One of the most popular images from the tale was Psyche's discovery of a naked Cupid sleeping, found in ceramics, stained glass, and frescos. Mannerist painters were intensely drawn to the scene. In England, the Cupid and Psyche theme had its "most lustrous period" from 1566 to 1635, beginning with the first English translation by William Adlington. A fresco cycle for Hill Hall, Essex, was modeled indirectly after that of the Villa Farnesina around 1570, and Thomas Heywood's masque "Love's Mistress" dramatized the tale to celebrate the wedding of Charles I and Henrietta Maria, who later had her withdrawing chamber decorated with a 22-painting "Cupid and Psyche" cycle by Jacob Jordaens. The cycle took the divinization of Psyche as the centerpiece of the ceiling, and was a vehicle for the Neoplatonism the queen brought with her from France. The "Cupid and Psyche" produced by Orazio Gentileschi for the royal couple shows a fully robed Psyche whose compelling interest is psychological, while Cupid is mostly nude.