George III had been twenty-two when, in 1760, he succeeded to the throne, and to a remarkable degree he remained a man of simple tastes and few pretensions. He liked plain food and drank but little, and wine only. Defying fashion, he refused to wear a wig. That the palace at St. James's had become a bit dowdy bothered him not at all. He rather liked it that way. Socially awkward at Court occasions—many found him disappointingly dull—he preferred puttering about his farms at Windsor dressed in farmer's clothes. And in notable contrast to much of fashionable society and the Court, where mistresses and infidelities were not only an accepted part of life, but often flaunted, the King remained steadfastly faithful to his very plain Queen, the German princess Sophia Charlotte of Mecklenberg-Streilitz, with whom he had now produced ten children. (Ultimately there would be fifteen.) Gossips claimed that Farmer George's chief pleasures were a leg of mutton and his plain little wife. But this was hardly fair, Nor was he the unattractive, dim-witted man critics claimed then and afterward. Tall and rather handsome, with clear blue eyes and a generally cheerful expression, George III had a genuine love of music and played both the violin and the piano. (His favorite composer was Handel, but he adored also the music of Bach and in 1764 had taken tremendous delight in hearing the boy Mozart perform on the organ.) He loved architecture and did quite beautiful architectural drawings of his own. With a good eye for art, he had begun early to assemble his own collection, which by now included works by the contemporary Italian painter Canaletto, as well as watercolors and drawings by such old masters such as Poussin and Raphael. He avidly collected books, to the point where he had assembled one of the finest libraries in the world. He adored clocks, ship models, took great interest in things practical, took great interest in astronomy, and founded the Royal Academy of Arts.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "George III had been twenty-two when, in 1760, he succeeded to the throne, and to a remarkable degree he remained a man of simple tastes and few pretensions. He liked plain food and drank but little, and wine only. Defying fashion, he refused to wear a wig. That the palace at St. James's had become a bit dowdy bothered him not at all. He rather liked it that way. Socially awkward at Court occasions—many found him disappointingly dull—he preferred puttering about his farms at Windsor dressed in farmer's clothes. And in notable contrast to much of fashionable society and the Court, where mistresses and infidelities were not only an accepted part of life, but often flaunted, the King remained steadfastly faithful to his very plain Queen, the German princess Sophia Charlotte of Mecklenberg-Streilitz, with whom he had now produced ten children. (Ultimately there would be fifteen.) Gossips claimed that Farmer George's chief pleasures were a leg of mutton and his plain little wife. But this was hardly fair, Nor was he the unattractive, dim-witted man critics claimed then and afterward. Tall and rather handsome, with clear blue eyes and a generally cheerful expression, George III had a genuine love of music and played both the violin and the piano. (His favorite composer was Handel, but he adored also the music of Bach and in 1764 had taken tremendous delight in hearing the boy Mozart perform on the organ.) He loved architecture and did quite beautiful architectural drawings of his own. With a good eye for art, he had begun early to assemble his own collection, which by now included works by the contemporary Italian painter Canaletto, as well as watercolors and drawings by such old masters such as Poussin and Raphael. He avidly collected books, to the point where he had assembled one of the finest libraries in the world. He adored clocks, ship models, took great interest in things practical, took great interest in astronomy, and founded the Royal Academy of Arts." in the context of "David McCullough, 1776 (2005), p. 4-5, ISBN 978-0-7432-2671-4" to mean that wisdom is timeless.