Karoline Felicitas Engelberte of Manderscheid-Blankenheim (13 November 1768 – 1 March 1831) was a princess consort of Liechtenstein; married on 16 November 1783 to Prince Aloys I of Liechtenstein.

Collection: Chazen Museum of Art, Madison, Wisconsin, United States

Collection: The Mauritshuis, The Hague, Netherlands

The portrait follows a popular model of the day with the sitter presented as if recreating a moment from classical antiquity, in this case making a sacrifice to Minerva. The goddess of wisdom and one of the principal deities of the Roman pantheon is depicted as a sculpture in the background on the left, wearing a helmet and holding a shield. The foot of the fine bronze burner on which the sitter makes her sacrifice is decorated with a serpent — another symbol of Minerva — and has a garland of real flowers twined around it. The background planes are executed with an extremely free brushstroke and highly diluted pigment used to depict the interior walls and a garden on the left. The handling is tighter in the figure, particularly on her face and hair. The present composition is based on a canvas by Joshua Reynolds now in the Art Institute of Chicago of Lady Sarah Bunbury offering a Sacrifice to the Three Graces, dating to 1775. The overall approach, the position of Sarah Bunbury and other details are all closely followed in the present canvas.

Along with "Parade" (1922) and "The Mussel Eaters" (1923), "The Big Shooting Booth" is the most important work from the very first years of De Smet's return to Belgium. A clear, strongly balanced composition would characterize all his works from then on. The artist may have found inspiration in the annual fair in Ghent. Yet, "The Big Shooting Booth" does not display the festive vibrancy of a fairground attraction. The composition is highly synthesized, in a very flat space with a limited palette of brown, red, and ochre in defined planes.