Posts in this section include:
Amna Maaz, The alliance between Britain and France
Ava Merolla, French involvement in the Italian Wars of Unification & The collapse of the Second Empire
Niamh O'Neill, The French Empire's relationship with Asia
Kelton Smith, The opening of the Suez Canal
The alliance between Britain and France
By Amna Maaz
Empress Eugénie (1826–1920), wife of Napoleon III, played a pivotal role in the international affairs of the Second French Empire (1852–1870). She was a Spanish noblewoman by birth, and maintained strong ties with Spain, influencing Franco-Spanish diplomacy. As de facto regent in Napoleon III’s absence, most notably during the Franco-Prussian War of 1870, she actively engaged in political decision-making, offering counsel on both governance and military strategy.
Eugénie’s political acumen was widely recognized. She was the first female sovereign to be received by the Egyptian Sultan and the only woman he had ever been seen with in public—an indication of her exceptional diplomatic influence. She took an active role in state affairs, frequently presiding over councils and staying up late with advisors to deliberate on policies. She would even summon officials to read her reports of public meetings, demonstrating an unwavering dedication to governance, a rarity for women in 19th-century European politics.
Parallels have often been drawn between Eugénie and Marie Antoinette, as both were foreign-born consorts who captivated the public with their beauty and elegance yet faced criticism for their perceived extravagance and political influence. Ultimately, both witnessed the collapse of their respective monarchies, leading to lives spent in exile.
La Belle Alliance, Punch Magazine (1855). Online at The Victorian Web.
The strength of Eugénie’s personal and political ties to Queen Victoria is encapsulated in La Belle Alliance (1855), a sketch symbolizing the Anglo-French alliance. Even after the fall of the Second French Empire, Eugénie and Queen Victoria remained close, exchanging visits between Windsor and Farnborough. The title La Belle Alliance likely refers to this friendship, which helped maintain diplomatic stability between Britain and France. Their strong relations were instrumental in securing cooperation between the two nations, particularly during the Crimean War. The presence of symbolic animals, a lion and an eagle, may emphasize the strength and loyalty of this alliance, as these creatures represent Britain and Napoleon III’s crests, respectively.
George Thomas, The Military Review on the Champs de Mars (1859) (c) Royal Collection Trust
Eugénie’s role in shaping France’s international image extended beyond diplomacy. Her presence at the grand military review on the Champs de Mars on 24 August 1855 highlighted her engagement in imperial affairs. This event, attended by Queen Victoria and Prince Albert, (later recorded in Queen Victoria’s journal as “truly magnificent”) showcased France’s military might and reinforced Franco-British unity during the Crimean War. The meticulous painting of the review positions royal and imperial figures centrally, underscoring their diplomatic significance.
Through her political insight, diplomatic engagements, and active participation in governance, Empress Eugénie emerged as more than a consort—she was a formidable force in European politics, helping shape the trajectory of the Second French Empire.
The Italian Wars of Unification
by Ava Merolla
Interestingly, Eugénie does not actually feature in any of these portraits, but she did have a significant influence over the matters being portrayed. These portraits actually tell the story of Eugénie's role in Italian Unification. In the first portrait, we see the very calm depiction of the Battle of Solferino, the battle which the French were significantly involved in, and ultimately won Italian independence from the Austrian Empire. This suggests that this is the moment where the Battle was won. Napoleon III in action being the focal point of this image, shows us just how involved France were in helping Italy win independence.
Napoleon III at the Battle of Solferino, by Jean-Louis-Ernest Meissonier, oil on canvas, 1863 (c) RMN-Grand Palais / WikiCommons
Vincenzo Vela 'A grateful Italy' (1862) Google Arts and Culture
We see Italy’s gratitude for France’s intervention in the second portrait. This was a commissioned gift for Eugénie from upper-class Milanese women, which could be the reason for the innate femininity of the sculpture as France and Italy are presented as two women. Italy being barely clothed exemplifies her vulnerability, and the protective gesture of France’s hand on her back shows the protection given. This is furthered by the manacles that lay at Italy’s feet, a true symbol of breaking free of the Austrian Empire and gaining independence. The kiss seems improper for two women of royal status, but is actually less formal in Italy, as it is a sign of friendship and gratification. Therefore exemplifying France’s significant part in the separation of Italy from Austria, and recognition of Eugénie's role in that.
Eugenie by Takahashi Yūkei (1862) Wiki Commons.
The French Empire's relationship with Asia
by Niamh O'Neill
Within the first painting we can see a 40 year old Empress Eugenie depicted by the Japanese painter Takahashi Yukei in the traditional Nanja style. The artwork was done in 1862 which was in the wake of the first Japanese embassy visiting Europe including a meeting with Napoleon III and Eugenie, this trip was not random as it came from the orders of the 14th Shogun Tokugawa Iemochi. He wanted to re-open Japan to westernization in hopes of generating economic and cultural benefits. The painter Yukei we can assume was commissioned by the Shogun administration to promote foreign figures as he not only painted Eugenie but also Queen Victoria, Aleksandr II and Willem III etc.
Within the depiction, Yukei uses very light tones with calm colours such as pink, blue and green which typically mean purity, happiness and fertility showing their attempts at displaying her as a maternal figure and a force for good within Japanese society. Eugenie was a figurehead for western imperialization, this painting communicates how propaganda was used as an attempt to idolise these practices amongst those on the receiving end resulting in the marginalisation and erasure of cultures that didn’t fit into eurocentric customs.
The Empress had an innate taste for the style characteristic of the Far East style shown clearly in the rooms of the Château de Fontainebleau which was used to house the French Monarchy from 1137 to its fall in 1870. The Chinese Museum and Salon which were meant for relaxation and intimate evenings of the royal court contained exceptional Asian collections put on display by the Empress. They possessed furniture from the looting of the Summer Place in Peking of the British and French in 1860, as well as a curious abundance of porcelain, jade and Buddhist liturgical objects; the ensemble forms a unique and astonishing scenography, consecrating this "Chinese museum” [1] .
We can again see her interest and relationship to far eastern countries with this portrait depicting a 35 year old Eugenie with her husband Napoleon the III as they are receiving the Siamese Embassy in the ‘Chinese Museum’ who were representing the Kingdom of Siam now known as Thailand. As the embassy entered ‘the ambassadors and their entourage threw themselves on their knees’[2] which was a display of the revived diplomatic relationship, this shows how Eugenie was surrounded by various cultures within Asia due to the Frances imperial history meaning her clothes, interior decoration, routine etc would often be inspired by far eastern customs.
Jean-Luc Gerome, Reception of the Siamese ambassadors by the Emperor Napoleon III at the Palace of Fontainebleau, June 27, (1861) (c) RMN-Grand Palais
(1) 'The Chinese Salon of the Empress Eugénie' on Fontainbleu-Tourisme.com
(2) Davey Wright, Hamish 'The Second Empire and Siam: A brief look at Franco-Siamese relations during the 19th Century', on Napoleon.org
The Empress Eugénie and the inauguration of the Suez Canal
by Kelton Smith
Since the days of Egyptian pharaohs, merchants had dreamed of a trade route that could cut through the Sinai peninsula and allow for easy travel between the vast wealth of the traders in the Indian Ocean and the thriving agricultural heartland of the nile delta, attempts were made by the legendary (and even potentially mythological) Sesostris to dig a canal from the gulf of Suez to Zagazig, a prosperous city along the nile river however this “canal” could only be navigated in the flood season and considering the immense numbers of merchants and the near infinite volume of trade passing through the Nile it was clear that such a proper canal was necessary and thus the task lay on the minds of every great engineer across the centuries.
However it would take until 1858 (almost 3000 years) for Ferdinand de Lesseps to form the Compagnie De Suez, a company with the goal of creating a canal that would connect the Mediterranean and the Red Sea.
Eugénie's support of the canal's construction can, in no way, be understated. Eugénie was the cousin of Ferdinand de Lesseps and was a long time supporter and contributor to the international project that she earned the moniker “The canal's guardian angel”. Consequently it is of no surprise that she was invited to the inauguration of the canal in November 1869. Thanks to her the entire dynamic of the middle east was permanently changed, turning it into a valuable strategic location for the protection of international trade. This moment marked the final moment of international prestige for the Second French Empire. Soon after Eugénie's husband, Napoleon, surrendered at the battle of Sedan and the French monarchy was ousted.
A variety of Ottoman and French flags adorn the three stands of the ceremony, demonstrating the significance of both Eugénie and Frances support of the project as it was placed alongside the flag of the nation it resided in. This shows that for the duration of the ceremony Eugénie was as revered as the ruling Sultan, simply because her support for the project was so unwavering that she was committed to supporting the construction and development. This was in spite of British angst about the project, even though her husband, Napoleon III, was ill and unable to go she still took the arduous journey to Port Said to be apart of the opening ceremony.
Inauguration du canal de Suez en présence de l'impératrice Eugénie, 17 novembre 1869, Edouard Riou (c) RMN-Grand Palais
Egypt--opening of the Suez Canal--the Empress Eugenie as she appeared at Ismailia, seated on a camel. Illus. in: Frank Leslie's illustrated newspaper, 1870 Jan. 8, p. 284. Library of Congress
The Empress is shown riding a camel across the deserts of the sinai peninsula in a striking mix of Maghrebi and French culture, connoting the Empress's humility and grace as many nobles from the era would simply refuse such an uncivilized and undignified method of travel (especially in the era of African colonisation). Moreover her acceptance of this shows just how powerful she was within the French Empire as it shows she was more than familiar with state visits and representing the people of France which is a testament to her diplomatic ability as she was a Spanish national, a trait that did not immediately endear her to the nationals of France.
The collapse of the Second Empire
By Ava Merolla
In the first portrait ‘Promenade Triomphale a travers l’Allemagne’, we can see it was made of paper with the caption ‘Pousse donc Eugénie!’ (So push, Eugénie!). This is a drawing which would have been published in a French newspaper during the Franco-Prussian war, quite ironically showing the true state of affairs behind the country’s success and overall European success at the time. Napoleon III and the Prince Imperial in their uniform, dragging Wilhelm’s chariot from the front could be a representation of them being a symbol of power and benevolence helping Prussia and France in the War by actually going out and being on the German front line. Wilhelm being dragged and seemingly exalted with a large medal on his Uniform and a huge crown shows him to be taking the glory of the war as Germany was newly unified and he was the Emperor, we can also see he's holding a stick with a hand pointing upwards. This suggests he’s claiming God and Christianity helped their triumph in the war, which has a lot of weight as both countries were heavily Christian. However whilst he seems to be the focal point of the picture, the actual central image is on the chariot. An angel with a horn, not pointing to Wilhelm, but to Eugénie. This could be the artist’s way of suggesting that God was looking favourably on Eugénie, who was actually responsible for the majority of success during this time as she was Regent Empress of France, hence why she is getting her fine clothes mucky whilst doing manual labour in the background, showing her quiet dedication to her country.
© The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.
The next two portraits, ‘Flight of the Empress Eugénie from Tuileries’, and ‘Imperatice Quittant Les Tuileries’, we can see Eugénie dressed in dark clothing, wrapped in a cloak in the first portrait, and holding it in the next, this could be a representation of her disguise to avoid the French mob which were, ‘striving with shrieks and blows to make room and force open the gates of the palace.’ (1) The smudged effect of the oil on canvas in the first portrait could be a choice of Castaigne to show the rush and franticness of Eugénie's escape. This effect is not really seen in the photograph, but we can see Eugénie looking very distressed and forlorn about leaving her country whilst holding the hand of the Italian Ambassador, Count Nigra, who fled with her, Prince Metternicht, and Eugénie's reader. All of these portraits show the effects of the Franco-Prussian War on Eugénie, and the process of her life changed so drastically despite her dedication to her country.
L'impératrice Eugénie quittant les Tuileries le 4 septembre 1870, Musée Carnavalet, Histoire de Paris
(1) Upton, George, 'Eugénie - Empress of the French' (1910). Available online Heritage History