Eugénie's Life in Farnborough

Posts in this section include:

Harry Fagan, Life at Farnborough Hill
Abi Cooke, St Michael's Abbey
Sophie Macdonald, Farnborough Hill in WWI
Matthew Marshall, Eugénie meeting Samuel Cody

Life at Farnborough Hill

by Harry Fagan

Empress Eugénie bought Farnborough Hill in 1880 from Thomas Longman, and continued to live in the estate until her death in 1920. After the death of her only son in 1879, it was in Farnborough where she built St Michael's Abbey near to Farnborough Hill, to commemorate the deaths of her husband Napoleon III and their son Louis-Napoleon, Prince Imperial as their final resting place.

Under Eugénie from 1881, the house was largely renovated, its internal and external decoration modified (1). Although it had some 23 rooms, Farnborough Hill was considered too small by Eugénie and her main extension would be to rebuild the study which the prince had occupied at Camden Place, but also reception rooms for entertaining guests. The house maintained an old-English style of architecture, that was uncommon for the Victorian era (2). However Eugénie felt that a home with this prestigious architecture was befitting of her status as French Royalty. The portrait, “Eugénie at Farnborough” is taken in the front courtyard of Farnborough Hill, in the background you can see the old-English style architecture of Farnborough Hill with soaring vertical lines and traceried windows, with spires towering over the main buildings of the house. Eugénie is also depicted here in this photograph dressed completely in black, which was common for her when in public after the death of her husband and son, to show her state of grievance for them.

From Carey, Agnes, The Empress Eugénie in exile (1920). Available online here.

The portrait “From Agnes Carey’s Empress Eugénie in Exile” depicts a different side of Farnborough Hill. In fact it's the south facade of Farnborough Hill, showing guests in Eugénie's private garden in the foreground and the house in the background, this was photographed by Firmin Rainbeau in 1886.

Page from a photograph album compiled by Princess Victoria Eugénie of Battenberg (c) Royal Collection Trust

Eugénie, despite no longer being the empress of France, still wanted to be referred to as Empress Eugénie, rather than the ex-Empress Eugénie, showing her commitment to her status of French Royalty. The portrait “Page from a photograph album compiled by Princess Victoria Eugénie of Battenberg (RCIN 2509023)” shows a collection of photographs from when the young princess of Battenberg visited Farnborough Hill, she was a member of the Spanish royal family. It was precisely because of Eugénie's status that her home in Farnborough became a focus for Royal visits, and this collection of photographs, shows what could’ve been a Spanish royal family state visit in September 1902. Informal visits were enjoyed by Queen Victoria too, describing Eugénie as a “Dear Sister”, cementing Eugénie's royal status in England.

References

(1) Stammers, Tom, 'Committed to memory - how the Empress Eugénie kept alive the spirit of the Second Empire', in Apollo Magazine (2022)

(2) Ibid

St Michael's Abbey

by Abi Cooke

When Napoleon III, Empress Eugénie and the Prince Imperial were exiled in 1870, they moved to Chislehurst. After only 3 years, Napoleon III died following complications from an operation. He was buried in Chislehurst’s Catholic Church. In 1879 the Prince Imperial – Louis – died in South Africa in an ambush by Zulus, and was buried alongside his father.

The Empress Eugénie decided she wanted a larger memorial to her husband and son that wasn’t possible in Chislehurst. Empress Eugénie was a strict Catholic who found comfort in her faith, whereas Napoleon III was a Catholic with a more complex relationship with the religion. For example, he closed monasteries and had several mistresses. For The Prince Imperial, Catholicism was also significant. His godfather was Pope Pius IX. When he became Napoleon IV, the Prince Imperial led a very strict life.

Eugénie decided she wanted to live near a military centre as a connection with her son. Eugénie moved to Farnborough Hill House and decided to build St Michael’s Abbey in 1880. She chose a hill, clearly visible from her house, for it. Eugénie supported the build, both financially and in its design. Eugénie frequently visited the church.

In the portrait ‘The Empress Eugénie at prayer in the unfinished Imperial Mausoleum Church, late 1880s’, she is dressed solely in black formal attire, praying, symbolising how meaningful this place was to her. Eugénie was also a patron of charities, advocate for women’s education, and a social reformer. For the church’s design, Eugénie wanted it to include aspects of her French life. It has flamboyant gothic elements to it, including, unusually, a dome. Inside the church, there is a statue of St Michael, another French copy.

(image courtesty of St Michael's Abbey)

Requiem at Farnborough: the coffins of the Emperor Napoleon III & Prince Imperial, 9 Jan 1888 (c) Royal Collection Trust

Eugénie was very good friends with Queen Victoria, and was able to give Napoleon III and the Prince Imperial very honourable burials. This is shown in the portrait ‘Requiem at Farnborough: the coffins of the Emperor Napoleon III and the Prince Imperial, 9 January 1888 drawn 1888’. The Prince Imperial was buried in a British officer's uniform, signifying his honourable death - 18 stab wounds to his front suggested fighting back. When Eugénie visited the church, she was received as an empress. St Michael's Abbey had significant meaning to her and continues to be a memorial to her. She is now buried there alongside her husband, Napoleon III, and son, the Prince Imperial.

Farnborough Hill in WWII

by Sophie Macdonald

During the outbreak of WW1, Empress Eugénie converted a wing of Farnborough Hill, her house, into a hospital for wounded soldiers as she felt passionately about helping war efforts. Part of the reason that Eugénie was so passionate about helping war efforts in WW1 was due to the fact that during the Franco- Prussian war of 1870, Eugénie was blamed for many of the French failures and losses during this war as their Empress. One loss in particular that she was blamed for was the loss of Alsace Lorraine to the Germans which created a strong anti-German feeling throughout France and many including Eugénie long hoped for the recovery of this land.

Public domain, WikiCommons

Portrait 1 (above left) was published in le Miroir newspaper on the 1st November 1914 which intended to give news and show photographed events from WW1 while portrait 2 (above right) was originally published in newspapers such as the Daily Mirror and is now kept in the Bibliotheque national de France which has the purpose to preserve and share France’s heritage.

In both portraits Eugénie can be seen greeting soldiers who had newly arrived at the Farnborough Hill hospital, shaking each of their hands and bowing toward them respectfully and sympathetically. In the portrait from le Miroir newspaper, Eugénie can be seen with wounded soldiers along with nurses and doctors all displaying smiling, joyful expressions suggesting their appreciation of Eugénie's visit.

Eugénie was said to make almost daily rounds of the wards and greet all new arrivals to the hospital providing them all with words of encouragement and support as displayed in the portraits. Eugénie was also especially interested in the recovery of the soldiers who were in Farnborough Hill hospital hence her daily visits to see the soldiers. Farnborough Hill hospital mostly cared for Belgian and British soldiers (such as the soldiers in both portraits) however did not care for French soldiers as the French government objected to them being cared for in Farnborough Hill. It was said that the facilities at her hospital were excellent and Eugénie covered all costs for the soldiers treatment along with buying the most modern equipment available.

Eugénie can be seen in both portraits wearing a typical all black mourning dress of the Victorian era which she wore for the rest of her life after the death of her husband Napoleon III during the Franco-Prussian war in 1873 and the death of her son the Prince Imperial in 1879 while fighting alongside the British in South Africa.

Another primary source shows that due to her efforts displayed during the war Eugénie was awarded with a record of thanks from the Army Council, signed by Winston Churchill for caring for the wounded British soldiers throughout the war (certificate presented by the army Council, 15 December 1920) (1).

Her legacy lived on post war along with this as in 1918 she presented Georges Clemenceau with a letter from 1870 proving the annexation of Alsace-Lorraine by Germany for strategic reasons and not because there were German inhabitants. This provided Clemenceau with a strong claim to the recovery of Alsace Lorraine by France during Versailles discussions post WW1 which France eventually gained under the treaty of Versailles.

(1) Army certificate seen in Gosney, Jo, Farnborough: A Pictorial History - One Hundred Years Under the Flight Path (2005)

Eugénie meeting Samuel Cody

by Matthew Marshall

In her later years in Britain, having an interest in planes after seeing Cody’s airship flight to London, Eugénie visited the showcase of Samuel Cody’s new plane. In the source, you can see Eugénie smiling whilst Samuel Cody, engaged, explains the plane to her. Front and centre, despite her joy, she still wears black clothing, being in mourning of the death of Napoleon III. In contrast, Cody wears a white coat representing knowledge and the technological advancement of his plane.

In the background, you can see people of all types. You can see a religious official and an officer on the left. On top of this there are families composed of men and children, although lacking women possibly due to the male dominance in education and technological interest at the time. However, up at the front on the right you can see two women dressed in mourning for Eugénie and one of them even saluting to her. This wide British crowd could be seen as odd, considering Napoleon Bonaparte's invasion of Britain prior. This acceptance is significant and shows that relations had in fact become good. Despite this, with the creator being the Royal Engineers, one may suggest this is purely an advertisement on part of the plane, including both a prestigious monarch and a keen crowd.

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