from La Belle Assemblée (1806)
Princess Elizabeth, the third daughter of George III and Queen Charlotte, was a notable designer and artist.
She painted a trellis on the ceiling of the Picnic Room in Queen Charlotte's Cottage at Kew.
|The painted trellis on the ceiling of the Picnic Room|
in Queen Charlotte's Cottage, Kew
She was responsible for the decorations at the lavish entertainment given by Queen Charlotte at Frogmore in August 1799 to celebrate the recovery of the Princess Amelia.
Oulton describes them in his Memoirs of the Late Queen Charlotte:
“The pillars were covered with bay leaves and artificial flowers, wreaths of flowers decorating the intermediated spaces at the top; the chandeliers suspended from the ceiling were in the shape of a bee hive: at the upper end of them formed the tassel; between each row of lamps were interwoven ears of corn, blue bells, violets, lilies of the valley.”
|Birth from The Birth and Triumph of Love (1796)|
The Birth and Triumph of Love
|Triumph from The Birth and Triumph of Love (1796)|
|Opening lines from The Birth and Triumph of Love|
by Sir James Bland Lamb
The Power and Progress of Genius
A second series of twenty-four sketches was issued in 1806 called “The Power and Progress of Genius”. La Belle Assemblée records that “Her Royal Highness has likewise distributed among her most favoured circle another publication and tribute to the fine arts just finished. It is entitled ‘The Progress of Genius’ and exhibits, under allegorical images, the different acts of that intellectual power.”
A vignette of the hermitage
A review in Noctes Ambrosianæ talks of a work of Pyne consisting of a hundred plates which are facsimiles of coloured drawings by various artists of different rooms in the various royal palaces – a History of Royal Residences. He notes that “it may not be uninteresting to know, that the vignette, representing the hermitage, in the garden at Frogmore, is copied from a plate etched by the Princess Elizabeth herself”. Robert Shelton Mackenzie wrote that the Princess “drew and etched, as well as if she had been an artist”.
Sources used include:
Bell, John, La Belle Assemblée, various (1806, London)
Hall, Mrs Matthew, The Royal Princesses of England (1871, London)
Hibbert, Christopher, George IV (1972, 1973)
Lamb, Sir James Bland, The Birth and Triumph of Love (1823, London)
Oulton, Walley Chamberlain, Authentic and Impartial Memoirs of Her Late Majesty Charlotte, Queen of Great Britain and Ireland (1819, London)
Wilson, John, with memoirs and notes by Robert Shelton Mackenzie, Noctes Ambrosianæ 1819-1824 (1867, New York)