Gustave Richter is considered by many the greatest of the German artists. He is a favorite at court, and the National Gallery is indebted to the emperor for the most wonderful picture he ever painted, “The Raising of Jairus’ Daughter.” Richter married the daughter of Meyerbeer, the composer. He paints his wife as often as Rembrandt painted “Saskia,” and in much the same style. One of the best, although less known of these portraits, is that called by the artist “Revery.” Knille’s well-known picture of “Tannhäuser and Venus,” with its superb half-defined drapery of silk and satin, from which the faultless Venus rises, and the pellucid streams of light flow, and the flowers invested with purpureal gleams, is in the possession of the National Gallery. Carl Becker is well liked in America, but it is doubtful, however, if the talented dwarf Menzel is ever heard of outside Germany. His countrymen are too fond of his pictures to allow them to go beyond their reach. He can paint anything and everything, from the glittering rooms of Sanssouci to the forging and rolling machine works. He has a picture of this latter class in the Gallery, where the varied lights—daylight, firelight, reflected light from red-hot iron, all fall upon the faces of the men; a feat in painting but little less remarkable than that of Rembrandt’s “_Ronde de Nuit_,” at Amsterdam. There remains but the “Schlachten-maler,” as the Germans call them, with Camphausen at the head, whose battle scenes are multiplying in times of peace as if they were still longing for “The smoke of the conflict, The cannon’s deep roar.”