Early in 1769 the Academy opened its art-schools in Pall Mall; Reynolds presiding, read his first discourse. One grave defect in the Academy's constitution was then in a measure remedied. The art of engraving was recognised: a law was passed, by which not more than six engravers could be admitted as 'associates of the Royal Academy.' In April the first exhibition was held. The number of works exhibited was 136. Among these were four portraits by Reynolds, seven by Cotes (some of them in crayons, in which he was supposed to excel), and three by Gainsborough. West sent two pictures--the 'Regulus,' of which mention has already been made--the firebrand work which brought about indirectly so much mischief and discussion--and a 'Venus lamenting the Death of Adonis.' There were also landscapes by Barrett, Gainsborough, Sandby, Serres, Wilson, and Zucarelli, and 'poetical and historical works by Cipriani, Bartolozzi, and Miss Kauffman. The exhibitors were fifty in number; Mr. Pye, in his 'Patronage of British Art,' divides them into, 'Members of the Royal Academy, 33; non-members, _having no interest in the revenue_, 17.' A glance at recent catalogues will demonstrate the changed proportion now existing between exhibiting members and exhibiting non-members, as compared with the first exhibition of the Royal Academy.[10] By this exhibition a clear profit of nearly L600 was realized. A sum of about L150 was expended in charity; the surplus was applied towards the general expenses of the Academy. These, however, so far exceeded the receipts as to necessitate a grant from the privy purse to the amount of L900. The King and Queen visited the Academy exhibition in May, accompanied by a guard of honour. From this incident arose the practice, still existing, of stationing sentries at the doors of the Academy during the exhibition. [10] 'In the year 1862 there were 1142 works exhibited; of these 146 were the works of academicians, leaving 996 for the non-academicians.'--_Sir Charles Eastlake's Examination before the Royal Academy Commission_, 1863. In addition to a charge of sixpence for the catalogue, visitors were required to pay one shilling for admission to the exhibition. In explanation of this charge, the following curious advertisement preceded the list of pictures: 'As the present exhibition is a part of the institution of an academy _supported by royal munificence_, the public may naturally expect the liberty of being admitted without any expense. The Academicians, therefore, think it necessary to declare that this was very much their desire, but they have not been able to suggest any other means than that of receiving money for admittance to prevent the rooms being filled by improper persons, to the entire exclusion of those for whom the exhibition is apparently intended.'