Windsor Beauties is in Paintings.
The Windsor Beauties are a set of portraits of the ladies of the court of King Charles II painted by Peter Lely.
Around 1662 Peter Lely (age 43). Portrait of Anne Hyde Duchess of York (age 24). One of the Windsor Beauties.
Around 1662 Peter Lely (age 43). Portrait of Frances Teresa Stewart Duchess Lennox and Richmond (age 14). One of the Windsor Beauties.
Around 1662 Peter Lely (age 43). Portrait of Princess Henrietta Stewart Duchess Orléans (age 17). One of the Windsor Beauties.
Around 1664 Peter Lely (age 45). Portrait of Jane Needham (age 19). One of the Windsor Beauties.
Around 1664 Peter Lely (age 45). Portrait of Margaret Brooke Lady Denham (age 24). One of the Windsor Beauties.
Around 1665 Peter Lely (age 46). Portrait of (age 25). One of the Windsor Beauties.
: Around 1640 she was born to and . Before May 1665 and she were married. In 1690 died.
Around 1665 Peter Lely (age 46). Portrait of Elizabeth Wriothesley Countess Gainsborough (age 19). One of the Windsor Beauties.
The Deeds of the Dukes of Normandy
The Gesta Normannorum Ducum [The Deeds of the Dukes of Normandy] is a landmark medieval chronicle tracing the rise and fall of the Norman dynasty from its early roots through the pivotal events surrounding the Norman Conquest of England. Originally penned in Latin by the monk William of Jumièges shortly before 1060 and later expanded at the behest of William the Conqueror, the work chronicles the deeds, politics, battles, and leadership of the Norman dukes, especially William’s own claim to the English throne. The narrative combines earlier historical sources with firsthand information and oral testimony to present an authoritative account of Normandy’s transformation from a Viking settlement into one of medieval Europe’s most powerful realms. William’s history emphasizes the legitimacy, military prowess, and governance of the Norman line, framing their expansion, including the conquest of England, as both divinely sanctioned and noble in purpose. Later chroniclers such as Orderic Vitalis and Robert of Torigni continued the history, extending the coverage into the 12th century, providing broader context on ducal rule and its impact. Today this classic work remains a foundational source for understanding Norman identity, medieval statesmanship, and the historical forces that reshaped England and Western Europe between 800AD and 1100AD.
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Around 1665 Peter Lely (age 46). Portrait of Mary Bagot Countess Falmouth. One of the Windsor Beauties.
Around 1665 Peter Lely (age 46). Portrait of Henrietta Boyle Countess Rochester (age 19). One of the Windsor Beauties.
Before 1666 Peter Lely (age 47). Portrait of Anne Digby Countess Sunderland (age 19). One of the Windsor Beauties.
Around 1666 Peter Lely (age 47). Portrait of Barbara Villiers 1st Duchess of Cleveland (age 25). One of the Windsor Beauties.
Samuel Pepys' Diary. 21st August 1668. After dinner I by coach to my bookseller's in Duck Lane [Map], and there did spend a little time and regarder su moher, and so to St. James's, where did a little ordinary business; and by and by comes Monsieur Colbert (age 43), the French Embassador, to make his first visit to the Duke of York (age 34), and then to the Duchess (age 31): and I saw it: a silly piece of ceremony, he saying only a few formal words. A comely man, and in a black suit and cloak of silk, which is a strange fashion, now it hath been so long left off: This day I did first see the Duke of York's room of pictures of some Maids of Honour, done by Lilly (age 49): good, but not like1.
Note 1. The set of portraits known as "King Charles's Beauties", formerly in Windsor Castle, but now at Hampton Court [Map]. B.
Diary of the Times of George IV Volume 1 Section 1. There is nothing new here under the sun, since you left the metropolis, and. I lead literally the life of a recluse, for still public amusements are prohibited for the present. Thanks to heaven, no Lord Chamberlain has. been appointed yet, otherwise the dear operas would have begun by this time, and I should have felt myself obliged to renounce this great amusement. The parties in, Hanover Square, are not more lively than they were last.winter in Spring Gardens, except we miss the galanti show., which was exhibited, of all the 'old fograms, since the reign of George the First,' which, I suppose, was intended to show the difference that existed between them and the beauties [Windsor Beauties] of Charles the Second, painted by Sir Peter Lely; but I am afraid his pencil, as that of Titian, or of Marc Angelo1, would never have succeeded in making them rivals of that happy century;— their beauty was much more valued and praised, except there is one precedent, which will remain on record in the Argyle family2. Your letter arrived most welcomely, as, there had, been various reports about a suspension d'armes, an armistice, or a reireat; resembling that of Massena; but all this puff must have been merely raised by envy, love of gossip, and newsmongers.
Note 1. It would appear, her Royal Highness was not very learned in vertù, or very correct in nomenclature.
Note 2. I suppose Her Royal Highness alluded to Lady Charlotte Campbell, the beauty of the Argyle family of that day.