And so it was that Charlotte, without he stays, sat to Sir Thomas Lawrence at the beginning of October, only a few weeks before the birth. Lawrence, who nearly twenty years before, had painted Charlotte and her mother at Blackheath, now spent nine days at Claremont, working on the new portrait, which Charlotte intended as a birthday present for her husband. The artist, accustomed to study faces, had an opportunity to scrutinize the Princess whom he had not seen since her infancy, and his account of her and her tranquil life with Leopold is, at this point, reassuring.
‘Their mode of life,’ he said, ‘is very regular. They breakfast together alone about eleven: at half past she came in to sit for me, accompanied by Prince Leopold, who stayed great part of the time. About three she would leave the painting room to take her airing round the grounds in a low phaeton with her ponies, the Prince always walking by her side …’ At five, she sat for Lawrence again, and the whole household dined together at soon after seven. After dessert, the Prince and Princess went together into the drawing-room, where they played and sang together – ‘sitting at the pianoforte, often on the same stool …’ But when the company joined them, they broke off, and, after coffee, everybody played cards, the Prince and Princess being always partners.
There was no doubt, Leopold had tamed her. Princess Charlotte, said Lawrence, ‘had nothing of the hoyden, or of that boisterous hilarity which has been ascribed to her’, and he was charmed by her straight-forward honesty, and something about her which reminded him of ‘the good King, her grandfather’.
[an extract from ‘Prinny’s Daughter: A Biography of Princess Charlotte of Wales’ by Thea Holme]