the figure of the woman not as carefully designed as it might be, and
the expression of the eyes (not an uncommon fault with our artist) much
caricatured. The print is cut up, to use the artist's phrase, by the
number of accessories which the engraver has thought proper, after the
author's elaborate description, elaborately to reproduce. The plate of
"Wild discovering Darrell in the loft" is admirable--ghastly, terrible,
and the treatment of it extraordinarily skilful, minute, and bold. The
intricacies of the tile-work, and the mysterious twinkling of light
among the beams, are excellently felt and rendered; and one sees here,
as in the two next plates of the storm and murder, what a fine eye the
artist has, what a skilful hand, and what a sympathy for the wild and
dreadful. As a mere imitation of nature, the clouds and the bridge
in the murder picture may be examined by painters who make far higher
pretensions than Mr. Cruikshank. In point of workmanship they are
equally good, the manner quite unaffected, the effect produced without
any violent contrast, the whole scene evidently well and philosophically
arranged in the artist's brain, before he began to put it upon copper.

The famous drawing of "Jack carving the name on the beam," which has
been transferred to half the play-bills in town, is overloaded with
accessories, as the first plate; but they are much better arranged
than in the last-named engraving, and do not injure the effect of the
principal figure. Remark, too, the conscientiousness of the artist,
and that shrewd pervading idea of FORM which is one of his principal
characteristics. Jack is surrounded by all sorts of implements of his
profession; he stands on a regular carpenter's table: away in the shadow
under it lie shavings and a couple of carpenter's hampers. The glue-pot,
the mallet, the chisel-handle, the planes, the saws, the hone with
its cover, and the other paraphernalia are all represented with
extraordinary accuracy and forethought. The man's mind has retained