etcher. The distant view of the city in the duel, and of a market-place
in "The Quack Doctor," are delightful specimens of the artist's skill
in depicting buildings and backgrounds. They are touched with a grace,
truth, and dexterity of workmanship that leave nothing to desire. We
have before mentioned the man with the mouth, which appears in this
number emblematical of gout and indigestion, in which the artist has
shown all the fancy of Callot. Little demons, with long saws for noses,
are making dreadful incisions into the toes of the unhappy sufferer;
some are bringing pans of hot coals to keep the wounded member warm;
a huge, solemn nightmare sits on the invalid's chest, staring solemnly
into his eyes; a monster, with a pair of drumsticks, is banging a
devil's tattoo on his forehead; and a pair of imps are nailing great
tenpenny nails into his hands to make his happiness complete.

The late Mr. Clark's excellent work, "Three Courses and a Dessert," was
published at a time when the rage for comic stories was not so great
as it since has been, and Messrs. Clark and Cruikshank only sold their
hundreds where Messrs. Dickens and Phiz dispose of their thousands.
But if our recommendation can in any way influence the reader, we would
enjoin him to have a copy of the "Three Courses," that contains some of
the best designs of our artist, and some of the most amusing tales in
our language. The invention of the pictures, for which Mr. Clark takes
credit to himself, says a great deal for his wit and fancy. Can we, for
instance, praise too highly the man who invented that wonderful oyster?

Examine him well; his beard, his pearl, his little round stomach, and
his sweet smile. Only oysters know how to smile in this way; cool,
gentle, waggish, and yet inexpressibly innocent and winning. Dando
himself must have allowed such an artless native to go free, and
consigned him to the glassy, cool, translucent wave again.