Unfortunately, there are numerous instances in this work that inaccurately quote primary sources, describe the content of primary sources in a way that is not supported by their text, or make novel assertions that are not sourced. Painting by Francis Hayman, whole length in coronation robes, painted for the annexe to the Rotunda at Vauxhall Gardens. Listed in the proposed Vauxhall sale, 15-16 June 1840 (B. Allen, Francis Hayman, 1987, p 171). Painting by Nathaniel Dance, whole length in coronation robes with a distant view of Westminster Abbey. Hermitage Museum, St Petersburg (illus. B. Allen & L. Dukelskaya eds., British Art Treasures from Russian Imperial Collections in the Hermitage, 1997, p 38 as 1778). The composition relates closely to the Ramsay coronation portrait; the companion piece of the King was copied from the Dance portrait of 1776 (see George III). A half-length version was at Bayham Abbey (Sir George Scharf's Sketch Books, 91/11).

Wax model by Samuel Percy. Royal Collection. Another wax of the Queen on a sofa with a dog, also dated 1795, is in an American private collection. An unspecified wax bust of Charlotte by Percy sold Christie’s, 10 June 1993, lot 235 from Stanton Harcourt. Lawrence painted Queen Charlotte in Windsor Castle, possibly at the suggestion of one of her ladies-in-waiting, Lady Cremorne, who Lawrence had portrayed the previous year (Tate, London). The Queen was troubled by her husband’s protracted mental illness and by political events unfolding in France and was in no mood to sit for the young painter. The sitting on 28 September was probably the only one she gave him. I don’t think a prisoner could wish more ardently for his liberty than I wish to be rid of my burden and see the end of my campaign. I would be happy if I knew this was the last time,” she wrote in a 1780 letter while pregnant with her 14th child, Prince Alfred. George’s illness took a toll on his wife and children, too. As novelist and court attendant Fanny Burney recorded in her diary, Charlotte repeatedly asked, “What will become of me?” Her “desponding” words “implied such complicated apprehensions,” Burney wrote. By 1789, Charlotte’s hair had turned white from stress. She clashed with Prince George as he rallied to be appointed regent in his father’s stead and only reconciled with her son in 1791, by which point the king had recovered. But her good intentions were not received kindly by some in the royal court, particularly by her own mother-in-law, Princess Augusta, who continuously tried to overpower Queen Charlotte’s status as the queen mother.But isn't her heritage too sketchy to be used to heal old wounds? "Hopefully, the sketchiness will inspire others to further research and documentation of our rich history. Knowing more about an old dead queen can play a part in reconciliation."

The scene shows the family are resting during a walk in the park, the over-excited children vying for the attention of a favourite uncle, Ernst. Charlotte wishes to show off her doll; William, held affectionately round the waist, seeks generally to monopolise and must be pushed aside by his mother so that she can get a word in edgeways. Karl watches indulgently from the sidelines. The whole scene breathes the spirit of Jean Jacques Rousseau, whose ideas concerning the purity and innate goodness of natural inclinations and affections were popular in enlightened circles in England and Germany. In later life Prince Karl instigated a Rousseauesque festival for the local population in his picturesque English garden at Hohenzieritz, near Neustrelitz. Painting by G. D. Matthieu, three-quarter length seated, the King’s miniature on her left wrist. Gripsholm Castle (Katalog, Portratt fore 1809, 1951, no.1192). Jefferies quotes former Congressman Mel Watt, who eloquently describes the “compromise narrative” that this myth allows for, such that Charlotte can transcend her use as a symbol of white supremacy and represent the entire community:

How Charlotte became Queen of Great Britain

When the King had his first, temporary, bout of mental illness in 1765, her mother-in-law and Lord Bute kept Charlotte unaware of the situation. The Regency Bill of 1765 stated that if the King should become permanently unable to rule, Charlotte was to become regent. Her mother-in-law and Lord Bute had unsuccessfully opposed this arrangement, but as the King's illness of 1765 was temporary, Charlotte was aware neither of it, nor of the Regency Bill. [6]