Poor Fred Two
Frederick Louis, 1735, by Amigoni
Could the exotropic strabismus
really have been so prominent ?
His political ambitions unfulfilled, Frederick died at Cliveden House at the age of 44 in 1751.
Here lies poor Fred who was alive and is dead,
I had much rather it had been his father .....
Perusal of Sir George Young's Poor Fred: the People's Prince, 1937, makes one thing abundantly clear: the nationwide and substantial unpopularity of George II, Fred's father.
It also highlights how utterly mistaken are the gallery notes to a painting by Monamy of the Accession of George I, asserting that the enthusiasm for the new King "soon dissipated into resentment by his English subjects", and that "George I's offspring integrated with their British subjects much more successfully". By 1736, everyone, except Walpole, the "Spaniel of Spain", was fervently hoping George I's main "offspring" had drowned at sea.
On the other hand, the arrival of George I was only resented by Roman Catholics, and was celebrated by Londoners from 1714 until the day he died in 1727. Apart from the several pictures recording the arrival, commissioned from Peter Monamy, notably the one still owned by the Grocer's Company, the most convincing constant evidence is Doggett's Coat and Badge race, founded in perpetual memory of the Hanoverian Accession. The first winner of this race was depicted by Peter Monamy in 1722. see Waterman's Hall. The Revolution Whigs were lovers of liberty, who were overjoyed by the reign of King Log, in place of King Stork of the Stuarts.
The above mezzotint, after Monamy, illustrating the "imminent danger" of George II in 1736, is based on an oil painting now in the Tate Gallery. George had gone missing at sea, on one of his journeys back from Hanover. Interested readers, if any, may puzzle over the mezzotint's modification of the debris being flung from the ship. Would this indicate "dropping the pilot" ? But Walpole was not on board. Could it refer to the nation's anxious concern for George himself ?
The deeper these circumstances are dug into, the clearer it becomes which side Monamy adhered to. The clearer it becomes how Horace Walpole diverted the art historians by supercilious snobbery and sneers, thereby promoting the memory of the nation's Moses. See Aedes Walpolianæ.
Below: Ships in Distress in a Storm. Tate Gallery. Dates suggested are 1720-1730.
Extremely unlikely to have been painted before 1730. 30¼ x 41¾
From Divine Wind, 2005, by Kerry Emanuel, p 192.
An excerpt from Poor Fred: the People's Prince, page 146.
It was reported in The Daily Post, a London newspaper, of Tuesday, 20 May 1740, that the Prince of Wales had selected "the Picture representing the taking of Porto Bello" for particular inspection during a visit to Vauxhall Gardens the previous evening. Frederick was at that time publicly heading the political opposition to Robert Walpole. The picture at Vauxhall had been painted by Peter Monamy.
See Poor Fred One.
1937. Poor Fred: the People's Prince, by Sir George Young
1947. Frederick Louis Prince of Wales, by Averyl Edwards
1967. The English Court in the Reign of George I, by John Beattie
1970. Poor Fred & The Butcher, by Morris Marples
1973, George II, by Anthony Chenevix Trench
1978, George I, Elector & King, by Ragnhild Hatton
1996. The King who never was, by Michael De-la-Noy