0:00:03 > 0:00:07On 17th January 1852,
0:00:07 > 0:00:09a mother and five of her children gathered
0:00:09 > 0:00:12together to have their photograph taken.
0:00:14 > 0:00:21Trying to keep perfectly still, they stared into the lens of one of the first cameras ever to be invented.
0:00:22 > 0:00:30Little by little, their image began to appear, like magic, on a small metal plate inside.
0:00:30 > 0:00:32But the sitting didn't go well.
0:00:32 > 0:00:39The mother had moved at just the wrong moment, and the photographer had captured her with her eyes shut.
0:00:41 > 0:00:44As soon as she saw the picture, she defaced it
0:00:44 > 0:00:48using her thumb to scratch away her image from the metal.
0:00:51 > 0:00:56Over the next 50 years, photography would transform the face behind the
0:00:56 > 0:01:01scratches into the defining symbol of British Imperial power.
0:01:03 > 0:01:06The woman in the photograph was Queen Victoria.
0:01:29 > 0:01:33The invention of photography coincided almost exactly
0:01:33 > 0:01:38with Queen Victoria's accession to the throne in 1837.
0:01:38 > 0:01:45At the time, Victoria was an 18-year-old, inexperienced in politics and the pursuit of power.
0:01:45 > 0:01:52And photography was little more than a novel curiosity in its infancy.
0:01:52 > 0:02:00During the course of her 64-year reign, the Queen would become the world's most powerful head of state,
0:02:00 > 0:02:04ruling an Empire covering a quarter of the globe.
0:02:04 > 0:02:10She would also become the first woman in the world to live both her
0:02:10 > 0:02:14public and private lives in front of the camera.
0:02:14 > 0:02:20And the first monarch to use photography to win the support of her people.
0:02:24 > 0:02:26# Sweet, sweet, memories you gave to me... #
0:02:26 > 0:02:31The earliest royal photographs were not, in fact, of Queen Victoria,
0:02:31 > 0:02:34but of her husband, Prince Albert.
0:02:34 > 0:02:40While on a trip to Brighton in March 1842, he visited a photographer
0:02:40 > 0:02:44called William Constable, and had two portraits taken.
0:02:44 > 0:02:46Known as daguerreotypes,
0:02:46 > 0:02:51the pictures were printed on metal plates treated with chemicals.
0:02:51 > 0:02:54In one, he looks quite handsome, in the other he looks
0:02:54 > 0:02:59perhaps not quite so handsome. They're fascinating -
0:02:59 > 0:03:01they're so early and he's young.
0:03:01 > 0:03:03You see why Victoria was so keen on him.
0:03:05 > 0:03:11Two years later, Queen Victoria herself was photographed for the first time.
0:03:11 > 0:03:15Posing with her daughter Princess Vicky, the 25-year-old
0:03:15 > 0:03:17queen looks like an ordinary mother
0:03:17 > 0:03:21with nothing more on her mind than the welfare of her family.
0:03:28 > 0:03:32But she was soon to face the first political crisis of her reign.
0:03:32 > 0:03:36And another photographer would be on hand to record it.
0:03:38 > 0:03:43On 10th April 1848, William Kilburn set up his camera
0:03:43 > 0:03:50on Kennington Common in South London to photograph a political protest rally organised by a group called
0:03:50 > 0:03:53the Chartists who were campaigning for electoral reform.
0:03:55 > 0:04:00This is where the curtain goes up on recording history as it happened.
0:04:00 > 0:04:05Suddenly you're seeing something which is a dramatic
0:04:05 > 0:04:09moment politically in the history of this country actually recorded.
0:04:09 > 0:04:13That is exactly what it was like on 10th April 1848,
0:04:13 > 0:04:17and for those who saw it, it must have been electrifying.
0:04:17 > 0:04:23This wasn't a republican movement, they still believed, the vast majority of them, in the monarchy,
0:04:23 > 0:04:26but it was a radical movement, it was a working class protest movement and
0:04:26 > 0:04:31as such was rather fearful for the political and royal establishment.
0:04:31 > 0:04:361848 was the year of revolutions in Europe, crowns were toppling all over the place.
0:04:36 > 0:04:43So obviously with the threat of 200,000 people descending on London, everybody got the wind up.
0:04:43 > 0:04:49In the days before the rally, the British Establishment was in a state of panic.
0:04:52 > 0:04:57Terrified, the royal family fled to the safety of Osborne House on the Isle of Wight,
0:04:57 > 0:05:05where Victoria wrote in her diary, "I tremble at the thought of what may possibly await us here".
0:05:10 > 0:05:14But Victoria's fears turned out to be unfounded.
0:05:14 > 0:05:18The protest was contained and the crisis passed.
0:05:20 > 0:05:24Later that year, Prince Albert acquired two new photographs for
0:05:24 > 0:05:30the royal collection - Kilburn's daguerreotypes of the Chartist rally.
0:05:31 > 0:05:38The pictures would always be there to remind Victoria that her people had the power to turn against her.
0:05:43 > 0:05:49The Great Exhibition of 1851 was the perfect opportunity to boost
0:05:49 > 0:05:52the nation's morale and raise the royal profile.
0:05:52 > 0:05:57Organised by Prince Albert, it was staged in the specially-constructed
0:05:57 > 0:05:59Crystal Palace in Hyde Park.
0:06:01 > 0:06:04The Great Exhibition was an enormous success.
0:06:04 > 0:06:05We don't have a revolution in 1848.
0:06:05 > 0:06:11Instead, in 1851, we have this celebration of our peace and our prosperity and our productivity.
0:06:13 > 0:06:16At the exhibition, all the latest technical innovations were on display
0:06:16 > 0:06:23including Victoria and Albert's favourite new gadget, the camera.
0:06:23 > 0:06:30Six million visitors were treated to demonstrations of brand new photographic techniques.
0:06:30 > 0:06:34Negatives had just been invented, so photographs could now be printed
0:06:34 > 0:06:36on paper, and produced in multiple copies.
0:06:43 > 0:06:49Excited by the new techniques and eager to make a record of their own private happiness, Victoria
0:06:49 > 0:06:54and Albert started to commission photographs for their family albums.
0:06:56 > 0:06:59In 1854, they invited the photographer,
0:06:59 > 0:07:04Roger Fenton, to take pictures of them recreating their wedding day,
0:07:04 > 0:07:0614 years after they were married.
0:07:11 > 0:07:14In the same year, Fenton also captured
0:07:14 > 0:07:16the children's tableaux vivants,
0:07:16 > 0:07:20created to amuse their parents on their wedding anniversary.
0:07:22 > 0:07:24He was a great photographer, Fenton,
0:07:24 > 0:07:28just absolutely marvellous, because we have those incredible photographs,
0:07:28 > 0:07:30informal ones of the Royal Family which he
0:07:30 > 0:07:33took, one thinks particularly of the ones of the children.
0:07:33 > 0:07:39They absolutely evoke the 1850s in a way which transports you, really.
0:07:39 > 0:07:42They have a kind of truth that utterly haunts one.
0:07:51 > 0:07:54In a way, he waves a wand over them, doesn't he?
0:07:54 > 0:07:56And why not?
0:07:56 > 0:08:01Victoria writes in her journals how they would sit by the fire
0:08:01 > 0:08:04on Sunday evening and go through
0:08:04 > 0:08:09these albums page by page and it's very touching, but they were
0:08:09 > 0:08:16very private and intimate things to them, and they were not, absolutely not, for public consumption.
0:08:16 > 0:08:21But royal photography would not stay private and innocent for long.
0:08:21 > 0:08:29The camera was about to propel Queen Victoria into a new media age that would transform the monarchy.
0:08:35 > 0:08:40In 1854 in France, a man named Andre Disderi
0:08:40 > 0:08:44had discovered a way to mass-produce small portrait photographs.
0:08:44 > 0:08:49Known as cartes de visites, they arrived in Britain in 1859,
0:08:49 > 0:08:55and within three years between three and four million photographs of Queen Victoria had been sold.
0:08:55 > 0:09:01# The more I see you The more I want you... #
0:09:06 > 0:09:11These little cards would revolutionise the relationship between the Queen and her people.
0:09:13 > 0:09:18Members of the public could own for the first time a portrait of their Queen actually taken from life.
0:09:18 > 0:09:24Before that, they could only judge what she was like by looking at paintings or engravings or
0:09:24 > 0:09:29stamps or coins, but of course when photography came in it was wonderful, there was the Queen!
0:09:29 > 0:09:32A little picture of her, you could have her in your own home.
0:09:33 > 0:09:37In a way I suppose, the equivalent is Hello! magazine and celeb culture today.
0:09:37 > 0:09:40That's exactly what it was like, everybody collected these things.
0:09:43 > 0:09:48Victoria and Albert were quick to exploit the potential power of cartes de visites.
0:09:48 > 0:09:51In August 1860, they commissioned a series of
0:09:51 > 0:09:55portraits for an album that would be made available to the public.
0:09:55 > 0:10:00Despite the substantial price - £4 and four shillings -
0:10:00 > 0:10:04the album sold 60,000 copies within a week of its release.
0:10:08 > 0:10:11The monarchy had to be seen to be more accessible, more open.
0:10:11 > 0:10:15It was a changing society with an ever expanding middle class and therefore it was
0:10:15 > 0:10:20extremely clever of the Royal family to take up a curtain on themselves.
0:10:20 > 0:10:27The Queen's popularity was reaching levels that had been impossible to imagine just 10 years before.
0:10:29 > 0:10:33She had used photography to regain the support of her people.
0:10:33 > 0:10:39Now she would use it to consolidate her power and establish a more imposing regal image.
0:10:43 > 0:10:47The first state portrait of Queen Victoria was taken by a photographer
0:10:47 > 0:10:54called Charles Clifford on 14th November 1861.
0:10:54 > 0:10:58Wearing formal dress, a ceremonial sash and crown,
0:10:58 > 0:11:03Victoria was portraying herself as Queen for the first time.
0:11:03 > 0:11:06She appeared to be unassailable.
0:11:40 > 0:11:45But Victoria's life was about to fall apart.
0:11:51 > 0:11:58On 14th December 1861, one month to the day after the Clifford portrait
0:11:58 > 0:12:04was taken, her adored husband Albert died of typhoid at the age of 42.
0:12:07 > 0:12:10Victoria went into deep mourning.
0:12:10 > 0:12:14Almost mad with grief, she gave instructions to
0:12:14 > 0:12:18Albert's servants to continue their daily routines as normal.
0:12:20 > 0:12:24The water was put out for him to wash, the clothes were still laid out.
0:12:24 > 0:12:26It was a kind of surreal atmosphere.
0:12:28 > 0:12:31Victoria even asked a photographer to take a picture
0:12:31 > 0:12:34of the bed in which Albert had died.
0:12:34 > 0:12:39The rooms were photographed, photographed as record because she
0:12:39 > 0:12:41wanted them kept exactly as they always were.
0:12:41 > 0:12:44Photography was used to extend grief.
0:12:50 > 0:12:55For most of the next 10 years, Victoria would disappear from public view.
0:12:55 > 0:13:00She divided her time between her most remote private residences -
0:13:00 > 0:13:05Osborne House on the Isle of Wight and her Highland retreat, Balmoral.
0:13:08 > 0:13:15But even when she was too distraught to go out in public, the Queen still managed to pose for photographs.
0:13:15 > 0:13:20# I love you so much
0:13:20 > 0:13:25# It hurts me
0:13:25 > 0:13:29# Darlin', that's why
0:13:29 > 0:13:34# I'm so blue... #
0:13:34 > 0:13:38It seems sort of strange to me that although she didn't appear in
0:13:38 > 0:13:42public, she could put up with being photographed.
0:13:42 > 0:13:47It seems to me that if I was so grief-stricken I couldn't even think
0:13:47 > 0:13:50about sitting for a photograph,
0:13:50 > 0:13:55but the way she thought of it is that it was a memorial to Albert.
0:13:57 > 0:14:03The photographs from the, let's say the first three years after his death, really are devastating.
0:14:03 > 0:14:06You do feel that she is absolutely grief-stricken.
0:14:06 > 0:14:10The first photograph of Victoria as widow
0:14:10 > 0:14:14was taken by her son, Prince Alfred, in 1862.
0:14:16 > 0:14:19Like many of the mourning photographs,
0:14:19 > 0:14:23the picture shows Victoria gazing with devotion at a bust of Albert.
0:14:23 > 0:14:26# I love you so much
0:14:28 > 0:14:31# It hurts me so... #
0:14:31 > 0:14:37One year later, Victoria was still deep in mourning.
0:14:37 > 0:14:41Even on the wedding day of her son to Princess Alexandra,
0:14:41 > 0:14:46she insisted on being photographed staring at the same bust.
0:14:47 > 0:14:52What kind of wedding day did Princess Alexandra of Denmark have?
0:14:52 > 0:14:55There she is looking absolutely wonderful standing to one side,
0:14:55 > 0:15:00there's the future Edward VII behind, but what's her mother-in-law?
0:15:00 > 0:15:06This sort of black heap looking adoringly up at the bust of Albert!
0:15:06 > 0:15:08Most extraordinary sort of image.
0:15:08 > 0:15:10Not joyous at all.
0:15:21 > 0:15:23Through the 1860s,
0:15:23 > 0:15:28Victoria took more and more control over the way she was photographed.
0:15:29 > 0:15:37In 1869, The British Journal Of Photography described the Queen's conduct at royal photo sessions:
0:15:37 > 0:15:42"The Queen merely takes her seat, and intimates through her secretary
0:15:42 > 0:15:46"that she wishes to be taken in a certain attitude.
0:15:46 > 0:15:51"The photographer has nothing to do but comply with the order".
0:15:51 > 0:15:55If you start looking through those photographs of her during that
0:15:55 > 0:15:58period, you begin to think she's really quite a bit naughty.
0:15:58 > 0:16:04Because to begin with she is grief-stricken, and then suddenly you get these pictures of her
0:16:04 > 0:16:12really arranging herself, really using photography to tell her people, "I'm not fit to come out, I'm sort of
0:16:12 > 0:16:18"bowed with grief, spinning away", or, "I'm holding this little dog as a substitute for Albert".
0:16:18 > 0:16:23And you feel a very carefully composed image is being projected.
0:16:25 > 0:16:30Queen Victoria was trying to use photography as compensation
0:16:30 > 0:16:32for her absence from public life.
0:16:32 > 0:16:35But the strategy wasn't working.
0:16:35 > 0:16:41Within a couple of years of Albert's death, the public were starting to grumble about their invisible Queen.
0:16:44 > 0:16:49The monarchy cost of lot of money to keep going, and where was she?
0:16:49 > 0:16:52Sort of walled away in Balmoral or Osborne,
0:16:52 > 0:16:54never even came to Buckingham Palace, never came to London.
0:16:54 > 0:16:58Never held a court, never did anything, never did the things she should do.
0:17:00 > 0:17:03# What good is a gal with a million?
0:17:06 > 0:17:12# What good if the world calls you queen?
0:17:12 > 0:17:15# If you don't have a man to love you
0:17:18 > 0:17:22# Then you don't have a doggone thing... #
0:17:24 > 0:17:31In 1863, a new figure began to appear in photographs with Queen Victoria.
0:17:31 > 0:17:34His name was John Brown,
0:17:34 > 0:17:39a ruggedly handsome Scotsman whose job was to take her riding.
0:17:39 > 0:17:44The Queen and her servant had become close friends.
0:17:44 > 0:17:46The photographs are fascinating.
0:17:46 > 0:17:50There she is coming to life again, in a way,
0:17:50 > 0:17:54a lady going out riding with him leading her.
0:17:54 > 0:17:58In John Brown, this romantic child of the Highlands, with his surly
0:17:58 > 0:18:00ways, with his sort of backwardness,
0:18:00 > 0:18:05with his innate difficultness, which was frequently the result of drink,
0:18:05 > 0:18:09Victoria seemed to find another Albert.
0:18:09 > 0:18:14The popular press soon began to speculate wildly about their relationship.
0:18:14 > 0:18:20They even invented a new name for the Queen - Mrs Brown.
0:18:20 > 0:18:25We don't know the degree of the relationship, whether there was a sexual relationship, or even,
0:18:25 > 0:18:28some suggest, whether they even got married in some sort of weird secret ceremony.
0:18:28 > 0:18:32But what we do know is that Victoria fell for Brown.
0:18:34 > 0:18:38Victoria would always refuse to give up John Brown.
0:18:38 > 0:18:42They remained close until his death in 1883.
0:18:44 > 0:18:49But the Queen's continued absence from public life and her ambiguous
0:18:49 > 0:18:54friendship with Brown, were fuelling anti-monarchist feeling in the country.
0:19:05 > 0:19:09In November 1871, a republican on the Government benches
0:19:09 > 0:19:13made a speech attacking the absent Queen's expenditure.
0:19:13 > 0:19:19The Prime Minister, William Gladstone, refused to rise to her defence.
0:19:22 > 0:19:25Victoria's authority had never been more precarious.
0:19:27 > 0:19:31And then suddenly Bertie falls ill.
0:19:31 > 0:19:35And this is the best thing that could happen for the monarchy.
0:19:35 > 0:19:39Bertie was Queen Victoria's eldest son, the Prince of Wales.
0:19:39 > 0:19:42He'd caught typhoid fever, the same illness that had
0:19:42 > 0:19:47killed his father, Prince Albert, almost exactly 10 years before.
0:19:49 > 0:19:51The terrible anniversary approached.
0:19:51 > 0:19:57The 14th December was looming, but on that very day the Prince took a turn for the better and started
0:19:57 > 0:20:02to recover, to the great relief of everybody including of course his mother and all his relatives.
0:20:02 > 0:20:04He recovers, what do they do?
0:20:04 > 0:20:08An absolutely mammoth thanksgiving service at St Paul's Cathedral.
0:20:08 > 0:20:13And lo and behold, the Queen actually appears. What is more,
0:20:13 > 0:20:15not entirely in black,
0:20:15 > 0:20:17but covered in ermine!
0:20:20 > 0:20:25The thanksgiving service at St Paul's Cathedral provided Queen Victoria with
0:20:25 > 0:20:29the perfect opportunity to stop republicanism in its tracks.
0:20:29 > 0:20:32In just one day of pomp and ceremony,
0:20:32 > 0:20:36she was able to demonstrate her commitment to the nation.
0:20:40 > 0:20:42To reinforce her message,
0:20:42 > 0:20:48Queen Victoria was photographed in her ermine-trimmed robes.
0:20:48 > 0:20:50For the first time in 10 years,
0:20:50 > 0:20:53she was re-establishing her image as Queen.
0:21:08 > 0:21:14Queen Victoria was now sovereign of the most powerful nation on earth.
0:21:14 > 0:21:17The British Empire was expanding rapidly
0:21:17 > 0:21:20bringing ever more subjects under her rule.
0:21:22 > 0:21:29In 1876, she took on a new title - Empress of India.
0:21:29 > 0:21:32To mark the occasion, she commissioned the photographer,
0:21:32 > 0:21:36William Downey, to create a suitably imperial portrait.
0:21:38 > 0:21:43Here we see the whole transmutation of the image of the monarchy.
0:21:43 > 0:21:48We see her seated for the first time on a throne, albeit an Oriental one.
0:21:48 > 0:21:53She's bathed in almost a kind of aura of golden light, she's become
0:21:53 > 0:21:57a kind of world empress, grandmother of Europe, all wrapped into one.
0:21:57 > 0:22:02This is her as Queen. Old lady yes, but serene.
0:22:02 > 0:22:04There's a grandeur about the woman.
0:22:08 > 0:22:10Millions of people across the Empire
0:22:10 > 0:22:14only had access to their monarch through photographs.
0:22:14 > 0:22:16So it was increasingly important
0:22:16 > 0:22:19to present a convincingly majestic image.
0:22:24 > 0:22:28# I'm sittin' on top
0:22:28 > 0:22:30# Of the world
0:22:30 > 0:22:34# Just rolling along Just rolling along... #
0:22:34 > 0:22:40During the 1880s, one of London's most popular society photographers,
0:22:40 > 0:22:44Alexander Bassano, was frequently commissioned to ensure
0:22:44 > 0:22:46that the Queen looked her best.
0:22:46 > 0:22:54Queen Victoria was fat. As far as I can remember she had a 48 inch waist and she was only 50 inches high.
0:22:54 > 0:22:58Bassano was master of a new technique which enabled
0:22:58 > 0:23:03dramatic re-touching on the negative to improve the subject's appearance.
0:23:03 > 0:23:06It's the beginning of...
0:23:06 > 0:23:08well, you may not be beautiful when you enter the studio
0:23:08 > 0:23:12but the print at the other end, boy, you're ethereal and glamorous.
0:23:16 > 0:23:21Bassano's retouched portraits gave Victoria a trimmer waist,
0:23:21 > 0:23:25smoother skin, fewer chins and darker hair.
0:23:25 > 0:23:28He soon became the Queen's new favourite, and she commissioned him
0:23:28 > 0:23:33to take the official portraits for her Golden Jubilee in 1887.
0:23:39 > 0:23:43The pictures show her looking imperious, stern,
0:23:43 > 0:23:45and distinctly unamused.
0:23:45 > 0:23:48When you're smiling
0:23:49 > 0:23:56This was the image that would define Victoria for posterity.
0:23:56 > 0:24:00But according to her grand-daughter Princess Alice, who was photographed
0:24:00 > 0:24:02aged four with Queen Victoria in the same year,
0:24:02 > 0:24:06this wasn't what she was really like at all.
0:24:06 > 0:24:08People have got a sort of grim idea of her -
0:24:08 > 0:24:10we are not amused.
0:24:10 > 0:24:14You know, I was so disappointed, I asked her and she never said it!
0:24:19 > 0:24:23Because she was amused, you see, she laughed terrifically, showed all her
0:24:23 > 0:24:26gums, opened her mouth wide and screamed with laughter.
0:24:26 > 0:24:29She was a very cheerful person.
0:24:29 > 0:24:33Nobody knows really why Queen Victoria so rarely smiled
0:24:33 > 0:24:36in photographs, but I think there were several reasons.
0:24:36 > 0:24:40One was that photography in those days took longer than it does now
0:24:40 > 0:24:42and you would have to hold your pose for several seconds.
0:24:42 > 0:24:45But the other thing was that as Queen, she probably
0:24:45 > 0:24:49felt she should look dignified, and she did her best to do this,
0:24:49 > 0:24:51this is why she looks serious.
0:24:51 > 0:24:55But she could smile, and did!
0:24:57 > 0:25:02A family photograph from 1886, showing four generations of female
0:25:02 > 0:25:07royalty, bears witness to the other side of the Queen's personality.
0:25:08 > 0:25:12The Queen is laughing, she's smiling very broadly,
0:25:12 > 0:25:16completely relaxed which is lovely for us to see
0:25:16 > 0:25:20when we've seen so many very severe pictures of her.
0:25:20 > 0:25:24One year later, and for the first time in 50 years, the public
0:25:24 > 0:25:27were given a glimpse of this smile.
0:25:27 > 0:25:31This shot of Victoria, taken on the day of her Golden Jubilee,
0:25:31 > 0:25:34was released as a carte de visite.
0:25:34 > 0:25:37# Cos when you're smiling... #
0:25:40 > 0:25:44Photography was still helping Victoria to persuade
0:25:44 > 0:25:46her people to like her,
0:25:46 > 0:25:48and maybe even to love her.
0:25:58 > 0:26:02In 1896, the first moving film footage of the Queen
0:26:02 > 0:26:04was shot at Balmoral.
0:26:04 > 0:26:09This was the beginning of another revolution in the relationship
0:26:09 > 0:26:11between the monarchy and the people.
0:26:13 > 0:26:17The inexperienced 18-year-old who had come to the throne 60 years
0:26:17 > 0:26:22earlier now had a sophisticated awareness of the importance of image
0:26:22 > 0:26:24in the new media age.
0:26:26 > 0:26:29When her Diamond Jubilee came around in 1897,
0:26:29 > 0:26:33Victoria requested the removal of all copyright restrictions
0:26:33 > 0:26:38on the official photograph that was released to mark the occasion.
0:26:40 > 0:26:44This guaranteed that it would be mass-produced on royal souvenirs
0:26:44 > 0:26:48that would be distributed to every corner of the British Empire.
0:26:50 > 0:26:54Her 500 million subjects would now know the face
0:26:54 > 0:26:57of the most powerful woman in the world -
0:26:57 > 0:27:03Victoria, Queen, Empress and Defender of the Faith.
0:27:15 > 0:27:20Queen Victoria died on 22nd January 1901.
0:27:23 > 0:27:28The final photograph shows her in her coffin, surrounded, as ever,
0:27:28 > 0:27:31by pictures of her beloved Albert.
0:27:32 > 0:27:35Photography had helped transform
0:27:35 > 0:27:40a young princess into a formidable symbol of imperial power.
0:27:40 > 0:27:46Her private life had also been drawn into the public domain by the camera.
0:27:46 > 0:27:50But Victoria still managed to take one secret to the grave.
0:27:52 > 0:27:56She left her servants a detailed list of the objects
0:27:56 > 0:27:58she was to be buried with.
0:27:58 > 0:28:02And she made it clear that she didn't want her family
0:28:02 > 0:28:04to know what these were.
0:28:04 > 0:28:09Perhaps this is because, tucked into her left hand, hidden under flowers
0:28:09 > 0:28:14and sheets, was something she didn't want her children to see -
0:28:14 > 0:28:17a photograph of her favourite servant
0:28:17 > 0:28:19and friend, John Brown.
0:28:49 > 0:28:53Subtitles by Emma Biggins BBC Broadcast 2005
0:28:53 > 0:28:56E-mail us at subtitling@bbc.co.uk