The Sun.
London, England, 1860-04-10 00:00:00

IWYAi ACADEMY EXHIBITION.

As the day for the opening of the exhibition is
now close at hand, a few remarks respecting the
works on which some of our most eminent artists
are at present, or have been recently, en_,aged may
not be deemed inopportune.
Sir E. Landseers's final determinati n as to what
picture he will exhibit is always Iv( ertain up to
the last moment ; but it is believed that the large
canvas, descriptive of a flood in Morayshire carrying
down cattle, upon which he has been engaged for a
considerable time, will be his principal work.
Mr. Maclise has two considerable pictures
finished, or awaiting only their last touches; but it
is doubtful whether he will allow eithar of them to
be hung in the forthcoming exhibition.
Mr. Elmore will exhibit the grand historical
work upon which he has been nearly two years
labouring, entitled "The Tuileries on the 29th of
July, 1.792," in which Marie Antoinette, the
Countess de Larnballe, the Dauphin, Mademoiselle,
and the canaille of Paris, are seen as recorded on
that memorable occasion. The subject has been
treated with extreme attention to historic details,
and it is a fine representation of human emotions,
at once pathetic and terrible.
Mr. Philip's chef d'cruvre is "The Marriage of
the Princess Royal," and in the opinion of his
brother artists it is pronounced to be a superb
composition. Indeed, it is said that nothing
equal to it has been produced since Leslie's noble
work, the " Taking of the Sacrament." It is of
course fall of portraits, and is painted with the
artist's greatest care and finish.
Mr. Frith has taken that celebrated knight of
the road, Claude Duval, for his hero, and the inci-
dent chosen for illustration is when the gallant
highwayman, after having stopped a lady's carriage,
and robbed the fair occupant of £4OO, only takes a
portion, leaving her the rest, on condition that she
will honour him with her hand in a dance—a polite
invitation, made with such grace that it is irre-
sistible. Claude and the lady are the impersona-
tions of gallantry and beauty, and the whole scene
is animated and strikingly characteristic of the
manners and customs of the time represented.
This picture displays all Mr. Frith's peculiar quali-
ties, and, if It be not as popular as " The Derby.
Day," it will be permanently esteemed for its vigor-
; ous handling and admirable effect.

Mr. Mu'ready has in a forward state " The Toy
Seller," founded on his sketch in the Sheepshanks
collection, but it is uncertain whether he will ex-
hibit it this year.
Mr. Egg has taken that lively action in " The
Taming of the Shrew" in which Petruchio turns the
tables in his country mansion upside down, abuses
his servants, quarrels with his mutton, and knocks
trenchers, cups, and all about. The leg of mutton
on the fork is decidedly objectionable, both for size,
shape, and quality ; but it is a pre-Raffaelite leg,
and therefore not amenable to modern criticism.
Mr. Grant has " The Lord Mayor of Y ork" and
a large equestrian portrait, both calculated to add
to his reputation and to attract general interest.
Mr. Joy has a charming composition, entitled
" Moss Roses," which is declared by the fraternity
—not always the most gentle of critics—to be one of
the best pictures of the kind he has exhibited. He
has also two portraits likely to create a sensation
in the beau monde—one of the Lady John Somer-
set and the other of a lady about whom there is a
royal mystery and romance ; but who is beautiful
exceedingly, and who cannot fail to be a popular
favourite.
Mr. Chalon has a full-length of a lady sitting for
her portrait in the artist's studio which shows to
advantage this veteran's style and power.
Mr. David Roberts' chief work is " A View of
the Facade of St. Mark at Venice," remarkable for
architectural details, and the animated view of an
Austrian regiment crossing the piazza.
Mr. Henry O'Neil has imagined an incident
similar to what occurredon board the Royal Charter.
A sailor offers to go ashore with a rope, as a forlorn
hope, when all other chances of escape for the pas-
sengers of a foundering ship seem lost. " The
Volunteer" is the name of this picture.
Mr. Millais's subject is the parting of a black
Brunswicker from his sweetheart on the eve of the
battle of Waterloo, and the story is told and the
work wrought in his usual manner.—lFlorniny
Paper.