HMS Victoria was the last Royal Navy wooden first-rate three-decked ship of the line commissioned for sea service. With a displacement of 6,959 tons, she was the largest wooden battleship which ever entered service. She was also the world’s largest warship until the completion of HMS Warrior, Britain’s first ironclad battleship, in 1861. Victoria’s hull was 79.2 metres (260 ft) long and 18.3 metres (60 ft) wide. She had a medium draught of 8.4 metres (27.5 ft). Her hull was heavily strapped with diagonal iron riders for extra stability. Victoria was the first Royal Navy battleship with two funnels.
Chromolithography is a unique method for making multi-colour prints. This type of colour printing stemmed from the process of lithography, and it includes all types of lithography that are printed in colour. When chromolithography is used to reproduce photographs, the term photochrome is frequently used. Lithographers sought to find a way to print on flat surfaces with the use of chemicals instead of relief or intaglio printing. Chromolithography became the most successful of several methods of colour printing developed by the 19th century; other methods were developed by printers such as Jacob Christoph Le Blon, George Baxter and Edmund Evans, and mostly relied on using several woodblocks with the colours. Hand-colouring also remained important; elements of the official British Ordnance Survey maps were coloured by hand by boys until 1875. The initial technique involved the use of multiple lithographic stones, one for each colour, and was still extremely expensive when done for the best quality results. Depending on the number of colours present, a chromolithograph could take months to produce, by very skilled workers. However much cheaper prints could be produced by simplifying both the number of colours used, and the refinement of the detail in the image. Cheaper images, like advertisements, relied heavily on an initial black print (not always a lithograph), on which colours were then overprinted. To make an expensive reproduction print as what was once referred to as a “’chromo’”, a lithographer, with a finished painting in front of him, gradually created and corrected the many stones using proofs to look as much as possible like the painting in front of him, sometimes using dozens of layers.