Leaving the landscape, we find the figure compositions of the year not very successful, if we except the "Aztec Princess" of Mr. HICKS, which we understand is a study from life of a Mexican woman, but which is treated in so large, and thoughtful, and skilful a manner, that it is most impressive for character and color, and gives the key to the whole side of the room upon which it hangs. This artist exhibits also some portraits, which have never been surpassed by any modern portraits that we recall. No. 128 upon the Academy Catalogue is the most brilliantly-colored portrait upon the walls. It is treated with all the happy heroism of a master, and while many quarrel with its _spotty_ color, the initiated perceive that easy mastery of the palette which with genius is the secret of artistic success. No. 405 is equally remarkable for its vigorous moulding. This portrait shows the accurate knowledge, as No. 128 reveals the sumptuous sentiment of the genuine artist. Mr. ELLIOTT'S portraits have the same quiet truthfulness as heretofore, the same easy success, but we would gladly see more confidence in color, and a likeness more as the subject appears to the mind than to the eye. Mr. SHEGOGUE'S productions are certainly very pastoral. So sheepy are his sheep that all the figures, trees, and landscape, are unmitigatedly sheepish. Mr. FLAGG'S portraits are not successful. There is an unnatural smoothness and hardness in his works. Mr. KELLOGG'S General Scott is vigorous and effective. The action of the figure seems to require some explanation, however. It contrasts well with the monotony of its pendant, Mr. VANDERLYN'S General Taylor; but no spectator in regarding this latter work has a right to forget that it is the production of one who has grown gray at his post, and the winter of whose age has not yet frozen, and can never freeze, the freshness of enthusiasm and single-hearted devotion to art which are for ever young.