The Relationship Between France and Britain

Posts in this section include:

Isobel Sharpling, The Relationship between Empress Eugénie and Queen Victoria
Castor Ng, Victoria and Albert's visit to Paris

See also Benjamin Catlin, Topic in Focus - Eugénie and Napoleon III Visit Britain

The Relationship between Empress Eugénie and Queen Victoria

by Isobel Sharpling

The relationship between Empress Eugénie and Queen Victoria would indeed have been, at least in part, largely diplomatic. However, through portraits, we can see that Empress Eugénie and Queen Victoria had both a political and personal connection. Through analysing three specific portraits, we can understand how the relationship between these two powerful women was portrayed over time.

In George Montagne’s portrait to the music cover to “Waltzes”, (1855), Eugénie and Victoria are depicted holding hands, Victoria with her arm around Eugénie, suggesting there was a friendly and personal relationship between them. Women of such high status were rarely depicted to be so close, therefore to see the two leaders embracing in such a manner connotes a strong sense of intimate friendship. The two women are positioned as equals to one another, both wearing expensive costumes and adorned with rich jewellery, implying the extent of their admiration for one another, and the alliance between France and Britain at the time. Overall, this portrait signifies the mutual respect and personal connection between Eugénie and Victoria through their depicted body language and positioning.

‘The Reception of Queen Victoria and Prince Albert by Napoleon III at St Cloud’ by Muller 1855. (c) Royal Collection Trust

The portrait of ‘The Reception of Queen Victoria and Prince Albert by Napoleon III at St Cloud’ by Muller in 1855 presents a depiction of a significant diplomatic affair and places Napoleon III, Empress Eugénie, Prince Albert, and Queen Victoria in the foreground of the painting, though arguably placing more emphasis on Eugénie and the British royalty as she greets her guests whilst Napoleon III stands to the side. Standing on the same level, the Queen and the Empress are once more positioned as equals, signifying the importance of their relationship and the mutual respect between them. Importantly, the portrait emphasises the diplomatic side of the relationship between the two.

Portraits by Queen Victoria, sketched at Osborne House c. Aug 1857 (c) Royal Collection Trust

Finally, using the sketches of Empress Eugénie which Queen Victoria drew herself. The provenance of these portraits in particular allows us to draw a better understanding of the nature of the relationship between Eugénie and Victoria; unlike the previous portraits, these sketches are personal and produced informally. Instead of the grand outfits or settings seen in many other professionally produced portraits, Victoria depicts Eugénie wearing a simpler, more casual outfit, which enhances the naturalistic and intimate tone of the sketches. The sketches reflect the admiration and even the personal connection Queen Victoria had regarding Eugénie, signifying that the Empress had a more friendly and personal relationship with the Queen than solely diplomatic.

In conclusion, these three artworks combined give us a breadthened understanding of Empress Eugénie and Queen Victoria’s relationship, allowing us to infer that their friendship was simultaneously diplomatic and personal.

Victoria and Albert's visit to Britain

by Castor Ng

Eugene-Louis Lami, 'The supper in the Salle de Spectacle, Versailles, 25 August 1855' (1855) (c) Royal Collection Trust

This portrait was made by Eugène-Louis Lami, a famous painter in the July Monarchy (1830-1848) and Second French Empire (1848-1870) that’s famous for his historical painting. It was made in 25 August 1855 soon after the victory of France and Britain in the Crimean War against Russia and the signing of Treaty of Paris in May 1855, in which British and French royalty were brought together in the theatre at Versailles to celebrate the victory.

At first, we could see the huge golden imperial eagle are above the green banner in top of middle of podium with Queen Victoria, Prince Albert, Emperor Napoleon III and Empress Eugénie seated side by side while enjoying the playing band. This could help us to show the strong bonds between Britain and France as equal partners during the Crimean War, which the good relationship between the House of Hanover and Bonaparte would remain strong even after the fall of Second Empire despite Franco-British links faded after mid 1860s due to colonial rivalry.

The fact that many important members of French and British high society attended the banquet shows support for Napoleon III who was to restore France into a great power status. To commemorate it officially through the use of watercolour, which was expansive and bright coloured reflects the importance and epic aura of this party for house of Bonaparte and French domestic image.

The massive, golden chateau with large French golden imperial eagle shows the power and majestic of Empress Eugénie and Napoleon III that they are linked to glories of Louis XIV and Napoleon Bonaparte with use of Versailles while the large imperial eagle over centre box of theatre reflect the fact that Franco-British relationship are in equal terms as mutual multipolar superpower. From my own knowledge, Napoleon III was to prevent the mistakes of the July Monarchy’s befriending with Britain, which were seen as sign of weakness due to British are being France's most worthy economic and colonial rivals at that time and this lead to his overthrow in 1848.

Fan depicting Emperor Napoleon III and Empress Eugénie (1855) (c) Royal Collection Trust

This fan was a souvenir of Queen Victoria and Prince Albert that were given by Eugénie in 1855 during their stay at the Chateau de Saint Cloud, spring and autumn palace for the House of Bonaparte during the Second French Empire. The coat of arms of House of Bonaparte in the middle of portraits of Napoleon III and Empress Eugénie, this helped to symbolise that the image of Empress Eugénie as French second hand in charge reflects that she’s equal to rising international prestige through this international projection as symbol of Frenchness as whole.

The use of gold shows the sacredness of Eugénie with the elegant and luxurious neoclassical realist style of oil painting on the fan’s leaf reflect the how well designed it is. Meanwhile, the use of natural white pearls symbolise French and Eugénie's unwavering commitment to uphold the purity and chastity principle of Christianity, which is still important in 19th century. Also, the use of natural pearl founded from sea symbolise French’s rising industrialisation and colonisation that generated its wealth and prestige while linked House of Bonaparte to the Virgin Mary and authority on regalia. The coat of arms of Britain below the fan symbolise friendship between Britain and France that was supposed to be long lasting.

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