She is not tall nor a beauty; pale, and very thin; but looks sensible, and is genteel. Her hair is darkish and fine; her forehead low, her nose very well, except the nostrils spreading too wide; her mouth has the same fault, but her teeth are good. She talks a great deal, and French tolerably;… Space in Queen Charlotte (1762) by Allan Ramsay; Allan Ramsay, Public domain, via Wikimedia Commons The book under her elbow is a ‘History of Britain’, and there are unmistakable echoes of George III’s famous Is Meghan Markle’s mixed-race heritage a first for British royalty?" by Valerie Russ revived the Charlotte ancestry myth in service of sensational journalism, with the effect of side-lining Markle’s historical moment. Etching by J. Spilsbury, half length, ‘Printed for Thomas Simes - Captain in the Queen’s Royal Regiment of Foot’.

Painting by Henry Morland, three-quarter length holding an architectural engraving, apparently the ground plan and east and north elevations of Halton’s Library in Queen’s College (see J. R. Magrath, The Queen’s College, 1921, II, f.p.68). Queen’s College, Oxford (Mrs R. L. Poole, Catalogue of Portraits in the possession of the University, Colleges and City and County of Oxford, II, p 133; illus. Connoisseur, CXIV, 1944, p 103). Presented in 1765 as ‘by Moreland’, somewhat resembling the portrait by Ziesenis of 1761. The French Revolution of 1789 probably added to the strain that Charlotte felt. [47] Queen Charlotte and Queen Marie Antoinette of France had maintained a close relationship. Charlotte was 11 years older than Marie Antoinette, yet they shared many interests, such as their love of music and the arts, about which they were both enthusiastic. Never meeting face to face, they confined their friendship to pen and paper. Marie Antoinette confided in Charlotte upon the outbreak of the French Revolution. Charlotte had organized apartments to be prepared and ready for the refugee royal family of France to occupy. [48] Marble bust attributed to the studio of John Bacon sr. Southill (illus. S. Deuchat, Samuel Whitbread and British Art, exhibition catalogue, Museum of London, 1984, p 43). Presented to Samuel Whitbread c.1787 with a bust of the King derived from a Bacon type of 1774.The rest of Charlotte's property was sold at auction from May to August 1819. Her clothes, furniture, and even her snuff were sold by Christie's. [56] It is highly unlikely that her husband ever knew of her death. He died blind, deaf, lame and insane 14 months later. [57] Legacy [ edit ] Statue in Queen Square, London Painting by Benjamin West, three-quarter length with Princess Charlotte. Royal Collection (Sir Oliver Millar, The Later Georgian Pictures in the Collection of Her Majesty The Queen, I, 1969, no.1142, pl.114; H. von Erffa & A. Staley, The Paintings of Benjamin West, 1986, no.562). Exhibited RA 1777 (362). Engraved V. Green 1778. preparatory drawing by West for the figure of the Queen is in the Royal Collection (A. P. Oppé, English Drawings, Stuart and Georgian periods, in the Collection of His Majesty the King at Windsor Castle, 1950, no.640, pl.3).

Gregory discusses an incident in 1966 where someone “slashed” or, more accurately, lightly-scratched, a painting of Charlotte by Allan Ramsay’s studio after his 1762 portrait. Gregory indicates that this incident was because of her “portrayed race”, “caused racial tension within the city,” and refers to it as a “hate crime”, but does not provide a source for these assertions. Gregory states that “the museum director at the time, Robert Schlageter, stated a group of ‘culturally deprived youths’ made racist comments” and cites an article in The Charlotte Observer, but this article has no mention of “racist comments.” There is no mention of the race of the “youths,” but they were likely white, as the newspaper would have explicitly stated their race if not white and the museum was likely white-only during that time during segregation. The perpetrator was never caught, so it’s unclear if this was an intentional act of vandalism or an accident, and there is no indication that there was any racist intent behind it.At the queen's death, her eldest son, the Prince Regent, claimed Charlotte's jewels, and on his death they were in turn claimed by his heir, WilliamIV. On William's death, Charlotte's bequest then sparked a protracted dispute between her granddaughter Queen Victoria, who claimed the jewels as the property of the British Crown, and Charlotte's now eldest-surviving son Ernest, who claimed the jewels by right of being the most senior male member of the House of Hanover. The dispute would not be resolved in Ernest's lifetime. Eventually in 1858, over twenty years after the death of WilliamIV and nearly forty years after Charlotte's death, the matter was decided in favour of Ernest's son George, upon which Victoria had the jewels given into the custody of the Hanoverian ambassador. [55] Alicia’s other areas of interest in Art History include the process of writing about Art History and how to analyze paintings. Some of her favorite art movements include Impressionism and German Expressionism. She is yet to complete her Masters in Art History (she would like to do this abroad in Europe) having given it some time to first develop more professional experience with the interest to one day lecture it too. Medal by Thomas Wyon sr. and T. Martyn, with conjoined busts of the King and Queen (L. Brown, A Catalogue of British Historical Medals 1760-1960: The Accession of George III to the Death of William IV, 1980, no.628). New York Public Library Queen Charlotte was interested in various subjects, particularly the arts, botany, and philanthropy.