THE EIGHTEENTH CENTURY The work of the Hamburg painter, Baltasar Denner (1685-1749), has no claim to be considered as a manifestation of art: it is merely a display of mechanical skill in the microscopic rendering of the little lines and pores and stubbly hair on the skin of old people’s faces. He lived for seven years in London, where he painted in 1724 the signed _Portrait of an Old Woman_ (No. 2706), which was bought in 1852 for £756. Another characteristic example of his misapplied skill is the portrait (No. 2707) in the La Caze Room. Christian Wilhelm Dietrich (1712-1774) and Heinrich Wilhelm Schweickhardt (1746-1787) are too insignificant to deserve serious consideration. The same remark applies to Christian Seybold (1703?-1768), who became Court Painter to the Empress Maria Theresa; and to Johann Ernest Heinsius, who was active as a portrait painter in France during the reign of Louis XVI. All that is to be noted in their pictures at the Louvre is the total absence of all artistic merit. Of somewhat greater importance, though by no means of the first rank, are the two last German artists who claim our attention: Raphael Mengs (1728-1779) and Angelica Kaufmann, (1741-1807), who is catalogued among the painters of the German school, although she was Swiss by birth, Italian by education, and English by domicile. Her sex was no bar to her becoming one of the Foundation members of the English Royal Academy, and she is generally counted among the English painters. The portrait group of _The Baroness von Krüdner and her Daughter_ (No. 2722) is a poor example of her art, which invariably sought to please by conventional prettiness. Raphael Mengs, the painter of the portrait of _Marie Amelia Christina of Saxony, Wife of Charles III. of Spain_, was born at Aussig in Bohemia, studied whilst still a boy in Italy, and became Court Painter to Charles III., who invited him to Madrid in 1761. Mengs was an exceedingly accomplished technician and draughtsman, who modelled himself on Raphael and the Italian eclectics, but was wholly lacking in originality and inspiration. He tried his hand in every branch of his art, and was most successful in portraiture, although even his portraits are lacking in penetration of character. He, however, excelled as a copyist, and died in Rome in 1779. THE SPANISH SCHOOL