"Two Irish girls of no fortune, who make more noise than any of their
predecessors since the days of Helen, and who are declared the
handsomest women alive." So wrote Walpole, in June, 1751. If we were
to judge of their beauty by the pictured presentments of it, we would
certainly agree with "our Horace" when he says he has seen much
handsomer women than either. We have no adequate image of their
surpassing loveliness, the beholding of which would cause us to feel
how merited was their meed of praise, how fair the contemporary
comment on their comeliness, and how just the wide fame of a beauty
which tradition has epitomized for us in the phrase, "The Fair
Gunnings." Though the print publishers of the time actively issued
portraits, we feel that none of them picture such a person as would
set society and the whole city of London astir by her blazing beauty.

The best-known likenesses are the various pictures by Francis Cotes,
one of the founders of the Royal Academy, a painter of considerable
merit, who was born about 1725, and died in 1770. It is said that
Hogarth preferred him as a portrait painter to Reynolds. His studio
was in Cavendish Square, and at his death was taken by Romney; and it
was while he worked there that Sir Joshua referred to his rival as
"the man in Cavendish Square." The studio was later occupied by Sir
Martin Shee.

Cotes's picture of Maria is a half length of a modestly dignified
lady, having no tendency at all to that silliness that Walpole
insinuates was characteristic of her. The face is oval, the eyebrows
well apart and distinctly arched, and the hair brushed back from the
forehead and falling on the very graceful neck. The dress is cut low,
showing a delicately-moulded bosom. This picture was mezzo-tinted by
McArdell; and there is another, somewhat similar, reproduced superbly