crowds stood still and silent, making the clip-clop of the horses drawing the gun carriage all the more pronounced.
The funeral cortege headed down Constitutional Hill from Kensington Palace toward Buckingham Palace. In yet another surprise, the Queen led her sister and the rest of the family through the gates to stand near the crowd. As the gun carriage passed, Elizabeth II spontaneously bowed to Diana’s coffin. “It was completely unexpected,” said Mary Francis, who was standing nearby. “I don’t think there had been any discussion of it, certainly not with her advisers beforehand. But instinctively she had done it, and it was the right thing to do.” It was also a vivid demonstration “that there was already a readiness to be more flexible,” said Ronald Allison, the Queen’s former press secretary.
The royal family joined the congregation of two thousand inside the Abbey. Loudspeakers enabled the nearby crowds outside to hear the entire proceedings, which were also visible on the giant video screens. The television audience in Britain was an estimated 31 million, with 2.5 billion tuning in around the world. The service, presided over by the Very Reverend Dr. Wesley Carr, Dean of Westminster, and George Carey, Archbishop of Canterbury, was “unashamedly populist and raw with emotion,” Carey recalled. Diana’s sisters each read inspirational poems, and Tony Blair offered a somewhat overheated reading from First Corinthians. The musical selections were eclectic, from traditional hymns and an excerpt from Verdi’s
An unexpected flash point came toward the end of Charles Spencer’s eloquent and emotional tribute to Diana when he turned to the sorrow of William and Harry, pledging that the Spencers, “your blood family, will do all we can to continue the imaginative and loving way” their mother was raising them. The Spencers had no more claim as a “blood family” than the Windsors, and “those unnecessary words,” as Carey later called them, insulted the Queen, Prince Philip, and their family seated in a row of scarlet and gilt chairs next to Diana’s coffin on the catafalque. Even worse, as Spencer’s remarks echoed outside the Abbey, the crowd began applauding. “It sounded like a rustle of leaves,” recalled Charles Moore, the editor of the
After the funeral, the royal family returned to its Highlands redoubt. Tony and Cherie Blair arrived the next day. It was supposed to have been their first prime minister’s weekend at Balmoral, but under the circumstances they came only for luncheon with Elizabeth II and some of her friends. The Queen and Philip “were very kind,” Cherie Blair recalled, but not a word was spoken about Diana or the previous week’s earth-shaking events. Listening to the conversation about deer stalking, agriculture, and fishing, Cherie thought, “This is really weird. Yesterday at the lunch in Number 10 following the funeral, there I was sitting next to Hillary Clinton and Queen Noor of Jordan, talking about current affairs, and here I am today with our head of state talking about the price of sheep.”
The prime minister had his audience with the Queen in the drawing room. As he made the rookie’s mistake of trying to sit in Queen Victoria’s chair, he heard a “strangled cry” from a footman and saw “a set of queenly eyebrows raised in horror.” Blair was admittedly tense, and he later felt he had been presumptuous and somewhat insensitive in their conversation. When he spoke about possible lessons to be learned, he thought that she “assumed a certain hauteur.” But she acknowledged his points generally and he “could see her own wisdom at work, reflecting, considering and adjusting.”
Blair scarcely knew the Queen at that stage, so during the week after Diana’s death there had been fewer direct interactions between prime minister and monarch than was generally believed. Blair and his aides did not overtly stage-manage Elizabeth II and Philip, as depicted in the film
In part because Blair had come to know Diana personally, he understood her character and had more quickly grasped the impact of her death than either the Queen or her advisers. Sensing that the outpouring of grief was turning into a “mass movement for change,” Blair decided his job was to “protect the monarchy.” It’s impossible to gauge the degree to which his “People’s Princess” comment, however well-meaning, contributed to the volatile atmosphere. But had he been standoffish or negative, the monarchy would doubtless have sustained greater damage. Instead he tried to channel popular anger and recast the Queen’s image in a more positive way. The Queen’s courtiers were pivotal, but it also took Blair’s behind-the-scenes prodding, including his use of Prince Charles as an intermediary, to push the Queen into acting in a way that went against her grain. In her eighth decade, Elizabeth II had come to understand that she needed to loosen the grip of tradition to keep the monarchy strong.
The Queen with her sister, Margaret, and her mother on the Buckingham Palace balcony during the celebration of the Queen Mother’s hundredth birthday, August 2000.
EIGHTEEN
Love and Grief
IN THE AUTUMN, WHEN THE QUEEN RETURNED TO LONDON, SHE could look forward to celebrating a happy occasion for a change: the opening of the magnificently restored state rooms at Windsor Castle in time for her golden wedding anniversary on November 20, 1997, five years to the day from the devastating fire. The prime movers behind the restoration were Philip and Charles, who worked together on a project that reflected their common interests in art, architecture, and design. They shared a passion for painting, and both favored landscapes. Charles worked in watercolors on a small scale in a soft palette with delicate brushstrokes, while Philip painted in oils, using vivid colors and bold strokes with a more contemporary feel.
Both men appreciated the sort of traditional approach to architecture and exacting standards of craftsmanship required for the ornate rooms at Windsor. Philip chaired the overall advisory committee for the massive project, which included restoring five state rooms to their previous splendor. Charles was in charge of a design subcommittee that focused on reimagining rooms in areas that had been destroyed. The Queen offered ideas to her husband and her son, and she made all the final decisions.
To replace the gutted private chapel, Charles supervised the neo-Gothic design of an octagonal Lantern Lobby and adjacent private chapel in medieval style. Philip’s sketches inspired the creation of the chapel’s new stained glass windows with images of a salvage worker, a firefighter, and St. George stabbing an evil flame-breathing dragon. When Philip disagreed with the proposal for a decorative floor in the Lantern Lobby that he thought would be too noisy and slippery, Charles came up with a compromise calling for a carpet woven with the Garter Star to be used when necessary. Charles also oversaw a “modern reinterpretation” of a medieval hammer beam roof in the majestic St. George’s Hall.
Originally scheduled to be completed by the spring of 1998, the restoration was finished six months ahead of time and came in ?3 million under the estimated ?40 million budget. The Queen marked the completion with a party in the restored rooms on November 14 for 1,500 contractors who worked on the project. During the reception, a
