quarters, and contorted with horror—the attitude powerfully expressive, indeed. The figures of both are worth comparing.
"The Double-bedded Room." In b the lady's face is refined, and made less of the "nut-cracker" type. The comb is removed, her feet are separated, and the figure becomes not ungraceful. A white night-gown in b is introduced; in a it is her day-gown, and dark; the back of the chair in b is treated more ornamentally; in a a plain frilled nigh-tcap is hung on the chair, changed in b to a more grotesque and "Gamp-like" headgear. Nothing can be better in a than the effect of light from the rushlight on the floor. This is helped by the lady's figure, which is darkened in a, and thrown out by the white curtains behind. Mr. Pickwick's face in a is not good, and much improved in b. It will be noted that the artist often thus failed in his hero's face—"missing his tip," as it were. This picture admirably illustrates the artist's power of legitimately emphasizing details—such as
