Prince Albert E-Book

A.N. Wilson

• Herausgeber: Atlantic Books
• Kategorie: Sachliteratur, Reportagen, Biografien
• Sprache: Englisch
• Veröffentlichungsjahr: 2019

Beschreibung

Chosen as a Book of the Year in The Times and the Daily Mail 'Highly entertaining' Sunday Times 'Enthralling' Daily Telegraph For more than six decades, Queen Victoria ruled a great Empire at the height of its power. Beside her for more than twenty of those years was the love of her life, her trusted husband and father of their nine children, Prince Albert. But while Victoria is seen as the embodiment of her time, it was Prince Albert, A. N. Wilson expertly argues, who was at the vanguard of Victorian Britain's transformation as a vibrant and extraordinary centre of political, technological, scientific and intellectual advancement. Far more than just the product of his age, Albert was one of its influencers and architects. A composer, engineer, soldier, politician, linguist and bibliophile, Prince Albert, more than any other royal, was truly a 'genius'. Albert lived only forty-two years. Yet in that time, he fathered the royal dynasties of Germany, Russia, Spain and Bulgaria. Through Victoria, Albert and her German advisers pioneered the idea of the modern constitutional monarchy. In this sweeping biography, Wilson demonstrates that there was hardly any aspect of British national life which Albert did not touch. Drawn from the Royal archives, including Prince Albert's voluminous correspondence, this brilliant and ambitious book offers fascinating never-before-known details about the man and his time. A superb match of biographer and subject, Prince Albert, at last, gives this important historical figure the reverence and recognition that is long overdue.

Leseprobe

Prince Albert

A. N. Wilson grew up in Staffordshire and was educated at Rugby and New College, Oxford. A Fellow of the Royal Society of Literature, he holds a prominent position in the world of literature and journalism. He is a prolific and award-winning biographer and celebrated novelist. He lives in North London.

‘Mesmerising... An irresistible and informative read... A.N. Wilson’s brilliant book is a treat: an absorbing and entertaining guide to the complex tensions of Albert’s world.’ The i

‘Wilson’s approach is admiring, argumentative and astute. He is a brisk, irreverent revisionist who likes to find other people’s ticklish points.’ Richard Davenport-Hines, The Times

‘Engrossing... Mr. Wilson makes good use of documents from the period and has consulted experts, particularly on details having to do with Albert’s German background. His most striking contribution, though, is a psychologically astute approach to Victoria and Albert, one that results in a persuasive and humane account of their marriage.’ Wall Street Journal

‘This entertaining and beautifully illustrated account supports the claim that Albert was “the man who saved the monarchy.” It also confirms that A.N. Wilson is one of those rare biographers with the gift of finding words “at once true and kind” in which to present the trickiest subject.’ TLS

‘Absorbingly readable and impressively succinct’ Michael Hall, Country Life

‘Thorough, well-written, and insightful’ Simon Heffer, New Criterion

‘Incisive and entertaining’ Helen Rappaport, Literary Review

‘Subtle, amusing, gripping... Brilliant’ Spectator

Also by A. N. Wilson

FICTION

The Sweets of Pimlico

Unguarded Hours

Kindly Light

The Healing Art

Who Was Oswald Fish?

Wise Virgin

Scandal: Or Priscilla’s Kindness

Gentlemen in England

Love Unknown

Stray

The Vicar of Sorrows

Dream Children

Incline Our Hearts

A Bottle in the Smoke

Daughters of Albion

Hearing Voices

A Watch in the Night

My Name Is Legion

A Jealous Ghost

Winnie and Wolf

The Potter’s Hand

Resolution

Aftershocks

NON-FICTION

The Laird of Abbotsford

A Life of John Milton

Hilaire Belloc

Tolstoy

Penfriends from Porlock

Eminent Victorians

C. S. Lewis

Paul

God’s Funeral

The Victorians

Iris Murdoch As I Knew Her

London: A Short History

After the Victorians

Betjeman: A Life

Our Times

Dante in Love

The Elizabethans

Hitler

Victoria

Charles Darwin: Victorian Mythmaker

The Mystery of Charles Dickens

etc.

Prince Albert

The Man Who Savedthe Monarchy

A. N. WILSON

First published in hardback in Great Britain in 2019 by Atlantic Books, an imprint of Atlantic Books Ltd.

This paperback edition first published in Great Britain in 2020 by Atlantic Books.

Copyright © A. N. Wilson, 2019

The moral right of A. N. Wilson to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act of 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of both the copyright owner and the above publisher of this book.

Frontispiece: Queen Victoria’s etching of Prince Albert, after Sir George Hayter’s The Marriage of Queen Victoria, 1840. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

Every effort has been made to trace or contact all copyright-holders. The publishers will be pleased to make good any omissions or rectify any mistakes brought to their attention at the earliest opportunity.

10 9 8 7 6 5 4 3 2

A CIP catalogue record for this book is available from the British Library.

Paperback ISBN: 978 1 78239 833 2

E-book ISBN: 978 1 78239 832 5

Printed in Great Britain

Atlantic Books

An imprint of Atlantic Books Ltd

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For

Matthew

and

Rebecca

‘Here am I,’ said Pancks, pursuing his argument with the weekly tenant. ‘What else do you think I am made for? Nothing. Rattle me out of bed early, set me going, give me as short a time as you like to bolt my meals in, and keep me at it. Keep me always at it, and I’ll keep you always at it, you keep somebody else always at it. There you are with the Whole Duty of Man in a commercial country.’

Charles Dickens, Little Dorrit

[Do you deny it is an honourable thing to be a king?]

Homer, Odyssey, Book 1, lines 391–2

Translation by Emily Wilson

CONTENTS

Acknowledgements

Archives and Manuscripts Consulted

List of Illustrations

1Princess Beatrice’s War Work

2His Mother

3The Wettins

4Childhood: ‘Tout rappelle l’homme à ses devoirs’

5‘These dearest beloved Cousins’: Albert’s First Visit to England

6European Journeys

7A Somewhat Rough Experience

8Unbounded Influence

9Public Art, Public Life

10Neptune Resigning His Empire to Britannia

11Malthusian Calamity

12Cambridge

13The Year of Revolutions

14Balmoral

15The Great Exhibition of 1851: The Making of the Modern World

16The Great Exhibition: ‘so vast, so glorious’

17Stormy Weather

18The Prince Consort at Last

19King in All But Name

20The Care and Work Begin

21She Was the Strong One

Bibliography

Notes

Index

ACKNOWLEDGEMENTS

GRATEFUL ACKNOWLEDGEMENT IS owing to Her Majesty the Queen, for graciously giving her consent for this biography to be written, and for allowing me full access to all the relevant material in the Royal Archives at Windsor. She let it be known that she thought a biography of Prince Albert ‘long overdue’.

When I was halfway through my task, good fortune allowed me to encounter HRH the Duke of Edinburgh. He asked what I was writing. When he heard, he expressed the view, with characteristic forcefulness, that the world did not need ‘yet another’ book about Prince Albert. I had the temerity to reply that there had not, as it happened, been many, or indeed any, full biographies, since that of Sir Theodore Martin in the nineteenth century. He wandered off to speak to someone else, but then he returned. ‘There is one good aspect,’ he said. ‘Prince Albert had a very short life, so you can write a very short book.’

I hope that His Royal Highness will not consider the finished result unduly prolix. In the course of its composition, Oliver Urquhart Irvine, the Royal Librarian and Archivist, could not have been more helpful, and the entire team in the Round Tower made each visit a pleasure, not least the austere, but jolly, lunch breaks. Julie Crocker has saved me from many howlers. Oliver Walton, a brilliant Germanist and expert on all Coburgian matters, was at hand to advise and help, especially when a letter in the old script seemed illegible. Bill Stockting had much good advice, and the entire team, of regulars and interns, with their unshowy willingness to share knowledge, made visits to the Royal Archives the high point of any month. In the Prints and Drawings Collection, I am especially grateful to Kate Heard and to Carly Collier for discussing Prince Albert’s aesthetic, for making material available and for giving useful advice about the illustrations for this book. Helen Trompeteler of the Historic Photographs, Royal Collection Trust, and Leah Johnston, Archive Cataloguer at The Royal Household, were also very helpful.

I owe a great debt to Philip Mould for allowing me to use the superb watercolour by Alfred Chalon as the jacket of this book. This picture has subsequently been acquired by Historic Royal Palaces.

Richard Edgcumbe, Senior Curator in the Metalwork Collection at the Victoria and Albert Museum, made time to show me the sapphire and diamond coronet designed by Prince Albert and lately acquired by the museum.

Much of the primary material is in what Queen Victoria called ‘the dear German language’, and so I am especially grateful to my late mother, Jean, a good Germanist, who urged me in her latter years to start learning it, and to Ute Ormerod who has patiently taught me each week for many years.

I have written this biography at the prompting of my publisher Will Atkinson, who has been the book’s friend and editor. Thanks, too, for James Nightingale’s editorial help, and to Tamsin Shelton who has been, as with previous books, a punctilious copy editor. Clare Alexander was a kindly and judicious agent.

I could not have written this book without the friendship and help of Angelika Tasler, who escorted me from archive to archive in Germany, and who took the time to dictate many of the more illegible manuscripts. Our happy time together in Coburg and Gotha taught me more about Prince Albert and his brother than many solitary hours had done previously. Thanks too, in Germany, to Frau Rosemarie Barthel and Frau Cornelia Hopf in Gotha, and to Herr Dr Klaus Weschenfelder, Herr Rudolf Fuhrmann and Herr Dr Alexander Wolz in Coburg. I am especially grateful to the staff at the Kupferstichkammer who so kindly opened up the museum and Kupferstichkammer specially for me when I chose a day to visit on which the public are not normally admitted.

At the Royal Commission for the Exhibition of 1851, Angela Kenny was endlessly helpful. It was my great good fortune, both at the Royal Archives and in the Royal Commission of 1851, to encounter fellow researcher Jana Riedel whose insights into the life of Prince Albert and the atmosphere of the nineteenth century have been invaluable. Christopher Guyver alerted me to the Seymour Diaries in the British Library.

The staff of the London Library, of the Bodleian Library, especially in the glorious new Weston Library, and in the British Library were, as ever, role models of everything librarians should be.

I have been working on the subject of the Victorians, and of their royal story in particular, for a long time, and feel gratitude to all the friends and colleagues whose expertise in the field have been exemplary.

While writing this book, I have picked the brains of Antonia Fraser, Daisy Goodwin, Ulrike Grunewald, Ruth Guilding (whom I first met at Osborne House while she was the curator and I was making a television film there about Prince Albert in 1988), Tanya Harrod, Tristram Hunt, Philip Mansel, John Martin Robinson, Alice McArdle, Anne Somerset, Margaret Stead, Roy Strong, Hugo Vickers and Lucy Worsley.

Karina Urbach and Jane Ridley both read the book at different stages of composition and were of invaluable help.

ARCHIVES AND MANUSCRIPTS CONSULTED

THE GREATER PART of this book derives from primary sources, above all from the Royal Archives at Windsor. The endnotes record which manuscripts have been consulted.

An invaluable source for the Great Exhibition is the Royal Commission for the Exhibition of 1851, housed in Imperial College London.

In addition, I have been lucky enough to consult manuscripts in the Forschungsbibliothek in Gotha, administered by the University of Erfurt, and at the Library of the Schloss Friedenstein. The archives came from the Staatsarchiv of Gotha and the Staatsarchiv Thuringen. In Coburg I consulted the Coburger Hausarchiv and the Staatsarchiv Coburg from which so much of my earlier book, Victoria, derives.

I have also consulted the wealth of manuscript material in the British Library, in particular the Peel Papers, the Aberdeen Papers, the Liverpool Papers, the Graham Papers and the Seymour Diaries.

ILLUSTRATIONS

1. Portrait of Duke Ernst I of Saxe-Coburg-Gotha. The Picture Art Gallery/Alamy Stock Photo.

2. Portrait of Princess Luise of Saxe-Gotha-Altenberg. The Picture Art Gallery/Alamy Stock Photo.

3. Portrait of Princes Ernest and Albert of Saxe-Coburg-Gotha by Paul Emil Jacobs, 1843. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

4. Schloss Ehrenburg. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

5. Schloss Rosenau. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

6. Portrait of Prince Albert of Saxe-Coburg-Gotha when a boy by Herbert Luther Smith, c. 1825-40. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

7. Watercolour battle scene by Prince Albert, 1832. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

8. Queen Victoria’s portrait of Prince Albert, 1840. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

9. Prince Albert’s portrait of Queen Victoria, 1840. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

10.The Marriage of Queen Victoria, 10 February 1840 by Sir George Hayter, 1840–42. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

11. Portrait of Sir Robert Peel. Granger Historical Picture Archive/Alamy Stock Photo.

12. Lord John Russell. Granger Historical Picture Archive/Alamy Stock Photo.

13. Lord Palmerston. Imagno/Hulton Archive/Getty Images.

14. Lord Aberdeen. General Photographic Agency/Hulton Archive/Getty Images.

15. Etching showing Queen Victoria and Prince Albert’s dogs, Eos and Cairnach, by Prince Albert, after Sir Edwin Landseer, 1844. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

16.Five studies of the Royal children by Queen Victoria, 1845. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

17.Queen Victoria’s Bedroom, Windsor Castle by Joseph Nash, c. 1847. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

18.The Children in the Pleasure Garden at Osborne by Queen Victoria, 1850. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

19.Fishing in Loch Muick by Queen Victoria, 1851. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

20.Balmoral Castle from the Approach (Abergeldie side) by Queen Victoria, 1852. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

21.The Queen and the Prince by Roger Fenton, 1854. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

22.The Queen, the Prince, Duchess of Kent and Royal Children at Osborne by Dr Ernst Becker, 1854. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

23. Moving machinery at the Great Exhibition of 1851. Hulton Archive/Getty Images.

24. Henry Cole. Hulton Archive/Getty Images.

25. Joseph Paxton. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

26. Royal Patriotic Building, Wandsworth. Karl Dolenc/Alamy Stock Photo.

27. Osborne House, Isle of Wight. Jonathan McManus/Moment/Getty Images.

28.The Prince by Roger Fenton, 1854. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

29. Queen Victoria and Prince Albert at Osborne, 1859. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

30. Group photograph, 1859. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

31. Prince Albert at Buckingham Palace, c. 1860. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

32. Group portrait in Coburg, 1860. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

33. Prince Albert, returning from deerstalking. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

34. Print of a painting by Thorburn showing Prince Albert during his last illness in December 1861. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

35. Prince Albert after death, the Blue Room, Windsor Castle, December 1861. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

36. A carbon print of Joseph Noel Paton’s Queen Victoria at Prayer in the Prince Consort’s bedroom. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

37. Queen Victoria and members of the royal family, alongside a marble bust of Prince Albert, 1863. Courtesy of Royal Collection Trust/© Her Majesty the Queen Elizabeth 2019.

Victoria’s etching of Albert, after Hayter’s The Marriage of Queen Victoria, 1840.

ONE

PRINCESS BEATRICE’S WAR WORK

IN MAY 1943, Great Britain and Germany had been at war for over three and a half years. Churchill had secretly gone to Washington DC for the first wartime conference with Roosevelt – codenamed ‘Trident’. In Berlin, Dr Goebbels proudly announced that after sixty days of ‘work’, the German capital was at last ‘Judenfrei’ – free of Jews. In North Africa, the most brilliant of the German generals, Rommel, had suffered setbacks, with Tunis and Bizerte falling to the Allies.

At this point, the King of England heard from his great-aunt Beatrice: ‘I congratulate you on the tremendous victory in Tunisia, which fills me with thankfulness and pride. It must be such a relief to you, and make you look with so much further confidence to the ultimate complete victory of our army’.1

With the world in flames, and the future of the free world in the balance, the King could have been forgiven for not devoting too much attention to letters from an old lady, concerning the papers of his Victorian ancestors. That was her reason for writing. ‘Your daughters know that I have been engaged in translating my Father’s correspondence with his stepmother’.2 War fever is a strange group psychosis. This old lady was translating some harmless letters from German at a time when there were British people, whipped up by the war, who felt it was unpatriotic to read Goethe or listen to Beethoven; and when even a more reasonable majority, for years after the Second World War, associated the very word ‘Germany’ not with that nation’s great poets, musicians and philosophers, but with the criminals of the Third Reich.

The old lady writing to George VI, a woman who was herself three quarters German, and who had been married to a German prince, was the King’s Great-aunt Beatrice, the youngest daughter of Prince Albert and Queen Victoria. She was spending the war at Brantridge Park, Balcombe, Sussex. She had been born in 1857, before there even was a country called Germany. Her father, Prince Albert, had come to London from Coburg, the small town in Thuringia where his father was Duke of Saxe-Coburg-Gotha. His aunt Victoire had come to London in 1818 as the bride of the Duke of Kent. Their daughter, Victoria, became Queen of England in 1837 and Albert’s bride in 1840.

Between them, Victoria and Albert had rescued the British monarchy from grave crisis. They had nine children, of whom Beatrice was the last. They established a dynasty. Almost from the beginning they were, as well as being real people in an actual historical context, semi-legendary figures. This was partly because they really did save the monarchy, and therefore established the kind of country Britain would become over the next century. Moreover, Albert was a person of prodigious gifts. Not only was he politically astute. He had administrative gifts which could have made him a great general. He was scientifically informed. He understood, and was enthused by, modern technology. He was a knowledgeable art collector. He was a musician – himself a composer. He designed his two houses, Balmoral in Aberdeenshire and Osborne House on the Isle of Wight. He was the father of a family. Unlike the royal personages and aristocrats they had known as they were growing up, Victoria and Albert were true to their marriage vows. So unusual was this, that they were considered ‘bourgeois’ or middle class for doing so. The solidity and moral rectitude of the Royal Family was something which greatly strengthened the standing of the monarchy in the Victorian age, as the middle classes – upper middle and lower middle – burgeoned in number and political strength.

It all came to an end, the idyll of Victoria and Albert’s marriage, when they were just forty-two years old. For the next forty years, Victoria was a widow. She still exercised a busy role as a constitutional monarch behind the scenes. Public shows of majesty, however, were not emotionally possible for her without her ‘Angel’, as she called him, without any irony, at her side. She was lonely, and increasingly dependent on her companions. The burden fell heaviest on the youngest child, ‘Baby’, as Beatrice was known by her mother. The Queen regarded it as a betrayal when Baby announced her desire to marry Prince Heinrich von Battenberg, and made it a condition of the marriage that the bridal pair should remain at the mother’s side. Baby was the Queen’s dogsbody for the last decades, and Victoria made Baby her literary executor.

This was a formidable task, since Queen Victoria was a prolific diarist and letter-writer, leaving behind written records which, it has been estimated, would fill a library of 700 volumes if ever printed and bound in book form. Victoria had been in love with Albert. There was no doubt about the Queen’s love for her Angel, and her love did not diminish with the years. She it was who had masterminded and, almost certainly, largely written the five-volume tribute The Life of His Royal Highness the Prince Consort, which was co-authored by a Germanist called Sir Theodore Martin.

Victoria had the intensely shy person’s belief in, and use of, the written word as a means of self-expression. She was not someone whose instincts were to suppress or disguise the truth. From her girlhood onwards, she had poured out her impressions of life into copious journals and she was not one to hide her often changeable feelings. Beatrice, for reasons which do not have anything to do with us in this present study, was a very different person. She conceived it as her duty, when her mother died, to ‘edit’ Queen Victoria’s journals. Admittedly one reason for this was that the Queen’s handwriting was semi-legible, and Beatrice wrote a good clear hand. The chief reason, however, as she copied out the words her mother had written, was to discard passages likely to cause pain and embarrassment to herself and her siblings. Victoria had been candid in her often acerbic views of her children, and about the wider reaches of her and Albert’s dynasty – nine children, forty-two grandchildren and innumerable cousinage. She somehow always knew when one of them was getting into a scrape or making a fool of themselves, either politically or in the area of private scandal. Down it all went into her letters and diaries. We know this because Beatrice was unable to censor, for example, the copious correspondence Victoria had with her eldest child Vicky – eventually the German Empress. And there are still notebooks and other remains in the Royal Archives which give us some clue as to the sort of material which has been lost from the official, censored, Princess Beatrice-version of the journals which we can now all read online.3

Princess Beatrice probably acted from motives which she considered good ones. She was, however, the archivist’s dread. Those of us who take an interest in the past want the truth. Without all the material to hand – the damaging, as well as the adulatory, the good and the bad – the truth can never be told. Often it is painful and complicated. The art of biography, as demonstrated in its finest forms, is akin to that of Tragedy and the Novel. Writer and reader learn to take heed of the tragic flaws of our heroes and heroines. Queen Victoria is herself a case in point. She would have been the first to acknowledge her faults. Indeed, she was in fact the first, as is witnessed by a sad but revealing volume which escaped the attention of Princess Beatrice, which the Queen entitled Remarks, Conversations, Reflections,4 in which she chronicled her tempestuous relationships with her mother, her husband and her children, all of whom she loved in different ways, but with none of whom did she enjoy a relationship of pure sunshine.

When I came to write her biography, I found my admiration for Queen Victoria deepen, because she was a woman who confronted her demons and, on the whole, who overcame them, without the help of therapy, or even of much advice from friends. The often only just legible scribble was her outlet, her psychiatrist’s couch, her confessional, her secret beehive to which she disclosed her inmost heart. Not everyone liked her, and she was aware of that. Not everyone likes her to this day. It is hard, however, to dismiss her. She undertook a gigantic political and symbolic role when she was only a teenager – the Head of State of the most powerful economy in the world, the figurehead of what would become a global empire. She did her job throughout the next sixty years and she handed on the family business in good shape, when most of the European powers that seemed to be so powerful in 1901 (the year she died) were in fact great liners heading for the iceberg.

The success story of the British Royal Family was unquestionably to be laid at the door of Prince Albert, who, since his death in 1861, had been canonized. After he died, the Angel turned into a man who could do no wrong. His statues were to be seen all over the Empire. Albert Halls, Albert Squares, Albert Streets filled every Englishspeaking town, and many of the towns in India. He had, of course, been perfect. Baby really had been little more than a baby when he had died in 1861. She was just four. And the world in which she found herself during the Second World War was one which her father could not have envisaged in his most vivid nightmares. From his early years, as the young son of a German prince in a small Duchy in Thuringia, Albert and his brother had yearned for a united Germany. ‘Deutschland, Deutschland, Über Alles!’ was not a song of triumph when it was written. It was a Hymn to Liberty. It was an aspiration for the benign unity of German-speaking peoples which had been the wish, not only of German-speakers, but of all enlightened Europeans since the Middle Ages. How that benign union was to be achieved, that was the question. It was the hope that one day, the scattered princedoms, duchies, city-states and electorates of the Holy Roman Empire (which had been disbanded by Napoleon), together with the Kingdom of Prussia and the Empire of Austro-Hungary, could fashion some new political entity. The peace and prosperity of Europe depended upon it. Albert and Victoria’s marriage plans for their children reflected their desire to infiltrate the autocracies of Russia and Prussia with their brand of political liberalism: not liberalism with a capital L, but a form of constitutional monarchy which allowed for parliaments to have their say, and for an enfranchised electorate to be represented in those parliaments. Neither Victoria nor Albert were democrats in the modern sense of the term, but they had the political nous to adapt the monarchy for a world where democracy in its varied forms would one day be adopted.

Albert would die in 1861. He would not live to see the decade in which all these dreams were ruined: Austria, which might have provided an umbrella of some sort for such states as Saxe-Coburg-Gotha, where Prince Albert was born, had been defeated in a painful, bloody war with Prussia. The north German kingdom had triumphed, and the new united German Empire, created after the defeat of France in the war of 1870, was a Germany dominated by a Prussia of militaristic ideology and autocratic political ideas. The journey from 1871, when the Germans triumphantly declared themselves an empire in the Hall of Mirrors at Versailles, had been escorted by the gods and Valkyries of war. It had seen the humiliation of the Germans in that same Hall of Mirrors, when France exacted its revenge in 1918–19. The reparations which the Germans were forced, in that mirrored hall, to pay to the French for the next decades led directly to the German desire for further reprisal, the rise of the extreme right and the tragedy of the Second World War, in which Britain was now engaged.

Beatrice’s war work, translating the letters of Prince Albert’s stepmother, opened a little window into a heart-rendingly different time, in which Germans and British intermarried, in which the Germans looked to Britain for political inspiration, and in which the British Royal Family – admittedly having to endure a certain degree of xenophobia from the press and the diehard politicians – was seen to be an entirely benign German import.

And the marriage of Victoria and Albert was, of course, seen as almost sacred; it was a picture of the ideal marriage, a pattern to be followed by all the good, decent families of the Empire. It would seem likely that Baby, who lived so close to her mother, and who had witnessed the canonization of her father, took this version of events entirely literally; all the more so because her own marriage had been far from idyllic, and her husband – Prince Henry of Battenberg as he was known in England – was not always faithful.

When she had finished her latest batch of translation work, she wrote to the librarian at Windsor asking if there was anything else which she might see.

Let the librarian at Windsor Castle of that time, O. F. Morshead, take up the tale, in a letter he dispatched, with some anxiety, to the King’s Private Secretary, Tommy Lascelles. He told Lascelles that Beatrice had been translating the letters of Queen Adelaide to the Queen of Prussia. ‘They were very dull, as it happens,’ Morshead confided. Then she had turned her attention to the Prince Consort’s letters to his stepmother. ‘The contents were quite innocuous.’ So far, so good. The aged Princess was kept busy, and no damage was being done to the Royal Archives. The librarian had then sent a box down to Surrey, labelled ‘Diary &c. Prince Consort’s notes on the birth of the Royal Children’.

This seemed harmless enough, and likely to be of interest to the princess, & I accordingly sent it. I am really sorry to find that it contained inflammable material. I know that the prince and the Queen did not always agree during their early married years; but I suspected no revelations within these particular covers. I feel in view of what has happened that I ought to have been more on my guard, and I must apologise most sincerely for having inadvertently brought about a delicate situation.5

Morshead wrote that letter on 14 May 1943. The box which he had sent to Princess Beatrice, without opening it, contained not only reflections on Queen Victoria’s accouchements. There was also a cache of letters in which the Angel constantly upbraided his wife for her displays of irrational ill temper. They are controlling letters. ‘You ask me to promise “not to scold you again before your children”. To that I willingly agree – what you call scolding [schelten] I would call simply the expression of a difference of opinion.’ The coldness of the letters blows like a winter breeze from that box even at the distance of all the years since they were written. He records the misery of marital discord: ‘You have again lost your self-control quite unnecessarily. I did not say a word which could wound you’ – a statement which can only be contradicted by the mournful facts reflected in the letter – ‘and I did not begin the conversation, but you have followed me about and continued it from room to room’.

The Prince’s handwriting, which in youth had been so neat, and which still could be neat when writing to statesmen, has become, in these passionately angry, buttoned-up expressions of marital hate, sprawling. His hand was shaking as he wrote. Victoria had every opportunity in her lifetime to destroy these letters from her husband, which also contain, among their sentences of cold reproach, attempts at reconciliations, and expressions of joy when rapprochements are achieved. What she left behind to be read by posterity was a record of a marriage which was extremely difficult. Both she and her husband were strong characters, and they were often at odds, especially in the last decade of their lives together when she hated the loss of control and the crippling depression which the repeated experience of childbirth brought. Victoria was a sufficiently complicated, and sufficiently realistic, writer to want us to know what her marriage had actually been like.

Baby did not read these letters in this light. Not at all. Born a doormat, treated as a doormat, she was probably quite unaware of the psychological motives which prompted her to exact a doormat’s revenge on her parents, by trying to make their colourful lives as dull as her own. Serenely happy marriages are not unknown to history, but they are the exception which proves a general rule, namely that men and women who undertake to spend the whole of their lives together are unlikely, at all times, to find this easy. Albert’s parents divorced in a scandalous manner which kept the gossips’ tongues wagging all over Europe. He had been determined that his own arranged marriage to his cousin should not be a repetition of the parental disaster. Victoria, who had fallen head over heels in love with him, made him the recipient not only of her wildly affectionate needs and desires, but also the object of all her buried childhood nightmares, her uncontrollable angers and passions. Cold and stiff to a degree, he was unable to deal with this other than upping the ante of control, control and yet more control. Of himself, of the children, and of her.

Baby was so appalled by seeing the complicated truth revealed that she reacted as she had done to her mother’s journals. She wanted to censor. Busy as King George was with the war, she wrote to him, asking his permission to burn these letters, which her mother had so carefully preserved. On 21 May, she wrote:

My dear Bertie, I am most grateful to you for returning the box, & saying I may burn its contents. I felt sure you would agree that they ought not to be kept, particularly after having read 2 or 3 of the letters. It is very kind of you to reassure me about the contents of the Archives being kept entirely private and confidential. After that dreadful book of Arthur Ponsonby’s, I have naturally got more apprehensive of any wrong use being made of what should be considered as strictly confidential.6

(She was referring to the recently published Life of Queen Victoria’s Private Secretary, Sir Henry Ponsonby, by his son, the Labour MP and noted pacifist Arthur.)

The story, however, does not end there. Clearly, someone realized that to tamper with historical evidence in this way, when the characters were as central as Victoria and Albert, was a violation of truth. The original letters do not survive, but slipped inside the box are photographs of the originals, as well as tantalizing photographs of some pages from the Prince Consort’s diaries. (It is known that he kept a diary, extracts of which appear in Sir Theodore Martin’s Life, but no trace of it, apart from these photographs, has ever been found apart from a few leaves transcribed for Martin by Princess Christian of Schleswig-Holstein.) It is from the records of ‘dreadful’ books and ‘private and confidential’ archives that we are able to uncover the remarkable truth about remarkable lives. Albert was Victoria’s ‘Angel’ but, as she alone fully knew, he was a fallen Angel. His daughter’s wish for him to be a plaster emblem of perfection did a service neither to her, nor to him, nor to us. The truth is always more interesting than its opposite.

TWO

HIS MOTHER

QUEEN VICTORIA AND Prince Albert were cousins, and anyone who wanted to know what they held in common, at the deepest level, could learn much from intruding into their bedroom at Windsor Castle in the late 1840s. By 1847, the royal pair were the parents of five children, and Albert, with his zest for organization and interior design, felt the time had come completely to reorder their accommodation at Windsor. The nurseries were enlarged. The old school room was converted into a wardrobe for the Queen, and Albert’s old sitting room was made into an enlarged school room, with the governess, Miss Hildyard, living in his former sitting room.1 But it is the bedroom which concerns us.

Cynical old Bismarck would describe Coburg as the stud farm of Europe. Given the dynastic ambitions of the Coburg family, it was a fair enough description. The neo-Tudor bed at Windsor, with its emerald-green hangings, was the centrepiece of this dynastic ambition. As far as Albert’s idea of Europe was concerned, the bed was central to all his plans, for from the fruit of his and Victoria’s union could stem a new world of righteous children, taking on the roles of constitutional monarch, and spreading his political vision, of moderate conservatism, European federalism, free trade and Protestantism, from Madrid to Moscow, from Berlin to Budapest, from Sweden to Sicily. The bedroom, however, which was the actual, as well as the symbolic, seedbed of this dynasty, also took cognizance of the shared heritage of the married couple. Albert and Victoria hung the room with portraits of their immediate ancestors. They commissioned watercolours by Joseph Nash the Elder of all the refurbished rooms. That of the bedroom is particularly evocative of the married life of the pair, of all they shared, and above all their shared origins. Nash did many watercolours of the different rooms at Windsor and at Claremont House and Buckingham Palace. This bedroom picture, however, was of such significance that the Queen had it copied in oils by William Corden.2

On a sofa beside the fireplace is a garment thrown down as if Victoria had just momentarily left the room. And staring from the walls are the four parents. There is the Queen’s mother and Albert’s aunt, Victoire, Princess of Coburg-Saalfeld. There is Victoire’s brother, Albert’s father, Ernst. And then, two faces which stared at them out of their past but not out of their memory: Edward, Duke of Kent, who died when his daughter Victoria was just a baby. And the figure who, in some ways, for a biographer of Prince Albert, is the most fascinating figure in the entire drama: his mother.

Prince Albert was a puritan of almost obsessive rectitude. His brother Ernst would by contrast follow the primrose path of dalliance which, for many royal and noble personages in history, has been the norm. Even by the relaxed moral standards of their class, however, Ernst and Albert’s parents laid a peculiar groundwork of emotional chaos which more than explains Albert’s later horror of uncontrolled passion.

Prince Albert’s letters, particularly those to his eldest daughter, show a sensitive awareness of the interior life. He wrote thoughtfully about the way in which we can compartmentalize our sorrows and memories. He lived before the days of psychoanalysis and never underwent therapy. Had such phenomena existed in his day, he might very well have had a robust attitude, and not wished to take all the emotional baggage out of the closet. His great-great-grandson, Prince Philip, Duke of Edinburgh, who had a comparably awful childhood, remarked to a royal biographer, ‘suddenly my family was gone. I had to get on with it’.3 Albert could easily have said the same. Nevertheless, a twenty-first-century observer surveying the bare facts would consider that Albert carried a heavy psychological burden.

Three days after Prince Albert’s fifth birthday, in August 1824, his mother Luise4 left Coburg. He would never see her again. His parents’ divorce, never printed in the Almanach de Gotha,5 the directory of the European High Nobility and Royalty, and never (of course) mentioned in either of the biographies authorized by Queen Victoria, formed the background of all his early psychological history. While enjoying a cordial relationship with his stepmother throughout his adult life (she was also his first cousin, his father having married a niece), Albert cherished the memory of his lost mother and retained an abiding dread of family discord, sexual scandal and emotional chaos.

Princess Dorothea Luise Pauline Charlotte Friederike Auguste of Saxe-Gotha-Altenburg – always known as Luise – herself had been a baby of only two weeks when her mother died as a result of a complicated delivery. When Luise was a child, her grief-stricken widowed father (who had been just twenty-eight when he lost his wife) wrote her a poem, addressed to her sleeping form:

Sleep, little Princess, sleep…

Guiltless and pure, sleep on…

Far from the throng of the Court

With its anxious muddles,

Its stifling confusions,

Its yawning boredom,

Here in your cot, you can be happy,

Sleep, little princess, sleep.6

Her father, Emil Leopold Augustus, Duke of Saxe-Gotha-Altenburg, was himself never happier than when asleep. A lazy, lackadaisical man, he would have loved to act upon his own advice, to retire to bed, and to indulge his passion for literature and whimsy. Had he been born fifty years earlier, it might have been possible for the Duke to pursue a life of political disengagement, presiding over his tiny domains and ignoring the movement of events. Even had such a life been possible, however, he would not have escaped the one demand which determined the lives of all the minor German princes, dukes and electors: the dynastic requirement. The post-1871 state which we call Germany did not, at this date, exist. The Habsburgs ruled in Vienna as emperors. The multifarious little states which filled the landmass of central Europe, most of which had formed part of the Holy Roman Empire, had no political cohesion, other than the links of kinship. It was entirely appropriate that Gotha, the birthplace of Albert’s mother, should best be known for its Almanach. For, whether the domains were small or great over which these families governed, it was deemed essential that they should all remain in the hands of the hereditary princes and aristocrats who had ruled them for a thousand years. Mesalliance was unthinkable. The German usage, among the nobility, is to refer to themselves as high-born – hochgeboren. Often, however, this is shortened simply to geboren. Is such and such a person born? As far as they were concerned, not to belong to their rarefied gene pool, not to be able to trace a pedigree back through the twigs and branches of the family trees of royalties and nobilities, all of whom were intermarried and related, was not completely to exist.

So it was that when Duke Emil Leopold Augustus of Saxe-Gotha-Altenburg married Luise Charlotte, a Princess of Mecklenburg-Schwerin, they were simply enacting a few inevitable steps in a genealogical dance which had been going on certainly since the Thirty Years War of the seventeenth century, and, in many cases, since the times of Charlemagne. Had they produced a male heir, the forested lands of Thuringia, a part of Saxony, would have been secure, and they could have looked forward, when that male grew to manhood, to the possibility of extending the dukedom by marriage to a neighbouring dukedom, such as that of Coburg.

As it was, Luise, being her father’s only heir, carried the burden, from the moment she lost her mother, of having to be married off. With her the dukedom of Gotha came to an end, so it was inevitable that her father should be obliged to find a husband who could, as it were, marry it, and preserve it by filling Luise’s womb with male offspring. However much her father might have loved her as a pure baby, and cherished her childish beauty in his sentimental verses, her only function in the political scheme of things was to grow to womanhood and marry another German prince. The show must go on. Breeding was all. It was fairly obvious, even as she lay in her cradle, that the neighbouring Duchy of Coburg would be the one into which she would be married off.

We have said that, had he lived in the peaceful days of the old regime, Duke Emil Leopold Augustus would only have had the dynasty to worry about. As it happened, he lived during a time of revolutionary turmoil and war. A glance at the map will tell any reader why Saxony could not escape the effects of the French revolutionary wars and the Napoleonic campaigns. Whether he was heading for Vienna, Austerlitz, Danzig or Moscow, Napoleon and his armies would pass this way. Unlike many of the German royalties and nobility, Duke Emil was a passionate admirer of Napoleon, a fact which would cost him, and even more his subjects, dear. When Prince Albert had finished building his beautiful marital home, Osborne House, one of the first pictures he hung in the billiard room was a portrait of Napoleon. Albert was fascinated by Napoleon, and had pictures of him in all his houses, an interest which perhaps made a nod to his maternal grandfather’s hero-worship. Queen Victoria’s interest in the Bonapartes was even more intimate. Her own mother, Victoire, Albert’s aunt, had been on the shortlist of possible substitutes for the Empress Josephine when the Emperor’s marriage was coming unstuck and he was looking for a fertile replacement who could provide him with an heir.

Napoleon’s several visits to Gotha during Luise’s girlhood had an almost emblematic significance. In October 1808, he stayed in the Schloss Friedenstein on his way to the Congress of Erfurt: his power was perhaps at its zenith. The Duke pledged a regiment – the Duke of Saxony’s – to the Rheinbund army that fought on Napoleon’s side in the battles of Kolberg and Tyrol, and in Spain in 1811 and Danzig in 1813. The losses of men in each of these engagements were catastrophic. Few returned to Gotha. In December 1812, Napoleon stayed at Gotha, in a state of humiliation and depression, on his way back from the disastrous Russian campaign. He left behind his hat, which may still be seen in the Schloss Friedenstein. By 1813, the King of Prussia, Friedrich Wilhelm III, had called his people to arms, and the German peoples who sided with Prussia were enlisted to fight Napoleon. They would eventually play the decisive role in the victory of Waterloo. Albert’s grandfather, Duke Emil, however, and his unfortunate subjects were still committed to fighting for the French. There were demonstrations against the Duke in Gotha when Luise was a child of thirteen, with crowds singing patriotic songs, and calling for them to unite for the German Fatherland. Perhaps it was in deference to popular feeling that Duke Emil did not have the Emperor to stay again. When Napoleon passed through Gotha for the last time, on 25 October 1813, he stayed in an hotel, at the Gasthof zum Mohren.7

Luise was fifteen years old when the inevitable alliance with the Duke of Coburg was agreed. Tiny, cherubic, slightly plump, with light brown hair and bright blue eyes, she still looked like a child, apart from her pronounced bosom. When she was confirmed, in the chapel of the Schloss Friedenstein, it was the first time she had taken part in any major public ceremony. As her sacred commitment to Christ was pronounced, she stood on the very spot where her mother had been buried, and burst into tears. The next year, in 1816, Ernst, Duke of Saxe-Coburg-Saalfeld, made his visit to the neighbouring dukedom, and his mother, the genius matchmaker Dowager Duchess Auguste, told her diary, ‘I should not be surprised if I did not soon have a daughter-in-law from there’.8

From the Coburg point of view, the marriage could only be advantageous, since such an alliance would mean – upon the death of Luise’s father – the Gotha Duchy would pass to her husband. All seemed as if it were going Coburg’s way, when, in November 1816, there was a setback. Ernst’s mother told her diary, ‘This afternoon the Court Chamberlain, Count Salisch, arrived from Gotha to see Ernst, and to explain to him with many excuses that for the present the discussions about the betrothal could not proceed any further.’ The reasons given were the precarious state of the Duchess of Gotha’s health – that is, of Luise’s stepmother. Auguste, however, who was a wise old thing, told her diary, ‘I am somewhat upset and perturbed, and whenever I think of that marriage, I have a sort of secret dread that nothing may come of it.’9

Ernst was a notably handsome man of thirty-two years old. He had a long face, divided by a sharp nose and framed by whiskers. His head was crowned by a profusion of curling dark hair. He was aware of his good looks, and was unable to enter a room without looking for his image in any available glass. It would be unrealistic to suppose that a man of that age, and in that position, had not enjoyed a rich emotional life. Ernst’s was more complicated than most, as his mother knew well – hence her misgivings about the prospects of his making Luise happy.

When he was twenty, Ernst had been betrothed to the sister of Tsar Alexander I. His sister Julie was married, very unhappily, to the Tsar’s brother Constantine. Ernst, however, blew his chances with the Russians, and after four years, his betrothal to the Grand Duchess Anna Pavlovna was broken off. This was because of his scandalous liaison with a woman always known as La Belle Grecque.

In 1807, Napoleon had restored the Duchy of Coburg to Ernst and, the next year, accompanied by his youngest sibling, Leopold, the twenty-three-year-old Ernst had made the journey to Paris to pay homage to the Emperor. It was during this visit that he met and fell in love with Pauline-Adélaïde Alexandre Panam – at that date an animated fourteen-year-old. They started an affair almost at once, and she soon became pregnant. Ernst, unable to face up to his responsibilities, persuaded Pauline to go to Amorbach and to be looked after discreetly in her pregnancy by Victoire, his widowed sister (the future mother of Queen Victoria).

It was not a happy arrangement. Pauline complained that she was accommodated in the ‘residence of the keeper of a coal-shed’. The person put in charge of feeding her was, she claimed, the chimney-sweep. She soon made her way to Coburg. Ernst had made a cowardly flight to make an (unsuccessful) attempt to patch up his relationship with the Romanovs. In Ernst’s mother Auguste, Pauline met her match. ‘The Duchess Mother began pouring forth a volley of invectives. In vain did I fly to avoid her – in vain did I conceal myself in the corners of the apartments whither she had pursued me. I incessantly heard the clacking of her enormous slippers, which echoed over the flooring and announced her coming, or rather, her Fury-like approach’.10

By this stage, Pauline claimed, she was being pursued not only by the furious Dowager, but also by Ernst’s amorous brother Leopold. It was all too possible. Together with Ernst’s Private Secretary and military adviser, Maximilian von Szymborski, the Dowager drew up a draconian agreement. Pauline would be paid an allowance of 3,000 francs per annum, and she would be accommodated in an apartment whose furnishings would be paid for by the Coburgs. This arrangement, however, would only be valid for so long as Pauline left the estates of His Supreme Highness the Duke of Saxe-Coburg. (We know little of this éminence grise, Szymborski, but he would play a sinister and cruel role in the destiny of Luise when she made her fateful marriage to Ernst.)

In the spring of 1809, in Frankfurt, ‘on a solitary bed of straw, and without one farthing to prepare the requisite linen’,11 La Belle Grecque gave birth to a son. Pauline would eventually (1823) publish her scandalous memoirs. Ernst was by no means the only European prince to have had an illegitimate child, but the punctilious detail with which Pauline washed his dirty linen in public ensured her a wide readership. The English translation of her book would be a best-seller and would make it hard for anyone in Britain to take Ernst, Duke of Saxe-Coburg-Gotha, quite seriously. This would be a source of huge embarrassment to Albert when he arrived in London as Queen Victoria’s future husband. The scandal of his parents’ marriage went before him, and it was something which he would spend his entire adult life living down.

It is not clear, when Ernst of Coburg came to marry Luise of Gotha, how much her father knew of La Belle Grecque. If the Gothas feared that they were buying a pig in a poke, the Coburgs were evidently able to set their minds at rest, for, a few days before Luise’s sixteenth birthday, the betrothal was announced, and a Court Ball was held in Ernst’s honour. The wedding took place on 31 July 1817. There was yet another Grand Ball. A service of Thanksgiving was held in the chapel of the Schloss Friedenstein. Then the bridal pair, accompanied by crowds of happy peasants in traditional costumes, who had been well nourished with beer and sausage, made their way to the summer palace. The gardens were adorned with 15,000 twinkling oil-lights. There was dancing and music lasting five days.12

Throughout the jollity, Luise, as is made clear to her childhood friend and confidante, Auguste von Studnitz, was only half-aware of what was happening. She fancied herself in love with the handsome bridegroom. At the same time, after a highly circumscribed youth, she was still a child. She was quite unprepared for what would happen to her now that she had become the Duchess of Saxe-Coburg-Gotha. On 7 August, she left Gotha, and childhood, behind her, and, with Ernst at her side in the carriage, began her ceremonial journey to Coburg.

Gotha is a windblown, bleak town entirely dominated by the Schloss Friedenstein, which is in effect a gigantic Baroque barracks. Coburg is very different. The town, with its cluster of royal palaces, its half-timbered houses, its medieval churches and its well-proportioned market square, is an embodiment of what Germans mean by the word gemütlich. It feels intimate, innocent and friendly. It nestles among wooded hills. On one of these eminences stands the Veste, the medieval castle in which Prince Albert’s ancestors ruled. If this sturdy castle calls to mind Luther’s famous hymn ‘Ein feste Burg’, this would be appropriate, since the Augustinian friar turned Reformation firebrand took refuge in the Veste, fleeing the Imperial forces after the Diet of Worms. It is said of the Veste in Coburg (as it is said of a number of places in Germany) that this was where Luther worked on his translation of the Bible, a work which not only made possible his dream that every ploughboy could read the Scriptures for himself, but which also in effect invented the modern German language. In the pretty town itself, beneath the Veste, the Coburgs built for themselves a Baroque Schloss in the seventeenth century, known as Schloss Ehrenburg. Its gradual, sweeping staircase leads to a series of impressive salons and state rooms, none more fantastical than the Hall of Giants, in which huge white plaster of Paris giants appear to be holding up the ceiling. It was in the Schloss Ehrenburg that Luise, eleven months after her marriage, gave birth to her first son, Ernst.

The town, however, is not the only place which the Coburgs adorned with princely architecture. Some four miles from the marketplace, in the wooded meadows which Prince Albert would always say were so like England, is their shooting lodge, the Schloss Rosenau. Yellow-gabled, Biedermeier-furnished, Gothick-casemented, cottage wallpapered, the Rosenau could plausibly claim to be the most beautiful house in the world. It was here that, on 26 August 1819, Prince Albert was born.

To be born the child of royal or upper class parents in the early nineteenth century was a risky undertaking. This was because, unlike the sensible poor who gave birth with the assistance of their mothers or sisters, or perhaps of a female midwife, the rich were assisted by doctors. Princess Charlotte is only one dire example of many who died in childbirth. The only daughter of George IV of England, she had been married to the younger brother of our Duke Ernst of Saxe-Coburg – Leopold.

The Duchess Auguste, Albert’s Coburg grandmother, was a matchmaker extraordinaire who had managed to marry her children to great advantage. Ferdinand George married the heiress of the Prince Koháry in Hungary. Their son became King Consort of Portugal, by his marriage to Queen Donna Maria II. Sophia married Count Mensdorff-Pouilly, a French aristocrat who, emigrating because of the Revolution, became an eminent diplomat in Austria. Her sons were close friends of Albert, and her daughter Marie became Albert’s stepmother. Antoinette married the Duke of Württemberg, brother of the Empress of Russia. Julie married Grand Duke Constantine of Russia, the younger brother of the Emperor. Victoire, pretty and vain, married the Prince of Leiningen, and her son Charles became one of the more plausible claimants to the dukedom of Schleswig-Holstein – the disputes over which played so crucial a role in later nineteenth-century European history.

Duchess Auguste, in other words, by the dynastic marriage of her children, had a finger in many a pie, and, when you consider how tiny Coburg is, there is something all the more impressive in the fact that Auguste’s grandchildren and great-grandchildren occupied thrones in Sweden, Belgium, Bulgaria, Russia and Portugal.

Her youngest son, Leopold, looked likely to have possessed himself of the richest plum. Married to Princess Charlotte, he was poised to become, in effect, the King of England when her highly unpopular father, George IV, came to die. As things turned out, however, Charlotte died before her father.

As arranged marriages went, it would seem that Charlotte and Leopold were well matched and happy together. Charlotte spoke of him as ‘mon Leopold qui fait mon unique Bonheur’ (which she spelt ‘bonnheur’).13 Moreover, she got on well with her in-laws, and befriended Victoire, Leopold’s sister, who had been left a widow with two young children in Amorbach. All the books repeat the story that, after Princess Charlotte’s death, her uncles, in a faintly absurd race to produce an heir to the throne of England, abandoned their mistresses and collected German brides for the purpose. In the archives at Windsor, however, is a volume of the Duchess of Kent’s papers put together by her son-in-law and nephew Prince Albert. It is clear that Charlotte was very fond of Victoire, to whom she wrote as her ‘adorable soeur! ’ Moreover, she urged her uncle Edward, Duke of Kent, to visit Victoire in Amorbach, and it is obvious from the letters that he went there in 1816, a whole year before Charlotte died, with a view to marriage. When he came away, he wrote to Victoire saying that he was going to consult his brother the King, asking permission to propose to her. The letters he wrote to her, before and after their marriage, are love letters. At the end of December 1818, he wrote, ‘God bless you. Love moi as I love you, ton fidèle Edward’. He had clearly already taken leave, in his heart if not in his bed, from his long-standing mistress Madame de Saint-Laurent. This bundle of letters is labelled by Victoire herself, ‘Briefe meines geliebten Mannes als Er um meine Hand anhielt’ – ‘My beloved husband’s letters when he proposed to me’.14

In other words, before she died, Princess Charlotte had made the links between the Coburgs and the British Royal Family even stronger, not merely with her own marriage to Leopold, but also by ensuring Victoire’s marriage to Edward, Duke of Kent. She had thereby prepared the path down which Queen Victoria would tread into the world.

Charlotte’s death at Claremont House on 6 November 1817 ruined Leopold’s hopes of becoming King of England in all but name. It also put a potentially catastrophic check on the ambitions of a figure who will play a large part in our story, and whom we should get to know here – even though he would not enter Albert’s life until much later.

Leopold’s mentor and backer, one might almost say agent, was the tiny and manipulative figure of Christian Friedrich von Stockmar, a figure whom Elizabeth Longford brilliantly described as half Merlin, half Puck. He was born in Coburg in 1787, the son of a successful lawyer. After attending school at the Coburg Gymnasium, one of the best schools in Germany (alma mater of Goethe’s father), he studied medicine at Würzburg, Erlangen and Jena. He founded a military