Master Thames Darrell, the handsome young man of the book, is, in Mr. Cruikshank’s portraits of him, no favorite of ours.  The lad seems to wish to make up for the natural insignificance of his face by frowning on all occasions most portentously.  This figure, borrowed from the compositor’s desk, will give a notion of what we mean.  Wild’s face is too violent for the great man of history (if we may call Fielding history), but this is in consonance with the ranting, frowning, braggadocio character that Mr. Ainsworth has given him.

The “Interior of Willesden Church” is excellent as a composition, and a piece of artistical workmanship; the groups are well arranged; and the figure of Mrs. Sheppard looking round alarmed, as her son is robbing the dandy Kneebone, is charming, simple, and unaffected.  Not so “Mrs. Sheppard ill in bed,” whose face is screwed up to an expression vastly too tragic.  The little glimpse of the church seen through the open door of the room is very beautiful and poetical:  it is in such small hints that an artist especially excels; they are the morals which he loves 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 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.