Ulla Winblad was a semi-fictional character in many of Carl Michael Bellman's musical works. She is at once an idealised rococo goddess and a tavern prostitute, and a key figure in Bellman's songs of Fredman's Epistles. The character was partly inspired by Maria Kristina Kiellström (1744–1798). A dual character Edvard Matz, author of a book about Carl Michael Bellman's women, calls Ulla "one of the really great female figures in Swedish literature". Bellman's English biographer, Paul Britten Austin, summarizes Ulla's dual nature: "Ulla is at once a nymph of the taverns and a goddess of a rococo universe of graceful and hot imaginings". Fredman's Epistles are distinctive in combining realism - drink, poverty, gambling, prostitution, old age - with elegant mythological rococo flourishes, enabling Bellman to achieve both comic and elegiac effects. Britten Austin cites Afzelius: The sluttiest of the barmaids "on the rosiest mythological clouds" is of course Ulla. In Epistle 36 Vår Ulla låg i sängen och sov, (Our Ulla lay in bed and slept), Bellman "at his most rococo" describes Ulla asleep in a tavern bedroom - while the owner peeps through the keyhole and three excited drunks wait outside. As she wakes, three rococo cupids assist her with make-up, perfume, and her hair. Then she runs into the bar, revives herself with a glass of brandy, and leaves with the blindest of the waiting fellows, "leaving the inmates of the tavern, shaken, to contemplate Ulla's glass where she has left it, empty and broken on the bar." Ulla and the real Maria Kristina Kiellström The fictional Ulla Winblad and the real Maria Kristina Kiellström have frequently been confused, but were not at all the same. Kiellström, born in 1744 in a poor family, did borrow her stepmother's surname, Winblad (the name means vine-leaf). About 1763, she found a job in a silk factory. At the age of about twenty Kiellström became notorious for being made pregnant by a Swedish nobleman, Count Wilhelm Schildt. And in 1767, while without regular employment, she was accused of wearing a red silk cape, a banned luxury item: but unlike Ulla, she was acquitted. By 1770, Kiellström had moved out of the town centre; she and another girl, whose name was Ulla, were both officially recorded as being suspected by their landlord of "loose living". Bellman met Kiellström in about 1769. Soon afterwards, he sang of Ulla Winblad for the first