“Need I direct attention,” said he, “to that noble work at the head of the hall, whose magic beauties, as they shine from the canvas, have enchained the admiration of the most distinguished connoisseurs, and evidence stronger reasons for the decision we have come to in its favor than any words of mine could adduce. Although the age and sex of the artist invested the work with an interest in our eyes it would not otherwise perhaps so strongly possess, we would not for a moment have it supposed that they exercised the smallest influence upon our suffrages. We adore beauty, womanhood and youth, but we adore Art more, and have too high a sense of its dignity to permit any extrinsic consideration, however fascinating to the imagination, to divert us from our undivided homage toward it. It is to the solid excellence of the work itself—the new principles which it involves—principles, for the acquirement of which, I am not ashamed to say that I myself, as well as many others grown old in honors as in years, are not unwilling to descend into the character of pupilage—and not the less that we sit at the feet of a genius and a woman. While awarding in this direction the highest distinction, we can speak for our brethren of Art that have come forward in competition for the honors of this day, that they will feel satisfied in withdrawing into an inferior place before her who, from a distant land, chose to throw her merits upon our judgment, and her talents into the service of the British nation. Therefore I bestow the First Prize of the Institution upon the ‘Weeping Magdalene,’ property of the Academy, and executed by the Signora Angelica Kauffman, of the Grisons, whom I have great pleasure in investing with the medal.”