After a few more examples of 'single criticism' in this kind, we are favored with a 'running commentary' upon the ostracised paintings which adorn the upper tiers, and spaces over the doors: 'An upward glance of your eye introduces you to those poor creatures in reduced sizes, who are sent to Coventry at the top of the room, and strung along, by way of cornice, close under the ceiling; figures! but what language can adequately report them!--their wooden features, their mortified complexions; their sneaking, disconsolate, condemned looks; their quizzical head-dresses, and paste-board draperies; their brick-dust curtains, increasing by contrast the chalkiness of their cheeks; and that general and inveterate hardness of manner which instantly chases away all idea of the elasticity of the flesh, and the flexibility of cloth or linen. Hard!--adamant is _pap_ to it!' The _Crayons_ 'afforded striking examples of worse styles, by the help of worse materials;' there were still-born efforts in black-lead pencil, from the hands of academical tyros; wan historical sketches in water-color, by young ladies; imaginary elevations of bridges that will never be built; naked fronts of huge white houses, that sicken all eyes but those of the architect and the owner; and chuckle-headed busts in plaster, of obscure, pudding-faced moderns; likenesses in India-ink, '_done in this manner_' for almost nothing; etc., etc. An exhibition of this sort is certainly proved to be one of the miseries of human life, 'by good witness.' But other miseries are enumerated; and chief among them, the _humbugeousness_ of quack advertisers, and the gullibility of the public; and a medical sample is cited, which would do honor to any 'pill' or 'sarsaparilla' puff, of the present day: