Obedience To The Law Necessary On The Part Of Every Freemason.

guished Mason , but wo do not hold ourselves responsible for tho views ho has ventilated . We are , indeed , well assured that if the existing law is to bo effectually defended it must be on broader grounds than those upon which a

Past Master rests his case . If an existing law cannot be defended on utilitarian grounds it certainly cannot be maintained , simply because the Jewish Code may have sanctioned it . —Ed . FREEMASON ' S CHRONICLE . ]

The Royal Academy Exhibition.

THE ROYAL ACADEMY EXHIBITION .

WE hardly think that there aro so many individually great pictures in this collection as wo havo seen on former occasions , though , perhaps , more generally ( rood ones than usual . Thero are certainly very few that can bo called actually bad , and few that will not meet with general approval . The portraits aro very numerous , as usual , but thev aro more pleasing than many wo have seen

exhibited . Thero is a decided reduction in tho number of portraits of gentlemen on horseback which , formerly , gave rise to so mnch unconcealed disapproval . We shall allude to tho landscapes presently , but will remark here that the small pictures , as a rule , display , to our taste , more excellent workmanship than tho majority of largo ones . Thero are but few sea-pieces , and wo miss tho high sea-lines and green

waves of Mr . J . C . Hook , though in No . 308 , " Land of Cnyp , " wo see ono of tho best pictures in the Exhibition , to say nothing of " Heiirts of Oak , " No . 4-74 , which , by the way , more nearly reminds us of his former efforts . The most attractive pi' -ture in the Exhibition is , undoubtedly , No . 853 , " The 2 Sth Regiment at Qnatre Bras , " by Miss Elizabeth Thompson . Her masterly production , " Tho Roll

Call , " in last year H Academy , naturally excited general curiosity as to what sho would give us this year , and wo venture to think she has caused disappointment to none . The incident sho has selected fur . nishos her with good material for tho display of her talents , and in tho picture under notice we ouco more recognise a moat accomplished and carefully studied work of art . There is not a figure in it that is

not a complete study in itself . Sho has chosen the moment when the enemy havo just unsuccessfully charged the square . Tho time is well chosen for depicting a variety of expressions in tho faces of tho soldiers . The stern , anxious laces of the older men , tanght by experience that a repulse does not always mean defeat , is strongly contrasted with tho levity and reckless sense of security depicted on

tho faces of the young recrnits unacquainted with tho fickleness of warfare . Tho enemy aro rather conspicuous by their absence , which , we think , is rather detrimental to the full effect of any representation of an actual engagement . Tho scene of this obstinate fight , wo are told , took place in a field of " particularly tall rye . " We do not think that impression is borne

out in the picture , for thevo is certainly none to bo soon standing anywhere , and the littlo in tho foreground which represents fallen , or rather trampled down ryo , does not strike ns as bearing much resemblance to ryo , even in its brightest form , mnch less to ryo pressed under foot of man and horse . Thero is too much prismatic colouring wo venture to think iu tho foreground . Miss Thompson ' s

forte is clearly m figure-drawing . Here she is at once correct , and marvellously clever in arrangement and life-liko effect . Come we now to M . Pliilippoteau ' s "Charge of tho French Cuirassiers at Waterloo , " No . 013 . In representations of battle-fields our neighbours have ever excelled , and to them almost exclusively does this branch of the art belong . In the picture before us we see a freedom

of handling , and a masterly grasp of tho subject which will contrast very favourably with any similar attempt we have seen . M . Philippetcan introduces us not so mnch to an incident of tho great fight of the 18 th June as to a general view of it . Hero his picture materially differs from that of Miss Thompson . In freedom and breadth wo consider it decidedly superior . Nor is that faithful adherence to

detail , which is of such vital importance in depicting an actual occurrence , in any way wanting . Tho main interest of the picture is centred in a square of Highlanders , resisting a charge of French Cuirassiers . The combatants aro equally represented , and a picture of hard lighting is admirably depicted . In the back ground other squares are formed , engaging other squadrons , and thus the artist

has faithfully portrayed a very important feature of Waterloo , where wo all know Napoleon ' s greatest efforts were directed to dislodge onr army by repeated cavalry charges , following close npon murderous discharges of artillery . There is little to be said about this painting that is not all praise ; but we think the prostrate figure of tho Cuirassier in the t ' oreuround is decidedly of extra dimensions .

Mr . Millais' pictures deserve no mere passing notice , and we shall allude to his portraits just now , leaving his landscape paintings to separate description further on . No . 222 , " Miss Eveleen Tcunant " we place first in order of excellence , and imagine our selection will be one generally agreed to . This picture is simple iu design , and thus far coincides with the idea that "beauty unadorned is adorned the

most . " We gaze upon ono of the most beautiful faces possible ; dressed in a red dress , and wearing a " Rubens '" hat . Miss Tennant wants no more suitable attire , and no more skilful artist to do justice to her charms . Admirers of brunette beauty will be charmed with it . No . 202 , with tho laconic title "No , " represents a younir lady , apparently decided upon breaking the heart

of some tender swain ; she holds a letter in her hand , bearing , we suppose , tho unwelcome intelligence , ft is one of those studies of critical decision which we have so often admired by this skilful hand . 289 and 293 arc portraits of two little girls , daughters of Evans Lees , Esq ., of Wood field , Oldham . They do not please us much , and the interest

we might otherwise take in them is somewhat distracted by the elaborate background . No . 214 , " Tho Crown of Love , " is one of those romantic subjects the delineation of which has always been intimately associated with Mr . Millais' name . The lover , bearing tho " clear weight" of tho princess whom ho had , ( dared to love " in his

The Royal Academy Exhibition.

arms , " to where tho mountain touch d tho sky , by the decree of nor proud father , is seen climbing tho height . The face of tho girl is a marvellous mixture of love , hope , aud dread , as though too surely conscious of the price of tho wooing , for " she was won in death . " It is a grand picture , and wo like it tho moro as being one link moro in the chain of similar subjects which have delighted us in former

exhibitions . Mr . Frith contributes tho full number allowed to an exhibitor , eight , and wo do not hesitate to say that No . 75 , " Sophia Western at tho inn fire , " is his best performance . The face and figure are ravissantes , the subject simple , and ono that appeals at once to tho understanding . Spaco will not allow of further comment on his other pictures than to

mention No . 249 , " La belle Gabriolle , " No . 579 , "Black and blue Eyes , " and 614 , " Polly Peaohum " ( a most fascinating Polly ) , as his most successful efforts . Mr . Jant pleases us in his portraits moro than any other exhibitor , in the solidity and breadth of his painting . Most beautiful do we consider No . 313 , "Mrs . Johnston Stansfeld . " Not that the face

is moro than ordinarily good-looking , but we select this as his best of six very good pictures , for the merits we have just alluded to . No . 191 , "Tho early Post , " representing three girls in the perusal of apparently highly interesting letters , is another of his wo consider very meritorious . E . Nicol , whose humorous Irish pictures wo always look forward

to , does not disappoint us this year . Nos . 561 , " Always tell the truth , " and 1 , 159 , "Tho Sabbath Day , " are in his happiest style . The old lady , with her green umbrella , door-key and books , trudging through the rain to church , is a perfect study of the strict observer of religious duties . We do not consider tho landscape paintings altogether satisfactory . There is no concealing the fact that a practice

of gaudy colouring prevails to an unpleasant extent in the modern school , and we never recollect more glaring instances of 'this defect than in the present exhibition . Our greatest artist , Millais , cannot bo hold to be much more free from it than many of tho small fry , and tho example of so groat a painter may influence others in tho adoption of glaring pigments . No . 74 , " The fringe of

the Moor , and 26 o , " The representation of a forsaken garden , both by Millais , though exhibiting marvellous skill in the handling of elaborate detail aud perspective , aro wo think overpoworingly brilliant in colouring . Tho first landscape wo ever saw of his , " Chill October , " two years ago , gave promise of something mnch better . We find little difficulty in selecting the paintings

of W . Jay , No . 558 , " Far from tho busy haunts of men , " of V . Cole , No . 237 , " Richmond Hill , " 513 , " Loch Scavaig , Islo of Skye , " and 1213 , " Summer noon , " of R . P . Richards , No . 508 , " Tho meeting of tho Ribblo and Udder , " of G . E . Ilering , No . 889 , " Kildonan , " and 1180 , " Loch Etivo from Bonawc—evening , " of A . A . Glendening , No . 894 , " Under the Beeches , " and 903 , " Through the Woods , "

and of P . Graham , No . 81 , Crossing tho Moor , and 49 , " Highland pasturage , " as amongst the landscape pictures which pleased us most . Thero aro many little pictures , however , which struck us aa particularly good , though painted by artists comparatively loss known than some we have mentioned , notably No . 552 , "Near Streatley on Thames , " by J . Whipple , No . 814 , "A little farm on tho Trent , " by J . Peel , and 409 , " A quiet spot , " by W . S . Lloyd .

ANIMALS . —Of animals we find quite tho average number , and , perhaps , above the average excellence in manipulation . Somewhat a new feature is introduced , in tho shape of portraits of somo noted race horses , to wit , No . 72 , " Aventuriero , " and 501 , " King Lud , " both winners of the " Cesarewitch , " aud 77 , " Gang Forward , " winner of tho " Two Thousand , " all by C . Lntyens . Best known

in animal paintings at tho present time is Mr . Ausdell , and we are glad to find his tastes have been transferred from tho savage to the domesticated animals . No . 186 , " The Intruders , " contaius some exquisite calves , 523 , " Quarrying in tho Highlands—Loch Laggau , " some quiet , sleepy looking horses , and 1178 , " The anxious mother . . . . . " A magnificent pock of bloodhounds is represented in

No . 217 , " Lord Wolverton ' s bloodhounds , " by G . B . Goddard . Frisking about in every possible position , the dogs display thorough mastery in tho drawing of a difficalt subject . There aro some pictures which form a class per sc . We allude to those that appeal directly to onr sympathies , and we shall briefl y touch upon some of these : No . 626 , " The last of tho Garrison , " by

B . Riviere , is one of great merit . We see depicted tho traces of some desperate encounter . Destruction has done its dire work , as the hole in tho door , tho tenantless room , tho broken fragments , on the floor testify , and certainly not less eloquent is tho faithful hound lying wounded against tho wall . A beautiful piece of painting is this dog , dumb only in the conventional sense of the word , wonderfully

eloquent in his solitary fate . No . 1 , 177 , " The Wedding Dress , " by F . D . Hardy . What a dark side of a bridal picture is hero represented by the pale , worn-out faces of tho dress makers . Hood's Hues , which accompany the picture , are a fit companion to those in tho " Song of a Shirt . " No . 527 , " Hardly earned , " by Miss L . Starr , is another tonching picture , and ]) ainted iu this clever young artist ' s best style .

The poor governess , returning from giving music lessons , has fallen asleep in a chair before a fire , whose very smallness was the secret of its inability to sustain life ; one arm lies across her breast , as though drawing her scanty shawl about her for the sake of warmth . Her comfortless room , with its shabby carpet and furniture ; her frail form , dressed in mourning , and the absence of anything calculated to

cheer , unite to tell a tale unfortunately no less true than sad . Tinning from " grave to gay , " we find some very clever pictures of great humour dispersed about the Exhibition . No . 107 , " Tho Barber ' s Prodigy , " by J . B . Burgess , presents us to a belathered customer , looking anything but appreciative of the talented barber ' s son ,

whose works of art are being exhibited to admiring friends by the proud parent . In No . 806 , " Rejected , " by J . M . Burfield , a wellpainted picture , is largely assisted in effect by very quaint humour . The " King Charles" majestically follows his lady in her disdain , and turns his fat back upon the " rejected . " We are glad to renew acquaintance with Don Quixote , too , who is