A photograph, hand-coloured in watercolour, of two children in medieval fancy dress: both wear short cream tunics with gold embroidery and pale blue collars with zig-zag hems, white stockings, and one blue and one white shoe. The taller child is perched on the edge of a Victorian wooden chair with an upholstered seat. He has his hand on the smaller child’s shoulder, looking at him, as they both hold an opened folder or slim volume. Two blue fabric hats, matching the collars, have been discarded on the chair and the floor; a white glove is on the floor by the chair.
Image: A photograph, hand-coloured in watercolour, of two children in medieval fancy dress: both wear short cream tunics with gold embroidery and pale blue collars with zig-zag hems, white stockings, and one blue and one white shoe. The taller child is perched on the edge of a Victorian wooden chair with an upholstered seat. He has his hand on the smaller child’s shoulder, looking at him, as they both hold an opened folder or slim volume. Two blue fabric hats, matching the collars, have been discarded on the chair and the floor; a white glove is on the floor by the chair.

Two years after the royal family had seen Kean’s production of Richard II, Queen Victoria chose to dress her two youngest sons in costumes inspired by the production for a ‘children’s ball’ held to celebrate Prince Leopold’s sixth birthday.

The costumes were based on those worn by the children of Henry IV in the final scene, implicitly including the future Henry V. The choice of costume is another sign of how much the royal family enjoyed the play, and of their interest in medieval history.

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