The Sun.
London, England, 1848-11-06 00:00:00

THE ROYAL ETCHINGS.

[ln another part of this evening's impression of
The Sun will be found a paragraph announcing the
progress made in the extraordinary case of " The At-
torney-General v. Strange." Beyond this, our
readers will find, from the account furnished by our
legal reporter, that two additional injunctions have
been granted by Vice-Chancellor Knight Bruce
against the real defendant in this remarkable trans-
action—not Mr. William Strange, the publisher of
Paternoster-row, but a person named Jasper Toncett
Judge, a resident of Windsor, formerly proprietor o
a newspaper at Cheltenham, subsequently con-
nected in a subordinate capacity with some portions
of the metropolitan press, and writer of one or
two obscure pamphlets and minor publications.
The fact of this individual having certain
of these etchings in his possession, as sworn
before his Honour on the affidavits of Lawrence and
others, imparts an entirely novel complexion to the mat-
ter under consideration, and tends in a great measure
to exculpate the original defendant, Mr. Strange.
Unfortunately we have not as yet been able to obtain
copies of the affidavits already mentioned, otherwise
we should have laid them at once before our readers
as the weapons employed by the advisers of the
Sovereign, for the purpose, if possible, of directing
punishment against the guilty purloiner of the royal
curiosities. Immediately we can obtain addi-
tional information it shall appear in our co-
lumns, not only because of the cunning
fense of the respective solicitors and counsel,
but because of the singularity of the appearance of
the august personages, her Majesty and his Royal
Highness the Prince Consort, as suppliants in atie
High Court of Chancery for that justice of which
the Sovereign is said, by Sir Matthew Hale, to be
the fountain. After the tremendous convulsions of
the monarchical and imperial Governments of the
continent—after the general bouleversewzent which has
taken place among the ancient institutions of sove-
reignty, it is a significant circumstance to witness the
the course herein adopted by Victoria towards the
close of the memorable year 1848. It is a circum-
stance significant of the pliancy, the flexibility, and
the marvellous elasticity of our matchless constitution.
—ED. Sus.]
No. 1. Portrait of a Turk, head of an Old Man, and
German Peasant Girl. Drawn and etched by her
Majesty, Aug. 28, 1840.
No. 2. Portrait of a Turk. Drawn and etched by Prince
Albert, Aug. 28, 1840.
No. 3. Head of Henry VIII,, Combat between two Men
in Armour, tic. Etched by her Majesty, after original
drawings by Prince Albert, Sept. 1, 1840.
No. 4. Full-length Portrait of a young Lady. Drawn
and etched by her Majesty, 1840.
No. 5. Full-length Portrait of a young Lady sitting on a
Rock. Drawn by her Majesty, after nature, and etched
by the Queen, 1840.
No. 6. Portrait of " Ada," in a German dress. Drawn
by her Majesty from nature, and etched by the Queen,
September, 1840.
No. 7. Portrait of " Ada," and two Female Heads.
Drawn and etched by her Majesty, Sept. 1840.
No. 8. Head of a German Student. Drawn and etched
by Prince Albert.
No. 9. Portrait of Islay, a Scotch Terrier. Drawn from
life by her Majesty, Sept. 9, 1840, and etched by
Prince Albert.
No. 10. The Provocation and Trial of Pressly to Single
Combat. Designed, drawn, and ( tched by Prince
Albert, Sept. 16, 1840.
No. 11. Head of " Islay," a Scotch Terrier (see Nos. 9
and 12), Head of " Eos," a Russian Greyhound. Drawn
from nature by her Majesty, Sept. 19, 1840, and etched
by the Queen.
No. 12. Head of " Islay," a Scotch Terrier. Drawn from
nature by her Majesty, Sept. 22, 1840, and etched by
the Queen.
No. 13. Head of " Waldmann," a Teckel German
Dog, Head of " Eos," (see Nos. 11 and 26). Drawn
from nature by her Majesty, Sept. 24, 1840, etched
by the Queen.
No. 14. The Conferring of the Order of " The Golden
Fleece." Designed, drawn, and etched by Prince Al-
bert, Dec. 4, 1840.
No. 15. Portrait of " Waldmann," a Teckel German
Dog. Drawn from nature, and etched by her Majesty,
October 12th, 1840.
No. 16. Portrait of big Royal Highness Prince Albert.
Copied by her Majesty from Sir George Hayter's
Marriage Picture, and etched by the Queen, October
26th, 1840.
No. 17. Margaret in Prison, Drawn by her Majesty in
1838, and etched by the Queen, Oct. 31st, 1840.
No. 18. A Spanish Soldier. Drawn laid etched by
Prince Albert, Nov. 1, 1840.
No. 19. Portrait of a Lady. Drawn and etched by her
Majesty, Nov. 18, 1840.
No. 20. Portrait of Frederick, Elector and Duke of
Saxony, the founder of the University of Wittemburg.
Copied by Prince Albert from the original picture, by
Lucas Cranach the younger, and etched by his Royal
Highness, Dec. 1, IE4O.
No. 21. Head of an Old Man. Drawn by Prince Albert.
and etched by her Majesty, Dec. 20, 1840.
No. 22. Portrait of a Female. Drawn and etched by
her Majesty, Dec. 27, 1840.
No. 23. Portrait of a German Prince. Drawn and
etched by Prince Albert, Dec. 28, 1840.
No. 24. The Discovery of the Miniature. Drawn and
etched by her Majesty.
No. 25. Portrait of a Female. Drawn and etched by
her Majesty, Jan. 3, 1841.
No. 26. Portrait of " Eos," a Russian Greyhound.
Drawn by her 'Majesty from nature in 1840, and
etched by the Queen, Jan. 6, 1841.
No. 27. Scene from the opera of Norma. Drawn by
her Majesty in 1836, and etched by the Queen, Jan.
7, 1841.
No. 28. The Secret Consultation on the Jury Plate.
Drawn and etched by Prince Albert, Jan. 8, 1841.
No. 29. Head of an Old Man. Drawn by Prince Al-
bert, in 1840, and etched by her Majesty, Jan. 9, 1841.
No. 30. Swiss Peasant and Child. Drawn by her Ma-
jesty, and etched by Prince Albert, Jan.'l6, 1841.
No. 31. Portrait of a Noble. Drawn by Prince Albert,
and etched by her Majesty and his Royal Highness,
Jan. la, 1841.
No. 32. The Apotheosis of Mignon. Drawn and etched
by her Majesty, Jan. 30, 1841.
No 33. A Vision. Drawn and etched by Prince Albert,
Jan. 31, 1841.
No. 34. Various Studies: a medley. Drawn and etched
by her Majesty, Jan. 21, 1841.
No. 35. The Apotheosis of Mignon. Drawn and etched
by her Majesty, Feb. 2, 1841.
No. 36. The Tired Pilgrim and the Warrior Knight.
Designed, drawn, and etched by Prince Albert, Feb.

_
8, 1841.
No. 37. The Fisherman's Bride. Drawn and etched by
her Majesty, February 21, 1&41.
No. 38. Portrait of the Princess Royal in the arms of her
Nurse. Drawn from life by her Majesty, February
22, 1841, and etched by the Queen.
No. 39. Mignon in her Dramatic Attire. Drawn by her
Majesty, and etched by Prince Albert, February 24,

1841.
No. 40. Portrait of a Goat. Etched by her Majesty, after
a drawing by E. Mansfield, April 1, 1841.
No. 41. The Heads of Three llorses. Etched by her
Majesty, after a drawing by E. Landseer.
No. 42. Head of an Old Man. Drawn and etched by
Prince Albert, May 3, 1841.
No. 43. Portrait of an Egyptian Woman. Drawn and
etched by her Majesty, June 9, 1841.
No. 44. Pigeons at the Royal Aviary at Windssr.
Sketched from life, and etched by Prince Albert, July
11, 1841.
No. 45. Portrait of the Princess Royal. Drawn from
life by her Majesty, Aug. 15, 1841, and etched by the
Queen.
No. 46. Portrait of the Princess Royal. Drawn from
life by her Majesty, Aug. 22, 1841, and etched by the
Queen.

No. 47. Portrait of the Princess Royal. Drawn from
life by her Majesty, Aug. 23, 1841, and etched by the
Queen.
No. 48. Portrait of the Princess Royal. Drawn from
life by her Majesty, Aug. 25, 1841, and etched by the
Queen.
No. 49. Heads of Eagles. Etched by Prince Albert after
a Caracei, Aug. 28, 1841.
No. 50. Masquerade Scene. Drawn and etched by her
Majesty, Sept. 1, 1841.
No. 51. Two Horses. Drawn and etched by her Majesty
after a Sketch by E. Landseer, Jan. 1, 1842.
No. 52. Market Women. Drawn and etched by her
Majesty, after Landseer, Jan. 9, 1842.
No. 53. Portrait of the Princess Royal. Drawn from
life by her Majesty, Jan. 12, 1842, and etched by the
Queen.
No. 54. Two French Women. Drawn and etched by
Prince Albert, after E. Landseer, Jan. 18, 1842.
No. 55. A French Woman. Drawn and etched by her
Majesty, after E. Landseer, Jan. 13, 1842.
No. 56. Portrait of the Princess Royal. Drawn from

life by her Majesty, Dec. 27, 1842, and etched by
Prince Albert.
No. 57. Five Portraits of the Princess Royal. Drawn
from life by. her Majesty, and etched by the Queen,

Jan. 7, 1843.
No. 58. Portrait of the Prince of Wales and the Princess

Royal. Designed from life by her Majesty, Jan. 3,
1843. Drawn and etched by Prince Albert.
No. 59. Portrait of " Cavinach," a Scotch Terrier.

Drawn from life by Prince Albert, in 1842, and etched
by her Majesty, Jan. 9, 1843.
No. 90. Medley Plate. Portraits of the Princess Royal,
Head of an Arab, Gipsy and Child, Head of an Old
Woman. Drawn and etched by her Majesty, Jan. 11,

1843.
No. 61. Two Portraits of the Princess Royal. Drawn
from life by her Majesty, February, 10, 1643, and
etched by the Queen, February 26, 1843.
No. 62. The Doge of Venice, and as armed Knight.
Drawn and etched by Prince Albert, Feb. 28, 1843.
No. 63. A Shooting Pony, with Dead Stag and Dog.
Drawn and etched by Prince Albert, March 2, 1843.

HAYMARKET THEATRE.—Mr. and Mrs. Charles
Kean make their re.entree to-night, in the popular play,
The Wife's Secret. Their success in the provinces has
been quite unparalelled, and we have no doubt, now that
their engagement at the Haymarket is permanent, that
an impetus will be given to the production of new plays
worthy such distinguished artists. We hear that Shak-
spere's delightful comedy, The Twelfth Night, will be
acted on Saturday, with Mrs. Charles Kean as Viola.
This character is one of that lady's finest embodiments.
Lord Cochrane, of the 18th Royal Irish Dragoons,
son to the Earl of Dundonald, who has been serving
with his regiment in Bengal, Will shortly return home on
sick loave.