remarkable for the effect and terrible vigor which the
artist has given to the scene. The "Willesden Churchyard"
has great merit too, but the gems of the book are the little
vignettes illustrating the escape from Newgate. Here, too,
much anatomical care of drawing is not required; the figures
are so small that the outline and attitude need only to be
indicated, and the designer has produced a series of figures
quite remarkable for reality and poetry too. There are no
less than ten of Jack's feats so described by Mr.
Cruikshank. (Let us say a word here in praise of the
excellent manner in which the author has carried us through
the adventure.) Here is Jack clattering up the chimney, now
peering into the lonely red room, now opening "the door
between the red room and the chapel." What a wild, fierce,
scared look he has, the young ruffian, as cautiously he
steps in, holding light his bar of iron. You can see by his
face how his heart is beating! If any one were there! but
no! And this is a very fine characteristic of the prints,
the extreme LONELINESS of them all. Not a soul is there to
disturb him--woe to him who should--and Jack drives in the
chapel gate, and shatters down the passage door, and there
you have him on the leads. Up he goes! it is but a spring
of a few feet from the blanket, and he is gone--abiit,
evasit, erupit! Mr. Wild must catch him again if he can.

We must not forget to mention "Oliver Twist," and Mr.
Cruikshank's famous designs to that work.* The sausage
scene at Fagin's, Nancy seizing the boy; that capital piece
of humor, Mr. Bumble's courtship, which is even better in
Cruikshank's version than in Boz's exquisite account of the