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The death of Prince Albert – second part – Royal Plant

In continuation of our two-part series, our historian, Elizabeth Jane Thoms, refers to the death of Prince Albert:

Bringing the Prince of Consort is, of course, synonymous with the Blue Room at Windsor Castle, where it was held, the room I had explored for six years. The room was one in which Queen Victoria "Uncle King" George IV died on June 26, 1830. It was known as "King's Bedroom" under George IV and seemed to combine the functions of the courtyard and the King's bathroom. It was hung with a satin in Waterloo blue and contained a bath tub with curtains and chairs with an appropriate blue upholstery. The curtains of George IV in the Blue Room were still in place in the late nineteenth century; we know this because the silk satin has since been so rotten that new curtains had to be made to replace the originals.

Upper section, quadrant in Windsor Castle. The Clarens Tower, which formed the Blue Room, can be seen as the first tower on the left. (Dilip [GFDL (, CC-BY-SA-3.0 ( or CC-BY 2.5 (], of the Common Bible).

Blue Room – known by name "Albert Room " after the death of Prince of Consort – was also the one in which her second uncles of fathers, William IV, died on June 20, 1837. This historic day was quite different for Victoria in public and private terms for the passage of King William IV led Lord Chamberlain, Lord Conningham and Archbishop Canterbury, William Holly, to take a ride from Windsor to Kensington Palace to wake the young princess Victoria from sleep at 6:00 am to get to know the news of her uncle's death, and "consequently, that I am the queen ".

There is a sad irony, since, after the death of Prince Albert, Queen Victoria sat where her aunt, the Queen Adelaide, once sat beside the bed of dying William IV. This time, there was no proud confident flourish – "the course quite alone – as she later wrote in her diary on the triumphant day of her accession in 1837, because this time she was "ONLY" in a different sense – as a widow of Prince Albert.

Queen Adelaide was present when William IV received the sacred secret and cried when the blessing was proclaimed by the Archbishop of Canterbury. William IV wanted to survive long enough to see another Waterloo Day – June 18 – and begged his doctor to do everything he could to last long enough to celebrate it (AN Wilson, Victoria, 73). Indeed, it was appropriate that the curtains in the Blue Room were from the Waterloo Blue satin when the King died there two days later.

Before the last days of his illness, Prince Albert had always slept in the Queen in Windsor, from where he survived watercolors, located in the king [Victoria] Tower. The blue room is located in Clarence Tower, within private apartments, and is also the Windsor Tower, in which, significantly, Gilles Brown, Queen Highland, Jin Brown, died in 1883. The queen ordered that his room be kept and preserved to be placed on his pillow. The plans and dimensions of the Clarence Tower and Victoria Tower basements are held at the Kew National Archives, stamped by the Woods Office. A photo of the Eastern Front of the Windsor Castle at the Royal Collection by Roger Fenton, made in 1860, portrays the apartments of the Queen, with the Queen tower left, then to the right, Clarence Tower, Chester Tower and the Prince of Wales Tower.

Perhaps there was a final fatalism about the desire of Prince Albert to move to the Blue Room, in which two previous British kings died. He said in the first problems of the disease: "[He kept saying] … do not have to recover! what we all said was too stupid & [he] he must never talk about it … " (cit., Christopher Hibbert, Victoria: personal history, 277). He told Queen Victoria: "I do not cling to life, you do, but I did not put up a store for that … I'm sure that if I had a serious illness, I should quit now." "I do not have to fight for life." I do not have the stamina of life.(Cit., Ibid., 277).

Prince Albert on the death bed. (CC BY 4.0 (], through the Common Commons)

We can reconstruct the Blue Room in Windsor Castle, thanks to the images made by Hills and Saunders photographers made by him, as well as watercolors, to record their looks, especially from the artist William Corden the Younger. Queen Victoria gave him a color box of William Corden in 1862; he is preserved by the descendants of the artist (PR China Duchess of York with Benita Stony, Travels with Queen Victoria, 9). Corden Watercolors – one from 1864, the second from 1868 – show the room hung in blue, with two beds in the center; a large mirror, showing the room appropriately hung with groups of blue curtains and two beds separated by a huge mirror, opposite a stone fireplace to the middle of the earth and two steam candelabra. The sensitive study of a pencil by Sir Joseph Noel made a beautiful pencil study, showed the Blue Room with a moon, with both beds.

This room with such a deep emotional significance for Queen Victoria was supposed to be a living monument, just as the Mauro's Frogmore, when completed, will be referred by the Queen as "Sanctuary". Unlike German fashion, there would be no "Sterbe-zimmer" [Death Chamber] – like her eldest daughter, Princess of Prussia, will meet in Berlin, where the room that King Frederick IV was killed was preserved intact. He thought that the Blue Room was kept exactly as it was at the time of Prince Albert's death, but in many ways this is a historical error. While much was kept as it was, the look of the room actually changed dramatically, in order to accommodate the room in the memory of the living Queen Victoria demanded to be. Much of the artistic activities were held to give space to a respected and highly religious patina. A notification was sent to the door of the Blue Room to inform everyone passing by, that everything inside was as it was at the time of the death of the Prince (Hibert, 287). Indeed, other premises in Windsor Castle, like those in other royal dwellings, had similar remarks on their doors, but this was another untruth.

What has changed? The bust of Prince Albert was put on a high pillar between the two beds, commissioned by Queen Victoria by sculptor William Ted, within two weeks of the death of Prince of Consort; it was completed in late January 1862 and is based on the death mask that Tade had made from the prince. The bust remained in the blue room until the death of Queen Victoria in 1901. The ceiling was painted back in 1862 with designs from Rafaelesc – Rafael was considered the greatest of all artists by Prince Albert, and the ceiling was painted with golden stars Professor Ludwig Gruner – artistic adviser to Prince Albert, who was also involved in the design of the interior the Royal Mausoleum in Frogmore – more importantly, the ceiling of Queen Victoria's mausoleum, the Duchess of Kent, was also painted with golden stars, was a sacred picture of the queen and points to the Victorian ideal of the imaginary, royal sky. A portrait of a prince dressed as a Christian knight by Edward Henry Corbuld was inserted into the main door of the Blue Room at the request of Queen Victoria.

One of the most resistant items left over from this time is a bracelet in the Royal Collection, embroidered with a watercolor of the Duchess of Kent. It should have been a Christmas honor for 1861 for Queen Victoria of Prince Albert – given to her in the year of her mother's death. Tragically, when Prince Albert died just ten days before the traditional gift giving – known in German as "Bescherung" – it was the second daughter of Queen Victoria, Princess Alice, who gave her mother to her mother, the New Year, 1862, according to the inscription carved on the bracelet: 'Last gift / from my / beloved and admired Albert / ordered by him / for Xmas 1861 / Given to me from Alice / January 1. 1862 & # 39;. Later he was housed in the Blue Room, where Albert died. Movement, Dr. Brown was present at Prince Albert in his latest illness; to the same Brown who attended the Duchess of Kent in the end (Wilson, 253).

The Osbourne sculpture – "Venus and Cupid" by Edward Muller was to be a birthday gift from Queen Victoria to Prince Albert for 1862; remains in one of the ground corridors.

The death of Prince Albert also gave life to the entire phantom household ritual; however, it is not unknown to the rich, who could afford such empty rituals (Stanley Vaintrab, Albert: Uncrowned King, 438). The water at the top of the prince's prince was replaced daily and filled with warm water; bedding and towels have changed (Hibert, 286). Fresh flowers were placed on pillows and wreaths were later placed on the bed in the form of a cross. Visitors were obliged to sign their names in the book of the Prince's guests, which Benjamin Dizraeli described as "calling on a dead man ". (cit., Ibid, 287). The tin belonging to the Prince Consort was left ready at his writing desk; his blender was left open. (Also, 287).

All of this is a strange recreation of what Queen Victoria wrote to the offices of Ernest I, Duke of Saxe-Coburg, Prince Albert's father, in Coburg: "Father's poor bedroom with bed and everything that remained in him as it was – and a living room which, like the poor father, used; at his writing desk, they penetrated the ink into them, just as he left them! And so they must stay, they are quite sacred for us. " (Quoted in NYW Duchess of New York with Benita Stony, 111). And, of course, the Queen spoke to Prince Albert to keep him alive (Ibid, 167).

The Prince's clothes were exposed fresh and chose to use – the sad recreation of the young Queen Victoria who adored seeing her new husband shave during their honeymoon at Windsor Castle and who was thrilled to help him with her socks. The Prince's glass cup of glass remained at the table beside his bed for over forty years. In the novel of Volter Scott, which the prince read last, he was placed in the Royal Library at Windsor Castle with an inscription by the Queen, signifying the place where he had arrived. This has been exhibited until recent years, at Kensington Palace. This is probably the same novel of Walter Scott Periville at the top, which Queen Victoria alternately read aloud to Prince Albert while sitting on his sofa.

The clocks of Prince Consort worked; his handkerchief was still on the sofa. His dressing gown was exposed every night.

The bust of the prince – almost certainly from William Ted – was placed between the beds, and the prince portrait hung over those, on which were wreaths of evergreen. Queen Victoria ordered a monument to the Prince of Consort dressed as a medieval Christian knight by Edward Henry Corbold to be inserted into the main door of the Blue Room. Maybe we remember the costume balls at Buckingham Palace as it is Ball costume from May 12, 1842, when Queen Victoria and Prince Albert dressed in costumes inspired by the tomb of Edward III and Queen Philippe of Haino. After Albert's death, Queen Victoria ordered his bust in Osborne to be decorated with sacred and ivy; The vascular vases were filled with sacred, tits and ferns (NYW Duchess of York with Benita Stony, Victoria and Albert, 176).

The bust of Prince Albert by William Ted, surrounded by five princesses, photographed by William Benbridge (William Bambridge [United States Public domain or Public domain], through the Common Commons)

The queen was photographed looking at the bust of Prince Albert, along with her daughter, Princess Alice. The Princess was also unearthed by William Bainbridge in March 1862, grouped around the bust of their father. This was a custom that was to be repeated, since the bust of the prince would then be placed in the center of group photographs made by the Royal Family, as if standing for the absence of the prince. The Queen ordered a painting by Scottish artist Joseph Noel Patton In memory. While it remained incomplete, the composition was developed enough to show us what the Queen meant – the result was intended to depict the queen, and six of the royal children were sitting around the bust of Prince Albert by William Ted.

Queen Victoria's office received thick black edges. She was bringing it to the end of her life, although the deepest of this mourning was reserved for the 1860s; until the 1890s, it was slightly relaxed to include the plates. One of Queen Victoria's deepest dresses survived in the Royal Collection. Her accounts show that at that time she spent much less clothes, understandable for her widow (Cay Stanley, In Royal Fashion, 154). She turned her back on colors and jewelry, because Prince Albert took the greatest interest in her dress. The attitude she made for her costume was solid, and she never gave up. The Queen simply wrote: "My little sad face and clothing must tell his story" (cf., Ibid, 157).

Princess Alice regularly wrote to her mother about the anniversary of the death of Prince Albert; Prince's prints can be seen in the living room of Princess Alix of Hesse – Alice's youngest youngest daughter – in Neule Pale, in Darmstadt. When Princess Alice died in 1878, she tragically died on the anniversary of the death of Prince Albert in 1878, mournfully:From Friday to Saturday – four weeks – May [her youngest daughter, Princess Marie of Hesse, who had recently died of diphtheria] – Dear dad …(Alice, Biographical sketch and letters, 376). Queen Victoria wrote to her niece, Alice's eldest daughter, Princess Victoria of Hesse the very same day, emphasizing the 14th twice for the accent: & # 39;Dear beloved Mom will not join dear Grandpapa and your other dear Grandpapa …(Cit., Richard Huff, Advice for the grandson, 9).

Queen Victoria fell asleep with the image of Prince Albert's arm near her bed. Perhaps this is the one in the Royal Collection, which is engraved on the short wrist, Prince Albert on December 14, 1861, and is a life stone on his hand, showing the two rings he wore during his death, attributed to the sculptor Maria Thornikroft .

Nor was this the only reference to jewelry. The Queen learned that after her death, some personal items of jewelry should be placed in the Blue Room of private significance and not be transferred to members of the Royal Family. This included several rings of the Queen, a meandra with the Prince's hair when a baby, a necklace with a photograph of the Prince under glass with the inscription: "Scroll down to the end of the schwingt sich auf zu Gott" [the pure soul flies up above to the Lord]; there were other personal gifts of great value, such as the bracelet that she gave to the Queen of Prince Albert in 1840, three days after the birth of Princess Royal, later the Princess of Prussia, to which were added stones at the birth of the next children ( Elizabeth Jane Thames, The Blue Room at Windsor Castle, European Royal History Journal, Volume XVI). On the day of the death of Prince Albert, Queen Victoria began a letter to the princess:The child of my pet Angel – Our firstborn. God's will will be done ". (cit., Wilson, 256).

Queen Victoria was in mourning, 1870 (National Media Museum of Great Britain [No restrictions], through the Common Commons)

Even the smallest item of personal jewelry could be made in memory. A memorial ring of gold and black is made to contain a micro-photo of Prince Albert in 1861, attributed to J.J. E. Mayall (NNNH Duchess of York with Benita Stoney, Victoria and Albert: Family Life at Osborne House, 164). Queen Victoria was painted in a full-fledged mourning lithography in color, now at the British Museum. She displays the queen who fingers on her neck in her throat, most likely containing the hair of Prince Albert, and there is a special accent on her wedding ring and no other jewelry while holding a black admirer (Charlotte Gere, Victoria and Albert, Love and Art: Queen Victoria's Personal Jewelry, 14).

The elevation – a burial rod – was made to hang in Osborne (Ibid, 165). It was taken down for the prince and princess of Wales, who honeymoon in Osborne in 1863, but then replaced. It remained a permanent mark on the wall, visible about twenty years later (Ibid, 175).

The queen even held one of the prince's nightgowns (Hibert, 287). It may be replicating the Prince's body, another possible recreation of what she wrote when she woke up with Prince Albert for the first time on their honeymoon in Windsor: "He looks so beautiful in his shirt just with his beautiful throat. "(Cit., Ibid, 123). The queen kissed Prince Albert's clothes the first morning of her widow, having gone to consider the characteristics of her dead husband and were warned by the doctors not to kiss his body. дури и ја завиткала својата најмлада ќерка, принцезата Беатрис, во ноќната облека на принцот Алберт, но тоа не може да се потврди, поради недостаток на докази. Постмерна фотографија на принцот на неговата смртна постела била нарачана од кралицата Викторија два дена по смртта на принцо од фотографот Вилијам Бејнбриџ; тоа го прикажува Принцот во левиот профил со завој кој ја поддржува неговата долна вилица. Фотографијата беше прикажана јавно за прв пат на документарниот филм на Би-Би-Си, Викторија и Алберт, во 1996 година.

Сината соба – толку верно зачувана од кралицата Викторија како жив светилиште во спомен на принцот Алберт – беше одземена од Едвард VII како дел од неговата програма за модернизација и дефлација на приватни станови во кралските резиденции, особено во Виндзор. Собата сега е Војводството на Војводата од Единбург. Оригиналното истражување на овој авторот овозможи да се утврди дека најмалку два предмети од мебелот од Сината соба можат да се идентификуваат како такви денес. Една од нив е секретар, моментално прикажан во Викторија Клосе во Фрогмор куќа (Елизабет Џејн Тимс, том XVI).

Последното директно споменување што го најдов во Сината соба во дневникот на кралицата беше во 1898 година, што кралицата ја помина во Виндзор. Кралицата Викторија го виде враќањето на годишнината ("страшно 14th ') за смртта на принцот Алберт за последен пат на 14 декември 1900 година. Можеби соодветно, таа го поминала во замокот Виндзор. Таа го напушти Виндзор да го помине Божик во Озборн, четири дена подоцна. Кога телото на кралицата се врати во Виндзор, беше поставено да се одмори во Кралскиот Мавзолеј во Фрогмор, веднаш до сопругот кој го изгубил четириесет години.

Кога кралицата Викторија починала во 1901 година во Озборн Хаус, нејзината соба била затворена во однос на нејзиното сеќавање, иако плаката подоцна била поставена над нејзиниот кревет. Ролетните беа повлечени, а собата стана ефикасно, уште едно светилиште за Кралското семејство, факт што беше нагласено со фактот дека биле вметнати големи железни порти, за да се изолираат просториите на кралицата. Како такви, тие останаа околу педесет години. Иронично, постхумниот портрет на принцот Алберт сè уште беше на главата на кралицата, како што беше случајот со сите нејзини резиденции, заедно со џебот за часовникот на принцот Кондорс (Мајкл Тарнер, Озборн куќа, 18).

Зборовите над влезот на кралскиот мавзолеј на Фрогмор зборуваат за крајни зборови на кралицата на принцот Алберт: "Вале desideratissime! Неговата демонија Конкисхама текум, текум во Христо конзургеам.[Збогумнајмили!ТукаконечноќесеодмарамсотебесотебевоХристаповторноќевоскреснам"[Farewellbestbeloved!HereatlastIshallrestwiththeewiththeeinChristIshallriseagain’[Збогумнајмили!ТукаконечноќесеодмарамсотебесотебевоХристаповторноќевоскреснам”[Farewellbestbeloved!HereatlastIshallrestwiththeewiththeeinChristIshallriseagain’.

© Елизабет Јане Тимс, 2018

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