21. All works of candidates for premiums shall first be laid before the President and Council, and not admitted into the competition without their approval.

22. All the different performances accepted by the Council, shall be placed in the lecture-room of the Academy on the first of December, where they shall remain until the prizes are delivered.

Annual Decision and Distribution of Premiums.-23. On the first of December annually, the General Assembly of Academicians shall inspect the different performances offered for premiums; and before the prizes are adjudged, a ballot shall be taken in each Class successively, to determine whether or not a premium shall be given in that Class, and if any, whether the principal premium shall be given, and whether more than one shall be given. The two works which have the greatest number of suffrages, shall be opposed to each other in a second ballot, as in the election of members. The prizes shall then be adjudged, but the last ballots on each shall not be opened nor declared until the tenth day of December (the Anniversary of the institution of the Royal Academy), when they shall be delivered to the successful candidates.

24. The Academy reserves to itself the power of withholding the premiums altogether, when the performances shall not be deemed entitled to them.

Sect. V.-PRIvileges of Students.

1. Students of the Royal Academy shall have free access (for the purposes of study) to the schools to which they have been regularly admitted, at all the stated hours, during the space of ten years. They shall also have the privilege of attending the lectures of the Professors, the Library, and, under certain regulations, the annual exhibition. Those who shall obtain premiums, shall retain the privileges of a student for life; but although, except in this case, the privileges of a student cease at the expiration of ten years, the Council have the discretionary power of granting an admission to the schools, the library, and lectures, for one year, to those who have been formerly students, which indulgence may from time to time be renewed.

2. A student of the Royal Academy shall have a ticket that will admit him four times to the annual exhibition; and if he obtain the premium of a silver medal, he shall have two of those tickets, and if a gold medal, a free admission for life, unless by misconduct he forfeit the privileges of a student.

3. The names of those students who have gained gold medals, or the first silver medals at the biennial adjudication, for drawings or

models from the Life, or the first silver medal for the best drawing in Architecture, shall be placed in separate lists, in a conspicuous part of the lecture-room, with a statement of the particular prizes they have obtained.

4. The Royal Academy will, in times of peace, enable a student from among those who have obtained gold medals, to pursue his studies on the Continent for the term of three years. He shall be elected from each of the classes, painting, sculpture, and architecture, in rotation, and shall be allowed the sum of 807. for his journey and return, and the sum of 1301. annually for his expenditure.

Sect. VI.-GENERAL REGULATIONS.

Students of the Royal Academy shall implicitly observe the following regulations :

1. Each student, immediately after his admission, shall declare his place of residence to the Keeper of the Royal Academy, and also whenever he removes, so that it may at all times be known.

2. When a student is admitted, he shall receive an ivory ticket marked with his name and the date of his admission. When he is admitted to study after the living model, that ticket shall be exchanged for one of another form; and if he obtain a premium, it shall again be changed; and each student, when he attends the schools or public lectures, shall, if required, produce his ticket to the door-keeper, or to any of the officers of the Academy who may require it, either to identify him as a student, or to ascertain his class.

3. Each student shall write his name in the book placed in the school to which he belongs, every time he attends.

4. The students shall at all times, within the Royal Academy, behave with that respect which is due to an institution formed by His Majesty, and subsisting under his gracious protection, and particularly towards those who have the office of instruction, or who are intrusted with the care and direction of its concerns.

5. No student shall presume to wear his hat in the schools or other apartments of the Academy.

6. At the public lectures students shall place themselves only on those seats appropriated to the class to which they immediately belong, viz. the seats of the Antique School, the Living Model, or those of the Permanent Students. Those who have obtained gold medals, shall be entitled to the first seats in this class. Students in architecture, who

have not been admitted into the school of the living model, and who

have not gained a premium, shall be classed with those of the antique school.

7. Every student shall carefully observe silence during the lectures, and refrain from giving any public mark of approbation or disapprobation, and shall, on no occasion whatever, come within the space allotted to the members and their friends.

8. Any student who shall take away, wantonly or intentionally deface, or otherwise damage the casts, books, or any other part of the property of the Royal Academy, shall be expelled.

9. No student shall introduce any person whatever into the schools of the Royal Academy, or any part thereof.

10. No student, unless he have been regularly admitted into the school of the living model, shall be permitted to enter that school.

11. Each student, while he is drawing or modelling, shall keep his candle covered by the bell, and when he has done shall carefully extinguish it.

12. Every student sent abroad on the Academic pension, shall within two years send over some original work of his own performance, for the inspection of the Council, otherwise it shall be in the power of the Council, with the concurrence of the General Assembly and the sanction of His Majesty, to withhold the remainder of his allowance.

13. Six months before the expiration of the term allowed to any student sent abroad by the Academy, notice shall be given to the students qualified in the succeeding class, that if they desire to become candidates, they must within four months deliver to the Keeper a recent and attested specimen of their abilities; which specimens will be submitted to the General Assembly, and the election take place one month previous to the departure of the successful candidate.

14. Any student sent abroad who may be guilty of immoral or disgraceful conduct, sufficient evidence thereof being laid before the Council, shall, with the concurrence of the General Assembly and the sanction of His Majesty, be immediately expelled, and his pension discontinued.

15. In case of the death of a student on the Continent, or of his being recalled on account of improper conduct, a successor shall be immediately appointed from the succeeding class, in the manner above prescribed.

16. The list of the students shall be laid before the Council at the end of every year, with a report by the Keeper of the attendance of each student, taken from the books placed in the several schools for that purpose. His application will be the subject of a regular and strict in

quiry; and unless a sufficient apology or explanation be made to the Council through the Keeper, the names of all who shall be found to neglect the advantages offered to them by this institution, shall be erased from the list of students.

17. If any student be guilty of improper conduct within the Academy, or do not punctually comply with the rules and orders established, it is in the power of the Council to reprimand, suspend, or expel him. And further, if any student conduct himself in a dishonourable manner out of the Academy, so as to disgrace the character of a student of this royal establishment and the profession of the Arts, the Council, on satisfactory evidence being produced, will strike his name from the list of students; in which case he shall not afterwards be re-admitted.

Sect. VII.-VACATIONS.

There shall be three vacations in the year. The first, of a fortnight at Christmas. The second, to commence some time in the month of March (as will be annually determined by the Council), and terminate on the close of the Exhibition. The third, to commence on the first day of September, and end on the Feast of St. Michael.

SOCIETY OF BRITISH ARTISTS, SUFFOLK-STREET.

WHATEVER may be the feeling of any of our cotemporaries, we must confess we never prepare for the duties of criticizing works of art without a considerable degree of reluctance. When we consider what an anxious time it is for the exhibitors, and how important it is for them to obtain "golden opinions" from all men, we cannot but hesitate on the influence which a chance word in error or carelessness may possibly have on the interests of even the most meritorous artists. Our readers will therefore have long since observed that we are not to be classed among those who would travel from Dan to Beersheba, and say "It is all barren." We love to look for excellences; and if we cannot commend, would prefer to censure only where we might hope to find our remarks useful to the artist, as well as to those of our unprofessional readers who attend to our remarks. Happily, in the present instance, we may indulge our predilection to the utmost; for there are many most meritorious performances, and but few undeserving public notice. The present (ninth) Exhibition of the Society of British Artists is remarkable

not only as being a decided improvement upon the preceding ones, but also for being, on the whole, one of the most excellent we ever remember. It is true there are no pictures of the highest class; but there are several excellent specimens approaching very near it, and in the other classes many of a very superior order. The first in the room is 'A Portrait of Cardinal Weld', by J. Ramsey. We presume chance in a great measure directs the lottery of numbers in all exhibitions; but we only notice this, in oder to observe, that it is always advisable to let the spectator commence with the view of some of the best performances that are to be seen. This, though evidently a good likeness, is not the best in the room.

The first picture to which we would call the attention of the reader is (8) A Cameronian-Sunday Evening,' by C. Lees. An old couple are in a garden, one reading, the other listening to the Word," while the daughter seems to be holding a telegraphic communication with some one at a distance. There is a truth and feeling as well as humour in this picture, which is deserving our fullest commendation. (13) 'Ruins-composition,' by Mr. D. Roberts, is a larger composition than we have recently seen from this very clever artist's pencil, and is eminently calculated still more to add to his reputation. Mr. Roberts's works are of that class which, though appearing the easiest, are in reality the most difficult to accomplish. He depicts nature with a certain truth, which, because it does not startle, the unskilful eye is not prepared justly to appreciate. But it is this very circumstance which constitutes what is best and most difficult in Art, and Mr. Roberts is in this respect most successful. The other pictures sent by Mr. Roberts are more in his usual style, (75) 'The Lady Chapel,' church of St. Pierre at Caen; (195) Edinburgh Castle,' from the Grass-market; (333) 'The fallen Tower at Heidelberg;' and (776) a frame containing Drawings of Kelso Abbey,' 'The Lady Chapel Church of St. Jacques at Dieppe,' 'Jedburgh Abbey,' and 'Mayence Cathedral.'-(16) East Well, Hastings;' and (254) 'Study from Nature,' by C. Steedman, are painted with a true eye for nature and healthy tone of colouring. Mr. Lee has two of his captivating scenes on his favourite River Dart;' and (179) ⚫ Cottage, Summer Morning.' Mr. Childe has also selected the same locality for his pencil. The English school of landscape is entitled to claim superiority over any other whatever, and these works maintain the wellearned character of the artists. (32) 'Autumnal Morning' is a clever delineation of nature; the clearing away of the mist is well portrayed, and the appearance of the sportsman gives peculiar life and animation to the

scene.

In (36) The Poacher's Confederate,' Mr. Hancock pursues his imi