The same city was adorned by the elegant labors of Anna Maria Mengs, whom Dr. Guhl calls “the most gifted of the three sisters,” and who is styled by Fiorillo “the daughter of the Raphael of his age.” She received early instruction from her father; came to Dresden in 1751, and devoted herself to painting--chiefly portraits. She made her first journey to Rome in 1777, and there married a copper-engraver, Manuel Salvador Carmona. She had many children, but continued to exercise her art while taking care of them. She produced several pastel and miniature paintings. Her chief works, done for the King of Spain and the Infant Don Luis, are in Madrid, in the Academy of San Fernando, of which she was chosen a member. She died in Madrid, 1793. As miniature and pastel painting are peculiarly adapted to female hands by the delicate and cleanly handling required, so flowers and landscapes seem to present objects and scenes of beauty congenial to the taste of the sex. It can not be wondered at, therefore, that these branches found several cultivators. Flower and landscape painting became a passion among the German women who could be classed as amateurs or connoisseurs. Hagedorn mentions, in his work on painting, as a distinguished patroness of these, a Countess von Oppendorf. With her may be named the Countess von Truchsetz-Waldburg, the Princess Anna Paar, and others of no special note. Maria Dorothea Dietrich, the sister of the Dresden painter, and Crescentia Schott, already mentioned, labored professionally in the art. Many were the fair painters who imitated the famous Rachel Ruysch. The representation of animals and objects in natural history became a favorite style, and the celebrity of Madame Merian stirred up many of her sex to emulate her success. The influence of example wrought as powerfully here as in every other matter. In the early part of this century lived at Lubeck Catharina Elizabeth Heinecke, born in 1685, an enthusiastic patroness of flower-painting, and the mother of “the famous Lubeck child.” We may mention also, amid a cloud of artists to be passed unnoticed, a family at Nuremberg, named Dietsch, that included three sisters of talent and accomplishment. Catharina Treu, born at Bamberg in 1742, obtained celebrity in the same line. She studied in Düsseldorf, attracted thither, doubtless, by the works of Rachel Ruysch, and received the appointment of cabinet-painter from Karl Theodore at Mannheim. Thence she returned to Düsseldorf to take the place of professor in the academy of art in that place. To the same period belongs Caroline Frederika Friedrich, the first female pensionnaire who exercised her art as member of the academy in Dresden. Gertrude Metz of Cologne was also a disciple of Rachel Ruysch in Düsseldorf. Of a remaining host we name only the sisters Anna and Elizabeth Fuessli (Fuseli), who painted in the style of their father, and copied from nature the flowers and insects of Switzerland.