document_title: Peacock Throne

question_text: who was the last mughal emperor to sit on the peacock throne

text: Peacock Throne

text: History[edit]

text: Shah Jahan ruled in what is considered the Golden Age of the vast Mughal Empire, which covered almost all of the Indian subcontinent. It was ruled from the newly constructed capital of Shahjahanabad. The emperor was the focus around which everything else revolved, giving audiences and receiving petitioners. This ruler and his court was to be a mirror image of paradise on earth, in the very centre of the empire; and such a ruler would be worthy of a Throne of Solomon (تخت سليمان, Takht-e-Sulaiman) to underscore his position as a just king. Just like Solomon's throne, the Peacock Throne was to be covered in gold and jewels, with steps leading up to it, with the ruler floating above ground and closer to heaven. Said Gilani and his workmen from the imperial goldsmiths' department were commissioned with the construction of this new throne. It took seven years to complete. Large amounts of solid gold, precious stones and pearls were used, creating a masterful piece of Mughal workmanship that was unsurpassed before or after its creation. It was an opulent indulgence that could only be seen by a small number of courtiers, aristocrats, and visiting dignitaries. The throne was, even by Golden Age Mughal standards, supremely extravagant, costing twice as much as the construction of the Taj Mahal.[1][2][3]

text: The appearance of this new throne was in stark contrast to the older throne of Jahangir, a large rectangular slab of engraved black basalt constructed in the early 1600s, used by the father of Shah Jahan.

text: The new throne was not initially given the name by which it became known. It was simply known as the "Jeweled Throne" or "Ornamented Throne" (Takht-Murassa). It received its name from later historians because of the peacock statues featured on it.[1]

text: The Peacock Throne was inaugurated in a triumphant ceremony on 22 March 1635, the formal seventh anniversary of Shah Jahan's accession.[4] The date was chosen by astrologers and was doubly auspicious, since it coincided exactly with Eid al-Fitr, the end of Ramadan, and Nowruz, the Persian Spring festival. The emperor and the court were returning from Kashmir and it was determined that the third day of Nowruz would be the most auspicious day for him to enter the capital and take his seat on the throne.[5][6]

text: Muhammad Qudsi, the emperor's favourite poet, was chosen to compose twenty verses that were inscribed in emerald and green enamel on the throne. He praised the matchless skill of the artisans, the "heaven-depleting grandeur" of its gold and jewels, and included the date in the letters of the phrase "the throne of the just king".[1][7]

text: Poet Abu-Talib Kalim was given six pieces of gold for each verse in his poem of sixty-three couplets.[8]

text: The master goldsmith Said Gilani was summoned by the emperor and showered with honours, including with his weight in gold coins and given the title "Peerless Master" (Bibadal Khan). Gilani produced a poem of 134 couplets, filled with chronograms, the first twelve couplets giving the date of the emperor's birth, the following thirty-two the date of his first coronation, then ninety couplets giving the date of the throne's inauguration.[8]

text: Towards India he turned his reins quickly and went in all glory,

text:
Driving like the blowing wind, dapple-grey steed swift as lightning.
With bounty and liberality, he returned to the capital;
Round his stirrups were the heavens and angels round his reins.
A thousand thanks! The beauty of the world has revived
With the early glory of the throne of multi-coloured gems.[9]

text: After Shah Jahan's death, his son Aurangzeb, who had the regnal name of Alamgir, ascended the Peacock Throne. Aurangzeb was the last of the strong Mughal emperors. After his death, in 1707, his son Bahadur Shah I reigned from 1707–1712. Bahadur Shah I was able to keep the empire stable, by maintaining a relaxed religious policy; however, after his death the empire was in inexorable decline. A period of political instability, military defeats, and court intrigues led to a succession of weak emperors: Jahandar Shah ruled for one year from 1712–1713, Farrukhsiyar from 1713–1719, Rafi ud-Darajat and Shah Jahan II only for a couple of months in 1719. By the time Muhammad Shah came to power, Mughal power was in serious decline and the empire was vulnerable. Nevertheless, under the generous patronage of Muhammad Shah, the court at Delhi became again a beacon of the arts and culture. Administrative reforms could not however stop the later Mughal-Maratha Wars, which greatly sapped the imperial forces. It was only a question of time until forces from neighbouring Persia saw their chance to invade.

text: Nadir Shah's invasion of India culminated in the Battle of Karnal, on 13 February 1739, and the defeat of Muhammad Shah. Nadir Shah entered Delhi and sacked the city, in the course of which tens of thousands of inhabitants were massacred. Persian troops left Delhi at the beginning of May 1739, taking with them the throne as a war trophy, their haul of treasure amounting to a large reduction in Mughal wealth and an irreplaceable loss of cultural artefacts. Among the known precious stones that Nadir Shah looted were the Akbar Shah, Great Mughal, Great Table, Koh-i-Noor, and Shah diamonds, as well as the Samarian spinel and the Timur ruby. These stones were either part of the Peacock Throne or were in possession of the Mughal emperors. The Akbar Shah Diamond was said to form one of the eyes of a peacock,[10] as did the Koh-i-Noor.[11] The Shah diamond was described by Jean-Baptiste Tavernier as being on the side of the throne.[12] Many of these stones ended up becoming part of the Persian crown jewels or were taken later by the British colonialists.

text: When Nadir Shah was assassinated by his own officers on 19 June 1747, the throne disappeared, most probably being dismantled or destroyed for its valuables, in the ensuing chaos.[13] One of the unsubstantiated rumours claimed the throne was given to the Ottoman Sultan,[14] although this could have been a minor throne produced in Persia and given as a gift. The Persian emperor Fath-Ali Shah commissioned the Sun Throne to be constructed in the early 19th century. The Sun Throne has a platform in the shape of that of the Peacock Throne. Some rumours claim that parts of the original Peacock Throne were used in its construction, although there is no evidence for that. Over time, the Sun Throne was erroneously referred to as the Peacock Throne, a term that was later appropriated by the West as a metonym for the Persian monarchy. No structural parts proven to be of the original Peacock Throne survived. Only some of diamonds and precious stones that are attributed to it have survived and re-worked.

text: A Sikh legend has it that a rectangular stone slab measuring 6 feet (1.8 m) by 4 feet (1.2 m) by 9 inches (230 mm) was uprooted, enchained, and brought by Jassa Singh Ramgarhia to Ramgarhia Bunga, in Amritsar, after the capture of the Red Fort by the combined Dal Khalsa forces of Jassa Singh Ahluwalia and Baghel Singh in 1783, as war booty.[15][16] However, that this stone pedestal does indeed come from the Peacock Throne has not been independently corroborated by scientists and historians.

text: A replacement throne that closely resembled the original was probably constructed for the Mughal emperor, after the Persian invasion.[17] The throne was located on the eastern side of the Divan-i-Khas, towards the windows. This throne however was also lost, possibly during or after the Indian Rebellion of 1857 and the subsequent looting and partial destruction of the Red Fort by the British.[18] The marble pedestal on which it rested has survived and can still be seen today.[19][20]

text: In 1908, the New York Times reported that Caspar Purdon Clarke, Director of the Metropolitan Museum of Art, obtained what was purported to be a marble leg from the pedestal of the throne.[21] Although mentioned in the 1908 annual report, the status of this pedestal leg remains unknown.[19][22][23] There is another marble leg in the Victoria and Albert Museum in London. Where exactly these two pedestal legs originate from, and if they are connected to the Peacock Throne at all, remains unclear.

text: Inspired by the legend of the throne, King Ludwig II of Bavaria installed a romanticised version of it in his Moorish Kiosk in Linderhof Palace, constructed in the 1860s.[citation needed]

text: Descriptions[edit]

text: The contemporary descriptions that are known today of Shah Jahan's throne are from the Mughal historians Abdul Hamid Lahori and Inayat Khan, and the French travellers François Bernier and Jean-Baptiste Tavernier. No known painting that would match their descriptions exists of the throne.

text: By Abdul Hamid Lahori[edit]

text: Abdul Hamid Lahori (d. 1654) describes, in his Padshahnama, the construction of the throne:[24]

text: In the course of years many valuable gems had come into the Imperial jewel-house, each one of which might serve as an ear-drop for Venus, or would adorn the girdle of the Sun. Upon the accession of the Emperor, it occurred to his mind that, in the opinion of far-seeing men, the acquisition of such rare jewels and the keeping of such wonderful brilliants can only render one service, that of adorning the throne of empire. They ought therefore, to be put to such a use, that beholders might share in and benefit by their splendour, and that Majesty might shine with increased brilliancy.

text: It was accordingly ordered that, in addition to the jewels in the Imperial jewel-house, rubies, garnets, diamonds, rich pearls and emeralds, to the value of 200 lacs of rupees, should be brought for the inspection of the Emperor, and that they, with some exquisite jewels of great weight, exceeding 50,000 miskals, and worth eighty-six lacs of rupees, having been carefully selected, should be handed over to Bebadal Khan, the superintendent of the goldsmith's department. There was also to be given to him one lakh of tolas of pure gold, equal to 250,000 miskals in weight and fourteen lakhs of rupees in value.

text: The throne was to be three gaz in length, two and a half in breadth, and five in height, and was to be set with the above-mentioned jewels. The outside of the canopy was to be of enamel work with occasional gems, the inside was to be thickly set with rubies, garnets, and other jewels, and it was to be supported by twelve emerald columns. On the top of each pillar there were to be two peacocks thick set with gems, and between each two peacocks a tree set with rubies and diamonds, emeralds and pearls. The ascent was to consist of three steps set with jewels of fine water.

text: This throne was completed in the course of seven years at a cost of 100 lakhs of rupees. Of the eleven jeweled recesses (takhta) formed around it for cushions, the middle one, intended for the seat of the Emperor, cost ten lakhs of rupees. Among the jewels set in this recess was a ruby worth a lac of rupees, with Shah 'Abbas, the king of Iran, had presented to the late Emperor Jahangir, who sent it to his present Majesty, the Sahib Kiran-i sani, when he accomplished the conquest of the Dakhin.

text: On it were engraved the names of Sahib-kiran (Timur), Mir Shah Rukh, and Mirza Ulugh Beg. When in course of time it came into the possession of Shah 'Abbas, his name was added; and when Jahangir obtained it, he added the name of himself and of his father. Now it received the addition of the name of his most gracious Majesty Shah Jahan. By command of the Emperor, the following masnawi, by Haji Muhammad Jan, the final verse of which contains the date, was placed upon the inside of the canopy in letters of green enamel. . . .

text: On his return to Agra, the Emperor held a court, sat for the first time on his throne.[25]

text: By Inayat Khan[edit]

text: The following is the account given of the throne in the Shahjahannama of Inayat Khan:

text: The Nauroz of the year 1044 fell on the 'Id-i fitr, when His Majesty was to take his seat on the new jeweled throne. This gorgeous structure, with a canopy supported on twelve pillars, measured three yards and a half in length, two and a half in breadth, and five in height, from the flight of steps to the overhanging dome. On his Majesty's accession to the throne, he had commanded that eighty-six lakhs worth of gems and precious stones, and a diamond worth fourteen lakhs, which together make a crore of rupees as money is reckoned in Hindustan, should he used in its decoration. It was completed in seven years, and among the precious stones was a ruby worth a lakh of rupees that Shah 'Abbas Safavi had sent to the late Emperor, on which were inscribed the names of the great Timur Sahih-Kiran, etc.[26]

text: By François Bernier[edit]

text: The French physician and traveller François Bernier described, in his Travels in the Mogul Empire A.D. 1656-1668, the throne in the Diwan-i-Khas:

text: The King appeared seated upon his throne, at the end of the great hall, in the most magnificent attire. His vest was of white and delicately flowered satin, with a silk and gold embroidery of the finest texture. The turban, of gold cloth, had an aigrette whose base was composed of diamonds of an extraordinary size and value, besides an Oriental topaz, which may be pronounced unparalleled, exhibiting a lustre like the sun. A necklace of immense pearls, suspended from his neck, reached to the stomach, in the same manner as many of the Gentiles wear their strings of beads.

text: The throne was supported by six massive feet, said to be of solid gold, sprinkled over with rubies, emeralds, and diamonds. I cannot tell you with accuracy the number or value of this vast collection of precious stones, because no person may approach sufficiently near to reckon them, or judge of their water and clearness; but I can assure you that there is a confusion of diamonds, as well as other jewels, and that the throne, to the best of my recollection, is valued at four crores of Rupees. I observed elsewhere that a lakh is one hundred thousand[27] rupees, and that a crore is a hundred lakh; so that the throne is estimated at forty millions of rupees, worth sixty millions of pounds [livres] or thereabouts. It was constructed by Shah Jahan, the father of Aurangzeb, for the purpose of displaying the immense quantity of precious stones accumulated successively in the treasury from the spoils of ancient Rajas and Patans, and the annual presents to the Monarch, which every Omrah is bound to make on certain festivals. The construction and workmanship of the throne are not worthy of the materials; but two peacocks, covered with jewels and pearls, are well conceived and executed. They were made by a workman of astonishing powers, a Frenchman by birth, named..... who, after defrauding several of the Princes of Europe, by means of false gems, which he fabricated with peculiar skill, sought refuge in the Great Mogul's court, where he made his fortune.

text: At the foot of the throne were assembled all the Omralis, in splendid apparel, upon a platform surrounded by a silver railing, and covered by a spacious canopy of brocade with deep fringes of gold. The pillars of the hall were hung with brocades of a gold ground, and flowered satin canopies were raised over the whole expanse of the extensive apartment fastened with red silken cords, from which were suspended large tassels of silk and gold. The[28] floor was covered entirely with carpets of the richest silk, of immense length and breadth.[29]

text: By Jean-Baptiste Tavernier[edit]

text: The French jeweler Jean-Baptiste Tavernier made his sixth voyage to India between 1663 and 1668. It was his great privilege to be invited to visit the court at Delhi by emperor Aurangzeb himself, where he remained as Aurangzeb's guest for two months, from September 12, 1665 to November 11, 1665.

text: Tavernier was invited so the emperor could inspect the jewels he had brought from the west, with the intent of purchasing them. During this visit, Tavernier not only sold several jewels to the emperor and the emperor's uncle Jafar Khan, but established a close relationship with the emperor that led to a longer stay. Tavernier was invited to stay until the conclusion of the emperor's annual birthday celebrations, during which time he had the opportunity to visit the Red Fort and inspect the Peacock Throne. He was also given the opportunity to inspect the valuable jewels and stones belonging to the emperor, but was not able to see those still kept by Aurangzeb's father Shah Jahan, who was imprisoned at Agra Fort. In January 1666, only few months after Tavernier's stay, Shah Jahan died and Aurangzeb claimed the remaining stones.

text: Tavernier gives a detailed description of the Peacock Throne in his book Les Six Voyages de J. B. Tavernier, which was published in 1676 in two volumes. The account of the throne appears in Chapter VIII of Volume II, in which he describes the preparations for the emperor's annual birthday festival, and also the magnificence of the court. It should be noted that Tavernier is considered among the least reliable from a conventionally historical perspective.[30][31]

text: It should be stated that the Great Mogul has seven magnificent thrones, one wholly covered with diamonds, the others with rubies, emeralds, or pearls.

text: The principal throne, which is placed in the hall of the first court, is nearly of the form and size of our camp-beds; that is to say, it is about 6 feet (1.8 m) long and 4 feet (1.2 m) wide. Upon the four feet, which are very massive and from 20 inches (51 cm) to 25 inches (64 cm) high, are fixed the four bars[32] which support the base of the throne, and upon these bars are ranged twelve columns, which sustain the canopy on three sides, there not being any on that which faces the court. Both the feet and the bars, which are more than 18 inches long, are covered with gold inlaid and enriched with numerous diamonds, rubies, and emeralds.

text: In the middle of each bar there is a large balass ruby, cut en cabuchon, with four emeralds round it, which form a square cross. Next in succession, from one side to the other along the length of the bars there are similar crosses, arranged so that in one the ruby is in the middle of four emeralds, and in another the emerald is in the middle and four balass rubies surround it. The emeralds are table-cut, and the intervals between the rubies and emeralds are covered with diamonds, the largest of which do not exceed 10 to 12 carats in weight, all being showy stones, but very flat.

text: There are also in some parts pearls set in gold, and upon one of the longer sides of the throne there are four steps to ascend it. Of the three cushions or pillows which are upon the throne, that which is placed behind the King's back is large and round like one of our bolsters, and the two others that are placed at his sides are flat. There is to be seen, moreover, a sword suspended from this throne, a mace, a round shield, a bow and quiver with arrows; and all these weapons, as also the cushion and steps, both of this throne and the other six, are covered over with stones which match those with which each of the thrones is respectively enriched.

text: I counted the large balass rubies on the great throne, and there are about 108, all cabuchons, the least of which weighs 100 carats, but there are some which weigh apparently 200 and more. As for the emeralds, there are plenty of good colour, but they have many flaws; the largest may weigh 60 carats and the least 30 carats. I counted about 116; thus there are more emeralds than rubies.

text: The underside of the canopy is covered with diamonds and pearls, with a fringe of pearls all round, and above the canopy, which is a quadrangular-shaped dome, there is to be seen a peacock with elevated tail made of blue sapphires and other coloured stones, the body being of gold inlaid with precious stones, having a large ruby in front of the breast, from whence hangs a pear-shaped pearl of 50 carats or thereabouts, and of a somewhat yellow water. On both sides of[33] the peacock there is a large bouquet of the same height as the bird, and consisting of many kinds of flowers made of gold inlaid with precious stones. On the side of the throne which is opposite the court there is to be seen a jewel consisting of a diamond of from 80 to 90 carats weight, with rubies and emeralds round it, and when the King is seated he has this jewel in full view.

text: But that which in my opinion is the most costly thing about this magnificent throne is, that the twelve columns supporting the canopy are surrounded with beautiful rows of pearls, which are round and of fine water, and weigh from 6 to 10 carats each. At 4 feet distance from the throne there are fixed, on either side, two umbrellas, the sticks of which for 7 or 8 feet in height are covered with diamonds, rubies, and pearls. The umbrellas are of red velvet, and are embroidered and fringed all round with pearls.

text: This is what I have been able to observe regarding this famous throne, commenced by Tamerlane and completed by Shāhjahān; and those who keep the accounts of the King’s jewels, and of the cost of this great work, have assured me that it amounts to 107,000 lakhs of rupees, which amount to 160,500,000 livres of our money.[34]

text: Tavernier, however, describes seeing the throne in what is probably the Diwan-i-Am. One theory is that the throne was sometimes moved between the two halls, depending on the occasion. Tavernier also describes five other thrones in the Diwan-i-Khas.

text: Discrepancies between descriptions of Lahori and Tavernier[edit]

text: The descriptions of Lahori, from before 1648, and Tavernier's, published in 1676, are generally in broad agreement on the most important features of the thrones, such as its rectangular shape, standing on four legs at its corners, the 12 columns on which the canopy rests, and the type of gemstones embedded on the throne, such as balas rubies, emeralds, pearls, diamonds, and other coloured stones. There are however some significant differences between the two descriptions:

text:
Lahori's account of the throne, based on the language used, could be a description of the projected design. Tavernier's account of the throne seems to be an eye-witness observation during his visit, in 1665, to the Red Fort. It could be that there were differences between the projected and final designs of the throne that Shah Jahān ascended for the first time on March 12, 1635.
According to Lahori, the throne was to have a length of 3 yards (9 feet) and a breadth of 2½ yards (7½ feet). Tavernier however gives the length at 6 feet and breadth of 4 feet. The height is described by Lahori as 5 yards (15 feet), but Tavernier's account does not mention its total height. Only the height of the four legs at the corners are mentioned, which was about 2 feet.
Lahori describes the canopy as being supported by 12 emerald columns, Tavernier describes 12 columns that were surrounded by and embedded with rows of pearls, which were round and of fine water, and which weighed from 6 to 10 carats each. He thinks these pearls were in fact the most costly and precious aspect of the throne.
A major difference is the position of the eponymous peacock statues. Lahori states that on the top of each pillar there were to be two peacocks, thick-set with gems, and between each two peacocks, a tree set with rubies and diamonds, emeralds and pearls. If the reference to "pillar" here means "column" there would be 24 peacocks right round the throne. Tavernier however saw only a single large peacock above the quadrangular-shaped, dome-like canopy, with an elevated tail, embedded with blue sapphires and other coloured stones, the body of the peacock being made of gold inlaid with precious stones, having a large ruby in front of the breast, from which hung a pear-shaped pearl around 60 carats in weight. Apart from the single large peacock, Tavernier's account speaks of a large bouquet, representing many kinds of flowers, made of gold inlaid with precious stones, of the same height as the peacock, situated on either side of the peacock.
According to Lahori, ascending the throne was by way of three steps, which were also set with jewels of fine water. Tavernier however describes four steps on the longer side of the throne and embedded with the same types of gemstones used on the throne, and with matching designs.

text: Apart from the significant differences between the two accounts given above, there are several details given in Lahori's account that are not mentioned in Tavernier's, and vice versa.

text: Lahori's description[edit]

text:
Lahori's account mentions several historical diamonds that decorated the throne, such as the 186-carat Koh-i-Noor diamond, the 95-carat Akbar Shah diamond, the 88.77-carat Shah diamond and the 83-carat Jahangir diamond, apart from the 352.50-carat Timur Ruby, the third-largest balas ruby in the world. Tavernier makes no mention of these most precious stones. One explanation is that when Tavernier saw the throne in 1665, all these historical diamonds and the balas ruby were in the possession of Shah Jahan, who was under house arrest at the Fort in Agra. Shah Jahan died on 22 January 1666—two months after Tavernier left Delhi, and reached Bengal, during this, his sixth, and last, voyage to India—and his son and successor Aurangzeb was able to claim all these gems. Lahori's descriptions were made during the rule of Shah Jahan, when all the gems were probably incorporated in the throne.
According to Lahori, a twenty-couplet poem by the poet Muhammad Qudsi praising Shah Jahan in emerald letters was embedded in the throne. Tavernier does not mention this in his account, either because of his inability to read and understand what was written, or because Aurangzeb had ordered its removal.

text: Tavernier's description[edit]

text: Tavernier was allowed to closely inspect the throne and its jewels and wrote the most well known detailed description to date.

text:
In his account, Tavernier gave details of the design in which the balas rubies, emeralds, diamonds, and pearls were arranged on the four horizontal bars connecting the four vertical legs, from which the 12 vertical columns, supporting the canopy, arose. In the middle of each bar, a large cabochon-cut balas ruby was placed, surrounded by four emeralds forming a square cross. Smaller such square crosses were situated on either side of the central large cross, along the length of the bar, but arranged in such a way that while in one square cross a balas ruby occupied the center, surrounded by four emeralds, in the next square cross, an emerald was surrounded by four balas rubies. The emeralds were table-cut and the intervals between the emerald-and-ruby crosses, were covered with diamonds, also table-cut and not exceeding 10 to 12 carats in weight.
There were three cushions or pillows upon the throne. The one placed behind the emperor's back was large and round; the other two, placed at his sides, were flat. The cushions were also studded with gems.
Tavernier mentioned some royal standards and weapons that were suspended from the throne, such as a mace, a sword and a round shield, and a bow and quiver with arrows, all studded with gemstones.
He counted the number of large balas rubies and emeralds on the throne. Accordingly, there were 108 large balas rubies on the throne, all cabochon-cut, the smallest weighing around 100 carats and the largest over 200 carats in weight. He counted 116 large emeralds on the throne, all of excellent colour, but with many flaws (a characteristic feature of emeralds), the smallest weighing around 30 carats and the largest around 60 carats.
The underside of the canopy was covered with diamonds and pearls, with a fringe of pearls all round.
On the side of the throne facing the court was suspended a diamond of 80 to 90 carats in weight, with rubies and emeralds surrounding it. When the Emperor was seated on the throne, this suspended arrangement of jewels was in full view in front of him.
Tavernier then wrote about two large gem-studded royal umbrellas, which were not part of the throne, but were placed on either side of the throne, at a distance of 4 feet from it. The central stems of these umbrellas, 7 to 8 feet long, were covered with diamonds, rubies, and pearls. The cloth of the umbrella was made of red velvet, and embroidered and fringed all round with pearls. The height of these umbrellas might give an indication as to the height of the throne, which was probably of the same height. Thus, the height of the throne would have been around 7 to 10 feet.

text: Later Peacock Throne[edit]

text: After Nader Shah looted the original, another throne was made for the Mughal emperor. Along with the Peacock Throne, Nader had also taken the fabulous Koh-i Noor and Darya-i Noor diamonds to Persia, where some became part of the Persian crown jewels, and others were sold to the Ottomans. The plunder taken by Nader was so great that he stopped taxation for 3 years. The bottom half of the Peacock Throne might have been converted into the Sun Throne also a part of the Persian crown jewels. Various 19th-century Indian paintings of this later throne exist. It was located in the Diwan-i-Khas and might have been smaller in size than the original. However, the appearance would have been similar, based on either the original plans or from memory and eye-witness accounts. The replacement throne was made out of gold, or was gilded, and was studded with precious and semi-precious stones. Just like the original, it featured 12 columns. The columns carried a Bengali do-chala roof, which was graced with two peacock statues on the two ends, carrying pearl necklaces in their beaks, and two peacocks at the top, also carrying pearl necklaces in their beaks. The two lower peacocks were in the center underneath a flower bouquet made out of jewels, or under a royal umbrella. This throne was protected by a canopy made out of precious and colorful textiles, and gold and silver threads. The canopy was carried by four slender columns or beams made out of metal. Underneath the throne, colorful and precious carpets were laid out.


document_title: Louvre Pyramid

question_text: how many panes of glass in the louvre pyramid

root

text: Louvre Pyramid

text: Design and construction[edit]

text: Commissioned by the President of France, François Mitterrand, in 1984, it was designed by the architect I. M. Pei. The structure, which was constructed entirely with glass segments and metal poles, reaches a height of 21.6 metres (71 ft).[2] Its square base has sides of 34 metres (112 ft) and a base surface area of 1,000 square metres (11,000 sq ft).[3] It consists of 603 rhombus-shaped and 70 triangular glass segments.[2] The pyramid structure was engineered by Nicolet Chartrand Knoll Ltd. of Montreal (Pyramid Structure / Design Consultant) and Rice Francis Ritchie of Paris (Pyramid Structure / Construction Phase).[4]

tag: p

text: The pyramid and the underground lobby beneath it were created because of a series of problems with the Louvre's original main entrance, which could no longer handle the enormous number of visitors on an everyday basis.[citation needed] Visitors entering through the pyramid descend into the spacious lobby then re-ascend into the main Louvre buildings.[citation needed]

text: For design historian Mark Pimlott, "I.M. Pei’s plan distributes people effectively from the central concourse to myriad destinations within its vast subterranean network... the architectonic framework evokes, at gigantic scale, an ancient atrium of a Pompeiian villa; the treatment of the opening above, with its tracery of engineered castings and cables, evokes the atria of corporate office buildings; the busy movement of people from all directions suggests the concourses of rail termini or international airports."[5]

text: Several other museums have duplicated this concept, most notably the Museum of Science and Industry in Chicago. The Dolphin Centre, featuring a similar pyramid, was opened in April 1982, by Prince Richard, Duke of Gloucester.[6] The construction work on the pyramid base and underground lobby was carried out by the Vinci construction company.[7]

text: History[edit]

text: In 1839, according to one newspaper account, in ceremonies commemorating the "glorious revolution" of 1830, "The tombs of the Louvre were covered with black hangings and adorned with tricolored flags. In front and in the middle was erected an expiatory monument of a pyramidical shape, and surmounted by a funeral vase."[8]

text: Controversy[edit]

text: The construction of the pyramid triggered many years of strong and lively aesthetic and political debate.[9] Criticisms tended to fall into four areas: (1) the modernist style of the edifice being inconsistent with the classic French Renaissance style and history of the Louvre; (2) the pyramid being an unsuitable symbol of death from ancient Egypt; (3) the project being an immodest, pretentious, megalomaniacal folly imposed by then-President Francois Mitterrand; and (4) Chinese-American architect I.M. Pei being insufficiently French to be entrusted with the task of updating the treasured Parisian landmark.[10]

text: Those criticizing the aesthetics said it was "sacrilegious" to tamper with the Louvre's majestic old French Renaissance architecture, and called the pyramid an anachronistic intrusion of an Egyptian death symbol in the middle of Paris.[11] Meanwhile, political critics referred to the structure as Pharaoh Francois' Pyramid.[10] Many still continue to feel the harsh modernism of the edifice is out of place.[12][13][14]

text: During the design phase, there was a proposal[by whom?] that the design include a spire on the pyramid to simplify window washing. Pei objected, however, and this proposal was eliminated.

text: Urban legend of 666 panes[edit]

text: It has been claimed by some that the glass panes in the Louvre Pyramid number exactly 666, "the number of the beast", often associated with Satan. Dominique Stezepfandt's book François Mitterrand, Grand Architecte de l'Univers declares that "the pyramid is dedicated to a power described as the Beast in the Book of Revelation (...) The entire structure is based on the number 6."

text: The story of the 666 panes originated in the 1980s, when the official brochure published during construction did indeed cite this number (even twice, though a few pages earlier the total number of panes was given as 672 instead). The number 666 was also mentioned in various newspapers. The Louvre museum, however, states that the finished pyramid contains 673 glass panes (603 rhombi and 70 triangles).[2] A higher figure was obtained by David A. Shugarts, who reports that the pyramid contains 689 pieces of glass.[15] Shugarts obtained the figure from the Pei's offices.

text:
Elementary arithmetic allows for easy counting of the panes: each of the three sides of the pyramid without an entrance has 18 triangular panes and 17 rows of rhombic ones arranged in a triangle, thus giving

17
⋅
(
17
+
1
)

2

=
153

{\displaystyle \textstyle {\frac {17\cdot (17+1)}{2}}=153}

 rhombic panes (171 panes total). The side with the entrance has 11 panes fewer (9 rhombic, 2 triangular), so the whole pyramid consists of

4
⋅
153
−
9
=
603

{\displaystyle 4\cdot 153-9=603}

 rhombi and

4
⋅
18
−
2
=
70

{\displaystyle 4\cdot 18-2=70}

 triangles, 673 panes total.

text: The myth resurfaced in 2003, when Dan Brown incorporated it in his best-selling novel The Da Vinci Code, in which the protagonist reflects that "this pyramid, at President Mitterrand's explicit demand, had been constructed of exactly 666 panes of glass — a bizarre request that had always been a hot topic among conspiracy buffs who claimed 666 was the number of Satan."[16] However, David A. Shugarts reports that according to a spokeswoman of the offices of Pei, the French President never specified the number of panes to be used in the pyramid. Noting how the 666 rumor circulated in some French newspapers in the mid-1980s, she commented: "If you only found those old articles and didn't do any deeper fact checking, and were extremely credulous, you might believe the 666 story."[15]

text: La Pyramide Inversée[edit]

text: La Pyramide Inversée (The Inverted Pyramid) is a skylight in the Carrousel du Louvre shopping mall in front of the Louvre Museum. It looks like an upside-down and smaller version of the Louvre Pyramid.

text: Renovation[edit]

text: Designed for a museum that attracted 4.5 million visitors a year, the pyramid proved inadequate by the time the Louvre's attendance had doubled in 2014. Between 2014 and 2017, the layout of the foyer area in the Cour Napoleon beneath the glass pyramid is undergoing a thorough redesign, including better access to the pyramid and the Passage Richelieu.[17]


document_title: Panther De Ville

question_text: what kind of car does cruella deville drive in 101 dalmatians

text: Panther De Ville

text:
Panther De Ville

Overview

Manufacturer
Panther Westwinds Ltd

Production
1974 - 1985
60 produced

Assembly
Weybridge, England

Designer
Robert Jankel

Body and chassis

Body style
4-door saloon
2-door convertible
6-door limousine
2-door coupé

Layout
FR layout

Powertrain

Engine
4.2 L Jaguar XK6
5.3 L Jaguar V12

Transmission
3-speed automatic (1974–1976)
4-speed automatic (1977–1985)

Dimensions

Wheelbase
142.0 in (3,607 mm)

Length
204.0 in (5,182 mm)

Width
71.0 in (1,803 mm)

Height
61.0 in (1,549 mm)

Curb weight
4,370 lb (1,982 kg)

tag: table

text: The Panther De Ville is a neo-classic luxury vehicle which was produced by Panther Westwinds, the British specialty maker, from 1974 to 1985. The De Ville was conceived by Robert Jankel to appeal to the taste of nouveau riche customers, including singer Elton John and actor Oliver Reed. About 60 De Villes were hand-built, including eleven two-door convertibles (for many years Britain's most expensive listed production car), and one pink and gold six-door limousine.[1]

text: With a wheelbase of 142 inches (3,600 mm), the tubular-framed De Ville used a straight-six engine or a V12 engine from Jaguar Cars. The flowing wing lines and big headlights of the De Ville were styled to imitate the Bugatti Royale.[1] The cockpit of the De Ville was modern, without the exterior's pretense of pre-war styling.[2]

text: The Panther De Ville was equipped with Jaguar suspension, power steering and automatic transmission, so it was an easy car to drive and quite quick, although poor aerodynamics tended to keep the top speed low. Interiors were lavish and often featured TV sets and drinks bars. The doors of the De Ville were from the BMC 1800 family car.[1]

text: A Panther De Ville was used in Disney's 1996 live-action movie 101 Dalmatians as Cruella de Vil's car. The Jaguar engine in the car was replaced with a small-block Chevrolet V8.[1]

text: The Panther de Ville was hand painted by Alexander Mitchell

text: Sources and further reading[edit]

text:
^ Jump up to: a b c d Cars of the Super Rich: Page 194 (Panther De Ville). 2004.  Missing or empty |title= (help)
Jump up ^ L'Auto Journal. No.14/15: Page 157 (Panther De Ville). 1979.  Missing or empty |title= (help)

tag: ol


document_title: List of highest scoring NFL games

question_text: when was the last time the eagles scored over 50 points

text: List of highest scoring NFL games

text: List[edit]

text: Regular season[edit]

text:
Points scored
Score
Winning team
Losing team
Date
Ref

113
72–41
Washington Redskins
New York Giants
November 27, 1966
[1]

106
58–48
Cincinnati Bengals
Cleveland Browns
November 28, 2004
[2]

101
52–49
Oakland Raiders
Houston Oilers
December 22, 1963
[3]

101
52–49
New Orleans Saints
New York Giants
November 1, 2015
[4]

99
51–48 (OT)
Seattle Seahawks
Kansas City Chiefs
November 27, 1983
[5]

99
51–48
Denver Broncos
Dallas Cowboys
October 6, 2013
[6]

98
54–44
San Diego Chargers
Pittsburgh Steelers
December 8, 1985
[7]

96
51–45
Cleveland Browns
Cincinnati Bengals
September 16, 2007
[8]

96
51–45 (OT)
New York Jets
Miami Dolphins
September 21, 1986
[9]

95
48–47
Green Bay Packers
Washington Redskins
October 17, 1983
[10]

90
52-38
New Orleans Saints
Detroit Lions
October 15, 2017
[11]

89
48-41
New Orleans Saints
Arizona Cardinals
December 18, 2016
[12]

85
51-34
Pittsburgh Steelers
Indianapolis Colts
October 26, 2014
[13]

text: Playoffs[edit]

text:
Points scored
Score
Winning team
Losing team
Date
Ref

96
51–45 (OT)
Arizona Cardinals
Green Bay Packers
January 10, 2010
[14]

95
58–37
Philadelphia Eagles
Detroit Lions
December 30, 1995
[15]

89
45–44
Indianapolis Colts
Kansas City Chiefs
January 4, 2014
[16]

87
45–42
Jacksonville Jaguars
Pittsburgh Steelers
January 14, 2018
[17]

text: Super Bowl[edit]

text:
Points scored
Score
Winning team
Losing team
Date
Ref

75
49–26
San Francisco 49ers
San Diego Chargers
January 29, 1995
[18]

69
52-17
Dallas Cowboys
Buffalo Bills
January 31, 1993
[19]

69
48-21
Tampa Bay Buccaneers
Oakland Raiders
January 26, 2003
[20]

text: Game notes[edit]

text: Regular season[edit]

text: 113 points (New York Giants vs. Washington Redskins, 1966)[edit]

text: The Washington Redskins and the New York Giants combined for a total of 113 points in one game on November 27, 1966, in Washington, D.C.. The Redskins outscored the Giants 72–41. There were a total of 16 touchdowns: 10 by the Redskins and 6 by the Giants, plus a field goal by Washington's kicker Charlie Gogolak[21] with only 7 seconds left. The game was played before the introduction of nets behind the goal post causing the loss of fourteen footballs to the stands. Thirteen of the footballs were lost due to extra points, and one was lost by Brig Owens who threw the ball into the crowd after he returned a fumble 69 yards for a touchdown.[22]

text: 106 points (Cincinnati Bengals vs. Cleveland Browns, 2004)[edit]

text: On November 28, 2004, Cincinnati Bengals quarterback Carson Palmer threw for 4 touchdowns and Rudi Johnson ran for 2 more along with a career-high 202 rushing yards as the Bengals survived 413 passing yards and 5 touchdowns by Kelly Holcomb to defeat the Cleveland Browns 58–48, in the second-highest scoring game in NFL history. Deltha O'Neal returned an interception 69 yards for a touchdown in the final 2 minutes to end the Browns' comeback hopes and to cap the scoring.

text: 101 points (Oakland Raiders vs. Houston Oilers, 1963)[edit]

text: Played on December 22, 1963, the game took place in the American Football League (AFL), but it was absorbed into official NFL records after the NFL–AFL merger. The Oakland Raiders defeated the Houston Oilers 52–49, combining for a total of 101 points. It was Oakland's eighth win in a row.

text: Oakland placekicker Mike Mercer kicked a field goal with 4:37 left in the fourth quarter, breaking the 49–49 tie and giving Oakland the win. Raiders quarterback Tom Flores threw for 407 yards and 6 touchdowns. The Oilers quarterback and future Hall of Famer George Blanda passed for 342 yards and 5 touchdowns.[23] Oakland's wide receiver Art Powell caught 10 passes for a total of 247 yards and 4 touchdowns. Houston had their own offensive threat in Willard Dewveall who had seven catches adding up to a total amount of 137 yards and four touchdowns.[24]

text: 101 points (New York Giants vs. New Orleans Saints, 2015)[edit]

text: On November 1, 2015, the New York Giants and New Orleans Saints scored a combined 101 points.[25] The Saints won 52–49. Notably, Saints quarterback Drew Brees tied an NFL record by throwing seven touchdown passes, and Giants quarterback Eli Manning threw six touchdown passes. The 13 touchdown passes between the two quarterbacks set an NFL record.[26] The only field goal was scored on the final play of the game, when the Saints' Kai Forbath successfully kicked a 50-yard field goal to win the game, the longest kick of his career at the time.

text: 99 points (Seattle Seahawks vs. Kansas City Chiefs, 1983)[edit]

text: On November 27, 1983, the Seattle Seahawks defeated the visiting Kansas City Chiefs 51–48 in overtime. The 99 points scored is tied for fifth-highest scoring game in NFL history. Seahawks running back Curt Warner rushed for 207 yards on 32 carries. Chiefs receiver Carlos Carson had seven catches for 149 yards and one touchdown. The game ended when placekicker Norm Johnson converted a 42-yard field goal with 1:46 left in overtime.[24]

text: 99 points (Denver Broncos vs. Dallas Cowboys, 2013)[edit]

text: On October 6, 2013, the Dallas Cowboys hosted the Denver Broncos for a game in which 99 total points were scored, tied for fifth-highest in NFL history. Near the end of the fourth quarter the game was tied, 48-48. Cowboys quarterback Tony Romo (who achieved more than 500 passing yards for the first time in franchise history) threw a critical interception to Broncos linebacker Danny Trevathan at his own 24-yard line with 2 minutes remaining in the game. Denver placekicker Matt Prater kicked a 28-yard field goal as time expired to give the Broncos a 51-48 win.

text: Broncos quarterback Peyton Manning completed 33 of 42 passes for 414 yards, throwing 4 touchdown passes and 1 interception in a winning effort. This performance prompted KCNC-TV to report, "After 5 games and 5 big wins, the Broncos are on pace to become the first team in the history of the NFL to exceed 600, maybe even 700 points, in a season. It is the most remarkable five-game stretch in the history of professional football. The numbers don't lie. What Manning has done in his first five games — his "assault" on the record books — is simply unprecedented."[27]

text: 98 points (Pittsburgh Steelers vs. San Diego Chargers, 1985)[edit]

text: On December 8, 1985, the San Diego Chargers and Pittsburgh Steelers combined for 98 points in a 54–44 Chargers victory.

text: 96 points (Cincinnati Bengals vs. Cleveland Browns, 2007)[edit]

text: On September 16, 2007, Ohio intrastate rivals Cleveland and Cincinnati battled to combine for 96 points, with the Browns defeating the Bengals 51–45.

text: 96 points (Miami Dolphins vs. New York Jets, 1986)[edit]

text: In a September 21, 1986, AFC East showdown at Giants Stadium in East Rutherford, New Jersey, the New York Jets hosted the Miami Dolphins, combining for 96 points, with the Jets defeating the Dolphins in overtime, 51–45.

text: The contest featured 1,066 yards of combined offense, 59 first downs and 93 total pass attempts. Dolphins quarterback Dan Marino had 448 yards through the air and a personal best six touchdown passes, while Jets signal-caller Ken O'Brien threw for 479 yards and 4 touchdown passes. The shootout came to an end when Jets wide receiver Wesley Walker caught a 43-yard bomb touchdown from O'Brien in overtime, his fourth of the game. Walker finished with 6 catches for 179 yards. The Dolphins receiving corps was led by the "Marks Brothers", Mark Duper and Mark Clayton, combining for 328 yards receiving and 3 touchdown receptions.

text: 95 points (Washington Redskins vs. Green Bay Packers, 1983)[edit]

text: On October 17, 1983, the Redskins and Packers played on a Monday night with the Packers winning 48–47, a combined 95-point total. Redskins kicker Mark Moseley missed a field goal in the final seconds, securing the win for the Packers.

text: Playoffs[edit]

text: 96 points (Green Bay Packers vs. Arizona Cardinals, 2009 playoffs)[edit]

text: In the 2009–10 playoffs, the Cardinals and Packers combined for 96 points in a 51–45 overtime Arizona win.

text: 95 points (Detroit Lions vs. Philadelphia Eagles, 1995 playoffs)[edit]

text: In a December 30, 1995 Wild Card playoff game, the Philadelphia Eagles and Detroit Lions combined for 95 points in what was the NFL's highest scoring postseason game until the 2009–10 playoffs.

text: The Eagles dominated the game on seven Detroit turnovers, winning 58–37. The Eagles scored 31 points in the second quarter alone, and led 38–7 at halftime. They extended their lead to 51–7 with nine minutes left in the third quarter. After that, Detroit scored four touchdowns while the Eagles added another.

text: 89 points (Indianapolis Colts vs. Kansas City Chiefs, 2013 playoffs)[edit]

text: On January 4, 2014, the Colts and the Chiefs played in a Saturday evening 2014 NFL Wild Card playoff game. The teams combined for 89 points, with the Colts winning 45-44. Following an early second half Chiefs touchdown, the Colts rallied back for a 28-point comeback, the second largest comeback in NFL playoff history.[a][28]

text: Super Bowl[edit]

text: 75 points (Super Bowl XXIX: San Diego Chargers vs. San Francisco 49ers)[edit]

text: The highest-scoring Super Bowl was Super Bowl XXIX on January 29, 1995, in which the NFC champion San Francisco 49ers defeated the AFC champion San Diego Chargers 49–26 for a combined 75 points.[29]

text: Notes[edit]

text: Jump up ^ Behind only "The Comeback"


document_title: The Great Australian Bake Off (season 3)

question_text: the great australian bake off season 3 winner

text: The Bakers[edit]

text: The following is the list of the bakers that are competing this season:[2]

text:
Baker

Age

Occupation

Hometown

Competition Status

Olivia McMahon

37

Fine Dining Waitress

Brisbane, Queensland

Season Winner

Monica Cavallaro

43

Retail Manager

Sydney, New South Wales

Season Runner-Up

Antonio Marcora

16

School Student

Sydney, New South Wales

Season Runner-Up

Liesel Morgan

20

University Student

Perth, Western Australia

Eliminated (Episode 9)

Fiona Nguyen

32

Patent & Trademark Lawyer

Brisbane, Queensland

Eliminated (Episode 8)

James Rudd

26

IT Technical Support

Perth, Western Australia

Eliminated (Episode 7)

Noel Button

59

Retired Teacher

Launceston, Tasmania

Eliminated (Episode 6)

Jeremy Allan

30

Welding & Vessel Inspector

Adelaide, South Australia

Eliminated (Episode 5)

Bojan Petrovic

37

Tow Truck Business Owner

Canberra, Australian Capital Territory

Eliminated (Episode 4)

Diana Gyllen

29

Model

Sydney, New South Wales

Eliminated (Episode 3)

Cheryl Roberts

59

Horse Trainer

Berry, New South Wales

Eliminated (Episode 2)

Janette Betts

62

Palliative Care Nurse

Melbourne, Victoria

Eliminated (Episode 1)

text: Results Summary[edit]

text:
Elimination Chart

Baker
1
2
3
4
5
6
7
8
9
10

Olivia

SB

SB

SB
WINNER

Monica
SB

SB

Runner Up

Antonio

SB

SB

Runner Up

Liesel

SB

OUT

Fiona

OUT

James

OUT

Noel

OUT

Jeremy

OUT

Bojan

OUT

Diana

OUT

Cheryl

OUT

Janette
OUT

text: Colour key:

text:
Got through to the next round
     Awarded Star Baker
     Season winner

     One of the judges' favourite bakers that week
     The baker was eliminated

     One of the judges' least favourite bakers that week
     Season runner-up

text: Episodes[edit]

text:
The baker was eliminated
     Awarded Star Baker
     Season winner

text: Episode 1: Cakes[edit]

text:
Baker

Signature(Lamingtons)

Technical(Pear and Amaretto Cake)

Showstopper(Ombre Cake)

Fiona
Pandan Lamingtons
10th
Bel Air

Bojan
Lime Lamingtons
12th
Forever Blue

Olivia
Red Skin Lollipops and Raspberry Jelly Lamingtons
8th
Lemon Delight

Jeremy
Chocolate Cherry Lamingtons
1st
Piña Colada

Liesel
Ginger and Honey Lamingtons
4th
Fairy

Diana
Mocha Cherry Lamingtons
9th
Citrus

James
Green Tea Lamingtons
3rd
Haut et Bas Gateaux

Antonio
Chocolate Cherry Lamingtons
11th
Floral and Isomalt

Monica
Tiramisu Lamingtons
7th
Berry

Noel
Chocolate and Citrus Lamingtons
2nd
Shades of Autumn

Cheryl
Marmalade Lamingtons
6th
Nectar of the Gods

Janette
Chocolate Lamingtons
5th
Rose

text: Episode 2: Biscuits[edit]

text:
Baker

Signature(Savoury Biscuits)

Technical(16 Florentine Biscuits)

Showstopper(Biscuit Landmarks)

James
Parmesan and Chive Biscuits
2nd
Perth Bell Tower

Olivia
Oats, Poppy Seed and Black Salt Biscuits
3rd
Gingerbread Arc de Triomphe

Monica
Savoury Macarons
8th
World Landmarks

Cheryl
Blue Cheese, Garlic & Chive Biscuits
10th
St. Basil's Cathedral

Noel
Savoury Shortbread
9th
Mum's Christmas in Paris

Bojan
Mediterranean Shortbread
7th
Spicy Sphinx

Fiona
Chilli, Fennel, Thyme and Cheese Biscuits
6th
Pyramids of Giza

Jeremy
Pizza Biscuits
11th
Indian Spiced Taj Mahal

Antonio
Savoury Biscotti
1st
Big Ben

Diana
Bacon and Fennel Crackers
4th
Eiffel Tower

Liesel
Pumpkin Seed Oatcakes
5th
Taj Mahal of Tea

text: Episode 3: Pies & Tarts[edit]

text:
Baker

Signature(Quiche)

Technical(4 Pistachio Frangipane Tarts with Roasted Rhubarb and Raspberries)

Showstopper(Three Tiered Pies)

Olivia
Bacon and Asparagus Quiche
4th
Three Tiered Pork Pies

Monica
Three Mushrooms Quiche
6th
Three Course Meal

Noel
Smoked Salmon Quiche
9th
Three Tiered Frangipane Pies

Antonio
Pea and Asparagus Quiche
7th
Sweet Cheese Pies

Liesel
Asparagus, Capsicum and Broccollini Quiche
2nd
Apple Pie

Diana
Beef Taco Quiche
8th
Princess Pies

Fiona
Zucchini and Feta Quiche
5th
Winter Fruit Pies

James
Herbs, Tomato and Pumpkin Quiche
3rd
Ploughman's Lunch

Jeremy
Curried Egg Quiche
10th
'Apple Tree' Tiered Pies

Bojan
Chorizo, Spanish Tomatoes and Onions Quiche
1st
Carmelised Onion Pie

text: Episode 4: Chocolate[edit]

text:
Baker

Signature(Chocolate Slice)

Technical(French Chocolate Dacquoise)

Showstopper(36 Miniature Chocolate Cakes)

Jeremy
Tower Slice
1st
Chocolate and Raspberry Cakes

Noel
Hazelnut and Ginger Slice
6th
Naked Chocolate Cakes

Antonio
Passionfruit Caramel and Coconut Slice
3rd
Chocolate, Raspberry and Macadamia Cakes

Olivia
Cheesecake Brownies
7th
Chocolate and Hazelnut Layered Cakes

Monica
S'mores Slice
2nd
Chocolate and Espresso Cakes

Fiona
S'more Chocolate Slice
5th
Chocolate and Passionfruit Cakes

Bojan
Choc Orange Slice
9th
Chocolate Passion Squares

James
Chocolate Orange Slice
4th
Chocolate and Hazelnut Sponge Cakes

Liesel
Zserbó Slice
8th
Chocolate and Mandarin Cakes

text: Episode 5: Bread[edit]

text:
Baker

Signature(6 Burger Buns)

Technical(Fig, Walnut and Fennel Seed Baguettes)

Showstopper(6 Sweet and 6 Savoury Bagels)

Fiona
Salmon Burgers
6th
Matcha Tea and Red Bean BagelsNori Bagels

Noel
Spelt Bun Burgers
8th
Cinnamon, Orange and Fig BagelsOnion and Thyme Bagels

Monica
Milk Bun Burgers
3rd
Strawberry BagelsFrench Onion Bagels

Jeremy
Brioche Burgers
7th
Craisin and Raspberry BagelsSpinach, Feta and Pistachio Bagels

Antonio
Classic Brioche Burgers
1st
Rum and Raisin BagelsBeetroot Bagels

Olivia
Aussie Burgers
2nd
French Toast BagelsGarlic Bagels

Liesel
German Burgers
4th
Spiced Orange and Sultana BagelsBeetroot and Thyme Bagels

James
Japanese Burgers
5th
Blueberry BagelsOnion, Garlic and Fennel Bagels

text: Episode 6: Retro[edit]

text:
Baker

Signature(Swiss Roll)

Technical(12 Neenish Tarts)

Showstopper(Bombe Alaska)

Olivia
Sticky Date Swiss Roll
7th
Volcanic Bombe Alaska

Liesel
Lemon Thyme Swiss Roll
1st
Bombe-bay Alaska

Monica
Chai, Apple Jam and Ginger Cream Swiss Roll
3rd
Pumpkin Bombe Alaska

Antonio
Banana and Dark Chocolate Swiss Roll
2nd
Tiramisu Bombe Alaska

James
Apricot Jam and White Chocolate Cream Swiss Roll
6th
Cherry Bombe Alaska

Fiona
Yuzu and Ginger Swiss Roll
5th
Watermelon Bombe Alaska

Noel
Traditional Swiss Roll
4th
Traditional Bombe Alaska

text: Episode 7: Pastry[edit]

text:
Baker

Signature(6 Savoury and 6 Sweet Danishes)

Technical(2 Lamb Wellingtons)

Showstopper(Choux Pastry Animal Sculpture)

Antonio
Blue Cheese and Fig PocketsLime Palmiers
2nd
Exotic Fish

Olivia
Persimmon PillowsGoat's Cheese Twists
3rd
Underwater Turtle

James
Capsicum and Feta DanishesJam and Custards Danishes
5th
Koala Bear

Monica
Asparagus and Pancetta DanishesCinnamon and Raisin Snails
4th
Hoot Hoot Owl

Liesel
Sweet Potato DanishesRhubarb and Custard Danishes
1st
Englebert the Echidna

Fiona
Fig and Goat's Cheese DanishesPistachio and Rhubarb Danishes
6th
Chinese Zodiac Animals

text: Episode 8: Sweet Dough[edit]

text:
Baker

Signature(24 Iced Finger Buns)

Technical(12 Bienenstiches)

Showstopper(Babka)

Olivia
Blueberry Finger Buns
1st
Spicy Babka

Fiona
Vietnamese Coffee Finger Buns
4th
East Meets West Babka

Antonio
Vanilla and Coffee Finger Buns
2nd
Panettone Babka

Monica
Citrulicious Finger Buns
5th
Babka-Rama

Liesel
Passionfruit Finger Buns
3rd
Free-form Babka

text: Episode 9: International[edit]

text:
Baker

Signature(Cheesecake)

Technical(Porcini, Lemon Thyme and Three Cheese soufflé)

Showstopper("Around the World" Cake)

Antonio
Ricotta Cheesecake
4th
Gateau Saint Honore

Olivia
Black Forest Cheesecake
2nd
Schichttorte

Monica
Neapolitan Cheesecake
1st
Pomme Charlotte

Liesel
German Cheesecake
3rd
Schichttorte

text: Episode 10: Final[edit]

text:
Baker

Signature(Opera Cake)

Technical(Candied Orange and Ricotta Sfogliatelles)

Showstopper(Dessert Masterpiece)

Antonio
Fruit Opera Cake
1st
Brownie Masterpiece

Olivia
Passionfruit Opera Cake
3rd
Tropical Masterpiece

Monica
Classic Opera Cake
2nd
"Ode to Italy" Masterpiece

text: Ratings[edit]

text:
No.

Title

Air date

Overnight ratings

Ref(s)

Viewers
Rank

1

"Cakes"

11 October 2016

96,000
3

[3]

2

"Biscuits"

18 October 2016

104,000
1

[4]

3

"Pies & Tarts"

25 October 2016

73,000
2

[5]

4

"Chocolate"

2 November 2016

97,000
1

[6]

5

"Bread"

8 November 2016

68,000
2

[7]

6

"Retro"

15 November 2016

107,000
1

[8]

7

"Pastry"

22 November 2016

116,000
2

[9]

8

"Sweet Dough"

29 November 2016

131,000
1

[10]

9

"International"

6 December 2016

146,000
1

[11]

10

"Final"

13 December 2016

140,000
1

[12]


document_title: The Young Victoria

question_text: who played prince albert in the young victoria

text: The Young Victoria

text: Plot[edit]

text: Princess Victoria of Kent is the heiress presumptive to the throne during the last years of the reign of her uncle King William IV and is subject to a political tug of war for influence over her. On the one side is her mother, the Duchess of Kent, along with the comptroller of the Duchess's household, Sir John Conroy, who tries to force Victoria to sign papers declaring a regency and giving him and her mother power.

text: On the other side is her uncle, King Leopold I of the Belgians, who wishes to use his influence through family ties to secure an alliance between Britain and his kingdom. He decides to have his nephew Prince Albert of Saxe-Coburg-Gotha seduce Victoria and he is coached in her likes and dislikes. The Duchess invites the Coburg brothers, Albert and Prince Ernest of Saxe-Coburg-Gotha, to visit the household. Victoria and Albert develop an early fondness for each other, despite Victoria knowing that Albert was sent by their uncle to win her favours. They begin writing to one another after Albert returns home.

text: At a birthday reception in Windsor Castle, the King states his wish to be closer to Victoria and insults her mother. But when the King increases Victoria's income, this is rejected by Conroy, who physically subdues her in front of her mother, heightening the animosity between them. The King then sends the Prime Minister Lord Melbourne to advise her. Victoria agrees to make him her private secretary, and he appoints ladies-in-waiting for her from political families allied to him.

text: King William dies after Victoria's 18th birthday, avoiding a regency. After accession, Victoria immediately begins to exert her independence, including moving into her own room and banishing Conroy from her household and coronation. During her first meeting with the Privy Council, she announces that "I mean to devote my life in service of my country and my people". Victoria now moves into the recently completed Buckingham Palace and her aunt, Queen Adelaide, advises her against giving in too much to Lord Melbourne's direction. Albert then comes to England to spend more time with Victoria. They bond more, dancing together during her coronation and later discussing together the condition of the poor. Albert hints at taking their relationship further but the self-sufficient Victoria resists and he leaves.

text: When Lord Melbourne loses a vote in Parliament, the new Prime Minister designate, Sir Robert Peel, wishes to replace some of her ladies-in-waiting with supporters of his own party and the queen refuses. Peel in turn refuses the queen's invitation to form a new government, allowing Melbourne to continue as Prime Minister. The subsequent crisis damages Victoria's popularity, leading to demonstrations outside the palace and insults hurled at her in public. Her loneliness during the turbulence draws Victoria closer to Albert through their letters and she decides to invite him back to Britain. Since protocol prevents him suggesting marriage, she proposes to him herself.

text: Their marriage is loving and the birth of their first child helps heal the breach between Victoria and her mother, who had earlier sent a letter of support during the crisis. Nevertheless, Albert is frustrated at his initial powerlessness and Queen Adelaide advises Victoria to allow him to take on more duties. He then reorganises the running of the royal household and dismisses Conroy for mishandling funds. As Victoria's primary adviser, he now blocks the influences of Lord Melbourne and King Leopold. However, Victoria quarrels with him fiercely for going over her head with Peel in the matter of her household.

text: Soon after, when Victoria is fired upon by a would-be assassin as they are riding in an open carriage, Albert throws himself across her and is wounded. This bravery leads to their reconciliation and Melbourne advises her to share with Albert also her work for the social welfare.

text: The final title card sketches in their successful future until Albert's death at the age of 42.

text: Main cast[edit]

text:
Emily Blunt as Queen Victoria
Rupert Friend as Prince Albert of Saxe-Coburg and Gotha
Miranda Richardson as the Duchess of Kent
Mark Strong as Sir John Conroy
Jim Broadbent as King William IV
Harriet Walter as Queen Adelaide
Paul Bettany as Lord Melbourne
Thomas Kretschmann as King Leopold I of Belgium
Jesper Christensen as Baron Stockmar
Jeanette Hain as Baroness Louise Lehzen
Julian Glover as the Duke of Wellington
Michael Maloney as Sir Robert Peel
Michiel Huisman as Prince Ernest of Saxe-Coburg and Gotha
Johnnie Lyne-Pirkis as Prince Ernest Augustus, Duke of Cumberland and Teviotdale
Liam Scott as Prince Augustus Frederick, Duke of Sussex
Dave A. Hewitt as the Duke of Norfolk
Danny Dalton as Prince Wilhelm of Prussia
Sophie Roberts as Lady Emma Portman
Rachael Stirling as the Duchess of Sutherland
Genevieve O'Reilly as Lady Flora Hastings
Roddy Weaver as William IV's Chief Footman
David Robb as Lord John Russell
Emily Eby as Lady Eliza
Princess Beatrice of York as a lady-in-waiting
Josef Altin as Edward Oxford, the first of eight people who tried to assassinate Queen Victoria.

tag: ul

text: Production[edit]

text: Conception and adaptation[edit]

text: It was Sarah, Duchess of York, who conceived the idea for a film based upon the early years of Queen Victoria. She had been interested in the queen since her marriage to Prince Andrew, Duke of York, a great-great-great-grandson of Victoria and Albert, and had written two books about her with the help of an historian. The Victoria-Albert relationship in particular drew her into the queen's history, as she believed there were parallels between their marriage and her own with Prince Andrew, as they both "fought for their love" in the midst of public scrutiny.[2] A friend set up a meeting with producer Graham King,[2] to whom she pitched the idea along with several others.[3] At the time wrapping up his work on The Departed,[2] King, a native of Britain, had been looking for a project set in his home country for years.[4][5] The producer later remembered, "she pitched me a bunch of things, and among them was a three-page synopsis of Victoria’s early life: the precise span covered in The Young Victoria. [After that the film] just fell into place."[2] King brought frequent collaborator Martin Scorsese on board as a co-executive producer, as the Academy Award-winning director knew "pretty much all there is to know about British history".[6]

text: Gosford Park screenwriter Julian Fellowes contacted King to present ideas for a script, and according to the producer, "[Fellowes] seemed to have the whole movie planned out in his head so we told him to go ahead and write it. Three months later, this incredibly impressive screenplay showed up on our desks."[6] Fellowes was immediately hired by him and Scorsese.[4] Fellowes chose not to end the film at Albert's death because he was wary of copying "the horror of biopics," where there is simply an important event after important event. Believing it had been done before and that the audience was already familiar with that part of Victoria's history, he thought it would be better suited for a television series or for another film.[7]

text: For the film's director, King wanted someone "who would steer us away from the traditional BBC-type costume drama," and "make a period film for an MTV audience".[6] By chance, someone recommended King watch the 2005 film C.R.A.Z.Y. by French-Canadian filmmaker Jean-Marc Vallée, and became immediately interested in hiring him. King offered the job to Vallée on their very first meeting.[6] Though at first expressing disinterest, Vallée agreed to direct after reading the script. He commented, "When I read the script, I saw it's a family drama, a romance, a political plot at the same time."[8] Vallee considered Victoria to be a rebel because "she has this attitude, which is you make noise, you want to yell and yell loudly to your parents and all the people, to authority... 'I'm going to do it my way.' That's what rock 'n' roll is all about. That's what I liked about her, this energy. [Victoria] was special and had this mystical quality."[8]

text: Academy Award-winning costume designer Sandy Powell heard about the script and contacted King, who in turn hired her. Powell was granted exclusive access to Victoria's wedding dress and coronation robes while researching.[6] Based upon his work on The Lives of Others and his German nationality, Hagen Bogdanski was selected as the director of photography.[4] Fellowes enlisted his friend Alastair Bruce's help with the coronation ceremony's historical authenticity, which led to Bruce's employment as the film's historical consultant, his first film credit.[9]

text: Casting[edit]

text:
"I was blown away by how remarkable she was and she seemed like a very modern character, a very 21st century sort of woman. It appealed that it was an opportunity to play someone who is a contradiction to people’s preconception of what she was like. Everyone knows her as the mourning Queen who was wheeled around in black with a hanky on her head and was kind of repressed, but she was just the polar opposite when she was younger. That was exciting to me, that I could change people’s opinion of what Victoria was like."

–Emily Blunt on her character Queen Victoria[4]

tag: div

text: For the title role, King required the candidate be British, and considered casting an unknown actress. British actress Emily Blunt read the script, and aware other actresses would fight for the part, she approached King early in the search process.[10] Blunt later admitted she had a "non-existent knowledge" of the queen, but after consulting her mother about Victoria's successful marriage, Blunt told King that the queen "was a young girl who was very in love for the first time, and she was in a job where she felt way over her head. So I said to Graham, 'She's rebellious. She's a survivor.' I didn't want to approach her as the English rose, but as a young girl who was fighting".[10] They awarded Blunt the role after viewing her entire filmography as well as her Golden Globes acceptance speech for Gideon's Daughter.[4] Blunt noted, "I thought [Victoria] was remarkable and such a challenge. This young girl, who was so feisty and emotional and strong-willed, was very fascinating to me... In my life and in the job I've chosen to do, you have to perform all the time. And I thought Victoria was a bit of an actress."[8] After winning the part, Blunt was allowed access to Windsor Castle, where she viewed Victoria's paintings, letters, diaries, and music composed by Albert himself.[10]

text: Determined not to use any big Hollywood names,[6] King looked at many European actors before settling on British actor Rupert Friend. They were aware of him from the 2005 film Pride & Prejudice. Vallée noted, "I had an image of Albert in my mind, before we cast Rupert, and how the actor might play him and when Rupert came on board he was just right. He had a very good understanding of the character and he did a lot of research to get him right, with the accent and his deportment. He really looks the part, he looks so romantic!"[4] Co-producer Dennis O'Sullivan called Friend "our Scarlett O'Hara search". They believed the actor had the most chemistry with Blunt after selecting several to play chess with her. Friend's height (6 ft 1in) also played a factor in their choice. Friend believed "Albert was a true unsung hero. A great reformer, a doting husband and father, a hard worker and man of real integrity and modesty."[6] The actor also thought their relationship was not "a gooey love story"; rather, their arguments showed it "wasn't an easy road by any means".[4] Friend strove to immerse himself in the role, and learned the prince's particular characteristics, such as the way he rode a horse, walked, and played the piano.[6] He worked with a voice coach and German instructor to perfect his accent, with the intention of "put[ting] in as much German as possible, because Victoria and Albert did speak German to each other."[4]

text: Paul Bettany was cast as Lord Melbourne despite being roughly twenty years too young for the part. Vallée explained, "We couldn't find a 58-year-old actor who was sexy and good-looking enough. Paul was a more than good enough actor to age from the inside, and he plays him as a great politician and a great seducer."[6] Early in the casting process the crew wanted to cast Miranda Richardson as the Duchess of Kent, and believed she had such great chemistry with Blunt that it became "genuinely uncomfortable watching them in a scene, as the scenes are so intense and real."[4] Jim Broadbent and Mark Strong joined the cast as King William IV and Sir John Conroy, respectively,[11] as did Harriet Walter as Queen Adelaide.[4] Sarah's elder daughter, Princess Beatrice of York, made her film debut in a small cameo role, becoming the first member of the Royal Family to appear in a non-documentary film.[12][13]

text: Filming[edit]

text:
"It adds so much to the film to shoot at these beautiful locations. You look at these places and think how can you not shoot here. Not only does the film look ravishing, but it's important for everyone especially the cast and director to feel that authenticity and see that translate onto the screen."

–Graham King on filming in England[4]

text: In consideration of the expense of a film shot in Britain, King initially sought to film in Germany and Eastern Europe. However, he came to the realisation that it was vital The Young Victoria be filmed in its native country for authenticity.[4] Due to the Duchess of York's status and connections with the British royal family, The Young Victoria was able to film in many actual palaces and other landmarks.[2][3] The film had a ten-week shoot starting in August 2007.[4] Scenes set at Westminster Abbey were filmed at Lincoln Cathedral in September and October,[14] and Ham House was substituted for Kensington Palace.[4] Blenheim Palace, Lancaster House and Ditchley Park doubled for internal scenes of the monarch's main residence, Buckingham Palace.[4] Other scenes filmed at Hampton Court Palace, Arundel Castle in West Sussex, Wilton House near Salisbury, Balls Park and Belvoir Castle in Leicestershire.[4] Week four of shooting was especially intensive, as filming was done at a different site each day, including Osterley Park, Old Royal Naval College, Ham House, Novello Theatre and Hampton Court.[6]

text: Historical accuracy[edit]

text: Fellowes strove to make the script free of anachronisms, to the point where he became upset when actor Jim Broadbent ad-libbed and told the Duke of Wellington to "Enjoy the meal" during a dinner scene, a phrase not proper for the time period.[15] The writer commented, "Everything I have put into it is based entirely on fact. It just happens to be a story that not many people are familiar with."[6] Fellowes has remarked that while he would not alter the "fundamental truth", such as the characters' real relationships to each other, he strove to "use episodes to illustrate the journey you're taking your characters, and with them, your audience".[7]

text: Although largely faithful to a selection of historical facts, the film has drawn criticism for embellishing on events in order to increase dramatic potential.[16][17][18] For example, Prince Albert was never shot during an assassination attempt on Queen Victoria. Fellowes told BBC Radio 4's Film Programme that in actuality the prince did put his body before the queen as protection, and that showing Prince Albert having been grazed by the bullet in the film was added to best show his bravery and devotion as he tried to stop Queen Victoria from being shot.[7]

text: Another departure from history comes during Victoria's coronation scene. Contrary to what is shown in the film, Albert was not present at the ceremony; the couple instead wrote letters to each other, but Fellowes felt that having them keep opening letters would be less cinematic.[7] Furthermore, according to Fellowes, "The scene where [Conroy] is trying to make her sign the paper when she is ill and she throws it to the floor - it's completely true", and "The scene in Windsor where the King stands up and insults Victoria's mother is not only true, but about two-thirds of his speech is what he actually said!"[19] However, the Duchess of Kent was seated next to the King when he spoke[20] and did not leave during the speech; and, undepicted in the film, the princess burst into tears, "and the two parties, soon realising that they had gone too far, patched up an uneasy truce".[21] According to Charles Greville's memoirs: "The Queen [Adelaide] looked in deep distress, the Princess [Victoria] burst into tears, and the whole company were aghast. The Duchess of Kent said not a word. Immediately after they rose and retired, and a terrible scene ensued; the Duchess announced her immediate departure and ordered her carriage, but a sort of reconciliation was patched up, and she was prevailed upon to stay till the next day."[22][23]

text: William Lamb, 2nd Viscount Melbourne, who was prime minister when Victoria came to the throne and a political mentor to the young queen, was forty years her senior,[24] but is portrayed as a much younger man in the film.[6] As for King Leopold, he was her favourite uncle whose advice she constantly sought;[25] her interest in Albert was due not to the latter's success in wooing her, but simply to please Leopold.[26]

text: Victoria's great-great-granddaughter Queen Elizabeth II viewed the film in a special screening; according to one source, she believed the film had a "lot of good points", but was unhappy with the change to the assassination attempt, and also thought the British officers' costumes looked too German.[27][28] Apart from the assassination attempt, historian Alex von Tunzelmann noted that "historically, [the film's] not at all bad", and especially praised the depiction of contemporary politics and the characteristics Friend put into his performance as Prince Albert.[16]

text: Music[edit]

text:
The Young Victoria (Music from the Motion Picture)

Soundtrack album by Ilan Eshkeri

Released
10 March 2009

Genre
Film score

Label
EMI

Ilan Eshkeri chronology

Telstar: The Joe Meek Story
(2008)Telstar: The Joe Meek Story2008
The Young Victoria(2009)
Ninja Assassin
(2009)Ninja Assassin2009

text: Director Vallée used his background as a DJ to "create a structure for a film using music with the right rhythm and balance. I wanted to combine classical pieces with a rock spirit".[4] During filming Vallée often played rock music, such as the Rolling Stones, to create the right "mood" before a scene.[4] Executive producer Colin Vaines knew composer Ilan Eshkeri, and hired him for the film.[4] Sinéad O'Connor performed "Only You", which O'Sullivan described as "very much in line with one of the overriding aims of the film, which was to be hopeful and tell people that these amazing love stories really can happen, it’s not just a fairy tale."[4] EMI Music released the film soundtrack.[29] It received a nomination for the 2010 Ivor Novello Award for Best Original Score.[30] The soundtrack includes the following tracks:

text:
[show]Track listing

No.
Title
Length

1.
"Childhood"
3:09

2.
"Go To England, Make Her Smile (Albert's Theme)"
1:08

3.
"Down The Stairs (Victoria's Theme)"
0:57

4.
"The King's Birthday"
6:00

5.
"Swan Song"
2:26

6.
"The King Is Dead"
3:07

7.
"Buckingham Palace"
1:06

8.
"Lord Melbourne (Antonín Dvořák)"
1:07

9.
"Albert Returns"
1:55

10.
"Archery"
1:19

11.
"The First Waltz"
1:45

12.
"Rainy Gazebo"
1:59

13.
"Letters From Victoria"
1:17

14.
"Constitutional Crisis"
2:20

15.
"Riot"
1:38

16.
"Letters From Albert"
1:18

17.
"Marriage Proposal"
3:55

18.
"Honeymoon"
2:18

19.
"Assassin"
4:02

20.
"Victoria And Albert"
3:32

21.
"Only You - Sinéad O'Connor"
5:17

text: Reception[edit]

text: Release[edit]

text: Momentum Pictures handled distribution of The Young Victoria in the United Kingdom.[31] The film's world premiere was held on 5 February 2009 at the 59th Berlin International Film Festival[32] while its UK premiere was held in London's Leicester Square on 3 March.,[33][34] though the film was shown in the small market town of Bridport, Dorset two days before this on 1 March 2009[35] in the Electric Palace Theatre, of which Julian Fellowes is a patron. The film was released in British cinemas on 6 March 2009.[1] On its opening week in the UK The Young Victoria grossed £1,016,053, and earned a total of £4,538,697 over its six-week run.[36]

text: A bidding war erupted over its US release,[37] and American distribution studio Apparition on the behalf of Sony Pictures Worldwide Acquisitions Group won the rights to the film.[38][39] At the time, Apparition executive Bob Berney noted the film is "very audience friendly and commercial."[38] The Young Victoria earned USD $160,069 on its initial US release on 18 December 2009, where it opened in twenty theatres. It expanded nationwide on Christmas Day, and grossed USD $11,001,272 by the end of its theatrical run.[1][40]

text: Critical reception[edit]

text: The film received a generally positive reception and holds a 76% 'Fresh' rating on Rotten Tomatoes based on 145 reviews.[41] Entertainment Weekly film critic Owen Gleiberman gave The Young Victoria a B+; he gave praise to Emily Blunt's performance and concluded, "The Young Victoria has a subtler flow than you might expect, and at times it's calmer than you may like. Director Jean-Marc Vallée's images have a creamy stateliness, but this is no gilded princess fantasy — it's the story of a budding ruler who learns to control her surroundings, and Blunt makes that journey at once authentic and relevant."[42] Manohla Dargis of The New York Times called it a "frivolously entertaining film" and believed it was "directed with some snap by Jean-Marc Vallée".[43] Dargis finished her review, "Despite the filmmakers’ efforts to persuade us that The Young Victoria is a serious work, and despite some tense moments and gunfire, the film’s pleasures are as light as its story. No matter. Albert may never rip Victoria’s bodice, but he does eventually loosen it, to her delight and ours."[43]

text: The Daily Telegraph called The Young Victoria a "production of the highest calibre with an impeccable cast."[6] The Times' Wendy Ide gave the film 3 out 5 stars wrote "It's decorative, but suffers from a stultifying lack of drama" and found similarities to the 1998 film Elizabeth. Ide found Victoria and Albert's relationship to be "persuasive and rather charming," and praised the performances of both the main and supporting cast, particularly noting Bettany's scene-stealing performance.[44]

text: Less positive was Peter Bradshaw, film critic for The Guardian, who gave the film two out of five stars. While initially looking forward to Blunt's performance, he believed the "black-belt minx" actress was "never really allowed to let rip. All that coiled feline sensuality stay[ed] coiled".[45] He thought the queen's relationship with Prince Albert "very, very unsexy", as their devotion "makes for a boring film".[45] Bradshaw did praise the power dynamics around Victoria, but concluded "I spent an hour and three-quarters waiting for this film to start. Where was the tang and the zing and the oomph of Fellowes's cracking script for Robert Altman's Gosford Park?"[45]

text: Accolades[edit]

text: Emily Blunt received a Golden Globe nomination in 2010 for Best Dramatic Actress but lost to Sandra Bullock for The Blind Side.[46] Blunt received further nominations at the British Independent Film Awards, Broadcast Film Critics' Association Awards, and at the Empire Awards, among others.[47][48][49] The film also received three Academy Awards nominations in 2010 for Best Art Direction (which it lost to Avatar), Makeup (which it lost to Star Trek) and won for Costume Design.[50] At the 63rd British Academy Film Awards, The Young Victoria won the BAFTA Award for Best Costume Design and the BAFTA Award for Best Makeup and Hair.[51][52]

text: Home media[edit]

text: Sony Pictures Home Entertainment[53] released the DVD and Blu-ray on 13 July 2009 for the UK,[54] and 20 April 2010 for the US.[40][55] The DVD special features included deleted and extended scenes, and four featurettes on filming and the subject matter's history. The Blu-ray possesses a feature that allows viewers to access real-time data about the actors, music, film trivia and other information.[53]