Among the recent additions to the Louvre collection is the excellent life-size portrait of _Captain Robert Hay of Spot_, by Sir Henry Raeburn (1756-1823), which still hangs on a screen in Gallery XV. and has not yet been provided with a number. It is a full-length portrait of the sitter, in uniform of scarlet coat, white breeches, black gaiters, and fur busby, his hand resting upon his gun, standing against a conventional landscape background with a sky of characteristic tawny hue. The picture was formerly in the collection of Mr. Sanderson, at the sale of which, in 1908, it was bought by Messrs. Agnew for 650 gs. To Raeburn are also ascribed the extremely puzzling _Portrait of an Old Sailor_ (No. 1817), which, in spite of certain technical affinities with the British eighteenth-century school, is so un-English in spirit that it would be rash to ascribe it to any master of that school; the negligeable _Portrait of Anna Moore, Authoress_ (No. 1817A); also the utterly commonplace and wretchedly drawn _Mrs. Maconochie and Child_ (No. 1817B), which was bought in 1904, together with the equally questionable _Portrait of a Lady and a Young Boy_ (No. 1812B), by Hoppner, for £4000. SIR THOMAS LAWRENCE The strangely exaggerated estimation in which Sir Thomas Lawrence (1769-1830) is held by French connoisseurs, is to a certain extent to be accounted for by the superb quality of the picture by which he is best known in France: the portrait group of _J. J. Angerstein and his Wife_ (No. 1813A) at the Louvre, which was acquired in 1896 for £3000. This fine group displays all his bravura and pleasing freshness and brightness of colour, without any of the vulgar tricks and shallow mannerisms of his later years. Next to it should be mentioned the charming half-length life-size _Portrait of Mary Palmer_ (No. 1813C), in a yellow dress, seated in a garden. The completely wrecked _Portrait of Lord Whitworth, English Ambassador to France in 1802_ (No. 1813), and the _Portrait of a Man_ (No. 1813D), are of no artistic significance. Neither is it necessary to dwell upon the mediocre _Brother and Sister_ (No. 1801), by Sir William Beechey (1753-1839); the _Portrait of Charlotte Sophia of Mecklenburg-Strelitz, Princess of Wales_ (No. 1818), by Allan Ramsay (1713-1784); and the _Portrait of Lamartine, French Poet and Politician_ (No. 1816A), by Henry Wyndham Phillips (1820-1868). _The Woman in White_ (No. 1816) is at least a sound piece of craftsmanship, even if the attribution to John Opie (1761-1807), “the Cornish Wonder,” is subject to doubt. OTHER PORTRAIT PAINTERS