to append to his stories, and are always appropriate and welcome.
The boozing ken is not to our liking; Mrs. Sheppard is there with her
horrified eyebrows again. Why this exaggeration--is it necessary for
the public? We think not, or if they require such excitement, let our
artist, like a true painter as he is, teach them better things.*

* A gentleman (whose wit is so celebrated that one should be
very cautious in repeating his stories) gave the writer a
good illustration of the philosophy of exaggeration. Mr. --
-- was once behind the scenes at the Opera when the scene-
shifters were preparing for the ballet. Flora was to sleep
under a bush, whereon were growing a number of roses, and
amidst which was fluttering a gay covey of butterflies. In
size the roses exceeded the most expansive sunflowers, and
the butterflies were as large as cocked hats;--the scene
-shifter explained to Mr. ----, who asked the reason why
everything was so magnified, that the galleries could never
see the objects unless they were enormously exaggerated.
How many of our writers and designers work for the
galleries?

The "Escape from Willesden Cage" is excellent; the "Burglary
in Wood's house" has not less merit; "Mrs. Sheppard in
Bedlam," a ghastly picture indeed, is finely conceived, but
not, as we fancy, so carefully executed; it would be better
for a little more careful drawing in the female figure.

"Jack sitting for his picture" is a very pleasing group, and
savors of the manner of Hogarth, who is introduced in the
company. The "Murder of Trenchard" must be noticed too as