The Sun.
London, England, 1859-05-03 00:00:00

TUSCANY AND PARMA.

The IlloiliteuY of to-clay (Tuesday) contains the
following.telegram '
PARMA; Sunday Evening.-=A public manifesta-
tion was yesterday made by the polinlace'before the
Royal Palace. • The officers in the name of the
army deMfmded.the union of their troops with-the
Piedmontese forces. The Duchess quitted Parma
after having appointed a Council of Regency, com-
posed of her Ministen. The Princes have also left
this morning. Public order has not been disturbed.
The. Pi.:csse last evening announces that a
mth-ement • similar to that which lately took place
in j'hirenee has just occurred in Parma. The
Grand: Duchess has taken her departure, after
haVinginstituted a Council of Regency. The new
Government haS expressed its ad4sioni Ito Pied,
inont. E • • • •

TURIN, MAY 2..

The—ofacial Piedmoutese Gazette. publishes an
account-of the late events in Tuscany, drawing the
concluSio4*.that. they prove the unatirmity. Of feeling
entertained by the population for the pause of na-
tional
_ffidependence. The king of Sardinia has
accepted the military dictatorship of Tuscany solely
to facilitate the co-operation of the Tuscans in the
war of in. aepeUaence, and also to protect public
order. - - The Sardinians in Venice have placed
themsolvo under the protection of the Russian
Consulate.. • •

FRANCE. •
PARIS, MAY 3.

TheMbniteur states that at two o'clock to-day
the Senate and. he Corps Legiskt ft will receive a
communication- from Government. , •

MAY 2.
Itentes. were. first done at 61f. 5c., rose to 61f.
15c., o.:tid:4re nosy 61f. 10e. Little 'doing:

12.35 P.M.

Rentes 'opened 61f. 5c., but fell immediately to
60f. 93e., rose kain,an'd are now 61f. 26c., being a
dekint "of since yesterday's closing. Little doing.
' s 2.18 P.M.
Liquidation is proceeding quietly.
Tendency of the Bourse flat.
iteutes,:6lf: 15n.

BERLIN,. MAY 2.
• • • • •
In to-day's sitting of the Chamber of Deputies
the Minister of War made the lbßowing state-
ment

Government; on the 28th of March last, ex-
plained the pi)int. of view which.persuaded the.i,
of the necessity. of ordering thrco corps i7'arince-
:
of the 'Federal Contingent to d p/ac, on a
war footing... Since that
.;stto political affairs
t ee.: asmed'
dutyl ' tliat Government
to extend the same
nicasurcT to the remaining six corps d'arince,
the necessary instructions have been
alreaily- sent to the different goal-yrs.:: Although
Govern—ent liate for the" present communicated
this intelligence to the Chambers,. they hate re-
served amore detailed statement of the position of
political. affairs, which will, however, be made to
the house with the 2hort,est possible delay.

• BERNE; MAY 2.
The President opened the Federal Assembly to
day with a patriotic speech.

The F:ederal. Council moved the following de-
mands for the consideration of. the Assembly—
namely,- to sanction the declaration of neutrality
•
• •
which accompanied the recent calling in of the con-
.
tingents.by Government; to authorise the taking
of fai-14Cr defensive measures; to .open it credit not
to be limited to contracting loans ; and to appoint
a Coinniandef7in-Chief of the Federal army:
The Austrian Ambassador has communicated to
the Federal Council the manifestb containing the
declaration of war..

•• • -
• STUTTGART, MAY 2.
.The Chambers -have to-day unanimously voted
the Government projects of law for calling out the
Landwehr, for a forced levy of. horses, and, for
opening • a war credit 0f7,000,000 florins.. • The
debates: Which took place expressed sympathy with
Austria- •and • indignation, at the longing for war
manifcited by:Franee.,l, • •

AUSTRIA;

VIENNA, APRIL 30.

. .
On the 27th inst. his Majeity the Emperor
despatched the subjoined' address to •the forces
forming. the second army, which, as you are aware,'
is under the. command of the..Feldzeugmeister
Count Gyulai : •
" After fruitless atfeinpts to secure Peace for my Empire,
without. comprctrnising its dignity, I am necessitated to
have recourse to wills.

" With confidence I confide the rights of Austria to the
best ,of hdnds—to the hands of a tried and gallant army.
" Your fidelity and bravery, your exemplary discipline,
the justice of the cause which you defend, and a glorious
past guarantee to mo your success.

" Soldiers of -the 'second army ! It is for you to secure
'cie*y to the i4potless lag of Austria. Take with you into
battle the blessing of God and the. sonfidenee of your
Emperor. • • "FRANCIS JOSEPH."

Yesterday Count .Buol addressed a`-circular de-
spatch. to the diplomatic agents of the Austrian
Government at foreign .Courts
her refusal to disarm Sardinia' (it says) has proved
That she is resolved to continue the attack on the indisput-
able_ rights of . Austria, to . disturb the tranquillity of
Europe,. and to. encourage the hopes of the revolutionary
party. The Sardinian Government' has abUsed the na-
tionalfdeling Of ,the Italian *races.' All the germs of dis-
content in Italy were long assiduously cultivated, and, as
soonlas they began to spring rip,Piedment took:the field as
the champion of all the Italian nationalities. Sardinia can
fever have sincerely wished that Italyshouid remain in a
statq of peace 'rind prosperity; for .whenever the Italian
monarchs ha:cre . displayed clemency Red shown a
spirit of. conciliation, she has- redoubled her efforts to
rouse the evil passiorii of the
.people. When *the Emperor
and Empress • were in Italy the public papers were
perMitted to speak in ftvour of regicide ; and when his
Majesty placed his brother, the Archd.u.ke Ferdinand 3lali-
ntilian, at the head of the Administration of the Lombardo-
Venetian kingdom, the agitators at -Turin systematically
misrepresented 'every act performed and every measure
taken bylthe benevolent and generoul'rince.

" Amtria is .a conservative Power, and religion, morality,
and historical rights are sacred in hereyes. The possession?
-of Austria in Italy ariguarnnteed to her by the very Powers
which gave Genoa to Sardinia, Lombardy way &trims. many

centuries a fief of the German empire, and Venice was given
to Austria instead of her Belgian provinces. Sardinia tells
us that the real cause of the discontent of the inhabitants of
Lombardy and Venice is the dominions of Austria on the
Po and Adriatic. The right of Austria to Lombardy and
Venice is irrefragible, and it will be defendtti against every
attack.

France, which long shared with Sardinia the Ineral
responsibility for the sad state of things in Italy, now
openly supports the revolutionary movement which has
begun. The second French Empire is about to realise its
long •cherished ideas, for the throned Power in Paris has
informed the astonished world that ' political wisdom' will
replace those treaties which have so long formed the basis
of European international law. The traditions of the first
Napoleon have been resuscitated, and Europe is not
ignorant of the importance of the struggle which is about
to begin."

There was a frightful panic on 'Change to-day.
National Loan fell to 601 50k. ; Metalliques to 5511. 40k.,-
Credit Bank Shares, to 1351 50k. ; and Northern Railroad
Shares to 135f1. English sovereigns were in demand at
1311. 40k., and ducats at 6fl. 32k.

Count Gyulai has sent in an official report that
the vanguard (tete) of the Austrian army crossed the Ticino,
near Pavia, yesterday, the 29th inst., in the afternoon.

THE ROYAL ACADEMY.

(PRIVATE VIEW.)

Whatever is sufficiently effective of its kind is of
worth—Quiequid in suo gcnere satin qfvetunt est
valet. They are the words of Qulntilhan (12, 9),
and they form the appropriate and suggestive
motto for 1859 of the Academy Catalogue. Hap-
pily for us as critics, happily for the general
public as spectators in search a the true and the
beautifid, there are very many of the 666 principal
pictures in this year's exhibition which afford apt
illustration to the sententious opinion expressed in
the axiom of the great Christian philosopher..
Altogether, in eluding architectural drawings, scolp-
tures, and miniatures, the Gallery displays upon its
walls no less than 1,382 -distinct works of art. But
the three principal
"apartments—the rooms distin-
guished as the East, the West, and the Middle—
contain exactly the mystical number 666, the
enigmatical number in the Apocalypse. Yet, out of
forty Academicians, there -tire no less than twelve
defnulters, whose names appear not at all in the list.
lof this season's exhibitors. These twelve, including
not merely the veteran Sir Robert Smirke ; the
auditor, Richard Westmacott ; the treasurer, Philip
Hardwick ; and the president, Sir. Chas. Eastlake ;
but Bailey, the sculptor, and Barry, the architect,
Charles Cockerell and Solomon Hart, John Gibson
and Charles Landseer, Alfred- Elmore and Thomas
Webster. The only solace we 'have for the non-
appearance by the last-Mentioned truly English
painter, is the faithful reproduction of his famous
picture- of " Punch," -by -the skilled needle and.
graver of ll:Lernori, in the little OctagOn room,
sacred . to the productions of the engraver and
lithographer. Besides the dozen Academicians
who are norFexhibitors in '69, there are several of
the associates who, for once, have failed to take
part in the great annual competition. Frederick
Goodall.. has bid one; Francis Danby has but
one—P. F. Poole has not even a rustic lassie
with a pitcher, W. E. Frost not one solitary nymph
robed in nothing. We have to look to other easles
for consolation. Among the most industrious who
do exhibit among the Academicians are five who
contribute a single work eaoh to the collection.
Conspicuous among*the .kiories of art in this coun-
try, William M".iready has (in 167) taken as the
theme for his pencil the familiar line of Pope—
" Just as the twig is bent the tree's inclined ;"
and the eminent painter, long missed from the
Gallery by reason of hiSassiduoas-labours in the
elecoration, of the national-Palace at Westminster,
J. R. Herbert, has restricted his efforts this year, in
a noble picture hard by (165), to the sorrowful
limning of " Mary Magdalene" as she approached
with spices to the tomb of our Lord upon Easter
morning. Daniel Maclise has, in hiS solitary con-
tribution (105), given a genial portraiture of the
Poet and the Poet's Wife. While Macdowell's chisel
has contented itself with carving, in marble, the
bust of a distinguished contemporary (1346). The
brush of Frith has found sufficient occupation in de-
picting in glowing colours the most popular
author of our generation, " Charles Dickens in his
Study." This (210) vies at least in interest with the
elaborate Hogarthian masterpiece of last season,
which enabled Frith, by the attractiveness of
his one contribution, hardly less than by its.
extraordinary merit, to surpass all competitors.
Seven Academicians .contribUte two works respec-
tively to the collection ; these seven being Leslie,
Redgrate, Roberts, Marshall, Foley, Dyce,' and
Pickersgill. Three contribute three a-piece—viz.,
Cope, Jones, and Stanfield. Six, four—these
six being-Creswick, Lee, James Ward, and Edward
Ward,; Sir Edwin Landseer, and W. F. Withering-
ton. Sir William Charles Ross gives to the walls
of the " Drawing" room five of his brilliant minia-
tures. Francis Grant and Alfred- Chalon add each
in turn six pictures to the Gallery. The four most
industrious among the Academicians—each of th-on
contributing' eight pictures" to the 1n Sir.
John Watson Gordon and John
Abraham Cooper and IT 12-reseett Knight,
doubtedly, howev,-
'171,-:-P,ickersgill. Un-
. _, the most amoitious among all
the exhib;*-ors ..
this year is one of the Associates—
so"-
nodoubt, to be one of the Academicians.

jobn.Evereti Millais, now in his fortieth year,
And in the fulness of his powers as an artist, has in
two at least out of his three pictures this season far
More than sustained -his already high reputation,
No. 482, "The Love of James the I4'irst of Scotland,"
is hardly entitled to more praise than such as may
be demanded by the loVeliest-ei-aiiring both of the
blue gown or the Princess upon 'tiptoe by the Prison
wall, mid of the delicious flowers in her wicker
basket-in her Still more delicious hand—there are
far more and far higher beauties thatithose -of Mere
colouring in the two other contributions from the
same artist, though the colouring of each'. of these
likewise is also, in simplest truth, something really
marvellous. In (15) there is poetry of the purest
and the loftiest character. " The Vale of Rest"
the picture is called—with the 'echoing motto,
" Where' the Weary find repose."' to (208) there is
an 'exquisite vernal, sylvan, pastoral sentiment.
"Spring" is the sententious title of this extraordinary
painting. It is spring in an orchard when the grass
.is full of bluebells and cowslips, and the branches are
full of the pinkest and whitest of apple blossoms. The
contrast presented by those two productions is in
its way something remarkable. Life, overflowing,
abounding, joyous life in the one. Death, with all
its sombre and affecting influences- in the other.
Here the scene is the graveyard of a convent—the
time is twilight. Ivy mantles the walls. The light
-of sunset shimmers through the yew boughs of the
-graveyard. One of the sisters stands knee-deep in
the grave, lifting out a spadeful of the unctuous
loamy earth, with a womanly effort in the muscles
of her long arms. Another sister is seated waiting
hard by upon a gravestone, with her face turned
full towards us, gazing out of the picture in sombre
abstraction. A bony, uncomely face, bandaged
round with the nun's shroud-like head-dress, not a
line of beauty in any one of the features—:but enthrall-
ing, too, in its way, from its air of profound yet
mournful serenity. Beside her lie two or three
wreaths of immortelles—so real that one is almost
fain to pick them up from the
.picture in their
chinking dryness. Contrasting wondrously with
this is that other: yainting of luxurious efflo-
reseence—" Spring" in the blooming apple orchard. •
A cluster of young girls—elf-like from their being
about half-life size, while the flowers are of the size
of nature—damsels of various ages, clad in the
Most chequered variety of raiment, disposed in the
most strangely diversified attitudes. One is about
to pour something out of an antique beaker—evi-
dently nearly emptied. Another, an imperious
lit I le lady -enough, is- holding out her hand for the
goblet when it shall be filled. Another, the
sweetest, prettiest girlish beauty- of them all,
lies carelessly upon her back upon the turf with a
ribbon of grass drawn through her crimson lips,
her young form clothed in a glowing bsrege of the
colour of a ripening apricot. Overhead the orchard
houghs are in the full glory of their blossoming.
Heaped together in a basket en the sward arc a
profusion of culled bluebells and cowslips. The
banquet is a very innocent repast of. curds and
whey and syllabub. The whole scene is one kalei-
doscopic glow of prismatic colouring. Both the one
and the other of these remarkable pictures displays
the astonishing gifts, and the still more astonishing
deficiencies of the painter, with extraordinary
vividneSs. They are at once exquisitely beautiful
and hideously ridiculous. The scenes themselves
are almost as lovely as Nature—the' creatures
peopling them are some of them as grotesque as
though pencilled by the whimsical hand of a cari-
caturist. Each of the two is at once an example
and a warning. We pause long before them, stirred
at heart simultaneously by a mingled sense of deri-
sion and admiration. Turning from theSe to one
of the two pictures contributed to the Gallery this
, year by another of the assocratesTnamely, to liea•, s
(40) " The light before Naseby-7-me note within
the shadoW of an open tent in the moonlight
Oliver Cromwell kneeling in prayer to the Lord
of Hosts. The effect of the brawny buff -clad
figure with the face darkened, and yet a mystical
glory radiating from the lamplit canvas of the tent .
is singular, almost to the extent of being absb- •
lately fantastic. The aureole about the sombre •
visage gives the figure the appearance almost as of
a demon—beatified! Out of the four pictures .
contributed to the Gallery this season by E. M.
Ward, incomparably the one worthiest of him (125)
is "Marie Antoinette on the day of her trial listen-
ing- to the Act of Accusation," The' beautiful
French quccn and AlAstriau Princess is seated

pensively (with her exquisite features in profile)
gazing prayerfully at a crucifix,' while Fouquier
Tinville immediately below the entrance of the
prison vvindow, with his face ti rtied teWaidt us,
though half-concealed from vib* by the fatal parch-
ment from whith he is reading, drones forth the
virtUal sentence of death by the guillotine. The
gaudily-plumed cocked hat of t,ll official alto the
white-capped and White-aproned form of the young
QUen-Consort contrast as affectingly as effectively.
Mr. Ward is par excellence among all our artists
the Painter of the French ii. is hrush
has already depicted with masterly ability "Napo-
leon in Prison at Nice" —" Charlotte Corday
led to Execution"—" The Royal Family of France ,
in the Prison of the Temple"--arid, to the '
series, he has now added this charming and pathetic
memorial of " The Eve of the Trial of Marie
Antoinette." Yet what thoroughly natidnal ptetttreS
have we not alic had 11. om the same pencil! "Dr
Johnson Reading the MS. of the Vicar of Wake-
field"—" Goldsmith as a Wandering Musician"—
" Dr. Johnson in the ante-room of Lord Chester-
field"--r' The Fall of Clarendon"." The Execution
of Montrose"—and other kindred works, that if
only multiplied with proportionate industry and:
merit will eventually constitute a collection for
engraving as full of interest as any accumulated
works of our English masters slime the days of
Hogarth. We are all the more sanguine of this in
regard to Mr. Ward's future career from a remem.
brance that he is yet but in the vigour of manhood
—being only two or three years past his fortieth
anniversary. An elder academician, in the person of
Sir -Rdwin Laudseer, is especially successful this
year—his four contributions being quite worthy of
his reputation. "Doubtful Crumbs" (138) repre-
sents, as only his .2Esopian and Pilpayan brush
could so represent, a huge mastiff sleeping over a
gnawed bonc--4owards which a little terrier is
sniffing its way hungrily and timorously with
frightened eyes and watering.. jaws--doubtful
crumbs, indeed ! What is that other huge picture
by Sir:Edwin in the East-room P—is it not an
illustration of an incident in the- immortal Waver-
ley.P (175). " Bran will never put another stag at
bay : and Oscar will not make out by himself.
The deer will de fine yet I" Bran, poor hound,.
floating in the trail of the hunt, paws 'upwards=
dying, disembowelled/ The • deer---With its
antlered head above the surface of the stream, dry-C
tongued but defiant I Oscar panting close by.its
neck with-glistening fangs—ready for a spring the
next Minute ! Close by- this picture of the chase
is Dyce's noble allegorical scripture piece of " The•
Good Shepherd" (174)--where, passing through the
of the fold, is the Lord and Redeemer of
Mankind tenderly bearing in his arms the- strayed
lamb that was lost-and is found—the .countenance
of Our 'Saviour being. of that divine.type.of perfect
human beauty, with which, since the earliest days
of Christianity,'the painters of Christendom have
rendered us familiar. Horsley's (222) " Mil-
ton Dictating Samson Agonistes " is an admit..
able. - and national picture, • which only. needs
to *be faithfully engraved to ensure a wide and
deserved popularity. -Milton,
.blind, sorroy ful, re-
signed—towards the close of that- life that sounds•
among the werld's biographies as the strains of
some thrilling anthem—is seated before.the organ
on which he loved to play; A bunch of new culled
flowers are on 'his lap. His eyelids are closed
Meekly. His still hyacinthian, though silvering.
ringlets trail down his shoulders. luxuriantly. He
is dictating—with his fingers just taken from the
keys of the yet vibrating instrument—dictating to
his wife (Elizabeth Minshull) Samson's affecting
lament for the loss of sight. The blind poet's
puritan friend, young Thomas Elwood, listening
in earnest sympathy the while in Milton's study,
there, in his last residence at. Bunhill Fields, Qrip-
plegate. Another, and more charming picture,
from the same hand this season, is (414) "Blossom
Time "—a picture in which the apple-blossom is
glorified as beautifully and almost as truthfully as
in the more pretentious painting of " Spring" by
Millais. It is by a curious coincidence that the
apple tree this May is blooming from. so many
easels in different parts of the Academy Collec
tion. Hook in (250) has produced an etreetiVe ems
bellishment to the Laureate's babbling, bubbling,
delicious song of the Brook. It is, indirectly, as a
fitting tribute to the genius of the one pre-emi-
nent poet of our time, that Alfred Tennyson Is
quoted again, and again, and again all through-
the academy catalogue. Lance, upon the surface.,
of another glowing stretch of canvas (251), still,
pours forth another cataract of " Fruit" from his in-
exhaustible cornucopeia. Frank Stone, in . (254)
"Friendship Endangered," depicts a couple of young
girls in the midst of a tiff—evidently about a love
letter. Fad has, if possible, surpassed his previous
achievements by (310) " Sunday lii the Backwoods,'
every atom of, which is painted with true poetic
feeling and -wonderful manipulative dektcrit,y.
W. C. T...Dobz,on's (31(1) "Der ltosenkranz" is the
sweetest, 'delighfulest little Dutch girl's face ima4
ginable. F, It. Lee, In (321) an." Avenue at.Youl.
stone," in. Devonshire, has portrayed a perspective
°f: 'Spyan beauty, chequered with light and shade
from the vivid foreground to the dim distance in a
manner delectable to look at. A -glance at the
picture is an incentive to a run down to Barnstaple
for- the pleasure- ,merely of it stroll down that
charming. avenue.. Darby,. in (413) "A Lake,
Scene," is altogether as unlike Danby as Darby
could well be.. The subject is as different as pos•
sible froth his ordinary themeS---4ind the treatment
of it is in every respect no less strikingly dissimilar.
It is a tranquil, Lorraine-like•giimpse of lake scenery
in the coolness •of twilight. • D. Roberts has again
portrayed for us,_in (420) ".St. Mark's," at Venice,
another_ of. his marvellous architectural interiors,
with all the gorgeous tracery of its mosaics and
other ornate adornments. As we pass (427) " Dog-
berry's Charge to the Watch," by H. S. Mark, we
cannot but note the additional evidence here given
'of the fun and drollery possessed abundantly by
this premising. young artist of the grotesquely
humorous.- IVithout doubt the Most:effective land-
scape- in the whole gallery is (494)• " A Thunder
Shower," by J. T. Linnell. The peasant figures in
the foreground are full of animation, and the land-
scape is brilliantly painted throughout. Solomon
in (557) Not Guilty" has relieved our minds at
last after the . lapse of two years, giving us the.
sequel to the Story, the first half of.whieli was told
in the companion picture, entitled, in 1857, " Wait-
ing for the Verdict." O'Neil in a more general
way has relieved our anxiety after a similar fashion
in regard to another incident, viz., by (400) " Home
Again-1858," which shows the return from the
Crimean war of those English soldiers' O'Neil's hand
revealed to us last season going in a quite- con-
trary direction. The delineation of • the return is
by no means equal to that of the departure. Con-
spicuous among'the flower pictures in the gallery
are two by Miss A. F. Mutrie (619), "Garden
Flowers,"' and (621) " Travellers' Joy "—both of
them exquisitely beautiful. The portraits in the
exhibition are there in usual abundance, but several
of them of unusual excellence. The most attractive
of all is a subject we have already specified—
Frith's portraiture of " Charles Dickens in his
Study"—a truthful likeness, not a doubt of it, but
still. one in many respects unsatisfactory. The
expression—which is the very soul of that thought-
ful, genial, delightful face—is. wanting. Grant's
full length
_portrait (236) ofthes Premier, is the very
man himself, unmistakeably.' Several d' the
leading members of the Academy startle us by their
life-like effigies on the walls of the three principal
apartments. Here, it is (113) the sailor-like, hirsute
English face of Clarksen-Stanfield—there, it is
(87) the earnest, careworn, pensive visage of R. J.
Lane, the Academy's associated engraver and
lithographer.. - Yonder (405), Angukus Egg con-
fronts us, with his terrier on his: knee. Geddis has
in (16) produced an admirable pbrtrait of a very
handsome original, " The Lord -Chancellor ;" Grant
in (183) depicting delightfully for the satisfaction
of all the readers of " Mary- Barton," and " Cran.
ford," the truthful likeness of Mrs. Gaskell herself,
in pretty piquant walking dress, as
.she may be met
with by her friends in the winter time, when the
snow lies besmirched on the ground under the smoky
atmosphere of Lancashire. A nervous than had
better glance elsewhere than in the direction of
(194), where the uncompromising brush of Sir J.
W. Gordon has portrayed, at his grimest, "James
'Wilson, Esq., M.P.' for Westbury, and late
Secretary of the Treasury. There (233) May be re-
cagnisedthe gallant old veteran, Sir George Brown,:
painted for the officers of the 77th Regiment.
Yonder is (322) Sir Harry Jones, another of the
chiefs of the British army before Sebastopol.
Among the scions of the nobility are noticeable
Sant's charming. portraiture (334) of Mary Agatha,
youngest daughter of the Right lion. Lord John
Russell, M.P.; and Swinton's (337) vivid likeness
of the • Lord Seymour. Distinguishable here and
there in this year's collection are portraits also of
the most diversified notabilities—here, in the middle
room, one (430) of the Hon. Sir Samuel Cunard,
Burt., the eminent shipowner—here, in the minia•
Lure room, one (818) of - Charles Edward Mudie,
Esq., the librarian-monopolist. In the west room,
conspicuously placed in- the centre of the south
wall, is a gigantic portrait picture, vigorously
painted by J. G. Middleton, representing, in an
effective group, Frances Ann, Marchioness of Lon-
donderry, with Viscount Seaham and the Hon. John
Vane, her ladyship's blooming grandchildren. In
the same apartment, hung on either side of the
western-entrance, arc, life-size and life-like, full-
length portraits of the King and Queen of the
Grisi as Donna Anna, and
Signory:ieal st
a
Mario as Don Giovanni. Descendingto the
L
sculpture room, we are particularly struck by there.
being thin season not only effigies of sundry poets,but
together with effigies also of poets' wives and chil-
dren. Here 4is that, besides the thoughtful and

sensitive features of John Edmund ileade (1,320)1
by Weekes—besides the comely bacchanalian head
of Robert urns (1,253), crowned with the holly
wreath, tainq tiliettirtd with a suspicion of a tinge
of red, by Slater—besides the sombre, asalie
of Sheridan Knowles (1;363), by Crowley—we mark
with a sense of pleasure (1,358) the Chatterton-like
pidAte Uf ili buy bEspfißg 9f tWo English poets
resident at Florence, young Robert Barrett lirniVfl.
inc"—and we turn with interest to Brodie's bust
0°,360). of Mrs, Sydney, Dobell, and to Woolner's
Medallion Alfrk‘c Tennyson. There
is a noble head, one of the fttibitst iieiitl
ever yet modelled, of Lord Brougham—a titist
by J. E. Jones (1,299) of that illustrions veteran,
illustrious at once as lawyer, orator, legislator,
writer, philosopher. Ranged among the busts
may here be recognised once more the por-
traitures (this time in marble) of Madame Grist
(1,291) and Signor Mario (1,290). Close by them
is a wonderful pudding-faced, sensual, bloated
semblance of the Rev. C. H. Spurgeon (1,285), one,
that it is to be hoped, must be a monstrous carica-
ture. Mr. Lucas has contributed, in 1240, a marble
statuette of the Right Hon. Viscount Palmerston ;
and .the Baron Marochetti a curious little bronze
statuette of Sir Jamsetjee Jejechhey, the famous Hin-
doO baronet. Fain though we are to loiter yet once
more round the sculpture room, and even after
passing its threshold to stray up the staircase again
into the picture gallery, we refrain from thus
lengthening our first survey of the collection, and
close our already protracted participation in the
Private View on Friday with a mingled sense, as
usual, of fatigued satisfaction,