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  1. Barbara Villiers was Charles II's principal mistress between 1660 and 1670 and the most powerful woman at court. She devoted much energy to public demonstrations of the king's favour through displays of jewels and wealth. She was painted frequently by Lely, who described her beauty as ‘beyond the compass of art’. Cat. 57

  2. 17 de ago. de 2021 · Barbara Villiers was born in St. Margaret’s, Westminster on 27 November 1640 to a Royalist family. Her father was the 2nd Viscount Grandison, and a half-nephew of the infamous 1st Duke of ...

  3. 7 de ene. de 2017 · Barbara Palmer’s lack of fortune limited her marriage prospects, despite her beauty. Barbara was born in 1640 in Westminster, London, as the only child of the 2nd Viscount Grandison, William Villiers. After the death of her father, the family was left impoverished, and Barbara had to make her way among the Royalists.

  4. 17 de oct. de 2023 · Barbara Palmer's lack of fortune limited her marriage prospects. Tall, voluptuous, with masses of brunette hair, slanting, heavy-lidded violet eyes, alabaster skin, and a sensuous, sulky mouth, Barbara Villiers was considered to be one of the most beautiful of the Royalist women, but her lack of fortune left her with reduced marriage prospects.

  5. Barbara Villiers, Duchess of Cleveland, daughter of William Villiers, 2nd Viscount Grandison, first met Charles II during his exile in The Hague, and had become his mistress by May 1660. She bore the king six children and was created Duchess of Cleveland in 1670 before being supplanted in Charles II's affections by the Duchess of Portsmouth.

  6. In 1659 Barbara Villiers had married Roger Palmer, later Earl of Castlemaine, although soon after she became King Charles II's mistress, exerting considerable political influence until her fall from favour in the early 1670s.

  7. 18 de ene. de 2023 · Barbara Villiers was effectively his muse, and her heavy-lidded, 'sleepy’ look became the fashionable style of beauty for court women partly as a result of Lely's paintings. Lely depicted her in a wide range of roles: as Minerva, St Catherine, St Barbara, a shepherdess and, here, most audaciously, as the Virgin Mary, with her child - probably her eldest son by the king - as the Christ Child.