Devon, All Sublime." The rival goddesses in competition with her
before that modern Paris, the Prince of Wales, being their Graces of
Gordon and Rutland. Beyond the various written records of the opposing
beauty of those aristocratic dames who dominated society in their day,
we have ample painted evidence of their loveliness. Of her Grace of
Devonshire, we have, first, the engraved renderings of "the lost
Gainsborough." There are other Gainsboroughs, too,--Georgiana as a
child, and a full-length of her standing at the edge of a lawn, her
face looking down, wearing a white dress, her right elbow on the base
of a column, a scarf in both hands, her hair piled high, but without
the hat, as in the more famous picture. There are then several by Sir
Joshua. The first, where she stands as a child beside her mother;
then, she as a mother with her own child,--a very charming profile,
and a picture that insinuates the vivacity of demeanor and the abandon
so characteristic of her.

Walpole wrote of this as "Little like and not good." Yet, as to
goodness, a modern authority has said: "It is a superb work; and, in
motive, color, and composition, it ranks as a triumph alike of nature
and art." Again, there is a whole-length showing her about to descend
some steps to a lawn, her superb shoulders and neck bare, and her hair
highly bedecked with feathers. Walpole writes of another portrait,
drawn by Lady Di Beauclerck, and engraved by Bartolozzi: "A Castilian
nymph conceived by Sappho and executed by Myron, would not have had
more grace and simplicity. The likeness is perfectly preserved, except
that the paintress has lent her own expression to the Duchess, which
you will allow is very agreeable flattering." In the Royal collection
of miniatures at Windsor, are three charmingly executed ivories of her
by Cosway. Lawrence, too, made a chalk drawing of her, which now hangs
at Chiswick House, in the room in which Charles Fox died. This is an