;height:45px;background:red;color:white;text-align:center;font-size:19pt" | '''-_-¿''' | style="font-size:8pt;padding:4pt;line-height:1.25em" | <span style="color:white">This user wishes that [[Dubbing (filmaking)|dubbed]] [[anime]] could have better actors.</span> |} </div> e66abgi570ydwncmfr6aelp5pym18u8 0 330240 2817773 2816146 2026-07-06T06:43:15Z Alandmanson 1669821 /* Ampulicidae */ 2817773 wikitext text/x-wiki =Ampulicidae= The [[w:Ampulicidae|cockroach wasps]] use [[w:Blattodea|cockroaches]] to provision their nests for their larvae. In the Afrotropics, there are two genera. ''[[w:Dolichurus|Dolichurus]]'' has: * a complete antennal platform that is not grooved or divided; * an absence of metallic coloration; * forewing with veins M and Cu diverging from M+Cu well after cu-a; * three submarginal cells of which the first is much less than twice as long as the second (measured along posterior side); * whitish marks on the clypeus, mandible, frons, and collar in many species. <gallery mode=packed heights=200> Ampulicidae 37894270 suncana.jpg|[[w:Ampulex|''Ampulex'' cf. ''apicalis'']] Dolichurus cf basuto iN 99066897 Sep 29, 2021.jpg|[[w:Dolichurus|''Dolichurus'' cf. ''basuto'']] Dolichurus 2025-10-25 7308 inaturalist325509784 06.jpg|[[w:Dolichurus|''Dolichurus'' sp.]] female dragging a [[w:Deropeltis|''Deropeltis'']] cockroach </gallery> {{BookCat}} j8j6xb4wo9b0vmiy8qpslin8r7dhdj0 2817774 2817773 2026-07-06T06:44:54Z Alandmanson 1669821 2817774 wikitext text/x-wiki =Ampulicidae= The [[w:Ampulicidae|cockroach wasps]] use [[w:Blattodea|cockroaches]] to provision their nests for their larvae. In the Afrotropics, there are two genera. ''[[w:Dolichurus|Dolichurus]]'' has: * a complete antennal platform that is not grooved or divided; * an absence of metallic coloration; * forewing with veins M and Cu diverging from M+Cu well after cu-a; * three submarginal cells of which the first is much less than twice as long as the second (measured along posterior side); * whitish marks on the clypeus, mandible, frons, and collar in many species.<br> <gallery mode=packed heights=200> Ampulicidae 37894270 suncana.jpg|[[w:Ampulex|''Ampulex'' cf. ''apicalis'']] Dolichurus cf basuto iN 99066897 Sep 29, 2021.jpg|[[w:Dolichurus|''Dolichurus'' cf. ''basuto'']] Dolichurus 2025-10-25 7308 inaturalist325509784 06.jpg|[[w:Dolichurus|''Dolichurus'' sp.]] female dragging a [[w:Deropeltis|''Deropeltis'']] cockroach </gallery> {{BookCat}} iuw9djaki41ufzk47wrizw2r3y3lq5c 0 330344 2817772 2816861 2026-07-06T04:43:33Z Evan Mercer 3071189 2817772 wikitext text/x-wiki {{dr}} In this lesson we will learn to how solve the quadratic equation: <math>a x^2 + bx + c = 0</math> for <math>x</math> where all coefficients <math>a</math>, <math>b</math> and <math>c</math> are real numbers. In addition, we suppose that <math>a</math> is different from zero, otherwise the equation would be linear. First, we compute the determinant <math>\Delta = b^2 - 4 a c</math>. We distinguish three cases: If the determinant is positive, then equation admits two solutions: <math> x_{1,2} = \frac{-b \pm \sqrt{\Delta}}{2 a} </math> If the determinant is zero, then equation admits the single solution: <math> x = \frac{-b}{2 a} </math> If the determinant is negative, there are no real value satisfying the quadratic equation. === Example: === Solve <math>2x^2 - 8x + 6 = 0</math> for <math>x</math>. The determinant is, <math> \Delta = b^2 - 4 a c = 8^2 - 4 \cdot 2 \cdot 6 = 16 </math> The equation admits therefore two solutions, namely: <math> x_{1,2} = \frac{8 \pm \sqrt{16}}{2 \cdot 2} = \frac{8 \pm 4}{4} = 2 \pm 1 </math> The two solutions are thus <math>x_{1} = 1</math> and <math>x_{2} = 3</math> (the order is not important). ==== Verification ==== Indeed, this can be verified substituting <math>x_1</math> and <math>x_2</math> in the original equation: <math> 2 \cdot 1^2 - 8 \cdot 1 + 6 = 2 - 8 + 6 = 0 </math> and <math> 2 \cdot 3^2 - 8 \cdot 3 + 6 = 18 - 24 + 6 = 0 </math> ==== Alternative solution ==== The equation can also be solved by "completing the square''":'' <math>2x^2 - 8x + 6 = 0</math> Divide by 2 so that <math>x^2</math> is alone: <math>x^2 - 4x + 3 = 0</math> Subtract <math>3</math> <math>x^2 - 4x = -3</math> We want to apply the binomial formula <math>x^2 + 2 x y + y^2 = (x+y)^2</math> on the left side of the equation. If <math>-4x</math> is <math>2 x y</math>, then <math>y</math> is <math>-2</math> and <math>y^2</math> is <math>4</math>: <math>x^2 - 4x + 4 = -3 + 4</math> Apply the binomial formula: <math>(x - 2)^2 = -3 + 4</math> Or <math>(x - 2)^2 = 1</math> Let's take the square root: <math>x - 2 = \pm 1</math> Solve for <math>x</math> <math>x = 2 \pm 1</math> The solutions are thus <math>1</math> and <math>3</math>. The previous approach can be uses to proof the general formula. [[Category:Equations]] resq1p5we7jlvn26xmikqk8m35tqy75 2 330443 2817750 2817639 2026-07-05T15:59:18Z Juandev 2651 +x 2817750 wikitext text/x-wiki == What is the name of <nowiki><code>{{{obec|}}}</code></nowiki>? == This is a template parameter reference. The string "obec" is the parameter name and the space after the vertical bar is the empty default value. *Note. The default parameter reference is only printed if the user does not enter it in the template. This means that <nowiki><nowiki>{{{obec|unfilled}}}</nowiki></nowiki> will insert "unfilled" into the page after saving, unless this parameter is specified. == Can I use template parameter reference more times in the template? == Yes. == Is there a way to add notes to wikicode template? == Yes, the same way as in wikitext, surrounding strings with <nowiki><code><!-- string --></code></nowiki>. == Who we call <nowiki><code>state =</code></nowiki> of a template ?== Its called parameter. 30mpt51o6ylezzvbz21jtoej7pbsbff 6 330482 2817782 2026-07-06T09:37:21Z Young1lim 21186 {{Information |Description=Copilot: File Control A. Overview (20260706 - 20260630) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} 2817782 wikitext text/x-wiki == Summary == {{Information |Description=Copilot: File Control A. Overview (20260706 - 20260630) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} == Licensing == {{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} lmf2druk9ojocgkgluvunxs005v6y7q 6 330483 2817785 2026-07-06T09:59:31Z Young1lim 21186 {{Information |Description=Sample: Tapped Delay (20260706 - 20260701) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} 2817785 wikitext text/x-wiki == Summary == {{Information |Description=Sample: Tapped Delay (20260706 - 20260701) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} == Licensing == {{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} 3hyehrjt679q244askrrs2a2a4303hn 6 330486 2817789 2026-07-06T10:40:49Z Young1lim 21186 {{Information |Description=FF Timing (20260629 - 20260623) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} 2817789 wikitext text/x-wiki == Summary == {{Information |Description=FF Timing (20260629 - 20260623) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} == Licensing == {{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} q89y6ohzzrcajn3ahp6tjztcp6o1zwo 6 330487 2817791 2026-07-06T10:41:41Z Young1lim 21186 {{Information |Description=FF Timing (20260630 - 20260629) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} 2817791 wikitext text/x-wiki == Summary == {{Information |Description=FF Timing (20260630 - 20260629) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} == Licensing == {{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} onim0hfk7ubcxahhr5i7vediasc25t1 6 330488 2817793 2026-07-06T10:42:37Z Young1lim 21186 {{Information |Description=FF Timing (20260706 - 20260630) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. Lim |Permission={{self|GFDL|cc-by-sa-4.0,3.0,2.5,2.0,1.0}} }} 2817793 wikitext text/x-wiki == Summary == {{Information |Description=FF Timing (20260706 - 20260630) |Source={{own|Young1lim}} |Date=2026-07-06 |Author=Young W. 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