Rowlandson, the caricaturist, once published a cartoon entitled "Juno 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 interesting work from being a very early effort of the after-time President of the Academy, and showing that then he had not attained the trick of flattering his sitters, even when they were noted beauties. Angelica Kauffman painted her, and John Downman also made a portrait replete with elegance and picturesqueness. In fact, the comely Duchess pervaded the art of the period. Of her Grace of Gordon, we have, as our ideal presentment of her, the portrait by Sir Joshua. In it her hair is done up high, and two rows of pearls are intertwined therein. The dress is of the Charles the First period, and shows the sweetly modulated shoulders leading up to—
"The pillared throat, clear chiselled cheek, High arching brows, nose purely Greek, Set lips,—too firm for a coquette."
We have also an interesting portrait of her by Romney.
Of her Grace of Rutland, we have also several pictures by Sir Joshua. There is a whole-length with a decorative head-dress, and a landscape background. The original of this was destroyed by fire at Belvoir Castle. Another, a half-length, in the same costume, and a three-quarter face, is mostly pervaded by a serene sense of pride. There is a drawing of her done by the Hon. Mrs. O'Neil, which is interesting from the picturesque head-dress shown. Her Grace of Gordon was as great a power in the political world as she of Devonshire,—probably greater, for her alliance and principles were with the ruling power. This lady was to Pitt's party what Fair Devon was to Fox's. In fact, it was asserted she endeavored to marry her daughter, Lady Charlotte, afterwards Duchess of Richmond, to the premier. When Georgiana made her famous canvass in favor of Fox, the Tories opposed to her the Scotch Duchess.
She lived and entertained then in a splendid mansion in Pall Mall; and there assembled the adherents of the Administration.
Jane was the daughter of Sir William Maxwell, of Monreith, and in her youth, even, was noted for beauty. A ballad, "Jenny of Monreith," written in her honor, was often chivalrously sung by her son George, the last Duke of Gordon. "Jenny" married the fourth Duke, Alexander, in 1767. The career of the Duke's youngest brother George, identified with the "Gordon Riot," caused the family much embarrassment, and even threatened to derogate from the Duchess's dominance with the ruling party.