s as much from the softened and soulless
compositions of certain modern artists, as does the florid architecture
of the ancients from the starved proportions of these days, or the rich
and graceful style of the Essayists from the fabrications of little,
self-conceited biographers. In short, the whole scene is dashed off in the
first style of art; the subject and humour are all over English--true to
nature, and so forcible as to seize on the attention of the most listless
beholder.

We must notice a few of the details. The three guards are foremost in the
picture, and in merit; the struggle in their countenances between
discipline and a sense of the ludicrous scene before them is admirably
represented; as well as the little urchin with his tin sword. The centre
figure of the High Sheriff, with his tattered and faded finery of office,
is equally clever; but the skill with which the artist has contrived to
express his forced mirth, and mopstick bravado, is still more forcible.
The troubled countenance of the Lord Mayor is an excellent portrait of
the indignation of little authority when perturbed by men of greater
place. The faces of the turnkey and the sergeant are likewise admirable;
and that of the soldier looking towards the latter for orders, is like an
excellent piece of byplay in the farce. The drunken patriot, behind the
High Sheriff, is well entitled to the attention which the artist, in his
explanation, suggests; but the spectator must not dwell too long on this
sorrowful wreck of fallen nature. The group in the foreground of the
right hand corner, is an episode which must not be omitted, for it
corresponds with the fine portrait in the same situation in the "Election"
picture. The reckless dissipation of the fine, young fox-hunter, the half
intoxicated chuckle with which he holds the bottle, the grief of his
daughter and wife, and the little shoeless boy with his hoop, are finely
contrasted with the rich humour and extravagant burlesque of all around
them. The slyness of the Head Constable, in the left hand corner, half
smothered in his mock robes, is expressively told; and the painter is a
capital likeness.

From the success of Mr. Haydon in the particular line of art requisite
for scenes of real humour, it is not unlikely that his execution of the
first picture, the "Election" may prove one of the most fortunate events
in his professional career, and turn out to be one of the "sweet uses of
adversity," by eli