Queen Charlotte - Royalty

Queen Charlotte, wife of the English King George III (1738-1820), was
directly descended from Margarita de Castro y Sousa, a black branch of the Portuguese Royal House. The riddle of Queen Charlotte's African ancestry was solved as a result of an earlier investigation into the black magi featured in 15th century Flemish paintings. Two art historians had
suggested that the black magi must have been portraits of actual
contemporary people (since the artist, without seeing them, would not have been aware of the subtleties in colouring and facial bone structure of quadroons or octoroons which these figures invariably represented) Enough evidence was accumulated to propose that the models for the black magi were, in all probability, members of the Portuguese de Sousa family.

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(Several de Sousas had in fact traveled to the Netherlands when their
cousin, the Princess Isabella went there to marry the Grand Duke, Philip
the Good of Burgundy in the year 1429.)
Six different lines can be traced from English Queen Charlotte back to
Margarita de Castro y Sousa, in a gene pool which because of royal
inbreeding was already minuscule, thus explaining the Queen's unmistakable
African appearance.
Queen Charlotte's Portrait:
The Negroid characteristics of the Queen's portraits certainly had
political significance since artists of that period were expected to play
down, soften or even obliterate undesirable features in a subjects's face.
Sir Allan Ramsay was the artist responsible for the majority of the
paintings of the Queen and his representations of her were the most
decidedly African of all her portraits. Ramsey was an anti-slavery
intellectual of his day. He also married the niece of Lord Mansfield, the
English judge whose 1772 decision was the first in a series of rulings
that finally ended slavery in the British Empire. It should be noted too
that by the time Sir Ramsay was commissioned to do his first portrait of
the Queen, he was already , by marriage, uncle to Dido Elizabeth Lindsay,
the black grand niece of Lord Mansfield.
Thus, from just a cursory look at the social awareness and political
activism at that level of English society, it would be surprising if the
Queen's negroid physiogomy was of no significance to the Abolitionist
movement.
Lord Mansfield's black grand niece, for example, Ms. Lindsay, was the
subject of at least two formal full sized portraits. Obviously prompted by
or meant to appeal to abolitionist sympathies, they depicted the
celebrated friendship between herself and her white cousin, Elizabeth
Murray, another member of the Mansfield family. One of the artists was
none other than Zoffany, the court painter to the royal family, for whom
the Queen had sat on a number of occasions.
It is perhaps because of this fairly obvious case of propagandistic
portraiture that makes one suspect that Queen Charlotte's coronation
picture, copies of which were sent out to the colonies, signified a
specific stance on slavery held, at least, by that circle of the English
intelligencia to which Allan Ramsay, the painter belonged.
For the initial work into Queen Charlotte's genealogy, a debt of gratitude
is owed the History Department of McGill University. It was the director
of the Burney Project (Fanny Burney, the prolific 19th century British
diarist, had been secretary to the Queen), Dr. Joyce Hemlow, who obtained
from Olwen Hedly, the most recent biographer of the Queen Charlotte
(1975), at least half a dozen quotes by her contemporaries regarding her
negroid features. Because of its "scientific" source, the most valuable of
Dr. Hedley's references would, probably, be the one published in the
autobiography of the Queen's personal physician, Baron Stockmar, where he
described her as having "...a true mulatto face."
Perhaps the most literary of these allusions to her African appearance,
however, can be found in the poem penned to her on the occasion of her
wedding to George III and the Coronation celebration that immediately
followed.
Descended from the warlike Vandal race,
She still preserves that title in her face.
Tho' shone their triumphs o'er Numidia's plain,
And and Alusian fields their name retain;
They but subdued the southern world with arms,
She conquers still with her triumphant charms,
O! born for rule, - to whose victorious brow
The greatest monarch of the north must bow.

Finally, it should be noted that the Royal Household itself, at the time
of Queen Elizabeth II's coronation, referred to both her Asian and African
bloodlines in an apologia it published defending her position as head of
the Commonwealth.
More about Research into the Black Magi:
In the Flemish masterpieces depicting the Adoration of the Magi, the
imagery of the black de Sousas had been utilized as both religious and
political propaganda to support Portugal's expansion into Africa. In
addition, the Flemish artists had drawn from a vocabulary of blackness
which, probably due to the Reformation and the Enlightenment, has long
since been forgotten. There was a wealth of positive symbolism that had
been attributed to the black African figure during the Middle Ages.
Incredible as it would seem to us today, such images had been used to
represent not only Our Lady - evidence of which can be found in the cult
of the Black Madonna that once proliferated in Europe - but in heraldic
traditions, the Saviour and God the Father, Himself.

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