Her Majesty's State Box at the Royal Italian Opera House, Covent Garden
From 'The Illustrated London News' July 29th 1848
Above - A Painting by George Richmond depicting Her Majesty's State Box at the Royal Italian Opera House, based on the sketch shown below from 'The Illustrated London News' of July 29th 1848, and using colours described in the article - Click for an Index to all of George Richmond's Paintings on this site.
ON the occasion of her majesty's state visit
to the Royal Italian Opera,
Covent Garden, on the 20th instant, the arrangements for the Royal
accommodation were of a novel kind. The ordinary Box occupied by the
Queen is in the grand tier, being the third double box from the stage.
The Box is of considerable dimensions, and behind is a richly-furnished
suite of rooms; but, although this locality would have enabled the Directors
to have received the Queen in a manner worthy of the distinguished honour
conferred on the establishment by her gracious command, it was resolved
to construct a Royal Box of unprecedented size and elegance, and to
follow the example of the Continental theatres, in setting apart the
centre of the house for the reception of Royalty. For this purpose four
boxes on the grand tier and two boxes on the first (the tier above)
were removed, and thrown into one large Box of an oval form. The original
curve of the facade of the four grand tier boxes was changed into convex,
and the new facade thus extended some feet over the passage of the pit,
as far as the back row of seats. The Royal Box took in the portion of
the corridor on the grand tier to the extent of eight boxes, and was
then separated from the passages on each side of the grand tier by partitions.
Thus the State Box was isolated from the remainder of the house, and
the grand foyer or saloon, and other rooms on the grand tier floor,
wore exclusively appropriated to her Majesty's use, the public being
admitted to the boxes by side doors on the Piazza side and at the Grand
Stalrcase in Bow-street. Her Majesty's approach to the State Box was
thus contrived. The usual private entrance in Prince's-place was reserved
for the Royal carriages, and her Majesty entered by her own private
staircase. Passing through her own rooms, a door was cut through into
the passage on the Piazza side, and thus the Grand Saloon was reached,
the entire distance being a Perfect level. All the corridors, passages,
and ante-rooms were lined with white satin, and hung with flowers and
filagree gold ornaments. The foyer, or drawingroom for the Queen, was
furnished with costly meublei from Willow Bank, Fulham with a rich service of plate. The room was lighted with splendid chandeliers
and candelabra, and before the two grand looking glasses were colossal
pyramids of geraniums. The boudoir and toilette-room for her Majesty
were lined also with white satin, and from the ceiling to the flooring
were massive mirrors. The interior of the Box was lined with while satin
on a figured ground, upon which at intervals were placed pilasters of
the same material. Two breadths of Brussels lace forming a cornice vallance
were suspended from the ceiling. The two columns in the interior of
the Box were entwined with artificial flowers and, interlaced with Brussels
dentelle, and from these columns candelabra were suspended. Miniature
bouquets of artificial flowers, and filagree bands studded the satin
linings. The Chairs of State, for the Queen and Prince Albert, were
immediately in front of the Box; and below the facade, on the back row
Of the pit, stood four Yeomen of the Guard. The officers and ladies
of the Royal household stood behind the Queen during the whole of the
performance. The exterior of the Box was very splendid. From the facade
of the box stalls was suspended a canopy or massive burnished gold band,
surmounted by a crown elaborately worked, and supported by draped flags
of the finest gold and silver tissue. From this gorgeous canopy were
hung draperies of rich India crimson. and gold damask, trimmed with
exquisite Brussels lace, and these draperies, in graceful folds, hung
over the sides of the Royal Box.
The ensemble was remarkably elegant, and reflected great credit on the taste of Mr. F. Gye, under whose superintendence and after whose designs the decorations and fittings for the Royal Box were accomplished. Her Majesty expressed to Messrs. Delaffield and Webster, who were in attendance in full Court suits, her gratification at the performance of "Les Huguenots" and the arrangements of the Royal Box in the centre of the house, the effect of which is displayed by our artist In the accompanying Illustration.