Golden Jubilee of Queen Victoria
The Golden Jubilee of Queen Victoria was celebrated on 20 June 1887 on the occasion of the fiftieth anniversary of Queen Victoria's accession on 20 June 1837. It was celebrated with a banquet to which princes were invited. On 20 June 1887 the Queen had breakfast outdoors under the trees at Frogmore, where Prince Albert had been buried, she travelled by train from Windsor station to Paddington to Buckingham Palace for a royal banquet that evening. Fifty foreign kings and princes, along with the governing heads of Britain's overseas colonies and dominions, attended, she wrote in her diary: Had a large family dinner. All the Royalties assembled in the Bow Room, we dined in the Supper-room, which looked splendid with the buffet covered with the gold plate; the table was a large horseshoe one, with many lights on it. The King of Denmark took me in, Willy of Greece sat on my other side; the Princes were all in uniform, the Princesses were all beautifully dressed. Afterwards we went into the Ballroom; the following day, she participated in a procession in an open landau through London to Westminster Abbey escorted by Colonial Indian cavalry.
During prayers for the Queen at the Abbey, a beam of sunlight fell upon her bowed head, which the future Queen Liliuokalani of Hawaii observing noted as a mark of divine favor. On her return to the Palace, she was cheered by the crowd. In the ballroom she distributed. In the evening, she put on a gown embroidered with silver roses and shamrocks and attended a banquet. Afterwards she received a procession of Indian princes, she was wheeled in her chair to sit and watch fireworks in the palace garden. At the Jubilee she engaged two Indian Muslims as waiters. A commemorative bust of Victoria was commissioned from the sculptor Francis John Williamson. Many copies were made, distributed throughout the British Empire. A special Golden Jubilee Medal was instituted and awarded to participants of the jubilee celebrations. Writer and geographer John Francon Williams published The Jubilee Atlas of the British Empire to commemorate Victoria's Jubilee and her Jubilee year; the Queen of the United Kingdom The German Crown Princess and Crown Prince, the Queen's daughter and son-in-law Prince and Princess Wilhelm of Prussia, the Queen's grandson and granddaughter-in-law The Hereditary Princess and Hereditary Prince of Saxe-Meiningen, the Queen's granddaughter and grandson-in-law Princess Feodora of Saxe-Meiningen, the Queen's great-granddaughter Prince Henry of Prussia, the Queen's grandson Princess Viktoria of Prussia, the Queen's granddaughter Princess Sophia of Prussia, the Queen's granddaughter Princess Margaret of Prussia, the Queen's granddaughter The Prince and Princess of Wales, the Queen's son and daughter-in-law Prince Albert Victor of Wales, the Queen's grandson Prince George of Wales, the Queen's grandson Princess Louise of Wales, the Queen's granddaughter Princess Victoria of Wales, the Queen's granddaughter Princess Maud of Wales, the Queen's granddaughter The Grand Duke of Hesse, the Queen's son-in-law Princess and Prince Louis of Battenberg, the Queen's granddaughter and grandson-in-law Grand Duchess Elizabeth Feodorovna and Grand Duke Sergei Alexandrovich of Russia, the Queen's granddaughter and grandson-in-law Princess Irene of Hesse and by Rhine, the Queen's granddaughter The Hereditary Grand Duke of Hesse, the Queen's grandson Princess Alix of Hesse and by Rhine, the Queen's granddaughter The Duke and Duchess of Edinburgh, the Queen's son and daughter-in-law Prince Alfred of Edinburgh, the Queen's grandson Princess Marie of Edinburgh, the Queen's granddaughter Princess Victoria Melita of Saxe-Coburg and Gotha, the Queen's granddaughter Princess Alexandra of Saxe-Coburg and Gotha, the Queen's granddaughter Princess and Prince Christian of Schleswig-Holstein, the Queen's daughter and son-in-law Prince Christian Victor of Schleswig-Holstein, the Queen's grandson Prince Albert of Schleswig-Holstein, the Queen's grandson Princess Helena Victoria of Schleswig-Holstein, the Queen's granddaughter Princess Marie Louise of Schleswig-Holstein, the Queen's granddaughter The Marchioness and Marquess of Lorne, the Queen's daughter and son-in-law The Duke and Duchess of Connaught and Strathearn, the Queen's son and daughter-in-law Princess Margaret of Connaught, the Queen's granddaughter Prince Arthur of Connaught, the Queen's grandson The Duchess of Albany, the Queen's daughter-in-law Princess and Prince Henry of Battenberg, the Queen's daughter and son-in-law The Duke of Cambridge, the Queen's first cousin The Grand Duchess and Grand Duke of Mecklenburg-Strelitz, the Queen's first cousin and her husband The Hereditary Grand Duke and Hereditary Grand Duchess of Mecklenburg-Strelitz, the Queen's first cousin once removed and his wife The Duchess and Duke of Teck, the Queen's first cousin and her husband Princess Mary of Teck, the Queen's first cousin once removed Prince Adolphus of Teck, the Queen's first cousin once removed Prince Francis of Teck, the Queen's first cousin once removed Prince Alexander of Teck, the Queen's first cousin once removed Princess Frederica of Hanover and Baron Alphons von Pawel-Rammingen, the Queen's first cousin once removed and her husband The Hon. Aubrey FitzClarence, great-grandson of King William IV The Prince and Princess of Leiningen, the Queen's half-nephew and half-niece-in-law Princess Alberta of Leiningen, the Queen's half-great-niece The Prince of Hohenlohe-Langenburg, the Queen's half-nephew Prince and Princess Victor of Hohenlohe-Langenburg, the Queen's half-nephew and half-niece-in-law Countess Feodora Gleichen, the Queen's half-great-niece Count Edward Gleichen, the Queen's half-great-nephew Countess Victoria Gleichen, t
Jubilee bust of Queen Victoria
The Jubilee bust of Queen Victoria is a sculpted bust of Queen Victoria, made as an official commemoration her 1887 golden jubilee by the sculptor Francis John Williamson. Many copies were made, distributed throughout the British Empire. Many other busts of Victoria were carved, including others commemorating her golden and other jubilees, these should not be confused with the Williamson Jubilee bust
1838 Coronation Honours
The 1838 Coronation Honours were appointments by Queen Victoria to various orders and honours on the occasion of her coronation on 28 June 1838. The honours were published in The London Gazette on 20 July and 24 July 1838; the recipients of honours are displayed here as they were styled before their new honour, arranged by honour, with classes and divisions as appropriate. Major Edward Alexander Campbell of the Bengal Cavalry Duncan MacDougall, late Lieutenant-Colonel of the 79th Regiment of Highlanders, Knight Commander of the Royal and Military Order of St. Ferdinand Major-General Jeffrey Prendergast, of the Honourable East India Company's Service Major Henry Bayly, Knight of the Royal Hanoverian Guelphic Order Major William Lloyd, of the Honourable East India Company's Service Charles Shaw, Knight Commander of the Royal Portuguese Military Order of the Tower and Sword, Knight Commander of the Spanish Military Order of San Fernando Charles Frederick Williams, of Lennox lodge, Hants. and Upper Bedford-place, in the county of Middlesex Edward Johnson, of Greenhill, Weymouth, in the county of Dorset, of the Royal and Distinguished Order of Charles the Third of Spain John Kirkland, of Hampton and Pall-mall, in the county of Middlesex William Newbigging of Edinburgh William Hyde Pearson of Clapham, in the county of Surrey Admiral Sir William Sidney Smith Lieutenant-General Sir John Lambert Lieutenant-General the Honourable Sir Robert William O'Callaghan Major-General Sir Alexander Dickson Major-General Sir Alexander Caldwell of the Bengal Army and East India Company Major-General Sir James Law Lushington of the Madras Army and East India Company Archibald, Earl of Gosford Lord George William Russell, Her Majesty's Envoy Extraordinary and Minister Plenipotentiary to His Majesty the King of Prussia Charles Augustus Lord Howard de Walden, Her Majesty's Envoy Extraordinary and Minister Plenipotentiary to Her Most Faithful Majesty Richard Jenkins, of the East India Company's Civil Service ArmyAdmiral John Lawford Major-General Andrew Pilkington Major-General John Gardiner Major-General Sir Arthur Benjamin Clifton Major-General Lord Greenock Major-General Sir Willoughby Cotton Major-General Sir John George Woodford Major-General Sir Patrick Lindesay Major-General Charles James Napier Major-General Sir Evan John Murray MacGregor Major-General Edward Gibbs Major-General George Thomas Napier Major-General the Honourable Hercules R. Pakenham Major-General Sir John Thomas Jones Major-General Sir John Harvey Major-General Sir Leonard Greenwell Major-General Sir Robert Henry Dick Major-General Sir Neil Douglas Rear-Admiral Sir John Acworth Ommanney Major-General Alexander Cameron Major-General John Fox Burgoyne East India CompanyMajor-General John Rose of the Bengal Infantry Major-General Thomas Corsellis of the Bombay Infantry Major-General William Richards of the Bengal Infantry Major-General Thomas Whitehead of the Bengal Infantry Major-General John Doveton of the Madras Cavalry Major-General David Foulis of the Madras Cavalry Major-General Sir Thomas Anburey of the Bengal Engineers Royal NavyCaptain Sir Edward Thomas Troubridge Captain Cuthbert Featherstone Daly Captain Edward Pelham Brenton Captain Richard Arthur Captain James Andrew Worthy Captain Robert Morgan George Festing Captain Barrington Reynolds Captain Robert MaunsellArmyColonel William Wood, 41st foot Colonel William Warre.
Unattached Colonel George C. D'Aguilar, Deputy Adjutant-General in Ireland Colonel Henry Sullivan, 6th Foot Colonel Stephen A. Goodman, 48th Foot Colonel Edward Wynyard, unattached Colonel George Brown, Rifle Brigade Colonel Charles Edward Conyers, Inspecting Field Officer Colonel James Allan, 57th Foot Colonel David Forbes, 78th Foot Colonel Henry Adolphus Proctor, 6th Foot Colonel Edward Parkinson, 11th Foot Colonel Thomas Francis Wade, Unattached Colonel Richard Egerton, Unattached Colonel William Chalmers, 57th Foot Colonel Chatham Horace Churchill, 31st Foot, Quartermaster-General in India Colonel James Grant, 23d Foot Colonel Thomas William Taylor, Lieutenant-Governor, Royal Military College Colonel John Morillyon Wilson, 77th Foot Colonel Thomas Willshire, 2nd Foot Colonel Henry Oglander, 26th Foot Colonel Edward Fleming, Inspecting Field Officer Colonel Philip Bainbridge, Assistant Quartermaster-General Colonel Sempronius Stretton, 84th Foot Colonel Thomas E. Napier, Chasseurs Britanniques Colonel Nathaniel Thorn, Assistant Quartermaster-General Colonel William Henry Sewell, 31st Foot, Deputy Quartermaster-General in India Colonel Joseph Thackwell, 3rd Dragoons Colonel Alexander Macdonald, Royal Artillery Colonel Sir William L. Herries, Unattached Colonel Thomas Staunton St. Clair, Unattached Colonel George William Paty, 94th Foot Colonel Thomas James Wemyss, 99th Foot Colonel Robert Burd Gabriel, 2nd Dragoons Colonel William Rowan, Unattached Colonel James Shaw Kennedy, Unattached Colonel George Leigh Goldie, 11th Foot Colonel George Couper, Unattached Colonel Henry Rainey, Unattached Colonel the Honourable Charles Gore, Deputy Quartermaster-General in Canada Colonel Griffith George Lewis, Royal Engineers Colonel George Judd Harding, Royal Engineers Lieutenant-Colonel John Gurwood, Unattached Lieutenant-Colonel Walter Frederick O'Reilly, Royal African Corps Lieutenant-Colonel Alexander Kennedy Clark, 7th Dragoon Guards Lieutenant-Colonel Edward T. Michell, Royal Artillery Lieutenant-Colonel Thomas Blanchard, Royal Engineers Lieutenant-Colonel Thomas Dyneley, Royal Artillery Lieutenant-Colonel William Reid, Royal Engineers Lieutenant-Colonel William Bolden Dundas, Royal Artillery Lieutenant-Colonel John Neave Wells, Royal Engineers Lieutenant-Colonel William Brereton, Royal Artillery Lieutenant-Colonel John Owen, Royal Marines Lieutenant-Colonel Charles Cornwallis Dansey, Royal
Ealing Studios is a television and film production company and facilities provider at Ealing Green in west London. Will Barker bought the White Lodge on Ealing Green in 1902 as a base for film making, films have been made on the site since, it is the oldest continuously working studio facility for film production in the world, the current stages were opened for the use of sound in 1931. It is best known for a series of classic films produced in the post-WWII years, including Kind Hearts and Coronets, Passport to Pimlico, The Lavender Hill Mob, The Ladykillers; the BBC owned and filmed at the Studios for forty years from 1955 until 1995. Since 2000, Ealing Studios has resumed releasing films under its own name, including the revived St Trinian's franchise. In more recent times, films shot here include The Importance of Being Earnest and Shaun of the Dead, as well as The Theory of Everything, The Imitation Game and Burnt. Interior scenes of the British period drama television series Downton Abbey were shot in Stage 2 of the studios.
The Met Film School London operates on the site. The site was first occupied by Will Barker Studios from 1902. From 1929, it was acquired by theatre producer Basil Dean, who founded Associated Talking Pictures Ltd, he was joined on the management level by Reginald Baker. In 1931, they built Ealing Studios; when Dean left in 1938 to be replaced by Michael Balcon from MGM, about 60 films had been made at the studios. Balcon began to issue films under the Ealing Studios name. In 1944, the company was taken over by the Rank Organisation. In the 1930s and 1940s, the facility as ATP and Ealing Studios produced many comedies with stars such as Gracie Fields, George Formby, Stanley Holloway and Will Hay, who had established their reputations in other spheres of entertainment; the company was instrumental in the use of documentary film-makers to make more realistic war films. These included Went the Day Well?, The Foreman Went to France and San Demetrio London. In 1945, the studio made its influential chiller compendium Dead of Night.
In the post-war period, the company embarked on a series of comedies which became the studio's hallmark. These were lightly satirical and were seen to reflect aspects of British character and society; the first was the last Barnacle Bill. The best remembered Ealing films were produced between 1948 and 1955: Whisky Galore!, Passport to Pimlico, Kind Hearts and Coronets, The Lavender Hill Mob, The Man in the White Suit, The Titfield Thunderbolt, The Cruel Sea and The Ladykillers are now seen as classics of British cinema. The BBC bought the studios in 1955, though productions bearing the Ealing name continued to be made at the MGM British Studios at Borehamwood for two years; the BBC based its Film Department at the studios. Led by a director, these crews consisted of a Lighting Cameraman, a camera assistant, a lighting technician, a sound recordist; these crews were equipped with Arriflex ST cameras and EMI L2 quarter inch tape recorders that had to be tethered to one another with a physical sync cable to ensure the picture and sound ran in lock.
In years, Eclair NPR cameras replaced the Arriflex machines and Nagra tape recorders replaced the old EMI units. These made use of'crystal sync', a system that provided synchronisation between the camera and the tape recorder remotely, removing the need for a physical cable. There were over 50 cutting rooms, equipped with Steenbeck editing tables, working on every genre except News and Current Affairs. Many great programmes came out of Ealing from Alistair Cooke's America edited by Alan Tyrer and photographed by Kenneth MacMillan to Z-Cars edited by Shelia Tomlinson and many others and Cathy Come Home edited by Roy Watts, assisted by Roger Waugh; these programmes had massive post production support, viewing theatres, transfer suites, dubbing theatre, maintenance. In the 1980s, the BBC developed and expanded the use of electronic PSC location equipment and the use of 16mm film on location declined; the BBC used the studio facilities at Ealing for filmed inserts where the electronic studio could not be used, such as for the excavation site in Quatermass and the Pit, The White Rabbit and the communal sequences in Porridge.
Programmes wholly shot on film were made there such as Alice in Wonderland, The Singing Detective and Fortunes of War. The BBC had preview theatres to run 35 mm; the 16mm machines were Bauer and the 35mm projectors Kalee 21. The projection area was a long room with projectors serving theatres E -J. There was a separate projection room in the same area for theatre K, 35mm. There was a dubbing theatre B, where 16mm productions would be dubbed, film dispatch and sound transfer suites, where the quarter-inch tape from Nagra tape machines would be transferred to 16mm magnetic. Film previews ran rushes, cutting copies, synch rushes, answer prints and transmission prints before going to telecine. With the BBC seeking to reduce costs and in particular studio facilities, a decision was taken to sell Ealing Studios on the open market. Although a sale was agreed with BBRK, the BBC inserted
Queen Victoria Police Jubilee Medal
A Police Jubilee Medal was awarded to those on duty at Queen Victoria's Golden and Diamond Jubilee celebrations. The Police Golden Jubilee Medal was sanctioned by Queen Victoria in 1887 as an award to all members of the Metropolitan and City of London Police on duty in London during the official Golden Jubilee celebrations, including the Jubilee procession on 21 June 1887. Ten years the Police Diamond Jubilee Medal was awarded for duty at the principal Diamond Jubilee events on the same basis as the 1887 medal, eligibility having been widened to include firemen and members of ambulance units; those in possession of the earlier Golden Jubilee Police Medal who again qualified, received a dated clasp to be fixed to their existing medal. Below are the number of medals awarded, the wording of the service being that inscribed on the medal: The medal and ribbon were identical for the 1887 and 1897 medal, with the exception of the year inscribed on the reverse; the medal has a plain straight ribbon bar.
Obverse: A left-facing bust of the Queen, designed by L. C. Wyon, with the inscription VICTORIA REGINA. Reverse: An oak wreath surmounted by a crown. Within the wreath is the inscription JUBILEE OF HER MAJESTY QUEEN VICTORIA with, the name of the service in which the recipient served and, the date of the jubilee – either 1887 or 1897. Clasp: A bronze clasp inscribed 1897, attached to the suspension bar of the 1887 medal. Ribbon: Plain dark blue, 1.25 inches wide. The recipient's rank and division were engraved on the edge of the medal
Wedding of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha
The wedding of Queen Victoria and Prince Albert of Saxe-Coburg and Gotha took place on 10 February 1840 at Chapel Royal, St. James's Palace, in London. Though queen, as an unmarried young woman Victoria was required by social convention to live with her mother, despite their differences over the Kensington System and her mother's continued reliance on Sir John Conroy, her mother was consigned to a remote apartment in Buckingham Palace, Victoria refused to meet her. When Victoria complained to Melbourne that her mother's close proximity promised "torment for many years", Melbourne sympathised but said it could be avoided by marriage, which Victoria called a "schocking alternative", she showed interest in Albert's education for the future role he would have to play as her husband, but she resisted attempts to rush her into wedlock. Victoria continued to praise Albert following his second visit in October 1839. Albert and Victoria felt mutual affection and the Queen proposed to him on 15 October 1839, just five days after he had arrived at Windsor.
They were married on 10 February 1840, in the Chapel Royal of London. Victoria was besotted, she spent the evening after their wedding lying down with a headache, but wrote ecstatically in her diary: I NEVER, NEVER spent such an evening!!! MY DEAREST DEAREST DEAR Albert... his excessive love & affection gave me feelings of heavenly love & happiness I never could have hoped to have felt before! He clasped me in his arms, & we kissed each other again & again! His beauty, his sweetness & gentleness—really how can I be thankful enough to have such a Husband!... to be called by names of tenderness, I have never yet heard used to me before—was bliss beyond belief! Oh! This was the happiest day of my life! Albert became an important political adviser as well as the Queen's companion, replacing Lord Melbourne as the dominant, influential figure in the first half of her life; the lace was designed by William Dyce, head of the Government School of Design, mounted on a white satin dress made by Mary Bettans.
The plain, cream-coloured satin gown was made from fabric woven in Spitalfields, east London, trimmed with a deep flounce and trimmings of lace hand-made in Honiton and Beer, in Devon. This demonstrated support for English industry the cottage industry for lace; the handmade lace motifs were appliquéd onto cotton machine-made net. Orange flower blossoms, a symbol of fertility trimmed the dress and made up Victoria's wreath, which she wore instead of a tiara over her veil; the veil, which matched the flounce of the dress, was four yards in length and 0.75 yards wide. Her jewellery consisted of diamond earrings and necklace, a sapphire brooch given to her by Albert; the slippers she wore matched the white colour of the dress. The train of the dress, carried by her bridesmaids, measured 18 feet long. Queen Victoria described her choice of dress in her journal thus: "I wore a white satin dress, with a deep flounce of Honiton lace, an imitation of an old design. My jewels were my Turkish diamond necklace & earrings & dear Albert's beautiful sapphire brooch."
The Dowager Duchess of Kent and Strathearn, the bride's mother Queen Adelaide, the bride's aunt by marriage The Princess Augusta Sophia, the bride's aunt The Duke of Sussex, the bride's uncle The Duke and Duchess of Cambridge, the bride's uncle and aunt Prince George of Cambridge, the bride's first cousin Princess Augusta of Cambridge, the bride's first cousin Princess Mary Adelaide of Cambridge, the bride's first cousin Princess Sophia of Gloucester, the bride's first cousin once removed The Duke of Saxe-Coburg and Gotha, the groom's father The Hereditary Prince of Saxe-Coburg and Gotha, the groom's brother Lady Mary Howard, granddaughter of the Duke of Norfolk, Earl Marshal and premier peer of the realm Lady Caroline Gordon-Lennox, daughter of the Duke of Richmond and Lennox Lady Adelaide Paget, daughter of the Marquess of Anglesey Lady Eleanora Paget, granddaughter of the Marquess of Anglesey Lady Elizabeth Howard, daughter of the Earl of Carlisle Lady Wilhelmina Stanhope, daughter of the Earl Stanhope Lady Sarah Villiers, daughter of the Earl of Jersey Lady Elizabeth Sackville-West, daughter of the Earl De La Warr Lady Ida Hay, daughter of the Earl of Erroll Lady Frances Cowper, daughter of the late Earl Cowper Lady Mary Grimston, daughter of the Earl of Verulam Lady Jane Pleydell-Bouverie, daughter of the Earl of Radnor BBC audio slideshow featuring her wedding dress
Wedding dress of Queen Victoria
The wedding dress of Queen Victoria was worn by Victoria, Queen of the United Kingdom, at her wedding to Prince Albert of Saxe-Coburg and Gotha on 10 February 1840. She selected a white dress, considered an unusual choice at a time when colours were more usual, made from heavy silk satin; the Honiton lace used for her wedding dress proved an important boost to Devon lace-making. Queen Victoria has been credited with starting the tradition of white weddings and white bridal gowns, although she was not the first royal to be married in white; the lace was designed by William Dyce, head of the Government School of Design, mounted on a white satin dress made by Mary Bettans. The plain, cream-coloured satin gown was made from fabric woven in Spitalfields, east London, trimmed with a deep flounce and trimmings of lace hand-made in Honiton and Beer, in Devon; this demonstrated support for English industry the cottage industry for lace. The handmade lace motifs were appliquéd onto cotton machine-made net.
Orange flower blossoms, a symbol of fertility trimmed the dress and made up a wreath, which Victoria wore instead of a tiara over her veil. The veil, which matched the flounce of the dress, was four yards in length and 0.75 yards wide. Victoria's jewellery consisted of a necklace and earrings made up of diamonds presented to her by the Sultan of Turkey, a sapphire cluster brooch given to her by Albert a day earlier; the slippers she wore matched the white colour of the dress. The train of the dress, carried by her bridesmaids, measured 18 feet in length. Queen Victoria described her choice of dress in her journal thus: "I wore a white satin dress, with a deep flounce of Honiton lace, an imitation of an old design. My jewels were my Turkish diamond necklace & earrings & dear Albert's beautiful sapphire brooch." While photography existed in 1840, the techniques were not yet developed. A series of photographs taken by Roger Fenton on 11 May 1854 of Victoria and Albert are described as wedding or reenactment photographs, with the dress identified as her wedding dress.
The Royal Collection has refuted these interpretations, stating that the images are the first photographs to show Victoria as a queen, rather than as a wife or mother, that she and Albert are wearing court dress. In 1847, Victoria commissioned Franz Xaver Winterhalter to paint a portrait of her wearing her wedding clothes as an anniversary present for Prince Albert; the portrait was copied as an enamel miniature by John Haslem. Victoria revisited the lace-makers to create the christening gown worn by her children, including Albert Edward, the future Edward VII; this gown was worn for the christening of all subsequent Royal babies until the baptism of James, Viscount Severn in 2008, when a replica was used for the first time. As a mark of support for the Honiton industry, in addition to wearing their lace on her and her children's clothes, Victoria insisted her daughters order Honiton lace for their wedding dresses. Victoria wore her wedding lace mounted on the dresses she wore to the christenings of her nine children.
She wore it to the weddings of two of her children, her eldest daughter, Victoria, in 1858, her youngest son, Leopold, in 1882. Her youngest daughter, Princess Beatrice, was permitted to wear it as part of her wedding gown in 1885. Victoria wore the lace to the wedding of her grandson George to Mary of Teck in 1893, for her Diamond Jubilee official photograph in 1897; when Victoria died, she was buried with her wedding veil over her face. In 2012 it was reported that while the dress itself had been conserved and displayed at Kensington Palace that year, the lace was now too fragile to move from storage. Wearing white was adopted by wealthy, fashionable brides. Less than a decade Godey's Lady's Book would incorrectly claim that white wedding gowns were an ancient custom reflecting a bride's virginity, writing "Custom has decided, from the earliest ages, that white is the most fitting hue, whatever may be the material, it is an emblem of the purity and innocence of girlhood, the unsullied heart she now yields to the chosen one" though white had been a distinctly uncommon choice for bridal gowns before Victoria's wedding and was not chosen by a majority of brides until decades later.
Following the 2011 wedding of Prince William and Catherine Middleton, comparisons were drawn between the bride's white wedding dress and Queen Victoria's own. BBC audio slideshow featuring her wedding dress