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

'tit SUNIiLONDON, TUESDAY EVENING, MAY 8, 1859.

CHARLES WOOD occupied at the Admiralty the
post now committed by the SOVEREIGN and the
country to Sir JOHN PAKINGTON ! Why, SO long
as we are without the Ballot, these things are in a
measure inevitable. And being thus inevitable, it
is only fair, by way of balance, at least; that there
should be turn and turn about. Lord PALMERSTON
being at the head of affairs in 1857—Mr. B. OS BORNE
as the Government candidate down at Dover profits
by the circumstance and is returned. Lord DERBY
being at the head of affairs in 1859—Ar. BERNAL
OSBORNE doO not profit by the circumstance down
at Dover, and• is rejected. Voila tout ! In 1857 no
harm came to the elected of Dover by way of an
adverse: committee of inquiry ! -It is hardly—in
these days of no Ballot—" honour among"—
ahem •is hardly fair play, in truth,
in the • great political game of Diamond Cut
Diamond—to be so very vociferous, implacable,
and revengeful, as Mr. OSBORNE• avow himself to
be in regard- to Sir HENRY LEEKE and his col-
league, now. that.they have also triumphed, pre-
cisely as Mr: OSBORNE himself and Sir. WILLIAM
RUSSELL formerly triumphed only two. years ago
-namely, as .successful candidates on•
.the side of
the existing Government.

LATEST NEWS.

THE WAR IN ITALY.
The following telegrams have been received at
Mr. Reuter's office :

TRIESTE, MAY 2.

The town of Trieste, together with the surround-
ing territory and the districts Pisino and Georizia,
have been declared in a state of siege.

According to advices from Venice to the 30th
ult. General Gyulai has already assumed the
functions of Governor-General, in the place of the
Archduke Maximilian.
Venice and Verona have been declared in a state

of siege.:

The Hereditary Prince of Tuscany has arrived

at Venice.

Advises have also been received from Milan to
the 30th ult.

The official Gazette contains a proclamation
addressed by General Gyulai to the Sardinian
population, to whom it guarantees liberty, honour,
security lof property, maintenance of -laws, and
protection. • • •

PIEDMONT.

TURIN, MONDAY EVZNINO, May 2.

General Gyulai has imposed on the town of
Novara the demand for a heavy: contribution of
provisions and forage, under pain, in case of non-
Complialice, of a fine of five-times 'the value of the
supply required.
The Abstrians have occupied Vercelli.
The following official bulletin lifis beeli published
to- day : • •
•
" The lAugrians have concentrated their force
on the Sesia, but no encounter has yet taken place.
No movement has yet been made by the Austrians
on the right bank of the river Po,'!

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 defended against every
attack.

' France, which long shared with Sardinia the moral
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 60fl. 50k. ; Metalliques to 5511. 40k. ;
Credit Bank Shares, to 135f1. 50k. ; and Northern Railroad
Shares to 1351 English sovereigns were in demand at
13fl. 40k., and ducats at 61 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—Quicquid in suo gcnere satis effectunt est
valet. They are the words of Quintilliaß (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 of the true and the
beautiful, 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, including architectural drawings, sculp-
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, opt of
forty Academicians, there are no less than twelve
defaulters, whose names appear not at all in the list
of 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 olomon 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 H. Lemon, in the little Octagon room,
sacred to the productions of the engraver and
lithographer. Besides the dozen Academicians
who are non -exhibitors in '59, there are several of
the associates who, for once, have failed to take
part in the great annual competition. Frederick
Goodall has but 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 each to the collection.
Conspicuous among the glories of art in this coun-
try, William Mulready 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 his assiduous labours in the
ilecoration 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,
Redgravc, 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 them
contributing eight pictures to the walls--being Sir.
John Watson Gordon and John Prescott Knight,
Abraham Cooper and H. W. Pickersgill. Un-
doubtedly, however, the most ambitious among all
the exhibitors this year is one of the Associates—
soon, no doubt, to be one of the Academicians.
John Everett 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 First of Scotland,"
is hardly entitled to more praise than such as may
be demanded by the loveliest colouring both of the
blue gown of the Princess upon tiptoe by the prisoi
wall, and of the delicious flowers in her wicker
basket in her still more delicious hand—there are
far more and far higher beauties than those of mere
colouring in the two other contributions from the
same artist, though the colouring of each of those

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." In (298) 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 painting •of luxurious efflo-
rescence—" Spring" in the blooming apple orchard.
A duster 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
little 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 barege of the
colour of a ripening apricot. Overhead the orchard
boughs are in the full glory of their blossoming.
Heaped together in a basket on the sward are 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 associates—, namely, to Egg's
(40) "The Night before Naseby' —we 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 abso-
lutely 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 1 • (125)
is " Marie Antoinette on the day of, her triallm
i
listen-
ing
to the Act of ccusatiOn.', The beautiful
French Queen and Austrian Princess is seated

n 1 '7,4

lamb that was los-t 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 admir-
able and national picture, which only needs
to be faithfully engraved to ensure a wide and
deserved popularity. Milton, blind, sorrowful, re-
signed—towards the close of that life that sounds
among the world'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, Crip-
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 effective em-
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)1
"Friendship Endangered," depicts a couple of young
girls in the midst of a tiff—evidently about a love
letter. Faed has, if possible, surpassed his previous
achievements by (310) " Sunday in the Backwoods,.'
every atom of which is painted with true poetic
feeling and wonderful manipulative dexterity.
W. C. T. Dobson's (316) "'Der Rosenkranz " is the
sweetest, delighfulest little Dutch girl's face ima-
ginable. F. R. Lee, in (321) an " Avenue at Youl-
stone," in Devonshire, has portrayed a perspectiN e
of sylvan beauty, chequered with light and shade
from the vivid foreground to the dim distance in a
manner delectable to look at. A glance sit the
picture is an incentive to a run down to Barnstaple
for the pleasure merely of a stroll down that
charming avenue. Danby, in (413) "A Lake
Scene," is altogether as- unlike Danby as Danby
could well be. The subject is as different as pos.
sible from his ordinary themes—and the treatment
of it is in every respect no less strikingly dissimilar.
It is a tranquil, Lorraine-like glimpse 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 promising young artist of the grotesquely
humorous. Without doubt the most effective land-
scape in the whole gallery is (494) " A Thunder
Shower," by J. T. Lindell. 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 which was told
in the companion picture, entitled, in 1857, " Wait-
ing for the Nerdict." 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
manyrespects unsatisfactory. The
expression-which is the very soul of that thought-
ful, genial, delightful face—is wanting.. Grant's
full length portrait (236) of the Premier, is the vei y
man himself, unmistakeably. Several (I 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 Clarkscn Stanfield—there, it is
(87) the earnest, careworn, pensive visage of R. J.
Lane, the Academy's associated engraver and
lithographer. Yonder (405), Augustus Egg con-
fronts us, with his terrier on his knee. Geddis has
in (16) produced an admirable portrait 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 le
mrsel tf,
in pretty piquant walking dress, as she may bei
with by her friends in the winter time, when the
snow lies besmirched on the ground under the smoky
atmosphere of Lancashire. A nervous man 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-
cognisedthe 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.
am
Among the scions of the nobility noticeable
Sant's charming portraiture (334)
of Mary Agatha,
youngest daughter of the Right Hon. Lord John
Russell; M.P.;
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,
Bart., the eminent shipowner—here, in the minia,-
ture 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, ie 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 end life-like, full-
length portraits of the King and Queen of the
Lyrical stage—Madame Grisi as Donna Anna, and
Signor Mario as Don Giovanni. Dereendingto the
sculpture room, we are particularly struck by there
being this season not only effigies of sundry poets, but
together with effigies also of poets' wives and chil-
dren, Here it is that; besi4es the thoughtful and

pensively (with her exquisite features in profile) sensitive features of John Edmund Reade (1,320),
gazing prayerfully at a crucifix, while Fouquier by Weekes—besides the comely bacchanalian head
Tinville immediately below the entrance of the of Robert Burns (1,253), crowned with the holly
prison window, with his face turned towards us, wreath, faintly tinctured with a suspicion of a tinge
though half-concealed from view by the fatal parch- of red, by Slater—besides the sombre, ascetic head
ment from which he is reading, drones forth the of Sheridan Knowles (1,363), by Crowley—we mark
virtual sentence of death by the guillotine. The with a sense of pleasure (1,368) the Chatterton-like
gaudily-plumed cocked hat of the official and the profile of the boy offspring of two English poets
white-capped and white-aproned form of the young resident at Florence, young Robert Barrett Brown-
Queen-Consort contrast as affectingly as effectively. ing—and we turn with interest to Brodie's bust
Mr. Ward is par excellence among all our artists (1,360) of Mrs. Sydney Dobell, and to Woolner's
the Painter of the French Revolution. His brush medallion (1,380) of Mrs. Alfred Tennyson. There
has already depicted with masterly ability " Napo- is a noble head, one of the noblest heads
leen in Prison at Nice" —" Charlotte Corday ever yet modelled, of Lord Brougham—a bust
led to Execution"—" The Royal Family of France by J. E. Jones (1,299) of that illustrious veteran,
in the Prison of the Temple"—and, to the brilliant illustrious at once as lawyer, orator, legislator,
series, he has now added this charming and pathetic writer, philosopher. Ranged among the busts
memorial of " The Eve of the Trial of Marie may here be recognised once more the por-
Antoinette." Yet what thoroughly national pictures traitures (this time in marble) of Madame Grisi
have we not also had from the same pencil ! "Dr (1,291) and Signor Mario (1,290). Close by them
Johnson Reading the MS. of the Vicar of Wake- is a wonderful pudding-faced, sensual, bloated
field"—" Goldsmith as a Wandering Musician"— semblance of the Rev. C. H. Spurgeon (1,285), one,
" Dr. Johnson in the ante-room of Lord Chester- that it is to be hoped, must be a monstrous carica-
field"—" The Fall of Clarendon"—" The'Esecution ture. Mr. Lucas has contributed, in 1240, a marble
of Montrose"—and other kindred works, that if statuette of the Right Hon. Viscount Palmerston ;
only multiplied with proportionate industry and and the Baron Marochetti a curious little bronze
merit will eventually constitute a collection for statuetteof Sir Jamsetjee Jejeebhoy,the famous Hin-
engraving as full of interest as any accumulated doo baronet. Fain though we are to loiter yet once
works of our English masters since the days of more round the sculpture room, and even after
Hogartb. We are all the more sanguine of this in passing its threshold to stray up the staircase again
regard to Mr. Ward's future career from a remem• into the picture gallery, we refrain from thus
brance that he is yet.but the vigour of manhood lengthening our first survey of the collection, and
—being only two or three years past his fortieth close our already protracted participation in the
anniversary. An elder academician, in the person of Private View on Friday with a mingled sense, as
Sir Edwin Landseer, is especially successful this usual, of fatigued satisfaction.
year—his four contributions being quite worthy of
his reputation. "Doubtful Crumbs" (138) repre-
sents, as only his /Esopian and Pilpayan brush
could so represent, a huge mastiff sleeping over a
gnawed bone—towards 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 ?—is it not an
illustration of an incident in the immortal Waver-
ley ? (175). " Bran will never put another stag at
bay : and Oscar will not make out by himself.
The deer will do fine yet !" 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-
tongued but defiant ! 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
wicket of the fold, is the Lord and Redeemer of
Mankind tenderly bearing in his arms the strayed

MANIFESTO OF PIEDMONT.

The following proclamation to the troops was
published in the Piedmontese Gazette of the 27th
ult..—

" Soldiers I—Austria, which increases its army on our
frontjers, and threatens to invade our territory, because
liberty here reigns with order—because not force, but con-
cord and affection between people and Sovereign here rule
the State—because the cries of suffering of oppressed Italy
here find a hearing, Austria dares to intimate to us, armed
only in defence, that we are to lay down, our arms, and .put
ourselves in her power.
" The outrageou's intimation called for a worthy reply.
I have disdainfully rejected it. .
" Soldiers ! I announce this to you, certain that you will
take to yourselves the outrage offered to your King—to the
nation. The announcement I give to you is the announce .
ment of war. To arms, then, soldiers
"You will find yourselves opposed to no new enemy; but,
if he be brave and disciplined you do not fear the meeting,
and may boast of the days of Goito, of Fastrengo, of Santa
Lucia, of Sommo Campagna, of Custosa itself, where only
four brigades contended for three days with five corps
d' armee.

" I will be your leader. On former occasions we have
known a great part of you in the heat of combats ;
.and It
fighting by the side of my magnanimous father, admired
your valour with pride.
" On the field of honour and of glory you, I am certain,
will know how to preserve, and also to increase, your fame
as valiant soldiers.

" You will have for your companions those intrepid sol-
diers of France, conquerors in so many great battles, whose
comrades you were on the Tchernaya, and whom Napoleon
111., ever hastening thither where there is a just cause to
defend and civilisation to uphold (da far premiere), gene-
rouslysends to our aid in -umerous bands.

" Advance, then, confident of victory, and adorn your
banner with fresh laurels; that banner which, with its
three colours, and with the chosen youth which, here as-
sembled from all parts of Italy, are gathered together be-
neath it points out to you that you have for your task the
independence of Italy—that just and holy enterprise which
will be your war cry.
" Turin, April 27, 1859."

" VICTOIt EMMANUEL.

MANIFESTO OF AUST.RIA.

The Wiener Zeitung, of the 29th ult., publishes
a manifesto signed " Francis Joseph," of which the
following are the chief passages :
"IMPERIAL MANIFESTO.—TO MY PEOPLE.
tg I have ordered my faithful and gallant army to put a
stop to the inimical acts (Anfeindungen) which for a series
of years have been committed by the neighbouring State of
Sardinia against the indisputable rights of my Crown, awl
against the integrity of the realm placed by God under ml
care, which acts have lately attained the very highest point
(auf ihrem Hohenpirnkte angelangt). By so doing I have
fulfilled the painful (schwere) but unavoidable duty of a so-
vereign. My conscience being at rest, I can look up to an
omnipotent God, and patiently await His award. With con-
fidence I leave my decision to the impartial judgment of
contemporaneous and future generations. Of the approba-
tion of my faithful subjects lam sure. More than ten years
ago the same enemy—violating international law and PIS
usages of war, and without anyoffence being given—entered
the Lombardo-Venetian territory with the intent to acquire
possession of it. Although the enemy was twice totally de-
feated by my gallant army, and at the mercy of the victor,
I behaved generously, and proposed a reconciliation (reiehte
die Hand zur Versonung). I did not appropriate to myself
one inch of his territory ; I encroached on no right which
belongs to the Crown of Sardinia, as one of the members of
the European family of nations ; I insisted on no guaran-
tees against the recurrence of similar events. The hand of
peace which I in all sincerityextended, and which was takett
appeared to me to be a sufficient guarantee. The blood which
my army shed for the honour and right of Austria, I sacri-
ficed on the altar of peace (dem Prieden brachte Icildas Vol
meineo Armee zum Opfer). The reward for such unex-
ampled forbearance was immediate continuation of enmity,'
which increased from year to year, and perfidious agitation
against the peace and welfare of my Lombardo-Venetian
Kingdom. Well knowing what a precious boon peace Was
for my people and for Europe, I patiently bore with than
now hostilities. My patience was not exhausted when the
more extensive measures which I was forced to take, ill
consequence of the revolutionary agitation en the frontiers
of my Italian provinces and within the same, were made an
excuse for a higherdegree of hostility. Willingly accepting
the well-meant mediation of friendly Powers for the main-
tenance of peace, I consented to become a party to a congress
of the five great Powers. The four points proposed by the
Royal Government of Great Britain as a basis for the deli-
beration of the congress were forwarded to my Cabinet, 14
I accepted them with the conditions which were ealenlatea
to bring about a true, sincere, and durable peace. In the,
consciousness that no step on the part of my Government,
could, even in the most remote degree, lead to a disturbance
of the peace, I demanded that the Power which was the
cause of the complication, and had brought about the dam'
ger of war, shculd, as a preliminary measure, disaXJ'
Being pressed thereto by friendly Powers, I at length to"
cepted the proposal for a general disarmament. The media'
tion failed in consequence of the unacceptableness of the On:
ditions on •which Sardinia made her consent dependant
Only one means of maintaining peace
remained. I addresse'
myself directly to the Sardinian Government, and sun'
mooed it to place its army on a peace footing and disband
the free corps. As Sardinia did not accede to my demanu,
the moment for deciding the matter by an appeal to arw'
has arrived.

" I have ordered my army to enter Sardinia.
f ever'" I a r
amya
dutieswar aware e
ofsthoeinvnasntarcimhpwolaignhceedohfetahviio myeoansurtrn:
jag
watittnhissonmoowment. that
thWeaur is the scourgevesandpropor of mankind. rnnkinad I
thousandssee
of
mY
beingoctenuo occupied with itsn
t
subjects are imperilled, and deeply feel what a severe trial
war
at y which,
requires
of
peace. But the heart of the Monarch must be silent s''
ails d for
evelmo
the command of honour and duty. On the frontiers is_A... an
pynient, realm,gre
armed enemy who, in alliance with the revolutionary Parw
openly announces his intention to obtain possession
of the dependencies of Austria in Italy. To support him'
the ruler over France—who, under futile pretexts (nielitig
Vorwande) interferes in the legally established relations
the Italian peninsula—has set his troops in movement'
Detachments of them have already crossed the frontiers 0'
Sardinia. The crown which I received without spot or
blemish from my forefathers, has already seen trying times'
The glorious history of our country gives evidence that
Providence, when there is a foreshadowing that the greatest
good of humanity is in danger of being overthrown in 11;
rope, has frequently used the sword of Austria in order 4.";
dispel that shadow. We are again on the eve of such -
period. The overthrow of the things that be is not onlf
aimed at by factions but by thrones. The sword which
have been forced to draw is sanctified, inasmuch as it isi
defence for the honour and rights of all peoples and Raze*
and for all that is held most dear by humanity.
" To you, my people, whose devotion to the herecling
in reign family may serve as a model for all the nations
..°
the earth, I now address myself. In the conflict which br,
commenced you will stand by me with your oft-proved Merl.'
andtlevotion. To- your sons, whom I have taken into II
ranks of the army, I, their commander, send my martial
greeting (wafen-gruss). With pride you may regard them'
for the eagle of Austria will, with their support, soar high°
" Our struggle is a just one, and we begin it with coursbi
and confidence. We hope, however, that we sh all not
stand alone in it. The soil on which we have to do battle
was made fruitful by the blood lost by our German brethr...e,
when they won those bulwarks which they have Inall'of
tained up to the present day. There the crafty enemiea
Germany have generally begun their game when theyhiloch
wished to break her internal power. The feeling that Su
a danger is now imminent prevails in all parts of Germany'
from the hut to the throne, from one frontier to the other.
I speak as a Sovereign member of the German Confedersci
tion, when I call attention to the common danger, and
recal to memory the glorious times in which Europe .".%,
to thank the general and fervent enthusiasm of Gerlalll
for its liberation

For God and fatherland
g 4 Given in my residence and metropolis of Vienna) ost
this 28th day of April, 1859."

v
OPENING OF THE
_ROYAL ALBJ,--
BRIDGE.

PLYMOUTH. MONDAY NIGIIT'ea
Yesterday morning the Prince Consort aril's.
in Plymouth to open the great Albert Bridge Or°
the Tamar into Cornwall.
The ceremony, which passed off with the utot
success, took place at one o'clock, his Royal
it
ness giving the bridge its name, and delariog
opened to the public.
ain The Prince quitted Plymouth by the Royal +rto,
at 7 p.m., appointed to arrive at Windsor at 1 $'
this morning,

THE CROWN PRINCE OF SAXONY.—HiS rtyal
Highness the Crown Prince of Saxony landed at Dover °n
Sunday evening, and, after passing the night at the •`:;.'ain
Ship Hotel, left yesterday morning by the eight a rth ed
for Southampton via Reigate. His Royal Highness retcoard
Southampton at one p.m. and at once proceeded en,'
the Portuguese Government frigate, commanded Orf
Royal Highness the Duke of Oporto. In the course )._,.0
afternoon the Crown Prince honoured with an aucilet4o
Mr. Emanuel, of Hanover-square, who submitted t24'ex.,
Royal Highness several beautiful works of art in !,.1..1:00.
from which the Prince was pleased to make select
Early in the evening the frigate sailed for Lisbon, 1v..4•4,0
the Crown Prince is proceeding to marry the sister ca '-
4160 f Portugal.