no gentleman will on any account whistle while passing this picture.
No. 5, "He Will Return, I Know He Will," presumably the agonized cry
of a forsaken maiden, is in reality a poor-rate collector's paper,
marked "Fifth application." No. 6 is represented by a numbered ticket
only, with no object attached to it. The exhibitor explains that "The
Midnight Hour" has not yet arrived, but that any gentleman who likes
to wait till it does (which will be at twelve o'clock punctually), is
very welcome to do so. The "Heroes of Waterloo," Wellington and Blucher,
No. 7, are represented by a couple of boots known by those distinguished
names. 8, "True to the Core," is a rosy-cheeked apple. 9 is a coil of
watch spring. 10, "Tears, Idle Tears," on which the exhibitor feelingly
expatiates as a noble example of the imaginative in art, is an onion.
The space dedicated to No. 11 is occupied by the numbered ticket only,
the exhibitor explaining that "The Midnight Assassin" (who is stated
to be a large and lively flea) has strolled away and is wandering at
large about the room; and he adds an entreaty that any lady or gentleman
who may meet with him will immediately return him to his place in the
collection. "The Dripping Well" (No. 12) proves to be of the description
more usually known as a dripping-pan. "Family Jars," by Potter, is
found to consist of a pickle jar and jam pot. No. 14, "Never Too Late
to Mend," is a boot patched all over; while 15, "Past Healing," is its
fellow, too far gone to admit of like renovation. "The First Sorrow"
is a broken doll. "Saved" is a money box, containing twopence halfpenny,
mostly in farthings. The next is a vacant space, over which the
exhibitor passes with the casual remark, "No. 18, as you will observe,
is unfortunately lost." No. 19, "First Love," is a piece of taffy. 20,
"The Death of the Camel," is a straw, labeled "the last," and the
exhibitor explains that this is the identical straw that broke the
camel's back. "His First Cigar" is a mild Havana of brown paper. "A
Good Fellow Gone" is suggested, rather than represented, by an odd